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In Moliere's comedy The Misanthrope, Célimene represents an exceptional woman figure which is a novelty in the classical literature. A master of brilliant conversation, she is a witty and charming salon lady who takes part in the mondaine social life where she attracts numerous admirers. This freedom is made possible by her status of a widow without a patriarchal master, a status that is also problematic. It causes concerns particularly for Alcest, the protagonist who dominates the piece by his critical attitude toward the world. Despite his love for her his criticism is also aimed at Célimene who in his eyes embodies the vices of mondaine society. His assessment of Célimene's conformism, coupled with her fickleness and falsity, was echoed by the majority of traditional commentaries that deemed her to be a slanderous coquette, hence a relatively banal and less important figure. Countering such simplifications, the paper tries to establish Célimene as a complex figure: Moliere's comedy, whose plot is largely centred on her, devotes her a lot of attention and offers ample possibilities for the deployment of her expression in different dimensions. The brilliant wit of her social portrayals displays her critical attitude to her contemporaries, various confrontations testify to her incisive relation to truth and to amour-propre as well as her lucid view of interpersonal and social relations. The paper explores the question to what extent Célimene, clearly rejecting subordination that Alcest threatens to impose, displays an independent spirit which equals his. Célimene is thus a figure who presents an essential parallel to Alcest and at the same time can appear as a paradoxical double of Moliere himself. It is surprising that she has been largely neglected by the feminist scholarship. Celimena v Molierovi komediji Ljudomrznik je izjemen lik ženske, ki v klasični literaturi predstavlja pravi novum. Konverzacijsko briljantna, duhovita in očarljiva salonska gospa se udejstvuje v družabnem življenju mondene družbe, kjer priteguje številne občudovalce. To svobodo ji omogoča vdovski stan, ki jo je osvobodil patriarhalnega gospodarja, vzbuja pa tudi pomisleke. Še posebej pri protagonistu igre, Alcestu, ki nad uprizorjenim dominira s kritičnim odnosom do sveta. Navkljub ljubezni je kritičen tudi do Celimene, ki domnevno uteleša napake mondene družbe. Njegovi sodbi o Celimenini prilagojenosti, h kateri sodita tudi nezanesljivost in zlaganost, sledi večina tradicionalnih komentarjev, ki jo opredeljujejo kot obrekljivo koketo, s tem pa relativno banalno in nepomembno figuro. V nasprotju s tovrstnim poenostavljanjem je mogoče ugotoviti, da je Celimena kompleksna figura, ki ji Molierova komedija, tudi fabulativno podrejena njeni zgodbi, namenja veliko pozornost in možnosti, da svoj izraz razvije v različnih dimenzijah. Ob bleščeči duhovitosti v družabnih portretih izkaže kritičen odnos do sodobnikov, v različnih soočenjih izostren odnos do resnice in samoljubja, v celoti pa pronicljivost pogleda na medosebna in družbena razmerja. Prispevek se ukvarja z raziskavo vprašanja, ali Celimena ob nedvomnem zavračanju podreditve, s katero ji grozi Alcest, izkazuje tudi neodvisnost duha, ki je enakovredna njegovi. Celimena je tako lik, ki ponuja bistveno vzporednico Alcestu, po drugi strani pa jo je mogoče vzeti kot paradoksno dvojnico samega Moliera. Presenetljivo je, da jo je feministična kritika docela zanemarila. |
