Molière’s sentiment “to correct men by amusing them” is embodied in “The Imaginary Invalid,” or “The Hypochondriac.” Written in 1673, his final play defines his legacy, begun when he traveled through the French countryside with Madeleine Béjart and their Illustre Théǎtre. That was when he encountered the Commedia dell’Arte, the basis for modern comedy, adding its elements into his plays. Like many Enlightenment authors, including Corneille, Racine and Boileau, he resolutely applied Aristotle’s comedic principles as laid out in “Poetics.” Molière is also known for his scathing satirization of common institutions and politics. These traits define Molière’s work, combining to make “The Imaginary Invalid” a timeless tale. Commedia dell’Arte influenced
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Although largely lost, some of Aristotle’s key points were preserved in “Poetics.” Through the dialog of Dorante in “Le Bourgeois Gentilhomme,” Molière notes that using references to Aristotle or Horace to distinguish good and bad plays is like deciding if a dish is good by referring to the recipe. Dorante adds that the only rule that cannot be broken is to please the audience. (Calder) Although he may deny it, Molière’s plays follow Aristotle’s comedic formula. The characters are lower than in real life: most wives do not plot against husbands as Béline does Argan; servants generally do not undermine their masters’ wishes as effectively as Toilette; and real doctors do not feed their patient’s psychosis as Mr. Purgon and Mr. Fleurant do. In Molière’s hands, Aristotle’s principles create comedy by creating despicable characters. Aristotle believed that comedies, like tragedies, require plots that examine less than 24 hours. Molière does that one better, with his play's distinct beginning, middle, and final events all occurring within a few hours. Aristotle theorized that both tragedy and comedy require a moment of realization and reversal. In “The Imaginary Invalid,” that occurs when Béline curses Argan on his false deathbed. Continuing Aristotle’s formula, the play ends happily, with the lovers staying together and Argan finding a new purpose. While Molière may not have subscribed to Aristotle’s theatrical principles, he used them well in his
Although largely lost, some of Aristotle’s key points were preserved in “Poetics.” Through the dialog of Dorante in “Le Bourgeois Gentilhomme,” Molière notes that using references to Aristotle or Horace to distinguish good and bad plays is like deciding if a dish is good by referring to the recipe. Dorante adds that the only rule that cannot be broken is to please the audience. (Calder) Although he may deny it, Molière’s plays follow Aristotle’s comedic formula. The characters are lower than in real life: most wives do not plot against husbands as Béline does Argan; servants generally do not undermine their masters’ wishes as effectively as Toilette; and real doctors do not feed their patient’s psychosis as Mr. Purgon and Mr. Fleurant do. In Molière’s hands, Aristotle’s principles create comedy by creating despicable characters. Aristotle believed that comedies, like tragedies, require plots that examine less than 24 hours. Molière does that one better, with his play's distinct beginning, middle, and final events all occurring within a few hours. Aristotle theorized that both tragedy and comedy require a moment of realization and reversal. In “The Imaginary Invalid,” that occurs when Béline curses Argan on his false deathbed. Continuing Aristotle’s formula, the play ends happily, with the lovers staying together and Argan finding a new purpose. While Molière may not have subscribed to Aristotle’s theatrical principles, he used them well in his