The Imaginary Invalid

The written introduction explains that all writing should exist to honor or amuse King Louis XIV. The Eclogue is a comédie-ballet, an idyllic pastoral scene in which Flora, the Roman goddess of flowers, calls all the nymphs and shepherds to leave whatever they’re doing and hear the great news that the king returned home from battle, bringing peace. They all dance and sing the king’s praises, and then each one sings a song of praise as a contest for Flora to judge. But Pan interrupts with a group of fauns and tells them that their mortal songs aren’t enough for such an amazing king, and they should step aside so the players can entertain him.

In a similarly idyllic pastoral scene, a shepherdess laments that doctors are scammers who make money on naive people who buy their worthless cures. She finishes, “But the dimmest, the worst of the lot, is onstage now. It’s our play, and he’s in it” (6).

Argan tabulates and describes his recent medical treatments, complaining about the costs. His treatments include sleeping potions, blood cleansings, laxatives, and—most predominantly—different kinds of enemas. So far this month, he has had “eight lots of medicine, and […] twelve enemas,” which is fewer than the “twelve lots of medicine and twenty enemas” (8-9) he had last month. He attributes his sickliness this month to his decreased medical treatment. He rings a bell to call a servant, becoming immediately angry and impatient when there is no instant response. He rages and shouts for Toinette, yelling “Ting-a-ling” (9) instead of continuing to ring the bell, and complaining that they don’t care if he shouts himself to death. Toinette enters, claiming that she was rushing so quickly that she hit her head. Argan berates and insults her, becoming irked when it doesn’t affect her. He asks if his enema was productive, but Toinette replies that it’s Mr. Florid’s job to “stick [his] nose into that” (11). Argan orders Toinette to boil some water, as he needs to prepare for another enema.

Toinette states, “These two…medicos, Florid and Purgeon, are having a high old time with you. They’re making mincemeat out of you. I’d like to know exactly what sort of illness it is that needs so many medicines” (11). Argan tells her to stop meddling and to summon his daughter, Angélique. She is already eagerly waiting outside the door to see him, and she enters. But Argan is interrupted, as he must heed a sudden urge to rush off to the toilet. Alone with Toinette, Angélique speaks giddily about a young man, about whom she has been talking ceaselessly to Toinette for the last week. Toinette intones agreeable responses as Angélique describes the handsome young man who came to her rescue, without even knowing who she was. Now, they aren’t allowed to see each other. Angélique frets about whether he really loves her, and Toinette warns her that people often pretend to be in love. But she reassures Angélique that he expressed his intention to ask for her hand in marriage, and all they can do is wait to see if he follows through. Angélique cries, “Oh, Toinette, if he’s lying to me, I’ll never believe anything a man says ever again” (15).

Argan returns from the bathroom and begins telling Angélique about the man who asked to marry her, although her stepmother, Béline, wants to put her and her younger sister in a convent. Delighted, Angélique agrees with each praising descriptor Argan gives of her suitor, assuming that Argan is talking about the one she loves, Cléante. But Argan’s match for her is Thomas Lillicrap, the nephew of Dr. Purgeon and the son of Dr. Lillicrap. He is about to become a doctor himself. There is confusion as they realize that they are talking about different suitors. Toinette points out the absurdity of marrying a girl of Angélique’s class and fortune to a lowly doctor, especially since Argan is rich and can afford his own doctors. But Argan asserts that because he is so sick, he wants a doctor in the family to give him all the free medical treatment he could want. Toinette expresses skepticism that Argan is sick at all, which makes him irate, and Toinette quickly reassures him that he is very ill. Toinette advises Argan to forget about this match, because Angélique will never agree to marry Thomas. Argan argues that Thomas is the sole heir to significant family money and insists that if Angélique won’t marry him, he’ll send her to a convent.

Toinette doubts that Argan will follow through with sending his beloved daughter away. The two argue and banter, and Argan starts chasing Toinette around the room. Argan solicits his daughter’s help, but Angélique just tells him to settle down, lest he make himself sick. Toinette exclaims, “If she obeys you, I’ll cut her off without a penny” (22). Argan collapses into his chair, drained. Béline, Argan’s wife, enters, coddling him as he whines about Toinette’s rudeness, complaining that he has been telling his wife to fire her. Béline asserts that “the servant without some sort of shortcoming hasn’t been invented” (24), and Toinette is better than most. Béline confronts Toinette, who sweetly claims that she said only that although the doctor’s son is a good match, Argan should still send Angélique to a nunnery. Béline agrees but tells Toinette that she will be fired if she antagonizes Argan again. Béline rearranges the pillows for Argan, and Toinette, feigning helpfulness, places one over his face before exiting. Argan complains that he needs “at least eight prescriptions and twelve enemas” (25) to recover. Béline comforts him, and Argan announces that he wants to make his will. Béline pretends to be horrified at the idea of a will, but she has a notary with her.

The notary, Mr. Goodfellow, enters. He explains that Paris law forbids a man from leaving his estate to his wife. He can give gifts only while he is alive. Argan insists that Béline must inherit everything, not his children. Mr. Goodfellow suggests some roundabout ways of leaving the money to someone trustworthy who will give it to Béline. Béline pretends to protest while also urging the process along. They exit to the study. Toinette and Angélique enter, and Toinette warns her that Béline is most likely stealing her inheritance. But Angélique cares only about whether she is forced to marry, and she begs Toinette to help her. Toinette reassures Angélique that she is always on her side. She explains that Béline believes that she is her confidante, and Toinette will, therefore, have to pretend to agree with Béline and Argan. Angélique asks Toinette to send word to Cléante about the marriage her father arranged. Toinette notes that she will have to flirt with her former lover, the moneylender Mr. Punchinello, but she’ll do it for Angélique. Offstage, Béline calls for Toinette, and Toinette promises, “Count on me” (30). They both exit.

The scene shifts to the street at night. Punchinello enters, ready to serenade the woman he loves. He berates himself for being consumed by love at his advanced age, exclaiming, “Love’s a madness, a disease” (31). He sings a pleading love song, and an old woman comes to the window to mock him. She sings, “Ah! You young men, you’re all the same, faithful for just one day!” (32) The old woman advises all women to avoid men. There is a sound of an orchestra, which further interrupts his serenading. Then, the constables arrive. In a choreographed confrontation set to music, they threaten to arrest him and solicit a bribe. Punchinello pretends he forgot his wallet, but he pays them in the end.