Born as Jean Baptiste Poquelin on January 15, 1622, and died February 17, 1963. Moliere is his stage name. “Molière was born (and died) in the heart of Paris. His mother died when he was 10 years old; his father, one of the appointed furnishers of the royal household…..Although his father clearly intended him to take over his royal appointment, the young man renounced it in 1643, apparently determined to break with tradition and seek a living on the stage.” Tartuffe references these happenings in Moliere’s own life. In Tartuffe, the setting is in Paris, the mother of the siblings are dead, Orgon helped the royal family during the war, and Damis rejects Orgon’s wishes and leaves the house. “rather to animate the absurd, as in such masterpieces as Tartuffe, L’École des femmes, Le Misanthrope, and many others.” The absurdity of Orgon and Madame Pernelle, in Tartuffe, didn’t need to be that prominent to see that it was. “Le Bourgeois Gentilhomme….This is comedy in Molière’s happiest vein: the fatuity of the masculine master is offset by the common sense of wife and servant.” This play seems similar to Tartuffe in this aspect. “…before the king, Louis XIV….” And “…secured the favor of the King’s brother Philippe, duc d’Orleans.” Despite the fact that Moliere’s plays garnered harsh criticism and opposition, he early already had gained audience from many prominent individuals, such as the King and the King’s brother. “.. as if people suspected that here was an emergence of a comic genius that regarded nothing as sacrosanct.” If Moliere is truly able to “regarded nothing as sacrosanct” then he might be able to better express himself to the audience and convey a better understanding of the picture he is trying to display since he would be able to make use of all material available. “Ideas are expressed to please a public, not to propagate the author’s view. If asked what he thought of hypocrisy or atheism, he would have marveled at the question and evaded it with the observation that the theatre is not the place for “views.” There is no documentary evidence that Moliere ever tried to convey his own opinions on marriage, on the church, on hell, or on class distinctions.” Since there was so much outrage and opposition towards him, it would be hard to believe this to be true. However, this does seem a likely logical prospect given the absurdity of Orgon and Madame Pernelle in Tartuffe. “All that is known is that he worked for and in the theatre and used his amazing power of dramatic suggestion to vivify any imagined scene.” This “power of dramatic suggestion to vivify any imagined scene” is a double edged sword. The images came to life, became more relatable to, and made everyone, both the general audience and the people of guilty conscience, take recognition of the truths of the time. The wrongs of the guilty were being showcased, and “brought to life”, and the guilty felt “exposed” and offended.