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he has refused because of this mad infatuation. When
Araminte asks Dubois if he knows the person who has inspired such passion, he confides that it is she herself. She is astonished, but also deeply touched. Although she tells herself that she should not keep her steward now she is aware of his feelings for her, she cannot make up her mind to send him away immediately and decides to wait a little while.
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She forgives him for everything because of his love and his frankness. The Count, who has realised she loves
Dorante, retires with dignity. Madame Argante vows that she will never consider him her son-in-law, but Araminte cares nothing for this. The play ends with Dubois congratulating himself on his
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She makes him write a letter to the Count, informing him that she accepts his proposal. Dorante is troubled and worried, but, suspecting a trap, reveals nothing of his own feelings. Marton arrives to announce that she is ready to marry him: he explains to
Araminte that he cannot go through with this
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Left alone with Dubois, Araminte asks for some information about her new steward. He tells her that he is the most honest man in the world, well-educated, upright, and distinguished, but that he has one folly: he is in love. Several highly advantageous matches have been proposed to him, all of which
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This play explores the idea of deceiving someone in order to make them fall in love, a theme which has always been popular with playwrights and which had figured in several of
Marivauxâs earlier plays. Despite its well-devised plot, likeable characters and interesting comic situations, this play did
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She reproaches Dubois for having betrayed his former master and promises her friendship to Marton who comes to ask forgiveness. Having accepted
Dorantes request that he might come and say goodbye to her, she ends up admitting that she loves him. He then confesses that most of what she has been told
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From the start, Araminte is attracted by his distinguished air and agreeable manners, and so she hires him. She is involved in legal proceedings with Count
Dorimont, who is keen to marry her in order to end the case, which he is worried about losing. She herself has no desire to marry the Count and
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Madame
Argante tries one last time to persuade her daughter to send Dorante away and argues with Monsieur RĂ©my, who is furious that she is treating his amiable nephew as an impertinent upstart. Marton, who sees the letter as the ideal vengeance, makes the Count read it aloud in the presence of all
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Dorante advises
Araminte to take the Count to court. Monsieur RĂ©my arrives to suggest a rich marriage for his nephew, and is irritated when he refuses. The unfortunate Marton believes that it is for her sake. At this point, a mysterious portrait is delivered to Araminte's house, and Marton is sure
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Meanwhile, Araminte's mother, who is an ambitious woman and dreams of seeing her daughter become a countess, orders
Dorante to tell Araminte that she will lose her case, leaving her with no other choice but to marry the Count. However, Dorante refuses to take any part in this and Araminte, hearing
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Dorante, a young man of good family, finds himself financially ruined. His former valet, Dubois, is now in the service of an attractive young widow and, seeing that his former master is in love with her, plans a scheme to make her marry him. He tells
Dorante to use his connection to Monsieur RĂ©my,
145:, which the Count has promised her as a gift if he marries Araminte. Marton tries to show Dorante that this sum would be beneficial to both of them. Although this is not part of Duboisâ plot, it can only help his plan along since Martonâs interest in Dorante is likely to make Araminte jealous.
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Marton, having seen that Dorante has no interest in her, follows Duboisâ advice and steals a letter. This letter, which Dorante has written at Duboisâ own instigation, tells an imaginary recipient of his passion for Araminte and his desire to flee out of shame for having offended her.
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as he loves someone else. As he does not want to say who, she opens the box with the portrait, and he throws himself at her feet to ask for her forgiveness. Araminte pardons him, but afterwards tells Dubois that he has not declared himself.
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Araminte learns from Dubois that the idea of marrying Dorante to Marton has come from Monsieur RĂ©my, and that the portrait has indeed been painted by Dorante. Araminte therefore decides to set a trap for him.
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Sjef Houppermans, « La PensĂ©e du corps chez Marivaux : de LâIle des esclaves aux Fausses confidences », Franck SalaĂŒn, Ăd. et intro., PensĂ©e de Marivaux, Amsterdam, Rodopi, 2002, p. 55-67
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what has happened, congratulates him on his integrity. Dubois interrupts this conversation and pretends to be surprised to see Dorante, while Dorante feigns embarrassment at being seen.
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that she is the subject. However, when Araminte opens the box in the presence of her mother and the Count, they all discover that it is a portrait not of Marton but of her.
289:Ăric Turcat, « LâEspace triangulaire de la duplicitĂ© : les Fausses Confidences et leurs antichambres », Neophilologus, July 2000, no 84 (3), p. 359-70.
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Jacques Scherer, « Analyse et mécanisme des Fausses confidences », Cahiers de la Compagnie Madeleine Renaud-Jean Louis Barrault, 1960, n° 28, p. 11-19.
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Christoph Miething, « Le ProblĂšme Marivaux : le faux dans Les Fausses Confidences », Ătudes LittĂ©raires, Ă©tĂ© 1991, n° 24 (1), p. 81-94.
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J. Y. Boriaud, « Les Jeux de lâĂȘtre et du paraĂźtre dans les Fausses confidences », LâInformation LittĂ©raire, 1988, no 40 (1), p. 16-19.
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Monique Claisse, « Approches du discours : formes et variations dans Les Fausses Confidences », Revue Marivaux, 1990, n° 1, p. 17-25.
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Gilles Revaz, « LâIllusion dans lâĂ©nonciation comique (Corneille et Marivaux) », LittĂ©ratures Classiques, hiver 2002, n° 44, p. 97-114.
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Antoine Spacagna, « Structure dramatique et jeux linguistiques dans Les Fausses Confidences de Marivaux », RLA, 1989, n° 1, p. 306-15.
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Maryse Laffitte, « Mensonge, amour et séduction dans Les Fausses Confidences de Marivaux », Revue Romane, 2005, n° 40 (2), p. 257-73.
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the protagonists. Since this letterâs aim was to make Dorante's passion public, he does not deny it. Araminte is upset and sends everyone away.
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Michel Gilot, « Du Jeu de lâamour et du hasard aux Fausses confidences : remarques sur lâĂ©volution du thĂ©Ăątre de Marivaux »,
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was false, and that Dubois arranged the whole scheme. The only things that are true are his love for her and the portrait which he painted.
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274:(en) Jodi Samuels, « Theatrical Letters in Eighteenth-Century France », Text & Presentation, Apr. 2000, n° 21, p. 43-55.
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AndrĂ© Tissier, Les Fausses Confidences de Marivaux : analyse dâun âjeuâ de lâamour, Paris, Ăds. dâEnseignement SupĂ©rieur, 1976.
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Monsieur Rémy decides that Dorante would do well to marry Marton, Araminte's companion and protégée. She would thereby receive 1000
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All the action is driven by Dubois, who sets in motion a foolproof strategy for making Araminte fall in love with Dorante.
127:(Dorante's uncle who is also Araminte's lawyer) to introduce himself into the house and take on the role of steward (
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Henri Suhamy, « Malvolio et la comĂ©die du trouble-fĂȘte », Q/W/E/R/T/Y, Oct 1995, n° 5, p. 21-25.
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not at first receive the success it merited. However, when it was taken up again, this time by the
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filmed an adaptation of the play co-directed with Marie-Louise Bischofberger. The film starred
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asks Dorante to examine the documents to see if she has any chance of winning.
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and was set in modern-day France. It was released in the U.S. with the title
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is a three-act comedy in prose by the French playwright
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in 1793, it received a much more favourable reception.
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Les Fausses Confidences: Princeps Edition, dated 1738
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36:Pierre de Carlet de Chamberlain de Marivaux
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344:Works by Marivaux in Project Gutenberg
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248:, Summer 1991, n° 24 (1), p. 9-18.
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25:Marivaux: Les Fausses Confidences
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359:Plays by Pierre de Marivaux
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207:In 2016
92:Arlequin
67:Araminte
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73:Dorante
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143:livres
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48:Paris
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