After receiving permission from Louis XIV to present his controversial work, Molière wrote a preface to her explaining the tortured position of Tartuffe's opponents: "Here is a play that has raised a lot of noise and has long been pursued: the people she depicts, showed that they are much more powerful in France than those who had previously been shown on stage, marquises, fantasies and doctors. (These moods, professions, and fashionable passions have been ridiculed by Moliere in his first comedies,). They suffered quietly when they were presented and pretended to have fun, but the hypocrites could not bear the mockery. For them it was a crime that is not forgiven. And they all armed against my comedy with great fury ... They masked their own interest in the cause of God and "Tartuffе" considered them a play about piety.

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Still in one of his first long written requests to King Moliere warns that hypocrisy is, without doubt, one of the most widespread, unbearable and dangerous vices. As an author, he explains that his comedy is not directed against the sincerely devoted preachers of Catholicism, but against the use of godliness as a fake coin trying to deceive people with their pitiful jealousy in defending their faith and their pretended love for their neighbor . Moliere rejects any ambiguous interpretations of the play in advance. He says that his main goal is to protect good people, prevent the possibility of "confusing good with evil," teaching them to recognize "objections, inconsiderate hypocrisy." The initial intention of the comedian, Molliere, is to include through his comedy "Tartuffe" the battle that broke out in the middle of the 17th century between supporters of two opposing concepts of vindicating the believer in the service of the righteous God. One maintains the strict, consistently rigorous follow-up of dogma and cult. The other implies a liberal, far more sensible, warmth of genuine human responsiveness, serving religious doctrine. Molliere later expanded the conceptual scope of his work, turning it from a one-sided satirical comedy, ridiculing religious hypocrisy, into a relatively serious, typically classicistic comedy, in which, through a series of stressful situations, analyzed in a largely ridiculous context the treacherous duality a difficult to overcome public vice - hypocrisy. The broader conceptual scope of the revised Tartuffe plays the dramatic accent of the character of the protagonist (Tartuffe) on the images of his two simple, naive-to-naive naivety, victims - Mr. Orgon and Mrs Perenelle.

Mrs. Pernel's unbridled anger, uncompromisingly directed against everyone in her son's house, brings in the first verses of the Tartuffe comedy a very dramatic tension that is deliberately supported by the author to the end point in the development of the intrigue - the accusatory speech of the Officer, an envoy of the ever-seeing king, who made it clear that the "fat man" Tartuffe was "a great liar under a foreign name hidden." At the beginning of the play, the ridiculously fanatical supporter of the "honest, godly" Tartuffe casts the blame on the entire family living in the house of Orgon that he does not value the "word he saves", that is, the sermons of the "honest" righteous Tartuffe. In the final (seventh) scene of Fifth Action, the officer embodying the "supreme power" frees Orgon and his family from all kinds of guilt. The messenger of the king's will, who the "liars hate," transfers the blame to the real villain whose "Theft and Intrigue Somebody Would Complete Whole Books."

Part 1