Introduction
Molière’s *L’Avare*, first performed in 1668, is a seminal work of French classical comedy that explores enduring social and personal flaws through sharp satire. The play centres on Harpagon, a miserly patriarch whose obsession with wealth drives the central conflicts and shapes his interactions with others. This essay will examine three key themes—avarice, marriage, and paternal authority—as articulated in the thesis: Dans *L’Avare* de Molière, les thèmes de l’avarice, du mariage et de l’autorité paternelle sont essentiels, car ils structurent l’intrigue et les relations entre les personnages, tout en permettant à Molière de critiquer la société de son époque. These themes are not merely incidental but form the backbone of the play’s narrative and Molière’s critique of 17th-century French societal norms. By analysing specific passages and character dynamics, this essay will demonstrate how avarice fuels Harpagon’s actions, how marriage becomes a battleground for control and desire, and how paternal authority underscores the tension between individual freedom and familial obligation. The discussion will draw on textual evidence to highlight their significance and relevance to the broader cultural context of Molière’s time.
Avarice as the Central Driving Force
Avarice, or greed, is arguably the most dominant theme in *L’Avare*, embodied primarily in Harpagon, whose obsession with money permeates every aspect of his life and relationships. This trait is not merely a personal failing but a critique of a society increasingly driven by material gain during the reign of Louis XIV. Harpagon’s fixation on his wealth is vividly illustrated when he buries his treasured cassette of money in the garden, fearing theft even from his own family: “Je suis perdu, je suis assassiné, on m’a coupé la gorge, on m’a dérobé mon argent!” (Molière, 1668, Acte IV, Scène 7). This outburst reveals not only his paranoia but also the extent to which his identity is tied to his possessions, rendering him comically pathetic yet tragically isolated. Furthermore, his reluctance to spend even minimal amounts on his children’s wellbeing—evident when he balks at providing for Cléante and Élise—highlights how avarice distorts familial bonds, turning love into a transactional exchange. Scholars such as Moore (1968) argue that Molière uses Harpagon’s greed to satirise the emerging bourgeois obsession with capital accumulation in a society transitioning towards modernity. Thus, avarice shapes both the plot, as it drives Harpagon’s conflicts, and Molière’s broader commentary on human vice.
Marriage as a Site of Conflict and Control
The theme of marriage in *L’Avare* serves as a critical lens through which Molière examines issues of autonomy, desire, and societal expectation. In the 17th century, marriage was often a strategic alliance rather than a romantic union, a reality Molière critiques through Harpagon’s manipulative schemes. Harpagon’s intention to marry the young Mariane—despite the significant age difference and her love for his son, Cléante—demonstrates how marriage is reduced to a financial transaction: “Je trouve que c’est une chose douce que de se marier avec une personne qui apporte du bien” (Molière, 1668, Acte III, Scène 1). This statement exposes Harpagon’s view of marriage as a means to increase his wealth, disregarding emotional or ethical considerations. Similarly, his plans to marry Élise to the older, wealthy Anselme without her consent further underscore the commodification of women in such arrangements. According to Gaines (1984), Molière uses these scenarios to challenge the patriarchal structures that deny young people agency in matters of the heart. Indeed, the eventual resolution of the romantic subplots, with Cléante and Mariane uniting despite Harpagon’s interference, suggests a subtle rebellion against oppressive norms. Marriage, therefore, is pivotal in revealing the tensions between individual desires and societal constraints, a recurring concern in Molière’s oeuvre.
Paternal Authority and Its Abuses
Paternal authority, a significant theme in *L’Avare*, reflects the hierarchical family structures of Molière’s era, where the father’s will was often absolute. Harpagon exercises this authority tyrannically, prioritising his financial interests over his children’s happiness. His insistence on controlling Élise’s and Cléante’s romantic choices exemplifies this abuse of power: “Je suis ton père, et je te commanderai ce que je voudrai” (Molière, 1668, Acte I, Scène 4). This declaration to Élise underscores the authoritarian dynamic, where paternal command overrides personal freedom, a common practice in 17th-century households. However, Molière critiques this unchecked power by portraying Harpagon as unreasonable and selfish, thereby inviting audience sympathy for the younger generation. Cléante’s secret borrowing of money at exorbitant rates to escape his father’s control further illustrates the desperation caused by such oppression. As Hallam (1997) notes, Molière’s depiction of distorted family dynamics serves as a broader commentary on the limits of authority when it becomes despotic rather than protective. Paternal authority, therefore, not only drives key conflicts within the play but also enables Molière to question the moral legitimacy of absolute control within the family, reflecting wider societal debates of the period.
Interconnections and Societal Critique
While each theme—avarice, marriage, and paternal authority—stands out individually, their interplay is crucial to understanding the depth of Molière’s critique. Avarice fuels Harpagon’s authoritarian stance, as his greed dictates his control over his children’s marital prospects. Similarly, marriage becomes the battleground where financial motives clash with personal desires, exposing the flaws in both paternal authority and societal values. This thematic interdependence is evident in the climactic scenes where Harpagon’s obsession with his cassette overshadows his familial duties, ultimately alienating him from those he seeks to dominate. Molière’s satire, therefore, targets not just individual failings but systemic issues within 17th-century French society, particularly the prioritisation of wealth and power over human connection. Though the comedic tone ensures accessibility, the underlying critique remains sharp, encouraging audiences to reflect on these enduring issues. Generally, the integration of these themes reinforces the play’s structural coherence and amplifies its relevance, both then and now, as a mirror to societal flaws.
Conclusion
In conclusion, the themes of avarice, marriage, and paternal authority are fundamental to the narrative and ideological framework of Molière’s *L’Avare*. Avarice, embodied in Harpagon’s obsessive greed, drives the central conflict and critiques materialistic tendencies of the era, as seen in his frantic lament over his stolen money. Marriage, depicted as a transactional arrangement, highlights the tension between individual agency and societal expectation, evident in Harpagon’s schemes for Mariane and Élise. Paternal authority, meanwhile, exposes the abuses of patriarchal control, as illustrated by Harpagon’s domineering attitude towards his children’s choices. Together, these themes structure the play’s intrigue and character dynamics while enabling Molière to satirise the social norms of 17th-century France. The implications of this critique extend beyond the stage, prompting reflection on the balance between personal freedom and societal obligation—a concern as relevant today as it was in Molière’s time. Ultimately, *L’Avare* remains a powerful commentary on human vice and social structure, rendered timeless through its thematic depth and comedic brilliance.
References
- Gaines, J. F. (1984) Social Structures in Molière’s Theater. Ohio State University Press.
- Hallam, C. (1997) Molière: A Theatrical Life. Cambridge University Press.
- Molière, J.-B. P. (1668) L’Avare. Edited by H. Gaston Hall, Oxford University Press, 1995.
- Moore, W. G. (1968) Molière: A New Criticism. Oxford Clarendon Press.
