A number of theoreticians will rightly claim that it was Jean-Baptist Poquelin, known under the pseudonym of Moliѐre, who virtually created classical comedy alone. Centuries that separate us from Moliѐre’s time have not mitigated the severity and persuasiveness of his criticism.

Moliѐre has ever so much to tell us about his as well as today’s time. His comedy The Misanthrope was written a long time ago, however, it still poses one of the possible key life questions, namely, what the truth actually is and whether it is possible to objectify it. Alceste, the misanthrope, is quite open in pondering upon the society around him, also the art created, to such a degree actually that he is brought to trial when he criticises a work of art publicly. Although risking losing the lawsuit, he will not change his opinion. Regardless of all society conventions that imply a number of compromises, including the one that it is sometimes better not to tell the truth, what Moliѐre dramatizes in The Misanthrope is a man’s inability to resist the great challenge of truth, considering where it is that misanthropy and sincerity meet and what the final consequences of individual integrity are.

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