Discussing Tartuffe

May 3, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

Last week, I had the opportunity to discuss Molière’s play Tartuffe in a couple of Quarterly Discussions. First of all, I have to admit that I love this play, so my notes may not be altogether unbiased. Having said that, I think that an interesting place to begin is with ideas of power as represented in the play. It also makes sense to begin with the title character for an investigation into his power.

The audience’s first knowledge of Tartuffe comes right at the beginning of the play in the family dialogue. Madame Pernelle condemns most of the family’s behavior but believes that Tartuffe is a model figure. The rest of the family, however, makes it clear that they distrust Tartuffe’s piety. This brilliant introductory scene gives a lot of background information in a relatively short space. Through conversation, the scene also introduces the character of the master, Orgon, who is also blind to Tartuffe’s tricks. So much so, that when Orgon enters he dismisses the report of his wife’s ill-health. While disregarding this news, he immediately asks about Tartuffe’s health. In other words, he feels the need to address Tartuffe’s needs over that of his own family. It is difficult to state exactly what mysticism tempts Madame Pernelle and Orgon to adore Tartuffe. They unquestioningly believe his piety, his repeated self-flagellation, his self-condemnation, his poor appearance, etc. Ironically, when Damis (Orgon’s son) confronts Tartuffe, Tartuffe replies, “Do you think me the better for what you see of me? No, no, you suffer yourself to be deceived by appearances, and I am neither better nor worse, alas! than these people think me!” (Act III, Scene 6). The hilarious irony is that, for once, Tartuffe has spoken the truth: Tartuffe is not a good man, and Orgon is deceived by appearances. However, Orgon immediately rejects the idea that Tartuffe is less than perfect, just as Tartuffe expected him to do. Tartuffe responds to heated arguments by portraying humility and piety. In the end of the scene, Orgon rejects the advice of his own son, whom he finally disinherits.

As we learn throughout the play, Tartuffe is a masterful con artist. Orgon first encountered him while Tartuffe appeared as a beggar outside of church. He would only take a portion of money given him which impressed Orgon immediately. Tartuffe used Orgon’s charity against him. Furthermore, he plays every scene to his advantage, even using the family’s disapproval to his advantage. He targeted Orgon specifically as is apparent at the play’s conclusion. In a swift turn of events, the king’s messenger dissolves any contracts between Tartuffe and Orgon noting Tartuffe’s extensive criminal record. The king’s messenger says that the list of Tartuffe’s “horrid crimes is long enough to fill volumes of histories” (Act V, Scene 7). Tartuffe’s power, then, is a kind of evil (or at the very least, callousness) which preys upon innocence and charity. He understands motivations and uses them all to his advantage. The title reflects an ever-present tension linked to his predatory behavior.

Acting against Tartuffe’s devious power, we also discussed the power demonstrated by women in the play. The women differ greatly in wisdom and action. Mariane, Orgon’s daughter, remains mostly silenced by her circumstances. She seldom directly opposes her father. However, her maid, Dorine, directly confronts Orgon. When neither female is successful at getting what they want, Dorine orchestrates a ploy to at least delay undesirable events. Dorine exhibits a sharp tongue, a quick mind, and an understanding of Tartuffe’s motivations.

That Orgon doesn’t listen to her is not her own fault since he also fails to believe his own wife, Elmire. Orgon’s disbelief forces Elmire into an awkward play-within-a-play in which she tempts Tartuffe into displaying his love for her. During this scene, Orgon, who is hidden, can hear Tartuffe express his true feelings. In fact, this may be the only time that Tartuffe expresses any true feelings. He tells her: “[T]he harm never consists in anything but the noise one makes; the scandal of the world is what makes the offence, and sinning in private is no sinning at all” (Act IV, Scene 5). A number of people in our discussion noted that Elmire’s power is not a direct power. Unable to convince her husband of Tartuffe’s devious plots with words alone, she resorts to this ridiculous display. In a way, Orgon forces her into this charade. If she had any direct power, she would have been taken at her word.

Both Dorine and Elmire use a kind of indirect power to their benefit. Dorine, who has no real stake in the family and therefore little to lose, creates games which delay unwanted behaviors. Elmire has to put on a play in order to demonstrate the meaning of her point. These women are similar in finding creative solutions to their problems. Furthermore, they both have to cede to the men’s authority.

The idea of power structure in this play led to such interesting comments and this is but a short summary of them. We also discussed topics such as the play’s religious elements, ideas of sin and virtue, and how one might identify a hypocrite (like Tartuffe). After reviewing a few versions of this play, I would have loved to compare a variety of translations as well as add in some of the historical context. Molière is such an interesting character and his plays give us much to wonder about.

I really appreciate the time and energy that everyone spent in reading and discussing this play. I greatly enjoy organizing the Quarterly Discussion series. Next up, we will discuss a selection from Henri Bergson’s The Creative Mind in July. If you are interested in this or any upcoming event, email me at .

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Sor Juana's Letter

March 22, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

Sor Juana Inés de la Cruz was born Juana Ramírez de Asbaje. Her actual date of birth is unknown, but is thought to be around 1651. At the age of three, she walked to a local school, told the teacher she was five years old, and asked to learn to read and write. Inspired by Juana’s determination the teacher helped her, even though she realized her young age. From that day on, Juana dedicated herself to studying. She became known for her wit, intelligence, and beauty. Despite all odds, her actions and ambition led to an elite education at a time when poor women had very few educational resources.

Juana quickly outgrew the constraints placed on her as an illegitimate child from the small community of San Miguel Nepantla, Mexico. She moved in with an aunt and uncle in Mexico City by the age of eight. There she received formal training from a tutor. She learned languages such as Latin and Nahuatl, and set a rigorous studying regimen for herself. At this time, Mexico was mostly controlled by Spain and maintained a Spanish royalty. Juana caught the attention of the vicereine who immediately asked for her to join their life at court. She so astonished the royals that the Marquis de Mancera invited forty intellectuals (all men) to debate against Juana on different subjects. He writes, “[I]n the manner that a royal galleon might fend off the attacks of a few canoes, so did Juana extricate herself from the questions, arguments, and objections that these many men, each in his specialty, directed to her” (Paz 98). Yet at the height of this royal fame, she decided instead to join a convent. So, at the age of twenty, she entered into the convent of San Jerónimo.

Octavio Paz notes that while Sor Juana embraced many of the characteristics that define the Baroque period and wrote in traditional Baroque forms, she used unique material. Paz describes a style that represented the conflicting emotions of the era such as the desire for instant riches, personal freedom, and a new spiritual kingdom (71). Additionally, Sor Juana was very ambitious. Her poems demonstrate ability and ego. In the book Madres del verbo/ Mothers of the Word: Early Spanish American Women Writers, Nina M. Scott explains some of Sor Juana’s talents. She writes, “From her earliest years Sor Juana was a consummate poet. The baroque was an age splendidly suited to her talents: she loved the play of dialectical opposites, puns and double entendres, labyrinthine syntax and imagery, much of it derived from classical mythology. She was also skilled at all the poetic forms in use at the time and enjoyed showing her mastery of them” (56). It is possible that she entered the convent to avoid marriage, which would make too many demands on her time to allow for studying.

While the vicereine was busy publishing Sor Juana’s material in Mexico and Spain, the church asked her to write about religion. As her fame grew, the church, however, became uncomfortable with Sor Juana’s secular poetry and ‘manly’ aspects (which is how they viewed her religious critiques and opinions). They were uncomfortable with a woman who capably and eloquently criticized the church since theology was thought to be a man’s realm. As a result of her fame and her secular writings, Sor Juana received a notice of censure from “Sister Philotea.” In reality, the Bishop of Puebla penned the letter, but in order to soften the blow he signed his letter “from Sister Philotea.” The actual source was clear to Sor Juana, and to the rest of the convent, however.

Sor Juana replied to his letter with a logical appeal for her situation. Scott explains, “Sor Juana’s famous ‘Reply to Sister Philotea’ is one of the unique documents of the seventeenth century, for it is one of the only ones to record so eloquently a woman’s cry for intellectual freedom” (58). This letter is worth reading solely for the historical content, yet it also speaks to continued struggles for equality today. As part of her defense, Sor Juana explains that God gave her these talents, which she has used on behalf of the good of the church. She defends her continued education and goes even further, asking that all women receive education. Below are a few excerpts from this astounding letter which dates back to 1691 (translated by Nina M. Scott).


“My studies have not been undertaken to hurt or harm anyone and have principally been so private that I have not even made use of the guidance of a teacher but have relied solely upon myself and my work, for I know that studying publicly in schools is unseemly to a woman’s modesty because of the hazardous familiarity with men and this would be the reason for keeping women from public studies; not delegating a special place for their study is probably because as the Republic has no need of women for the government of magistrates (from which area, for the same reasons of propriety, the former are also excluded), [the state] is not concerned with that of which it has no need, but who has forbidden women to engage in private and individual studies? Have they not a rational soul as men do? Well, then, why cannot a woman profit by the privilege of enlightenment as they do? Is her soul not as able to receive the grace and glory of God as that of a man? Well, then, why should she not be just as capable in matters of information and knowledge which are of less import? What divine revelation, what rule of the Church, what reasonable judgment formulated such a severe law for us women?” (75)


“If I have read the prophets and secular orators (a lapse of which Saint Jerome himself was guilty), I also read the Holy Doctors and Scripture and cannot deny that to the former I owe countless gifts and rules of good conduct.

“For which Christian will not avoid wrath when confronted by the patience of a pagan Socrates? Who can be ambitious in view of the modesty of the Cynic Diogenes? Who does not praise God in Aristotle’s intelligence? And finally, what Catholic can fail to be astonished when contemplating the sum of moral virtues in all of the pagan philosophers?” (76)


“Your Reverence wishes that of necessity I should be saved in a state of ignorance, but my beloved Father, can one not accomplish this end and be learned? In the final analysis, for me it is the easier path. Because why should one be led to salvation by the way of ignorance if this is repugnant to one’s nature?

“Is not God as ultimate goodness also ultimate wisdom? Well, then, why should ignorance be more pleasing to Him than learning?

Let Saint Anthony achieve salvation with his holy ignorance and well and good, while Saint Augustine goes by a different path and neither one of the two is wrong.” (76)


“Has Your Reverence any stake in my betterment by reason of obligation, blood relation, upbringing, Church authority, or anything else?

“If it is pure charity, let it seem charity and have it proceed as such, gently, because exasperating me is not a good way to bring me around, for I do not possess such a servile nature that I will do something when threatened which reason would not persuade me to do; neither would I do for human respect that which I would not do for God, for to give up everything that might give me pleasure – even though it might be very just – is good if I do it to humble myself when I might want to do penance, but it is not when Your Reverence wishes to obtain it by dint of reprimands, and these not in secret as befits paternal correction… but publicly, in front of everyone, where each one reacts to a situation to the extent of his understanding and speaks as he may feel.” (78)

Paz, Octavio. Sor Juana, or, The Traps of Faith. Trans. Margaret Sayers Peden. Harvard, 1988.

Scott, Nina M. Madres del verbo/ Mothers of the Word: Early Spanish American Women Writers. Ed., Trans. Nina M. Scott. University of New Mexico Press, 1999.

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Political Speech in Julius Caesar

January 25, 2019

Thanks to Alissa Simon, HMU Tutor, for today’s post.

Most humans are inundated with political speech, the current pace of which seems unsustainable (or at least unhealthy to me). I think this has often been the case in other civilizations too. Shakespeare gives us a great example of political speech among chaos in Julius Caesar. Though there are many layers to this play, I want to focus on the speeches given by Marcus Antonius (Mark Antony) and Marcus Brutus (Brutus) directly following Caesar’s murder.

First, it is important to understand that Brutus is a statesman. He is of a noble and honorable family. He is well-educated, well-read, and well-spoken. His identity is closely linked to this nobility. Also, it is important to understand that Brutus likes Caesar in many respects. However, something within Brutus makes him distrust Caesar as a leader and popular figure. Shakespeare does not explicitly state what makes Brutus cautious about endorsing his friend. When Cassius questions Brutus as to whether or not he would choose Caesar for his king, Brutus replies only, “I would not, Cassius; yet I love him well” (I,ii,82) and then adds that he loves honor more than death (I,ii,89). Brutus’s character is founded on ideals of justice, honor, and government. Cassius, however, is more ambitious and plants the seeds of Caesar’s demise into Brutus’s head. Cassius’s brilliant, and ultimately convincing speech reads:

“Why, man, he doth bestride the narrow world

Like a Colossus, and we petty men

Walk under his huge legs and peep about

To find ourselves dishonourable graves.

Men at some time are masters of their fates:

The fault, dear Brutus, is not in our stars,

But in ourselves, that we are underlings.

Brutus and Caesar: what should be in that ‘Caesar’?

Why should that name be sounded more than yours?

Write them together, yours is as fair a name;

Sound them, it doth become the mouth as well;

Weigh them, it is as heavy; conjure with ‘em,

Brutus will start a spirit as soon as Caesar.

Now, in the names of all the gods at once,

Upon what meat doth this our Caesar feed

That he is grown so great? Age, thou art shamed!

Rome, thou hast lost the breed of noble bloods!” (I,ii,135-151)

Cassius knows that nobility, honor, and justice are the keys to convincing Brutus. Cassius reinforces fears that Rome is splintering and being taken over by unworthy and uneducated classes. The fact that Julius Caesar rose from poverty, used plain speech, and created programs for the poor is all slightly absurd to the elite. Cassius knows how much a name means to Brutus, and also how little it means to Caesar. Even though Brutus replies, “I am nothing jealous,” the seed has been planted. And I do believe Brutus, his mission is not out of jealousy or even straight ambition. Rather, I believe he truly abhors the idea of a fallen Rome, one in which anyone can rule, regardless of nobility and lineage. To me, Brutus acts as though he believes himself to be Rome’s savior.

Unfortunately, Brutus does not understand politics, the people, or the time. In Act III, at the moment when Brutus and the conspirators murder Caesar, Caesar faces his friend and murderer. He speaks the famous line: “Et tu, Brute! Then fall, Caesar!” (III,i,77). After Caesar’s death, chaos ensues. Antony decides to appeal to the conspirators and so he sends his servant to Brutus with the message that “Brutus is noble, wise, valiant and honest” (III,i,127). Of course, Brutus admits Antony and the two discuss how to calm the growing crowds. In this meeting, Antony commits two noteworthy acts. First, he asks to be killed along with Caesar. This theatrical display is meant to demonstrate loyalty. The conspirators will have no more blood on their hands, though. Instead, they ask Antony to join them in representing Rome. And quickly, perhaps too quickly, Antony agrees and asks to shake each bloody hand (III,ii). However, Antony is keenly aware of the precarious situation. He appeals to Brutus’s nobility and honor more than anything and then requests to speak at Caesar’s funeral. After agreeing to let Antony speak, Brutus thinks to give himself the upper hand by speaking first. And so it is decided that Brutus will first appeal to the crowd and then Antony may address the public in the way of a formal ceremony.

Brutus gives a perfectly serviceable speech. He speaks with candor and humility. He speaks of friendship and duty. He speaks reasonably. Antony, however, follows with a knockout speech. (Also, watch Damian Lewis perform Antony’s funeral speech. ) He utilizes poetic device, repetition, and emotion. He praises Brutus many times, but ends his speech: “O judgment! Thou are fled to brutish beasts,/ And men have lost their reason” (III,ii,109-10). “[B]rutish” is very nearly Brutus. In other words, those who used to represent the epitome of reason now make no sense. Clearly, Antony knows people whereas Brutus knows the law. But who is to be believed? Did Caesar offer all the money and favors to the poor in earnest? What part of Antony’s speech is theatrics and what part real?

I think it matters very little whether one finds this play more reflective of Shakespeare’s time or Roman times. Though 1,000 years separates Roman speeches from Shakespeare’s play, the characters play large roles still played out today. A number of sources (Plutarch included) have noted Antony’s eloquence and Brutus’s honor, but do they act virtuously? To me, the play demonstrates larger human truths with which we still wrestle (and likely always will): what is justice, virtue or nobility? Who demonstrates it and how are we to judge of honesty?

In hindsight, we also know that in the future, Antony’s passions and ambition will overcome his reason and good-will. These faults only grow larger with his rise to fame. So, we are left with a scenario where either Brutus pursues nobility to a fault or Antony overindulges at everyone’s expense. The irony is that good and bad elements were always present in their characters and in their political rhetoric, but it took time to discover which trait would dominate.

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Questions on Augustine

August 3, 2018

Thanks to Alissa Simon, HMU Tutor, for today’s post.

Each quarter, Harrison Middleton University hosts a Quarterly Discussion. This discussion is open to students and non-students alike. They focus on a short text which everyone reads prior to the discussion. I thoroughly enjoy these because they give me a chance to break away from my own studies, to focus on something in a small group which is a great listening opportunity. This month I was blessed to have Jim Keller, a current HMU master’s student, assist with the discussion topic, reading, and questions. He even led the discussion so that I could participate. What a treat! I think that anyone interested in Shared Inquiry style discussions should try their hand at leading. While it may seem intuitive, there really is a lot to learn about managing the flow of a conversation. Whatever your style, trying to put together a successful discussion requires a great knowledge of the text, but also an ability to listen to disparate voices in a conversation. I find this to be the greatest struggle, but also the greatest benefit, of Shared Inquiry. Many thanks to Jim for the assistance in setting up the conversation, and to the participants for some inspiring conversation.

This month, we read Book XIX from St. Augustine’s City of God. We began with a passage from Chapter 4 which reads, “And justice, whose office it is to render to every man his due, whereby there is in man himself a certain just order of nature, so that the soul is subjected to God, and the flesh to the soul, and consequently both soul and flesh to God – does not this virtue demonstrate that it is as yet rather labouring towards its end than resting in its finished work?” (580B). From this statement, I believe that Augustine’s version of justice can be defined as: “to render every man his due.” Upon first reading, I assumed the implication being that each man received an equal portion. However, Chapter 13 squarely denies that assumption. In Chapter 13, Augustine writes, “Order is the distribution which allots things equal and unequal, each to its own place” (588A). In other words, we all receive a lot in life, and it may partake of greater or lesser as fits our being. I am still contemplating how this reflects a sense of justice. So, taking both of these statements together, I see that Augustine’s world relies upon order. In the city of man, order is granted as best as can be expected, but imperfectly to say the least. Order is a form of justice in that it is at least an organizing principle. Justice, also, stems from God (or from the City of God) which exists in perfect peace. This ultimate ideal of peace is the justice that Augustine seeks. So, man’s flawed implementation of justice is at least an attempt to model the city of God. I do see how the city of man is flawed and he consistently revisits that throughout the chapter. I still cannot quite come to terms with the idea of inequality as foundational to this sense of justice. I always assumed that God granted portions to each man, so why would he perpetuate inequalities?

I also struggle with the way in which Augustine proves his point. Throughout the book, he claims that human life is flawed and poor in comparison with the life of the soul. And yet, Augustine’s proof always stems from examples of human life. I see the obvious reason for that, being difficult to capture universally-accepted empirical data which proves of the soul’s existence, yet to claim that human life is worthless and then turn around to exclaim its worth seems complicated at best. Chapter 6, for example, describes the ways in which it is acceptable for judges to implement torture. While admitting the system is flawed, Augustine also allows that the wise judge may need to torture innocent persons in order to understand the truth. Though he acknowledges that often tortured persons are innocent and at times the innocent are killed, he finds it to be a necessary part of the process towards the greater good. Augustine writes, “These numerous and important evils he does not consider sins; for the wise judge does these things, not with any intention of doing harm, but because his ignorance compels him, and because human society claims him as a judge. But though we therefore acquit the judge of malice, we must none the less condemn human life as miserable. And if he is compelled to torture and punish the innocent because his office and his ignorance constrain him, is he a happy as well as guiltless man? Surely it were proof of more profound considerateness and finer feeling were he to recognize the misery of these necessities, and shrink from his own implication in that misery; and had he any piety about him, he would cry to God ‘From my necessities deliver Thou me’” (583). In other words, while the judge may feel some level of guilt, he is to be absolved of any sin because he is fulfilling the duty required of him. Rather than a reflection on the individual, this scenario is meant to demonstrate man’s absolute depravity. The city of man grants a judge power and it is better for him to pursue this grave responsibility in the manner of the times than to avoid unpleasantness by shirking the judge’s sole responsibility. Duty compels the judge to act.

Contrary to all the questions I have raised above, I did learn quite a bit from these conversations. Reading Augustine begs conversation simply because of the complexity of terms and the text’s density. In this chapter alone, we discussed virtue and vice, good and evil, peace, eternity, eternal life, and justice, just to name a few. I would encourage anyone to pick up a chapter of Augustine and struggle with it as we have. Better yet, pick up the chapter with a few friends and struggle to define these terms in both his context and our contemporary world. My appreciation to the folks who struggled alongside me and listened patiently as we explored the text together.

As usual, I am already looking forward to October’s Quarterly Discussion on de Tocqueville. You can join! Simply email I look forward to hearing from you!

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