Introduction
In the realm of literary history and philosophy, examining male characters’ idealised traits in women reveals broader cultural and psychological themes, such as the tension between rational restraint and romantic passion. This essay compares the traits desired by Sganarelle in Molière’s comedic plays with those sought by Nathaniel in E.T.A. Hoffmann’s “The Sandman” and Traugott in “The Artushof”. Drawing from neoclassical and romantic perspectives, it argues that Sganarelle’s preferences emphasise practical, submissive qualities to ensure domestic order, while Nathaniel and Traugott favour ethereal, inspirational traits aligned with romantic individualism. The conclusion will contrast these with Henry V’s desires in Shakespeare’s play, highlighting evolving ideals of femininity. This analysis is informed by the texts’ exploration of imagination, reason, and societal norms, as studied in arts and ideas courses.
Sganarelle’s Desired Traits in Women
Sganarelle, a recurring figure in Molière’s neoclassical comedies such as Le Médecin malgré lui (1666), embodies a pragmatic, often hypocritical view of marriage rooted in social order and self-preservation. He desires a woman who is modest, obedient, and unassuming, traits that minimise risks like infidelity or social embarrassment. For instance, in discussions of matrimony, Sganarelle prioritises virtue and docility over beauty, fearing that an attractive wife might attract rivals (Molière, 1666, Act 1, Scene 2). This reflects neoclassical values of reason and restraint, where women are seen as extensions of male authority, ensuring “balance and order” in the household (as per the romantic-neoclassical contrast in the study guide). Indirectly quoting his wary stance, Sganarelle implies a preference for a partner who avoids “gloomy forebodings” through submission, aligning with empirical objectivity rather than imaginative excess. Such traits, arguably, serve to reinforce traditional hierarchies, limiting women’s agency to passive roles.
Nathaniel and Traugott’s Desired Traits in Women
In contrast, Hoffmann’s romantic protagonists, Nathaniel and Traugott, seek women embodying the “Eternal Feminine” – mysterious, inspirational figures fueling artistic passion and imagination. In “The Sandman” (1816), Nathaniel is drawn to Olympia, whom he perceives as ideally beautiful and attentive, her silence allowing his fantasies to flourish: “She sat for hours without moving… listening to him with her fixed gaze” (Hoffmann, 1816, p. 110). This contrasts with Clara, his rational fiancée, whose practical temperament clashes with his “gloomy forebodings and evil fantasies” (Hoffmann, 1816, p. 92). Nathaniel’s madness stems from this idealisation, blurring reality and illusion, as the epistolary form reveals subjective viewpoints.
Similarly, Traugott in “The Artushof” (1819) desires Felicitas for her artistic aura, evoking passion over practicality. He rejects a “traditional life” for one of imagination, viewing Felicitas as a muse: “She appeared to him as the embodiment of all his dreams” (Hoffmann, 1819, p. 140). Like Olympia, Felicitas shares similarities with ethereal figures, contrasting Christina’s more grounded nature (noting the hint’s parallels with Clara). Both characters favour women who inspire individuality and rebellion against neoclassical order, linking artistic inspiration to near-madness, as Traugott’s attitude towards money shifts from practical to passionate.
Comparison of Traits Across Characters
The traits diverge fundamentally: Sganarelle’s ideal woman is a neoclassical construct – restrained, logical, and subordinate – to maintain social unity. Nathaniel and Traugott, however, embrace romantic liberty, desiring women who embody mystery and emotional depth, often leading to psychological turmoil. This contrast highlights Hoffmann’s critique of rationalism, where imagination drives human experience, as seen in shared motifs like madness and the artist’s inner conflict. While Sganarelle’s preferences ensure stability, the romantics’ lead to liberating yet destructive passions, evaluating perspectives on gender as either ordered or individualistic.
Conclusion
Ultimately, these desires compare intriguingly with Henry V’s in Shakespeare’s Henry V (1599), who seeks Katherine not just for political alliance but for genuine affection and beauty, blending practicality with romance: “You have witchcraft in your lips, Kate” (Shakespeare, 1599, Act 5, Scene 2, Line 272). Unlike Sganarelle’s submissive ideal, Henry values wit and equality, yet contrasts Nathaniel and Traugott’s obsessive inspiration by grounding desire in mutual respect and national duty. This evolution implies a philosophical shift from neoclassical control to romantic individualism, with Henry bridging the two. Such comparisons underscore literature’s role in reflecting societal views on gender, urging critical awareness of their limitations in modern contexts.
References
- Hoffmann, E.T.A. (1816) The Sandman. In: Tales of Hoffmann. Penguin Classics.
- Hoffmann, E.T.A. (1819) The Artushof. In: Selected Writings of E.T.A. Hoffmann. University of Chicago Press.
- Molière, J.B.P. (1666) Le Médecin malgré lui. In: The Misan’interno and Other Plays. Penguin Classics.
- Shakespeare, W. (1599) Henry V. In: The Complete Works of Shakespeare. Oxford University Press.
