LitWiki - User contributions [en]

The Metamorphosis

2006-04-25T22:13:45Z

Mrish: Removed links

==Summary==
Gregory Samsa is a traveling salesman who financially supports his family. He wakes up in the morning to find out he has been transformed into a Dung Beetle. He is in shock after his reality sets in and tries to figure out how he is going to get to work. Although they try to assimilate the change, his family is horrified and keeps Gregory locked in his room. Gregory eventually dies, leaving his family free.

==Study Guide==

===Chapter 1 Summary===
The first chapter of The Metamorphosis is the chapter that Gregory Samsa wakes up to find that he has morphed into a bug. The bug is never truly revealed and Kafka wanted it to be that way. Kafka said that a "concrete image would be too distracting and shut off sympathy" (Fleissner 225), so the true identity of the bug is left up to the reader.

Gregory's parents worry about him when he has not gotten up to go to work, so his family goes to his room and then Gregory's chief clerk comes to his house to see why Gregory has not come to work. Gregory hears that that the clerk has come to check on him so he tries to make it out of his room by turning the key with his mouth and when he opens door, he frightens his family and the clerk, sending the clerk running and sends his father into a frenzied state to put Gregory back in his room. Gregory’s mother faints when she sees him. His family stays away from him, careful not to disturb him or disturb themselves. Gregory eventually loses his human voice and takes on all appearances and actions of a bug. The chapter ends when “The door was banged to with the stick, and at last there was silence” (1976). This is when Gregory’s father successfully shoves him back to his room away from the rest of the family for the time being.

===Chapter 2 Summary===

After Gregor awakens he finds a bowl of sweet milk with slices of wheat bread. He soon finds that this food does not please him and leaves it alone. Later Grete brings in an assortment of food to find what he likes and discovers he can only eat the rotten stuff. For the next few days the routine was that Gregor would hide up under a couch whenever Grete brought in his food. Soon Gregor found enjoyment in crawling around on the ceiling and walls. Grete learned of this and decided to take the furniture out of the room so he could crawl easier. Grete and her mother began to take all the furniture out of the room and this made him upset. While trying to protect one of his pictures from being taken Gregor's mother saw him and fainted. This caused panic and Gregor left his room to follow Grete to get something to help their mother. When Gregor's father came home he got into a fight with Gregor in which he threw some apples at him striking him in the back.

===Chapter 3 Summary===

It has been a month since Gregory’s injury form the apple. He now resembles an “elderly invalid” and has trouble with mobility. Gregory’s parents and sister all have jobs now; his mother works as a seamstress, his father works at the bank and his sister works as a shop assistance. A new maid has also been hired. Gregory spends most of his days and nights sleeping and thinking about his family and his former job. His sister Meg begins spending less time with him and his appetite has begun to deplete. Three lodgers come to stay at his house. While they are there, the door where Gregory can see out of stays shut so he can not see out. One night, Meg plays the violin for the men. The door that is usually shut was left open by the maid and Gregory peeps out. The middle lodger spots him and is grossed out. He gives notice to Gregory’s parents that they will be leaving and that they do not intend to pay for their stay because of the filthy conditions. The next morning, the maid goes in to clean Gregory’s room and finds him dead. She informs his family and they decide to move to a smaller, less expensive apartment. The chapter ends with talk of finding Meg a husband.

==Major Themes==

===Alienation===
The theme of alienation plays a major role in the story because Gregory is alienated from his family and society before the metamorphosis occurs and even more so afterwards. Kafka uses the theme of alienation in this story to "comment on the human need to experience love and acceptance" (Hughes). Gregory's mother tells his boss when they first discover that something is wrong, "He's not well, sir, you can take it from me. What else would make him miss his train? Why, the boy thinks of nothing but his work! It makes me quite cross that he never goes out in the evening..." (1970). Before the metamorphosis, Gregory's work is what alienates him from his family and society.

After the metamorphosis, however, it is his distinct features that alienate him. One example of the alienation is that his family locks him in his bedroom. Gregory is not allowed to be a part of the family. Gregory then has to make the adjustment from being a man in the working world and traveling everyday, to being a prisoner in his own bedroom (Hughes). Another way that Gregory's family alienates him is that when they talk about him, they openly talk about his features in front of him because they think that he cannot understand what they are saying. "If he understood what we said...we might be able to come to an arrangement with him. But as things are..." (1995). They refer to Gregory as "it" rather than by his name. "It has to go...it's the only way, father. You must just try to get out of the habit of thinking that it's Gregory" (1995). In this way, the reader finds out that the family has stopped acknowledging Gregory as their son. The family also treats Gregory like an animal by the way that they feed him. Gregory's sister would bring in scraps from the table that the family wouldn't eat to feed him. "She brought him a whole selection of things, all laid out on an old newspaper, to see what he liked. There were some old half rotten vegetables; the bones from supper, covered with congealed white sauce; some raisins and almonds; a piece of cheese...two days old; a slice of dry bread..." (1978). The family treated him like an animal, rather than their son who got sick and needed his family to look after him.

===Guilt===
The theme of guilt is relevent to the story because it is a very powerful emotion. Gregory is upset that he can't go out and work because of what has happened to him. Even though the metamorphosis wasn't his fault, he still blams himself (Altshuler). Gregory also feels guilty because his family can't move on, literally and mentally. The thing that kept his family from moving on was "their feeling of utter dispair and the idea that they had been struck by a misfortune exceeding anything ever experienced within their entire circle of friends and relations" (1989). Gregory blams himself for this because if this tragedy hadn't happened, his family wouldn't feel the need that they had to move. Gregory also has a guilty feeling because he wants to see his mother, but he knows that he cannot because her reaction to seeing him would not be a good one. When Meg and her mother were moving furniture out of Gregory's room, the mother saw him on the wall. Her reaction was "in a shrill, strident voice, 'Oh God, oh God!' and with arms outstretched as if giving up altogether fell back on the couch and lay still" (1985). Gregory knew that his mother would not take well to seeing him like that, but he stayed on the wall just the same, to protect a painting.

===Novella===
Technically a theme, but more of a genre so to speak, that is unknown to most of us present day readers of Kafka is novella. "A novella is a short novel; a narrative work of [http://en.wikipedia.org/wiki/Prose prose] fiction somewhat longer than a short story but shorter than a novel. A common length is about 50 to 100 pages. The extra length is generally used for more character development than is possible in a short story, but without the much greater character and plot development of a novel. Novellas often are characterized by satire or moral teaching" (Wikipedia).

Satire: This is clearly evident as "[http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Summary The Metamorphosis] is obviously a story about alienation. Gregor's life is dictated by his dead-end job and family responsibilities to the extent that even when he travels to different towns, he prefers to stay in his hotel room studying train timetables rather than experience what the new location has to offer. That isolation is mirrored in his relationship with his family, for whom he is the bread-winner but from whom he locks himself away at night. This alienation becomes so pronounced that, one day, he discovers himself to be literally no longer human. Gregor's earlier sentiment is reciprocated when his family begins locking and bolting the door shut behind him in his room. Late in the story, he briefly considers what it means to be 'human'; if he can be so moved by his sister's music then surely he cannot be an animal. And ultimately, his acceptance that he must go shows an act of genuine humanity" (Archer).

Moral Teaching: Try interpreting the story without Gregor's transformation. "In this interpretation, the other characters in the story would not see a man-sized beetle. Instead, they see a man so alienated from reality that he chooses to reject it totally. He is still a man, the same man they saw the previous day, but now he is crawling awkwardly on the floor and squeaking rather than speaking. He would prefer the shame of living as an insect to the hopelessness of living as a man. He would rather live in squalor and eat scraps from the rubbish than deal with the mind-numbing sameness of his life and accept responsibility for changing it. The abhorrence the family displays upon seeing him would still be the same - perhaps it would be even greater if they still just saw a man. They would be forced to accept the situation in the same way; still hoping [http://litmuse.maconstate.edu/litwiki/index.php/The_Metamorphosis#Gregory_Samsa Gregor] will put himself right before finally admitting the man they knew will never return. As nightmarish as the scenario presented in the book is, maybe the only thing worse than inexplicably transforming into a giant bug overnight is wishing you had" (Archer).

===Reversal of Roles===

At the begining Gregory is the one who supports his family. He is bringing home the money while his father sits in his chair and sleeps. This may have "crippled the father's self-esteem because he took over the father's position in the family" (Coulehan). After Gregory's transformation, the roles reversed and the father re-assumes his positon as the provider forthe family. Gregory now becomes weak and his father kills him.

===Loss of Humanity===

The theme of humanity is shown in the story by how it is taken away from Gregor. His humanity is slowly taken away from him throughout the story not just by his transformation into a bug. Gregor’s first link to humanity that is taken away was that of him being the bread winner for the family. “Gregors humanity, to the extent that his parents and sister acknowledge it, is inextricably tied to his function as economic provider.” (Rowe). Later in the story more is pulled away when Grete begins taking objects out of his room. This made Gregory reminisce about his human life. “They were clearing his room out, taking everything that was dear to him…”(p.1985). Here the last things that ever tied him to having a human existence were removed. When a person is inflicted with a severe illness it is easy for those around that person to be horrified by that person’s appearance (Rowe). The ill patient can not defend his or herself so the people around do not think about how the patient feels (Rowe). This causes the patient to lose their humanity (Rowe). Gregor is inflicted with a unique illness but the outcome is the same. The most famous occurrence of a patient losing their humanity is that of Terry Schiavo. Everybody had their own opinion of Shiavo’s fate. Schiavo could not defend herself or give her opinion of her fate. That situation was turned into a political circus and ultimately stripped Schiavo of her humanity. Rowe states that The Metamorphosis warns against this treatment of people with illnesses.

===Materialistic===

Modern Society is leading us down a path to care more about the material things rather than the things that truly matter. Gregory Samsa, the one person who cared more about his family than money, worked long hours at a job that he disliked not because of his love for the job, but so that his family could have a good life. His family on the other hand was enjoying a work free life. Mankind gets so caught up in the bureaucracy of society that we sometimes forget what what matters most. We get jobs so that we can buy the materialistic things we desire. This need for money and material things can change our mindset and forget what is truly important in our lives. In, The Metamorphosis, Gregory turns into some sort of insect, while this is something that is very dramatic and would be very hard to deal with, Kafka is trying to show how Gregory’s family rejects him, not only because of his appearance but because he can no longer go to work, no longer will his family be able live off the income he generates, no more material things without a little hard work. After the metamorphosis Gregory will no longer be able to fit into society, therefore his family begins to shun him. Not one of his family members ever tries to find out what happened and what could be done to fix it. One by one Gregory’s family members grow further away from him, forgetting all of the selfless deeds he did for all of them.

===Modern Spirituality===

Franz Kafka’s ''The Metamorphosis'' goes against what most writers would consider normal writing layout. His style is peculiar in that he places the climax at the beginning of the narrative-instead of at the end. By choosing to write in this fashion, Kafka steers his readers away from the traditional Aristotelian form of narrative (complication and denouncement) and instead creates his own form. ''The Metamorphosis'' is a brilliant novella that replaces the denouncement and conclusions one would normally expect with a form created from itself.
The first line of the novella proclaims Gregory’s death and the rest of the story a description of his slow dying: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect” (Bloom 19). Gregory’s metamorphosis is the truth of his life, and his consciousness has lied to him about himself.

===The Reality of Dreams===

Franz Kafka’s “The Metamorphosis” was written as perhaps a reflection of his own inner turmoil. His insecurities began with his appearance. As an adult, he never quite grew into his strikingly tall, slender frame: huge eyes framed with thick, dark brows: prominent nose above a melancholy mouth: or his narrow forehead fringed with straight black hair. In fact, his unique looks were a subject of interest to psychologists who felt that his features seemed to fit Kretschmer’s model of the asthenic-schizoid type, which is characterized by a furry crown of hair extending down the forehead: His portrait became sort of a caricature for the model (Baumer 2). Such a categorization made him feel even odder than he already felt. This resulted in his pulling away from the outside world and subsequently plunged him into a loneliness that plagued his entire life.

Kafka developed a mental illness that grew out of his forced isolation. He spent so much time by himself as a child that he could not fathom everyday life. He lacked the ability to interpret everyday demands and compromises such as those required of a job. Even simple exchanges between two people were a mystery to him. Looking for a way to escape his reality, he began living as though he were in a dream because in his dreams, he could be the person he wished he was. Franz Baumer describes Kafka as:
This charming person who, almost like a saint, like St. Francis, talked to fish, who pronounced himself a dream so as not to have his gross, material appearance disturb the state of sleep he considered far more real, who was always sympathetic in his relations to the world and people, who never lost his smile and could often be very witty, who possessed a strong sense of responsibility and dedication to his job (3).

It was soon after this realization that he wrote “The Metamorphosis,” which is how he views the life he must escape. He was noted as saying: “The taste for describing my dreamlike inner existence has pushed everything into the background where it has atrophied in a terrifying way and does not cease to atrophy. Nothing else can satisfy me” (Baumer 3). By morphing Gregory into a bug, instead of a happy child, he is giving the reader an image of how he sees himself.

Both Kafka and Gregory are trapped by their daily reality and dreams of freedom, just as both are destined to die a lonely and tortured death through their metamorphosis. Kafka, who always thought in images that have a powerful impact, was first and foremost a poet. “Kafka’s dreamworlds will reveal themselves as realities only to those who dare gaze into the terrifying depths of our age. The dream is only denser reality” (Baumer 11).

==Characters==

===Gregory Samsa===
A traveling salesman responsible for providing for his family. His metamorphosis into a insect leaves a stuggle between his human mind and insect needs. The metamorphosis also strengthens his family at the end.

===Mother===
Gregory's mother seems to be the weakest and hit the hardest by her son’s metamorphosis. The effect of this metamorphosis on her health is terrible. Every time she sees him, she has some sort of panic attack. Gregory’s father and sister try to protect his mother from him.

===Father===
Gregor's father more less plays the role of dictator in the story and this is due to his hostilities and interpersonal power dynamics in the family, This is evident with passages such as, "His father looked hostile and clenched a fist as if to force Gregory back into his room;" (1973). Some would describe his father as "A slouching, defeated man whose business failure has seemingly sapped his vitality, Gregor's father finds new confidence and better posture once the economic necessity engendered by Gregor's misfortune forces him to work again. His fruit-flinging fit of rage is the catalyst for Gregor's declining health and eventual demise (Lichtenstein). Even though Gregor is the bread-winner and provider of the family, the Samsas are still a patriarch type of family.

===Grete===
The sister of Gregory Samsa who feeds him and takes care of him.

===The lodgers===
Rent out a room in the Samsa's flat.

==Literary Interpertation==
Gregory ultimately becomes what his job is, a bug. He pesters and bugs his clients, just like a bug does to anyone else. It can also be psychoanalytically interpreted as the prevention of “the imminent rebellion of the son against the father. Gregory had become strong as a result of his father's failure. He crippled his father's self-esteem and took over the father's position in the family. After the catastrophe, the same sequence takes place in reverse: son becomes weak, and father kills him” (Coulehan).

==Study Questions==
#What sort of bug does Gregory Samsa change into overnight?
#What is the significance of Gregory's job? How does his job effect his family?
#How does the chief clerk from Gregory's job act towards the Samsa's and in general about the entire situation?
#What two people does Gregory think would be the "strongest" and most able to help get him out of bed in the morning? What do you think that this signifies?
#What family member feeds Gregory after he is changed into a bug?
#What is the outside weather like during the "Metamorphosis"? Does this climate help set the mood at all?
#What type of relationship does Gregory have with his sister Meg? How would you describe it?
#How does Gregory die at the end of "The Metamorphosis"?

==External Links==
http://www.sparknotes.com/lit/metamorph/

==Works Cited==
Altshuler, Roman. "GradeSaver: ClassicNote: The Metamorphosis - Major Themes." www.gradesaver.com. 17 April 2006. GradeSaver. 17 April 2006 <http://www.gradesaver.com/classicnotes/titles/metamorphosis/themes.html>.

Baumer, Franz. ''Franz Kafka''. New York: Frederick Ungar Publishing Co., 1971.

Bloom, Harold. “The Metamorphosis”. ''Modern Critical Interpretations''. New York: Chelsea House Publishers, 1988.

Coulehan, Jack. "The Metamorphosis". Bantam (New York)1997. <http://mchip00.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/kafka98-des-.html>

Hughes, Katherine. "Seperate and Alone: Alienation as a Central Theme in Tolstoy's The Death of Ivan Ilyich and Kafka's Metamorphosis." 9 November 2002. 17 April 2006. <http://www.gradesaver.com/classicnotes/titles/metamorphosis/essay1.html>

Fleissner, Robert F. "Is Gregor Samsa a Bed Bug? Kafka and Dickens Revisited." ''Studies in Short Fiction''. Vol. 22, Issue 2 (1985): p 225.

"Novella". Wikipedia. 11 April 2006. Wikimedia Foundation, Inc. 17 April 2006.
<http://en.wikipedia.org/wiki/Novella>.

"Kafka's 'The Metamorphosis' ". Ed. Archer, Lincoln. 25 October 2004. [http://www.bbc.co.uk/home/d/ BBC]. 17 April 2006.
<http://www.bbc.co.uk/dna/h2g2/A3023065>.

Rowe, Michael. "Metamorphosis: Defending the Human." Literature In Medicine. Baltimore: Fall 2002. vol 21, 264-281

Lichtenstein, Jesse. "SparkNote on The Metamorphosis". 16 April 2006. 17 Apr. 2006. <http://www.sparknotes.com/lit/metamorph/characters.html>

[[Category:World Literature]]

The Metamorphosis

2006-04-17T17:44:25Z

Mrish: /* Loss of Humanity */

2006-02-10T04:45:40Z

Mrish: /* External Links concerning Molière */ Added accented letters

==Biography==
Named Jean Baptiste Poqulin, French playwright, actor and creator of French high comedy; his genius lay in exposing the hypocrisies and follies of his society through satire.The comic dramatist composed 12 satirical full length comedies of all time. Jean Baptiste was the leading French comic actor, stage director, and dramatic theoretician of the 17th century. He was born on January 15, 1622 to Marie and Jean Poquelin; his father was a Parisian furniture merchant and upholsterer to the king. As a young boy he watched comedians perform plays and farces in the streets. Jean Baptiste received his education at College de Clemoist, a Jesuit school, becoming a promising scholar of Latin and Greek. He received his law degree in 1642 but had another passion at heart. His true love was in theater, turning away from his legal profession and his fathers business at age 21 Jean Baptiste joined the Béjart troupe of professional actors. The little company, headed by Jean Baptist and called the Illustre Théâtre, settled in Paris in 1643. At roughly the same time he also acquired the pseudonym Molière. With Illustrate Theatre, Molière played an unsuccessful season in Paris and went bankrupt. Afterwards he left to tour provinces in South France from 1646-1658. In 1658 Jean Baptiste returned to Paris and played before Louis XIV. Under royal patronage this troupe, performing at the Palais Royal, enjoyed continuous success; it is known as the ancestor of the Comédie Française. Molière had, nevertheless, to contend with rivalry from the Hôtel de Bourgogne and with cries of impiety and slander from critics and other authors. The king’s brother became Moliere's patron and his colleagues were appointed official providers of entertainment to the Sun King himself. Two Precious Maidens Ridiculed,in 1659 established him as the most popular comic playwright of his day. Moliere became known as a writer whose best plays had the lasting impact of tragedies. "Other playwrights resented his continual experiments with comic forms (as in The School for Wives) and with verse (as in Amphitryon). Famous tragedians such as Montfleury and Hauteroche envied his success with the public and the royal protection he enjoyed. Molière responded by incorporating some of his detractors into his comedies as buffoons and ineffectuals." (The Walton Group) Madeleine Béjart was Jean Baptistes mistress for many years, but in 1662 he scandalized many by marrying Armande Béjart, who was either Madeleine's younger sister or her daughter. In the late 1660's Jean Baptiste developed a lung ailment. He collapsed February 17, 1673 after his fourth performance of the Imaginary Invalid and died. Church leaders refused to grant his body a formal burial. "Molière immensely refined the commedia themes and techniques, setting most of his plots in and around Paris and raising neoclassical French comedy to a plane of artistry and inventiveness never attained before or since. He applied the alexandrine, or rhymed hexameter line -- borrowed from contemporary tragedies, many of which he had staged -- to a relaxed dialogue that imitated conversational speech. He also created a gallery of incisive portraits: Tartuffe the religious hypocrite, and Orgon, his dupe; Jourdain the social climber; Don Juan the rebel and libertine; cuckolds such as Arnolphe, Dandin, and Amphitryon; Alceste the stony idealist; Harpagon the miser; Scapin the trickster; Argan the hypochondriac; Philaminte the pretentiously cultured lady; and many more." (The Walton Group)

==List of Works==
*[[A Jealous Husband.]]
* [[The Fleet-Footed Doctor.]]
* [[The Scatterbrain]] (1653).
* [[A Lovers' Quarrel]] (1656).
* [[Affected Young Ladies]] (1659).
* [[The Imaginary Cuckold]] (1660).
* [[The Jealous Prince]] (1661).
* [[The School for Husbands]] (1661).
* [[The Nuisances]] (1661).
* [[The School for Wives]] (1662).
* [[A Versailles Improvisation]] (1663).
* [[The Forced Wedding]] (1664).
* [[The Princess of Elida]] (1664).
* [[Tartuffe]] (1664, 1667, 1669).
* [[Don Juan]] (1665).
* [[Love's Cure-All]] (1665).
* [[The Misanthrope]] (1666).
* [[A Doctor Despite Himself]] (1666).
* [[Mélicerte]] (1666).
* [[A Comic Pastoral.]]
* [[The Sicilian]] (1667).
* [[Amphitryon]] (1668).
* [[The Confounded Husband]] (1668).
* [[The Miser]] (1668).
* [[Monsieur de Pourceaugnac]] (1669).
* [[The Magnificent Suitors]] (1670).
* [[The Would-Be Gentleman]] (1670).
* [[Psyche]] (1671).
* [[Scapin's Schemings]] (1671).
* [[A Pretentious Countess]] (1671).
* [[Learned Ladies]] (1672).
* [[The Hypochondriac]], or [[The Imaginary Invalid]] (1673).

== Influences on Moliere ==

'''Background'''

Moliere, was born Jean Baptiste Poqulinin the year 1622 in Paris, France. He was raised by his father who was a furniture upholsterer for King Louis XIII. Jean Polqulinin’s interest in drama and acting was first sparked by his grandfather who “took him to see productions at the famous Hotel de Bourgogne” (Seidel p5). He received an extremely good education at the Jesuit College de Clermont and went on to graduate from law school. “In 1642 he met and became romantically involved with Madeline Bejart a young actress” (Seidel p5). Jean Polqulin renounced his royal appointment to the court offered because of his father’s position and instead pursed an acting career, then changing his name to Moliere. Although in 1645 he spent time in debtors’ prison after the collapse of his acting troupe called the l’Illustre Theatre (Seidel 5), he continued traveling and performing for the next 13 years. He landed in front of King Louis XIV who became one of his patrons (Seidel p5).

'''Style'''

Moliere writing was influenced by a style called commedia dell’arte also called “comedy of art or comedy of the profession”. Commedia dell’arte is an Italian theater style which is improvised and unwritten. It is up to the actors to make the play and its concepts come together in a comedic way as this style focuses on subject rather than a structured set of lines (Bellinger 1). Moliere used this style in an enhanced version. His first plays are “all short adaptions of Italian farces in the tradition of commedia dell’arte” (Seidel 5). He also used a writing technique called a fabliau which is a short comedic two line verse that rhymes (Columbia). An example of this technique can be seen in his play Tartuff.

'''Time Period'''

Moliere lived from 1622-1673 in Europe during a time refered to as the Age of Reason or Neoclassical period. A theory known as Deism became very popular during this period. Deism suggests that God is likened unto a clockmaker and the universe is likened unto a clock. Once the creation was finished the Clockmaker went on to another project and left the clock to run on its own. This time period emphasized reason, truth and logic, over emotions stating that “reason is a faculty that properly developed can control unruly passions” (Gordon p3). “The main focus of Neoclassical writers was not the inner workings of the mind as with later Romantic writers, but on the behavior of humankind in general” (Gordon p3). The neoclassic period is also characterized by challenges to established religion, government, and social hierarchy.

==External Links concerning Molière==

[http://www.theatredatabase.com/17th_century/moliere_001.html Theatre Database]

[http://www.discoverfrance.net/France/Theatre/Moliere/moliere.shtml Biography of Molière]

[http://www.site-moliere.com/ Site-Molière]

[http://www.bartleby.com/65/mo/Moliere.html The Columbia Encyclopedia Entry on Molière]

[http://www.theatrehistory.com/french/moliere006.html Jean Baptiste Poquelin de Molière]

[http://www.malaspina.org/home.asp?topic=./search/details&lastpage=./search/results&ID=163 Malaspina Great Books entry on Molière]

[http://www.miracosta.cc.ca.us/home/darnaud/moliere.htm Théâtre de Poche Entry on Molière]

[http://endeavor.med.nyu.edu/lit-med/lit-med-db/webdocs/webdescrips/moliere1420-des-.html Molière: The Imaginary Invalid]

==Work Cited==

*[http://www.jeancocteaurep.org/education/moliereworks.asp?n=1 List of Works]

*[http://galenet.galegroup.com/servlet/LitRC?vrsn=3&OP=contains&locID=maco12153&srchtp=athr&ca=1&c=2&ste=6&tab=1&tbst=arp&ai=62807&n=10&docNum=H1410000044&ST=Moliere&bConts=16047 Moliere], in Literature Resource Center. (An introduction to the author's life and works)

*[http://lionreference.chadwyck.com/searchFulltext.do?id=BIO008635&divLevel=0&trailId=1087DCE7105&area=ref&forward=critref_ft Moliere], in Literature Online Refereence Edition

*[http://galenet.galegroup.com/servlet/LitRC?vrsn=3&OP=contains&locID=maco12153&srchtp=athr&ca=1&c=1&ste=6&tab=1&tbst=arp&ai=62807&n=10&docNum=H1200011031&ST=Moliere&bConts=16047 Molière], in Dictionary of Literary Biography, Volume 268: Seventeenth-Century French Writers. A Bruccoli Clark Layman Book. Edited by Françoise Jaouën, Yale University. The Gale Group, 2002, pp. 239-263.

*“Fabliau.” Columbia Encyclopedia. 2005 edition.

<http://www.encyclopedia.com/htmlfl/fabliau.asp.>

*Bellinger, Martha. A short history of Drama. New York : Henry Holt and Company,
1927 pp153-157.

<http://www.theatrehistory.com/italian/commedia_dell_arte_001.html>

*I.R.F. Gordon, Emiertus Angelia Polytechnic University, “Neo-classicism,
Neoclassicism.” The Literary Encyclopedia. 11 Apr. 2005. The Literary Dictionary Company.

<http://litencyc.com/php/stopics.php?rec=true&UID=767>

*Seidel, Micheal. “European Authors.” Moliere Vol 3 pages 101-124. Literature Resource Center. GALILEO. Georgia Perimeter College Library, Clarkston,GA.
30 Jan 2006.

<http://www.galileo.usg.edu.>

*The Walton Group and Ian C. Mills. " MOLIERE- French Dramatist " Moliere 1997 http://www.discoverfrance.net/France/Theatre/Moliere/moliere.shtml

[[Category:World Literature]]

2006-01-31T01:31:09Z

Mrish: