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What Is a Vrai Dévot and Is He a Véritable Homme de Bien?

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Controversy in French Drama
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Abstract

We have seen that the key terms of vrai and faux dévot, with which the Tartuffe controversy is commonly framed, are notoriously slippery and that their meaning does not simply turn on a question of hypocrisy or sincerity but is partly dependent on individual viewpoints on matters moral and religious. One type of faux dévot, the zealot, discussed in Chapter 3, emerged as being particularly open to interpretation since his zealotry is, for some people, clear evidence of his fundamental falsehood, while for others, in some contexts, it is compelling evidence of an authentic love of God. Still others treat the zealot and his methods with an interesting combination of suspicion and respect. Yet the dévot is unambiguous at least to the extent that all types of dévot are, by definition, perceived within a religious context. And although dévot was a term often applied, approvingly or disapprovingly, to lay persons working within the world and beyond the strict confines and structures of the established Church, particularly in the case of members of the Company of the Holy Sacrament, the dévot’s framework was irrefutably Christian. If not always operating strictly intra ecclesiam, the dévot’s moral standpoint was grounded in the principles set out at the Council of Trent, which had at its heart the reform and stability of the Catholic Church across Christendom.

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Notes

  1. An earlier, shorter version of this chapter was published as an article: Julia Prest, “Where Are the vrais dévots and Are They véritables gens de bien? Eloquent Slippage in the Tartuffe Controversy,” Neophilolo-gus 96: 3 (2012) [online version] and 97: 2 (2013): 283–97 [print version]. It is reproduced here with the kind permission of Springer Science+Business Media B. V. Research for the article was undertaken with the generous assistance of the Carnegie Trust for the Universities of Scotland.

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  2. See André Lévêque, “‘L’honnête homme’ et ‘l’homme de bien’ au XVIIe siècle,” Publication of the Modern Languages Association of America 72: 4 (1957): 620–32 (625).

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  3. See Emmanuel Bury, L’invention de l’honnête homme 1580–1750, Paris: Presses Universitaires de France, 1996, for a detailed analysis of the honnête homme figure.

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  4. Œuvres complètes du Chevalier de Méré, ed. Charles-H Boudhours, 3 vols., Paris: Fernand Roches, 1930 (III, 101).

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  5. Lionel Gossman, Men and Masks: A Study of Molière, Baltimore: Johns Hopkins Press, 1963 (124).

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  6. Pléiade II, 1399 n47. See also Jacqueline Plantié, “Molière et François de Sales,” Revue d’histoire littéraire de la France 72 (1972): 902–927 (915).

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  7. Louis Veuillot, Molière et Bourdaloue, Paris: Librairie Catholique, 1877 (161).

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  8. Jacques Scherer, Structures de Tartuffe. Paris: SEDES, 1966; repr. 1974 (95).

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  9. Richard Parish, “Tartuf(f)e ou l’imposture,” Seventeenth Century 6: 1 (Spring 1991): 73–88 (86).

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© 2014 Julia Prest

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Prest, J. (2014). What Is a Vrai Dévot and Is He a Véritable Homme de Bien?. In: Controversy in French Drama. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137344007_5

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