Endnotes
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Referring to the rebellion called La Fronde, during the minority of Louis XIV. ↩
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Molière’s note, inserted in the text of all the old editions. It is a curious illustration of the desire for uniformity and dignity of style in dramatic verse of the seventeenth century, that Molière feels called on to apologize for a touch of realism like this. Indeed, these lines were even omitted when the play was given. ↩
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As given at the Comédie francaise, the action is as follows: While Orgon says, “You must approve of my design,” Dorine is making signs to Mariane to resist his orders; Orgon turns around suddenly; but Dorine quickly changes her gesture and with the hand which she had lifted calmly arranges her hair and her cap. Orgon goes on, “Think of the husband …” and stops before the middle of his sentence to turn and catch the beginning of Dorine’s gesture; but he is too quick this time, and Dorine stands looking at his furious countenance with a sweet and gentle expression. He turns and goes on, and the obstinate Dorine again lifts her hand behind his shoulder to urge Mariane to resistance: this time he catches her; but just as he swings his shoulder to give her the promised blow, she stops him by changing the intent of her gesture, and carefully picking from the top of his sleeve a bit of fluff which she holds carefully between her fingers, then blows into the air, and watches intently as it floats away. Orgon is paralysed by her innocence of expression, and compelled to hide his rage.—Regnier, Le Tartuffe des Comediens. ↩
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Some modern editions have adopted the reading, preserved by tradition as that of the earliest stage version:
Heaven, forgive him even as I forgive him!
Voltaire gives still another reading:
Heaven, forgive me even as I forgive him!
Whichever was the original version, it appears in none of the early editions, and Molière probably felt forced to change it on account of its too close resemblance to the Biblical phrase. ↩
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Molière’s note, in the original edition. ↩