Portal de Periódicos da CAPES

Don Juan and Le Misanthrope, or the Esthetics of Individualism in Molière

1969; Cambridge University Press; Volume: 84; Issue: 3 Linguagem: Inglês

10.2307/1261144

1938-1530

Jules Brody,

Rousseau and Enlightenment Thought

Don Juan and Le Misanthrope depict a comic world in which success, defined as immunity to ridicule, depends largely on the aristocratic “virtues” of dexterity, style, and form—a world in which the “social esthetic” of honêteté has degenerated into a “moral anesthetic” (Krailsheimer). Thus, Don Juan and his female counterpart, Célimène, enjoy an almost constitutional invulnerability to the comic fate which overtakes their often morally superior antagonists. Don Juan is a dazzling rhetorician and consummate actor who, in contrast to the inept Sganarelle, among others, manages to exploit his individuality to the bitter end with an elegant, lordly coherency. So complete is his impunity that only a deus ex machina can thwart his self-aggrandizing schemes. Although morally wrong, he remains esthetically right. So does the devious and corrupt Célimène whose artful self-possession allows her—where Alceste, the moralist, fails—to assert her personality and speak her mind freely even in the conformistic, hypocritical society that she typifies. Don Juan s deft histrionics, like Célimène's imperturbable grace, constitute an art of living, intended by Molière perhaps as an esthetic compensation or consolation for the irremediable moral ugliness that he discerned in a still splendorous but decadent civilization.