Love & Rationality: Comparing Molière and Chikamatsu

Love is one of the most central themes in world literature. Throughout history, writers have struggled to capture the essence of love in its various and ever-changing forms, often depicting relationships that are rejected by society. Both Molière's The Bourgeois Gentilhomme and Chikamatsu's Love Suicides at Amijima explore different types of relationships and how these various kinds of love impact one's social position. Both plays struggle to rectify duty with love, as the women in each play prioritize rationality over passion while the men portray a more idealistic approach to love, highlighting the patriarchal values of French and Japanese society.

Molière's The Bourgeois Gentilhomme depicts Monsieur Jourdain as a social-climbing imbecile whose newfound wealth is exploited by those around him. Deluded by his material successes, Jourdain attempts to elevate his social position by indulging himself in "gentlemanly" activities; however, Madame Jourdain is soberingly realistic about her husband's place in society. After being flattered by his teachers (despite his terrible performance) for his noble disposition, Madame Jourdain completely shatters her husband's false sense of pride with her entrance, stating, "Now, here's a new folly: this outfit of yours, my dear husband. Are you crazy, decking yourself out like that? Do you want the whole world laughing at you?" (Molière 37). Madame Jourdain is far more conscientious of their social position, and is in fact trying to save her husband from ridicule by reminding him of his own shortcomings. Jourdain refuses to acknowledge his wife's criticism, stating, "Madame, only fools will laugh at me," (Molière 37). This line highlights Jourdain's obsession with social status, as he believes that those of higher class will be able to appreciate his new identity, and anybody who does not simply must be a Clinton 2 fool. Although Madame Jourdain is not the first person in the play to mock Jourdain, she is the first person of Jourdain's social rank to do so. She quickly snaps back by saying, "Then the whole world's foolish. Everybody's been laughing at you for a long time," (Molière 37). While Jourdain attempts to appeal to the lifestyle of a higher class, disregarding anybody who does not value that lifestyle as "foolish," Madame Jourdain is the opposite. She values practicality, disregarding anybody of higher class who may expect her to adhere to a more "gentlemanly" lifestyle. Whereas Jourdain wishes to immerse himself in high society, Madame Jourdain is still aware of their merchant background, and how detrimental Jourdain's frivolous spending is for their social position. It is only because of Jourdain's business success that he is able to pursue his more lofty interests; however, in spending all of his money on teachers, he is actually jeopardizing his position in society. Juxtaposing the earlier scene of Jourdain's teachers arguing over the value of their art, Madame Jourdain dismisses the necessity of art in her household. She states, "You've made every day carnival time around here. From early morning the house is filled with the ungodly noise of fiddlers and singers, making enough racket to disturb the whole neighborhood," (Molière 37). While Jourdain attempts to defend his bourgeoise interests, Madame Jourdain retorts, "You'd better be thinking of a suitable marriage for your daughter, now that she's old enough," (Molière 38). Madame Jourdain's emphasis on practical matters of the house serves as a foil to Jourdain's frivolous societal pursuits. Despite having the means to hire teachers and theoretically master the fine arts of high society, Jourdain is clearly disinterested in the subject matter and only pursues these studies in order to advance his social position. After a performance that he arranged for in his home, he states, "Is it over? / Well, a very neat job. Some parts of it were pretty good," (Molière 19). The music teacher goes on to insist that Jourdain sponsor performances in his home "every Wednesday or Thursday," to which Jourdain responds, "Do society people have that? / Then I'll have it. It will be nice?" (Molière 19). Clearly, Jourdain does not particularly care for these performances; however, he is willing to pay for them to recur in his home so that he can fit in with "society people." His idealism is highlighted by his notion that he does not truly need to study or appreciate the arts, he simply needs to have access to the arts to showcase his sophistication. When the ballet goes on to be performed again later in the play, Madame Jourdain interrupts, stating, "So this is how you spend your money: courting the ladies, with me out of the way. They get music and a play, I get my sister. And how much did this all cost?" (Molière 69). Even in the wake of her husband's attempted infidelity, Madame Jourdain emphasizes her practical nature by asking Jourdain how much this spectacle cost. She does not attempt to confront Jourdain about his feelings for the countess or his marriage with herself; instead, she is content with simply ruining Jourdain's frivolous evening. Once again, Madame Jourdain must become the voice of reason in order to protect the newly acquired social role that Jourdain attempts to embody. While Jourdain is permitted to enjoy his newfound wealth, Madame Jourdain is burdened with the responsibilities of a practical wife in a patriarchal society.

This idea of female rationalism versus male idealism is also present in Chikamatsu's Love Suicides at Amijima, as Jihei and Osan's relationship demonstrates a wife who has her societal position put in danger by the actions of her husband. In Act 2 of Love Suicides, the Chanter states, "His wife Osan keeps solitary, anxious watch over shop and house," (Chikamatsu 54). The use of the word "solitary" implies that Jihei is not at all involved in his own business affairs, as his passion for Koharu has taken over his entire being. While he is ruled by his passion and his desire, or ninjo, Osan takes responsibility for maintaining their business. Because Osan and Jihei are a part of the merchant class, their position in society is determined entirely by the success of their business. While Jihei is privy to his ninjo, Osan protects their position in society by effectively running the business herself. Thus, her duty, or giri, towards maintaining their role in society outweighs her own personal desires. Osan's practicality is highlighted again when she insists that Jihei redeem Koharu from the teahouse, despite having clearly wished against it earlier in the play. She states, "No matter how forbearing I might be -- even if I were an angel -- you don't suppose I'd encourage my husband to redeem a prostitute!" (Chikamatsu 56). In fact, Osan believes that allowing Jihei to redeem Koharu would be humiliating for herself. However, when her husband's reputation is in danger, she disregards her own humiliation to prevent the disgrace of her husband. Once again, her giri towards maintaining her husband's social position takes precedence over her own ninjo. When Jihei is unable to forget Koharu, Osan responds to his tears, stating, "You're acting ridiculously, Jihei. You shouldn't have signed that oath if you felt so reluctant to leave her," (Chikamatsu 57). Like Madame Jourdain, she does not attack her husband for his infidelity, but his impracticality. Jihei committed to leave Koharu; therefore, he should not fall victim to his ninjo and should instead live a practical life with Osan and his children, according to his giri. However, when Koharu is in danger he ultimately follows his passion at the expense of his wife and children. Osan continues to put her husband before herself, stating, "I'd be glad to rip the nails from my fingers and toes, to do anything that might serve my husband," (Chikamatsu 59). This again highlights Osan's commitment to her husband despite her own desires. Conversely, Jihei would rather keep Osan as his wife and redeem Koharu rather than agree to release Osan back to her father. Although Osan's future with Jihei would be humiliating for her, Jihei is willing to humiliate her in order to realize his future with Koharu. When Osan is forced by her father to leave Jihei and her children, she cries out, ""My poor dears! You've never spent a night away from Mother's side since you were born. Sleep tonight beside your father. Please don't forget to give the children their tonic before breakfast. -- Oh, my heart is broken!" (Chikamatsu 61). Even as she laments her heartbreak, she displays her rationality in thinking of the children and how her absence will disrupt their daily routine. If Jihei can somehow replace her role as their mother by sleeping beside the children and giving them their tonic, then Osan does not need to experience the painful loss of her family. As long as her giri towards the children are being fulfilled, indulging herself in her ninjo becomes frivolous. Once Osan does not provide a practical purpose for the children, it is her duty to leave them in order to protect Jihei's social position. Logistically, her love has been replaced.

The theme of rationality versus passion is also evident in Jihei's relationship with Koharu. Koharu's discipline and practicality is highlighted when Koharu breaks with Jihei after receiving Osan's letter. Although Koharu's passion lies with Jihei, it is Koharu's duty as a woman to repress her own passions and live responsibly. Even as she and Jihei commit their love suicide together, she rationally discusses the placement of their dead bodies so that they might not bring more shame upon their families. Koharu displays practicality, whereas Jihei begins the scene by nonchalantly stating, "No matter how far we walk, there'll never be a spot marked 'For Suicides.' Let's kill ourselves here," (Chikamatsu 66). As long as he and Koharu's souls are together in love, Jihei does not need to worry about where they will die. His only concern is that he is able to fulfill his love suicide with Koharu. His indifference towards the location of their death versus Koharu's thoughtfulness illuminates the passionate nature of man versus the practical nature of women. Because of Japan's patriarchal society, women must consistently be searching for ways to fulfill their giri, while the men are permitted to indulge in their ninjo.

In both Molière's The Bourgeois Gentilhomme and Chikamatsu's Love Suicides at Amijima, men fall victim to their idealistic passions, whereas women are portrayed as more rational and conscientious. Because both plays include characters of a bourgeoning merchant class, their social position is intrinsically linked to the success of their business. In both plays, the responsibility of maintaining capitalistic success falls upon the women, contributing to their practical nature. As the women in both plays defend their lovers from societal disgrace, Molière and Chikamatsu illuminate the patriarchal structure of both French and Japanese society, as women are meant to maintain social position without being given a voice in their husbands' actions, which often jeopardize the couple's social class.

Works Cited

Chikamatsu, Mon 'zaemon. The Love Suicides at Amijima.

Molière. The Bourgeois Gentleman. Translated by Bernard Sahlins, Chicago.