With the establishment of channels of communication among different cultures, civilizations, and systems of thought, and subsequently the growth of intercultural relations among nations, Iranians took their first step in one of the most important cultural bridges—namely the theatrical bridge—by founding Dar al-Fonun in 1266 AH with the aim of becoming acquainted with Western theater. Through sending students abroad and later staging performances in theatrical halls and venues, theater in Iran entered a phase of adaptation, followed by the influences and feedback of these interactions in dramatic works through the establishment of cultural organizations. Since the earliest plays presented to Iranian audiences were works by French writers—especially the comedies of Molière—the culture of theater in Iran, from the very beginning, engaged in interaction through the translation of French works, particularly Molière’s plays. This familiarity with Western theater, which took root during the Qajar period, bore fruit in the works of Iranian playwrights, especially those educated in the West, including Rafiee Halati. Consequently, his comedies and one-act play emerged. In the genre of comedy, when examining Rafiee Halati’s one-act plays, we encounter characteristics that are clearly inherited from the works of Western writers, especially Molière. Although the creativity, artistic taste, and method of adaptation employed by Rafiee Halati—along with his attention to moral issues and social relations of the period—should not be overlooked, the aim of this study is to conduct a comparative analysis between Molière’s comedies (with The Miser as a sample) and Rafiee Halati’s one-act plays, in order to identify shared comedic characteristics and comic elements. This can be considered a step toward recognizing the defining features of this important genre within the field of dramatic literature. In this comparative study, with attention to the type of comedy used in these works, the fundamental question posed is: which themes, elements, and dramatic forms highlight these works? In the results section, the most important features of the characters in the aforementioned plays, comic situations, dramatic circumstances, and principal events are examined.