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45 pages 1 hour read

Moliere

The Imaginary Invalid

Fiction | Play | Adult | Published in 1673

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Act III and Third InterludeAct Summaries & Analyses

Act III Summary

Béralde asks Argan how he liked the performance, pronouncing it “better than pumping things up your bottom, eh?” (69) He wants to talk to Argan, but Argan exclaims that he needs to tend to something. As he starts to rush off, Toinette reminds him that he needs his cane to walk. Alone, Toinette reminds Béralde to speak on Angélique’s behalf, and Béralde reassures her that he will do anything to help her. They scheme that it might help if they can get a doctor on their side, since Argan believes in doctors. When Argan returns, Béralde tells him that he wants to have a logical conversation. He points out the absurdity of a wealthy man’s sending his daughters to a convent, insinuating that Béline simply wants his daughters out of the way. This raises Argan’s hackles, so Béralde shifts his focus. He reminds Argan that Angélique is the one getting married; therefore, she ought to have a say in who she marries. But Argan insists, “In my family, I’ll only tolerate people I need” (71), adding that perhaps he will marry Louison off to an apothecary. Béralde questions Argan’s obsession with doctors, asserting that Argan is completely healthy. Additionally, he thinks doctors are all “quacks,” as no human is meant to have the ability to cure another; doctors merely spout jargon and create fear. Some doctors “are stupid enough to believe” (73) in what they’re doing, and some know that they are scam artists. Dr. Purgeon is in the first category. Sick people should do nothing but rest, as “most people die of cures, not illnesses” (74).

Argan scoffs at Béralde for thinking that he’s smarter than all the doctors. Béralde mentions that there’s a new play by Molière that broaches the subject of medicine, and Argan is dismissive, calling Molière “one of those arty-farty people [with] no business making fun of medicine” (75). Furthermore, if Argan were a doctor, he would let Molière wither and die if he came down with an ailment for having the audacity to mock the practice of medicine. Béralde returns to the subject of Angélique, reiterating that a woman should be allowed to choose her own husband because it’s her life. Mr. Florid enters to give Argan an enema, and Béralde, irked, challenges Argan to spend “one single moment without an enema or a sedative or some damn pill” (76). Argan tells Mr. Florid to postpone the enema, and Mr. Florid scolds him before exiting. Dr. Purgeon enters, insulted that Argan dismissed his treatment. Argan blames his brother and begs Dr. Purgeon to give him his enema. The doctor is so offended that he exclaims that he will have nothing to do with Argan, cursing him with the hope that without his treatments, Argan’s condition will deteriorate until he dies. Dr. Purgeon exits, and Argan panics, announcing, “I’ve got less than a week to live, he said” (81). Béralde reassures him that Dr. Purgeon doesn’t have godlike powers to end his life, but Argan worries because Dr. Purgeon knows his body better than anyone else does.

Toinette enters and announces the arrival of another doctor to see Argan, commenting that the doctor looks strangely like her. Toinette exits and reenters, disguised as a doctor. She offers a variety of treatments, which Argan welcomes gladly. He is amazed at how much the doctor looks like Toinette. She excuses herself for a moment, coming back almost immediately as Toinette. Argan expresses wonder at how much Toinette resembles the doctor, but Toinette tells him dismissively that she is busy and uninterested in the doctor. She exits and returns again as the doctor, claiming that she came to see Argan because he is an “incredibly famous invalid” (84). Additionally, as Argan marvels at her youth, she insists that she is 90 years old, a traveling doctor who is interested only in serious illnesses. She asks about Argan’s ailments and diagnoses, ridiculing every recommendation and treatment that Dr. Purgeon gave him. She suggests rich foods and dairy to thicken his blood, adding that he ought to amputate his arm and have his right eye surgically removed. Argan is hesitant toward amputation, but Toinette announces that she needs to leave, as she is meeting to discuss what she might have done differently for a patient who died. She exits, and Argan comments that he isn’t sure about removing an arm and an eye.

Toinette enters as herself, complaining that the doctor tried to take her pulse and is a dirty old man. Béralde brings up Angélique once again, insinuating that Béline is behind Argan’s insistence upon sending her to a convent. Toinette interjects that Béline shows sincere love for Argan and suggests that he elicit a demonstration of proof of his wife’s love by pretending to be dead. When Béline enters, Toinette tells her that Argan died. Béline rejoices, ecstatic to be rid of him. Argan reveals that he is alive and berates her as she exits. Toinette suggests that Argan play the same trick on Angélique. He does, but Angélique is beside herself with grief to hear that her father is dead. Cléante enters and comforts her, explaining that he came to introduce himself properly and try to convince Argan to let him marry her. Angélique resolves to follow her father’s wishes and enter a convent. Moved by Angélique’s devotion, Argan surprises them by speaking. He agrees to allow the two to marry, on the condition that Cléante become a doctor. Gratefully, Cléante agrees. Béralde suggests that Argan simply become a doctor himself, reassuring him that he’ll know what he needs to know as soon as he puts on the robe. Béralde confides to Angélique that he knows a troupe of actors nearby who are rehearsing a scene in which the ceremony to become a doctor is performed. He calls it “innocent fun” and mentions that “it’s carnival time” (96). Angélique agrees.

Third Interlude Summary

An ensemble of doctors of different ranks, led by the president, performs a burlesque of the ceremony through which a new doctor is instated. In a mixture of muddled Latin and French (translated into English), Argan falls into the singing of the mock vows. He answers their quiz question with ridiculous cures, and they welcome him as “our newest Doctor Death” (102). There is much dancing, singing, and playing of instruments.

Act III and Third Interlude Analysis

Immediately after the performance, Béralde quips that watching a show is “better than pumping things up your bottom” (69), implying that an enema has no more medical value than watching a troupe of actors perform and is certainly less fun. If Act II is about masking and disguises, the third act is about unmasking and unraveling. When Béralde coerces Argan to refuse the enema treatment, he unmasks Dr. Purgeon as a man of immense ego. Dr. Purgeon is so offended by the supposed slight of a man exercising his bodily autonomy that he throws a tantrum, refuses to ever again provide medical care to Argan, curses him, and wishes him dead. Dr. Purgeon’s motives as a doctor weren’t the pursuit of medicine or even money—although he certainly has money. Instead, he used his work to build up his ego. Toinette, in her absurd disguise and claim of being a 90-year-old doctor, mocks the medical profession by easily convincing Argan to believe her. She makes doctors look foolish by demonstrating that the illusion of credentials and a confident manner are enough to win the allegiance of someone like Argan who is mesmerized by the medical profession. Argan’s illusion unravels as he occasionally forgets that he is supposed to be ill.

Argan relies on doctors and treats everyone around him as a resource in his quest to stay alive. He demands fidelity and obedience from his family. In his patriarchal role, he expects to be able to orchestrate marriages that suit him, send his daughters to a convent, and enjoy complete respect and obedience from the maid. Adding doctors to his family means that they will be required to serve him as well. Argan presumes that respect is accompanied by love and deference. He sees Béline’s affectionate act and presumes that she loves him, not noticing that she has her own agenda that involves relegating her stepdaughters to a nunnery and taking Argan’s money. As a man who is supposedly very sick, possibly on the edge of death, Argan finds himself surrounded by both leeches and loved ones, but he doesn’t have the ability to discern which is which. This is a common trope in Molière’s plays, in which a rich man is unaware that he is welcoming charlatans into his home. The comedy arises from the fact that the audience can see the difference very clearly, as can the wiser characters.

Argan is willing to remain oblivious, taking everyone at face value, but that path leads to a miserable life for both of his daughters. He sees Béline as his steadfast, loving spouse, which makes her recommendations for sending the children away seem like they must be in his best interest. Argan doesn’t realize that Béline is angling to take his money, even when she humorously produces a notary on the spot. Béralde tries to make Argan see what Béline is doing before it’s too late, but he is offended and outraged at any claims against his beloved wife. It’s impossible to convince him with words that Béline isn’t trustworthy: Placing his trust in his wife means that Argan must distrust his daughters and his brother. Toinette finally devises a test, because Argan must see the truth for himself before he will believe anything negative about his wife. In planning this test, Toinette even pretends that she trusts Béline, and the ruse will prove that she is a loving wife. For a rich man who is convinced that he is at death’s door, the most significant questions are who wishes him well, and who is waiting for him to die? In the end, his faith in doctors doesn’t waver, despite his long conversation with Béralde about the pitfalls of medicine. In the last interlude, when he becomes a doctor in a theatrical performance, the play solidifies the idea that medicine is a farce.

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