Tradesman in the nobility. Jean Baptiste Molière (play, audio, text)

"The tradesman in the nobility"

History of creation:

The event that brought comedy to life is also not quite ordinary. When in 1669 the Sun King, as Louis was nicknamed for his passion for clothes, jewelry, external chic and brilliance, it became known that the Sultan of the Great Ottoman Empire (i.e. Turkey) was sending an embassy delegation to him, the ruler of France decided to surpass him in pieces of luxury. The sparkle of jewels, the abundance of gold and silver, expensive materials, luxury items should have overshadowed the eyes of ambassadors accustomed to such abundance in the East, and spread the glory of the wealth and grandeur of the French court and its ruler throughout the world. But the plan of the king failed: he became a victim of mystification and deceit. Enraged, Ludovic commissioned Molière to write a comedy that would make fun of the Turkish mentality along with their delegation. Thus was born "The Bourgeoisie in the Nobility", the first performance of which before the king and nobility was given in mid-October 1670, and the official one, for the Parisian public, in November 1670. From that very day (November 28) on the stage of the main theater of Paris - the Palais Royal - during the life of the author, the performance was staged more than 42 times, and this is not counting other productions in smaller theaters! And about a century later, the first professional translation of the comedy into Russian appeared. In Russia, "The Philistine in the Nobility" was accepted with a bang, and his victorious procession continues to this day.

The plot of the work is simple, the main intrigue of the comedy lies not in the conflict, but in the characters. Jourdain, a bourgeois of respectable age, very rich, but narrow-minded, rude, and sometimes frankly stupid, ignorant, wants with all his might to join the noble sophistication, grace, gallantry and outward brilliance. The ultimate goal of all his tricks is the Marquise Dorimena, a cutesy aristocrat, accustomed to judging people by the severity of their wallet and the loudness of the title. The ruined Count Dorant, a trickster and a deceiver, safely leads Jourdain by the nose, promising to help get closer to Dorimena and, in general, to introduce his “friend” into the high Parisian society. By nature, he is far from being a fool, Mr. Jourdain is blinded by the brilliance of the nobility and does not notice point-blank that he has long been a "cash cow" for such rogue aristocrats. He borrows huge sums of money from them without demanding a return. He hires a whole host of teachers, tailors, so that they educate and hew it a little. There is no sense in this, but gold coins are flowing away like a full-flowing river. In fact, “The Philistine in the Nobility”, the brief content of which is to ridicule and criticize the ruling class of the nobles and the bourgeoisie that comes to replace it, is a wonderful parody of the monarchical absolutist system that developed in France at the end of the 17th century. The comedy clearly emphasized that the future was not for jourdains and dorants, but for such honest, active, enterprising and viable types and characters, like Cleont, the groom of Jourdain's daughter, Covelier, his servant, and all those who are used to achieving everything in life thanks to his own mind and strength. In this regard, the book "The Philistine in the Nobility" could become a desktop book for the Russian nobility. However, the comedy of the remarkable Russian playwright Fonvizin "Undergrowth" turned out to be close to the point of view and the author's characteristics of Molière. Both of them are included in the golden fund of world literature.

Common sense of images:

Needless to say, many comedy expressions have become aphorisms, and its main character symbolizes human rudeness and ignorance, lack of taste and sense of proportion! “Jourdain with papillots” - we are talking about this, and that says it all!

The relevance of the image of the protagonist of Moliere's comedy "The tradesman in the nobility" The desire of every person to get out in life - to become better, smarter, richer, is quite understandable. Worthy of respect is his desire to climb a step higher. The main thing here is not to look ridiculous, imitating only some external signs. So the hero of Molière's comedy "The Philistine in the Nobility" Mr. Jourdain set himself the goal of "moving" from the bourgeois class to the nobility - to become a nobleman. He wants everything at once: nobility, and education, and delicate manners, and a common culture, and following fashion, and brilliant acquaintances. It would seem that his desire to "gather his mind" is more than commendable. It is wonderful that he is not ashamed to admit his ignorance and hire teachers in all subjects - from philosophy to fencing: “Let them pull me out even now, in front of everyone, just to know everything that is taught at school! »

But how ridiculous he is, wanting to reach the heights of science and culture in a few days! How comical is his "discovery" that he, it turns out, speaks in prose! How unfortunate that he allows himself to be deceived by a whole regiment of charlatans - the so-called teachers! And yet, in his desire to learn, he is higher than Madame Jourdain, Cleont, Nicole's servant - the bearers of common sense. This is the genius of Moliere, that, going beyond the framework of classicism, he creates his characters not unambiguously positive or negative, but shows them as living people, with advantages and disadvantages. Of course, striving to become a nobleman at all costs, Jourdain pursues a noble goal: he thinks about the future of his daughter and wants her to live better than he does: “I have enough good things in store for my daughter, only honor is missing, so I want to be a marquise."

The ideal of classicism was embodied in the image of Cleont: only one who in his behavior was guided by the requirements of reason could be a truly noble person, proceeding from what was considered to be good. The fact that in the finale of the comedy Jourdain fell for the trick of the intelligent Cleont and his resourceful servant Covel should have testified to the superiority of reason: Jourdain agreed to his daughter's marriage. Justice has prevailed.

© Lyubimov N., translation into Russian. Heirs, 2015

© Shchepkina-Kupernik T., translation into Russian. Heirs, 2015

© Edition in Russian, design. Eksmo Publishing LLC, 2015

Tradesman in the nobility

Actors in comedy

M. JOURDAIN is a tradesman.

MADAME JOURDAIN his wife.

Lucil is their daughter.

CLEONT is a young man in love with Lucille.

DORIMENA Marchioness.

DORANT Count, in love with Dorimena.

NICOLE is a maid in Mr. Jourdain's house.

KOVEL Cleont's servant.

MUSIC TEACHER.

MUSIC TEACHER'S STUDENT.

DANCE TEACHER.

FENCING TEACHER.

PHILOSOPHY TEACHER.

MUSICIANS.

TAILOR'S JOURNEY.

TWO LACKIES.

THREE PAGES.

ACTORS OF THE BALLET

IN FIRST ACTION

Singer. Two singers. Dancers.

IN THE SECOND ACT

tailor's apprentices (dance).

IN THE THIRD ACT

cooks (dance).

IN THE FOURTH ACT

Mufti. Turks, retinue of the mufti (sing). Dervishes (sing). Turks (dance).

The action takes place in Paris, in the house of M. Jourdain.

Act one

The overture is played by a variety of instruments; in the middle of the stage at the table, the MUSIC TEACHER'S STUDENT composes a melody for a serenade commissioned by M. Jourdain.

The first phenomenon

Music teacher, dance teacher, two singers, a singer, two violinists, four dancers.

MUSIC TEACHER (singers and musicians). Come here, to this hall; rest until he arrives.

DANCE TEACHER (to the dancers). And you, too, stand on this side.

MUSIC TEACHER (to the student). Ready?

STUDENT. Ready.

MUSIC TEACHER. Let's see... Very good.

DANCE TEACHER. Anything new?

MUSIC TEACHER. Yes, I told the student, while our eccentric wakes up, to compose music for the serenade.

DANCE TEACHER. Can I see?

MUSIC TEACHER. You will hear this along with the dialogue as soon as the owner appears. He'll be out soon.

DANCE TEACHER. Now we have things above our heads.

MUSIC TEACHER. Still would! We have found exactly the person we need. Monsieur Jourdain, with his obsession with nobility and secular manners, is simply a treasure for us. If everyone became like him, then your dances and my music would have nothing more to wish for.

DANCE TEACHER. Well, not quite. I would like, for his own good, that he would have a better understanding of the things we talk to him about.

MUSIC TEACHER. He understands them badly, but he pays well, and our arts do not need anything now as much as this.

DANCE TEACHER. I admit, I'm a little partial to fame. Applause gives me pleasure, but to squander my art on fools, to bring my creations to the barbaric court of a blockhead - this, in my opinion, is unbearable torture for any artist. Whatever you say, it is pleasant to work for people who are able to feel the subtleties of this or that art, who know how to appreciate the beauty of works and reward you for your work with flattering signs of approval. Yes, the most pleasant reward is to see that your creation is recognized, that you are honored for it with applause. In my opinion, this is the best recompense for all our hardships - the praise of an enlightened person gives inexpressible pleasure.

MUSIC TEACHER. I agree with that, I also love praise. Indeed, there is nothing more flattering than applause, but you can't live on incense. Praise alone is not enough for a person, give him something more substantial; the best way to encourage is to put something in your hand. Frankly speaking, our master's knowledge is not great, he judges everything at random and applauds where he shouldn't, but money straightens out the crookedness of his judgments, his common sense is in his purse, his praises are minted in the form of coins, so that from this ignorant the tradesman, as you see, is much more useful to us than from that enlightened nobleman who brought us here.

DANCE TEACHER. There is some truth in your words, but it seems to me that you attach too much importance to money; meanwhile, self-interest is something base to such an extent that a decent person should not show a special inclination towards it.

MUSIC TEACHER. However, you calmly take money from our eccentric.

DANCE TEACHER. Of course, I take it, but money is not the main thing for me. If it were for his wealth and even a little good taste - that's what I would like.

MUSIC TEACHER. Me too: after all, we both achieve this to the best of our ability. But be that as it may, thanks to him, they began to pay attention to us in society, and what others will praise, he will pay.

DANCE TEACHER. And here he is.

The second phenomenon

The same, Monsieur Jourdain in a dressing gown and nightcap, and two footmen.

Mr. JOURDIN. Well, gentlemen! How are you? Will you show me your trinket today?

DANCE TEACHER. What? What a trifle?

Mr. JOURDIN. Well, this one, the very one… What do you call it? Not a prologue, not a dialogue with songs and dances.

DANCE TEACHER. O! O!

MUSIC TEACHER. As you can see, we are ready.

Mr. JOURDIN. I hesitated a bit, but here's the thing: I'm dressing now, how to dress, and my tailor sent me silk stockings, so tight - really, I really thought that I would never put them on.

MUSIC TEACHER. We are at your service.

Mr. JOURDIN. I ask you both not to leave until my new suit is brought to me: I want you to look at me.

DANCE TEACHER. As you wish.

Mr. JOURDIN. You will see that now I am dressed from head to toe as I should.

MUSIC TEACHER. We don't doubt it at all.

Mr. JOURDIN. I made myself a dressing gown out of Indian fabric.

DANCE TEACHER. Excellent robe.

Mr. JOURDIN. My tailor assures me that all the nobility wear such dressing gowns in the morning.

MUSIC TEACHER. It suits you amazingly.

Mr. JOURDIN. Footman! Hey, my two lackeys!

FIRST LACKEY. What do you order, sir?

Mr. JOURDIN. I won't order anything. I just wanted to check how you listen to me. How do you like their liveries?

DANCE TEACHER. Great liveries.

Mr JOURDAIN (opens his dressing gown; under it he has tight red velvet trousers and a green velvet camisole). And here is my home suit for morning exercises.

MUSIC TEACHER. Abyss of taste!

Mr. JOURDIN. Footman!

FIRST LACKEY. Whatever, sir?

Mr. JOURDIN. Another lackey!

SECOND LACKEY. Whatever, sir?

Mr JOURDAIN (takes off coat). Hold. (Music teacher and dance teacher.) Well, am I good in this outfit?

DANCE TEACHER. Very good. It couldn't be better.

Mr. JOURDIN. Now let's take care of you.

MUSIC TEACHER. First of all, I would like you to listen to the music that is here. (points to student) wrote for the serenade you ordered. This is my student, he has amazing abilities for such things.

Mr. JOURDIN. It may very well be, but still it should not have been entrusted to a student. It remains to be seen whether you yourself are suitable for such a thing, and not just a student.

MUSIC TEACHER. The word "student" should not confuse you, sir. Such students understand music no less than the great masters. In fact, you can’t imagine a more wonderful motive. You just listen.

Mr JOURDAIN (to lackeys). Give me a robe - it's more convenient to listen ... However, wait, perhaps it's better without a robe. No, give me a robe, it'll be better that way.

Irida! I languish, suffering destroys me,

Your stern gaze pierced me like a sharp sword.

When you hurt someone who loves you so much

How terrible you are to him who dared to incur your wrath!

Mr. JOURDIN. In my opinion, this is a rather mournful song, it makes you sleepy. I would ask you to make it a little more fun.

MUSIC TEACHER. The motive must match the words, sir.

Mr. JOURDIN. I was recently taught a lovely song. Wait… now-now… How does it start?

DANCE TEACHER. Right, I don't know.

Mr. JOURDIN. It also talks about sheep.

DANCE TEACHER. About a sheep?

Mr. JOURDIN. Yes Yes. Ah, here! (Sings.)

Jeanette I thought
And kind and beautiful
Jeannette I considered a sheep, but ah!
She is treacherous and dangerous
Like a lioness in virgin forests!

Isn't it a nice song?

MUSIC TEACHER. Still not nice!

DANCE TEACHER. And you sing it well.

Mr. JOURDIN. But I didn't study music.

MUSIC TEACHER. It would be good for you, sir, to learn not only dancing, but also music. These two kinds of art are inextricably linked.

DANCE TEACHER. They develop a sense of grace in a person.

Mr. JOURDIN. And what, noble gentlemen also study music?

MUSIC TEACHER. Of course, sir.

Mr. JOURDIN. Well, I'm going to study. I just don’t know when: after all, in addition to the fencing teacher, I also hired a philosophy teacher - he should start studying with me this morning.

MUSIC TEACHER. Philosophy is an important matter, but music, sir, music...

DANCE TEACHER. Music and dancing... Music and dancing is all that a person needs.

MUSIC TEACHER. There is nothing more useful for the state than music.

DANCE TEACHER. There is nothing more necessary for a person than dancing.

MUSIC TEACHER. Without music, the state cannot exist.

DANCE TEACHER. Without dancing, a person would not be able to do anything.

MUSIC TEACHER. All strife, all wars on earth come solely from ignorance of music.

DANCE TEACHER. All human misfortunes, all the misadventures with which history is full, the oversights of statesmen, the mistakes of great generals - all this stems solely from the inability to dance.

Mr. JOURDIN. How so?

MUSIC TEACHER. War arises because of disagreement between people, doesn't it?

Mr. JOURDIN. Right.

MUSIC TEACHER. And if everyone studied music, wouldn't that set people in a peaceful mood and would not contribute to the reign of universal peace on earth?

Mr. JOURDIN. And that's true.

DANCE TEACHER. When a person does not do the right thing, whether he is just a father of a family, or a statesman, or a military leader, they usually say about him that he took a wrong step, isn't it?

Mr. JOURDIN. Yes, they say so.

DANCE TEACHER. And what else can cause a wrong step, if not the inability to dance?

Mr. JOURDIN. Yes, I agree with that too, you are both right.

DANCE TEACHER. We say all this so that you understand the advantages and benefits of dancing and music.

Mr. JOURDIN. I understand now.

MUSIC TEACHER. Would you like to see our writings?

Mr. JOURDIN. Anything.

MUSIC TEACHER. As I already told you, this is my long-standing attempt to express all the passions that music can convey.

Mr. JOURDIN. Wonderful.

MUSIC TEACHER (singers). Please come here. (Mr. Jourdain.) You have to imagine that they are dressed as shepherdesses.

Mr. JOURDIN. And what is it always shepherdesses? Forever the same!

DANCE TEACHER. When they speak to music, for greater credibility, one has to turn to the pastoral. From time immemorial, shepherds have been credited with a love of singing; on the other hand, it would be very unnatural if princes or philistines began to express their feelings in singing.

Mr. JOURDIN. OK OK. Let's see.

MUSICAL DIALOGUE

Singer and two singers.

Hearts in love

Always meet thousands of obstacles.

Love brings us both happiness and longing.

No wonder there is such an opinion,

What is dearest of all to us is not to know the love of comforts.

FIRST SINGER

No, we only love that joy without end,

Which heart

Merges lovers.

There is no bliss on earth without passion.

Who neglects love

That's why you don't know happiness.

SECOND SINGER

Oh, who would not want to taste the power of love,

Whenever there was no deceptive passion!

But, ah, what about the evil fate?

There is not a single faithful shepherdess here,

And the unworthy floor, disgracing the white light,

It testifies to us that there is no fidelity anymore.

FIRST SINGER

O trembling hearts!

O passion in the eyes!

SECOND SINGER

A total lie!

FIRST SINGER

That moment is dear to me!

They are full of fun!

SECOND SINGER

I despise everyone!

FIRST SINGER

Oh, do not be angry, forget your immeasurable anger!

We will bring you now

To the loving and faithful shepherdess.

SECOND SINGER

Alas! There are no worthy among you!

I'm going to the test - Here's my love.

SECOND SINGER

Who vouches in advance

Why not be deceived again?

Whoever is faithful, let him prove

Your tender heart.

SECOND SINGER

Heaven let him punish, Who shamefully changed.

ALL THREE TOGETHER

Above us, burning

The crown of love burns.

Merging two hearts

What could be cuter?

Mr. JOURDIN. And it's all?

MUSIC TEACHER. Everything.

Mr. JOURDIN. I think it's cleverly wrapped. There are some very funny words here and there.

DANCE TEACHER. And now it's my turn: I will offer you a small sample of the most graceful movements and the most graceful postures that a dance can consist of.

Mr. JOURDIN. Shepherds again?

DANCE TEACHER. It's as you please. (To the dancers.) Get started.

BALLET

Four dancers, under the instructions of the dance teacher, make various movements and perform all kinds of steps.

Action two

The first phenomenon

Mr. Jourdain, music teacher, dance teacher.

Mr. JOURDIN. Very cool: the dancers break off famously.

DANCE TEACHER. And when the dance goes to the music, the impression is even stronger. We have composed a ballet for you - you will see how charming it is.

Mr. JOURDIN. I'll need it tonight; the person I'm arranging this for should be invited to dinner with me.

DANCE TEACHER. Everything is ready.

MUSIC TEACHER. One thing, sir, is missing: a person like you, with all your splendor, with your penchant for the fine arts, must certainly give concerts on Wednesdays or Thursdays.

Mr. JOURDIN. And noble gentlemen have concerts?

MUSIC TEACHER. Of course, sir.

Mr. JOURDIN. Then I will start giving. And will it work well?

MUSIC TEACHER. No doubt. You will need three voices: soprano, contralto and bass, and for accompaniment alto, lute and, for bass parts, harpsichord, and for ritornellos two violins.

Mr. JOURDIN. It would be nice to have a sea pipe. I love her very much, she is pleasant to listen to.

MUSIC TEACHER. Leave everything to us.

Mr. JOURDIN. Look, do not forget to send singers so that there is someone to sing during dinner.

MUSIC TEACHER. You will not lack anything.

Mr. JOURDIN. The main thing is that the ballet is good.

MUSIC TEACHER. You will be satisfied, especially with some minuets.

Mr. JOURDIN. Ah, the minuet is my favorite dance! Look how I dance it. Come on, mister teacher!

DANCE TEACHER. If you please, sir, put on your hat.

M. Jourdain takes his footman's hat and puts it on over his cap. The dance teacher takes M. Jourdain by the hand and, singing a minuet, dances with him

La-la-la, la-la-la, la-la-la-la, la-la-la, la-la-la, la-la-la, la-la-la, la-la-la, la-la-la, la-la. Please, on the beat. La-la-la, la-la. Don't bend your knees. La-la-la. Don't shrug your shoulders. La-la, la-la-la-la, la-la, la-la. Do not spread your arms. La-la-la, la-la. Head up. Keep your toes apart. La-la-la. Body is straight.

Mr. JOURDIN. Well, how?

DANCE TEACHER. It couldn't be better.

Mr. JOURDIN. By the way, teach me how to bow to the Marquise - I will need it soon.

DANCE TEACHER. Bow to the marquise?

Mr. JOURDIN. Yes. Her name is Dorimena.

DANCE TEACHER. Allow your hand.

Mr. JOURDIN. No need. Just show me and I will remember.

DANCE TEACHER. If you want it to be a very respectful bow, then first step back and bow once, then approach her with three bows and finally bow at her feet.

Mr. JOURDIN. Well, show me.

Dance teacher shows.

The second phenomenon

The same footmen.

LAKEY. Sir! The swordsman has arrived.

Mr. JOURDIN. Tell him to come in and start the lesson. (Music teacher and dance teacher.) And you look how it turns out for me.

The third phenomenon

The same, a fencing master and a lackey with two rapiers.

FENCING TEACHER (takes two rapiers from the footman and gives one of them to Monsieur Jourdain). I beg you, sir: bow. Body straight. Light emphasis on the left thigh. You don't have to spread your legs like that. Both feet are on the same line. Hand at thigh level. The end of the rapier is directly against the shoulder. You don't have to stretch out your hand like that. The left hand is at the height of the eye. Left shoulder back. Head straight. The look is confident. Lunge. The body is motionless. Parry with a quart and withdraw with the same parade. One, two. In position. Confidently start again. Step back. When lunging, the rapier must be carried forward and the body protected as much as possible from the blow. One, two. I ask you: parry with a terce and withdraw with the same parade. Lunge. The body is motionless. Lunge. Get in position. One, two. Start again. Step back. Protect yourself, sir, protect yourself! (With a cry: “Defend yourself!” - he stabs M. Jourdain several times.)

Mr. JOURDIN. Well, how?

MUSIC TEACHER. You are doing miracles.

FENCING TEACHER. As I already told you, the whole secret of fencing is, firstly, to strike the enemy with blows, and secondly, so that you yourself do not receive them, and you will never receive them if, as I proved it to you last time by way of a visual example, learn how to take the enemy's sword away from your body, and for this you need only a slight movement of the hand - towards yourself or away from you.

Mr. JOURDIN. So, in such a manner, every person, even not one of the brave ones, can surely kill another, and he himself will remain intact?

FENCING TEACHER. Certainly. Didn't I prove it to you clearly?

Mr. JOURDIN. Proved.

FENCING TEACHER. From this it is clear what a high position we, fencing teachers, should occupy in the state and how much the science of fencing is above all other useless sciences, such as dance, music and ...

DANCE TEACHER. But, but, mister fencing master! Be respectful about dancing.

MUSIC TEACHER. Be kind, learn to respect the virtues of music.

FENCING TEACHER. Yes, you are just funny! How can you put your science on the same level as mine?

MUSIC TEACHER. Think important bird!

DANCE TEACHER. Put on a bib, scarecrow!

FENCING TEACHER. Beware, little sunishka, you will not dance with me somehow, but you, musician, will sing in an angelic voice.

DANCE TEACHER. And I, Mr. Fighting Nishka, will teach you how to fight.

Mr JOURDAIN (dance teacher). Yes, you are crazy! To start a quarrel with a person who knows all the ters and quarts like the back of his hand and can kill the enemy by a good example?

DANCE TEACHER. I didn't give a damn about his good example and all his terces and quarts!

Mr JOURDAIN (dance teacher). Completely, they tell you!

FENCING TEACHER (dance teacher). Oh, you are like that, impudent pigalo!

Mr. JOURDIN. Calm yourself, dear fence master!

DANCE TEACHER (fencing teacher). Oh, there you are, draft horse!

Mr. JOURDIN. Calm down, dear dance master!

FENCING TEACHER. I just need to get to you...

Mr JOURDAIN (fencing teacher). Quiet!

DANCE TEACHER. I can only reach you...

Mr JOURDAIN (dance teacher). Will you!

FENCING TEACHER. I'll beat you up!

Mr JOURDAIN (fencing teacher). For God's sake!

DANCE TEACHER. I will blow you so much...

Mr JOURDAIN (dance teacher). I beg you!

MUSIC TEACHER. No, let us teach him good manners.

Mr JOURDAIN (music teacher). Oh my God! Yes, stop it!

The fourth phenomenon

The same teacher of philosophy.

Mr. JOURDIN. Ah, philosopher! You arrived just in time with your philosophy. Reconcile these gentlemen somehow.

PHILOSOPHY TEACHER. What's the matter? What happened, gentlemen?

Mr. JOURDIN. They quarreled over whose craft is better, quarreled and nearly got into a fight.

PHILOSOPHY TEACHER. Complete, gentlemen! How can you push yourself to such an extreme? Haven't you read Seneca's learned treatise on anger? What can be lower and more shameful than this passion, which turns a man into a wild beast? All movements of our heart must be subordinated to the mind, right?

DANCE TEACHER. Have mercy, sir! I teach dancing, my friend studies music, and he spoke with contempt about our classes and insulted us both!

PHILOSOPHY TEACHER. The sage stands above all insults. The best response to bullying is restraint and patience.

FENCING TEACHER. They have the audacity to compare their trade with mine!

PHILOSOPHY TEACHER. Is this cause for concern? Because of vain fame and because of the position in society, people should not enter into rivalry with each other: what distinguishes us sharply from each other is wisdom and virtue.

DANCE TEACHER. I affirm that dance is a science that deserves all admiration.

MUSIC TEACHER. And I stand on the fact that music has been honored in all ages.

FENCING TEACHER. And I prove to them that the science of owning weapons is the most beautiful and most useful of all sciences.

PHILOSOPHY TEACHER. Excuse me, but what then is philosophy? All three of you are pretty impudent, as I see it: you dare to speak such impudence in my presence and without a twinge of conscience call sciences occupations that are unworthy of the honor to be called even arts and which can only be equated with the miserable crafts of street wrestlers, singers and dancers!

FENCING TEACHER. Shut up, canine philosopher!

MUSIC TEACHER. Shut up, stupid pedant!

DANCE TEACHER. Shut up, scientist cracker!

PHILOSOPHY TEACHER. Oh, you creatures of that kind! (He rushes at them; they shower him with blows.)

Mr. JOURDIN. Mister Philosopher!

PHILOSOPHY TEACHER. Scoundrels, scoundrels, impudent ones!

Mr. JOURDIN. Mister Philosopher!

FENCING TEACHER. Reptile! Beast!

Mr. JOURDIN. Lord!

PHILOSOPHY TEACHER. Insolent people!

Mr. JOURDIN. Mister Philosopher!

DANCE TEACHER. Donkey head!

Mr. JOURDIN. Lord!

PHILOSOPHY TEACHER. Scoundrels!

Mr. JOURDIN. Mister Philosopher!

MUSIC TEACHER. Get the hell out, you bastard!

Mr. JOURDIN. Lord!

PHILOSOPHY TEACHER. Rogues, rogues, rogue beasts, crooks!

Mr. JOURDIN. Mister Philosopher! Lord! Mister Philosopher! Lord! Mister Philosopher!

All the teachers leave, continuing to fight.

The works of the outstanding French comedian Moliere reflected the problems and aesthetic searches of his time, and his fate reflected the position of the writer in the public life of France in the 17th century.

Moliere entered the history of world literature as the founder of "high comedy". Moliere created artistically perfect comedies with a tense plot and interesting characters. The plots of his comedies are based on the conflict known to the classicists - the opposition of passions to common sense. At the heart of comedy is the discrepancy between real events, as they are perceived by the characters. Molière saturates this general comical setting with historically reliable characters, reveals the most typical characters.

As an artist in his time, Moliere understood well what the public needed, and created plays that were popular. His talent lies in the fact that, while entertaining the viewer, he educates him, draws him to moral values. The names of many of his characters have become common and mean a person who has certain traits.

A vivid image is created by Molière in the comedy "The Tradesman in the Nobility". The protagonist Jourdain has everything a person could wish for: family, money, health. But Jourdain wanted to become a nobleman. This becomes his manic idea, which causes a lot of trouble to his family, but likes a whole bunch of charlatans who feed at his expense and make fun of him: hairdressers, shoemakers, "teachers" of etiquette. Enjoys the whim of Jourdain and the aristocrat Dorant. He knows that Jourdain is in love with the noble Dorimena, with whom he himself is not averse to becoming engaged. Dorant brings Dorimena to Jourdain's house, where a sumptuous dinner awaits them. On his own behalf, he gives the beauty the jewelry that Jourdain gave him for Dorimena. A comical situation arises, the characters speak, not understanding each other, each about his own: Dorimena thinks that Dorant gave the jewelry, and is indignant when Jourdain underestimates their value, wanting to look modest in the eyes of his chosen one. The desire to become a nobleman deprives Jourdain of the remnants of common sense: he does not agree to the marriage of his daughter Lucille with Cleont just because he is not a nobleman. But the witty servant of Cleont finds a way out. He disguises his master as a Turkish pasha, wooing Lucille for him. The comedy ends with a real celebration of fun. All the heroes get what they were striving for: three pairs of lovers unite (Cleont and Lucille, Dorant and Dorimena, Coviel and Nicole), and Jourdain becomes, albeit bizarre, but a nobleman.

Molière was rightly called the author of "high comedy". "The tradesman in the nobility" is a vivid proof of this. Behind the funny events of comedy, serious conclusions are hidden, and comical images become satirical. The behavior of Jourdain, Dorant is due to their position in society. Jourdain strives to become a nobleman in order to prove his worth to everyone and to himself. But Molière shows that a person should be valued for who he is, that everyone should do their own thing in life. Dorant is an aristocrat, but he has nothing but a title: no money (he borrows it from Jourdain), no aristocratic, lofty feelings. He uses Jourdain to impress Dorimena as a rich man. The marquise consents to the marriage because she considers Dorant really to be who he claims to be. The author cleverly took out her disappointment beyond the comedy.

In Moliere's comedies, common sense wins, but it is not a guarantee of human morality. On the example of negative characters, the author shows that an insidious, hypocritical person can be smart, and human virtues always win.

But also many undertakings in the field of art. Back in the 17th century, the son of the court upholsterer Jean-Baptiste Poquelin, better known to the whole world under the name of Molière, composed a witty, brilliant comedy, combining two such different genres as a dramatic theatrical performance and ballet into one. And now, for the fourth century, it has not left the stages of metropolitan and provincial theaters, it has been studied in schools, and the heroes of the work have long since become household names.

Genre Discovery

Of course, we are talking about Moliere's great comedy "The tradesman in the nobility." Everything was new in the work: a pronounced mockery of the mores and habits of high society, and a realistic depiction of ignorant rudeness, ignorance, greed and stupidity of the bourgeoisie, stubbornly striving to share power and privileges in a country with an impoverished nobility, and the author’s obvious sympathy for a simple person, representative of the so-called third estate. This is with regard to the problems and A spectacle of the production, colorful costumes, musical numbers ... Louis XIV, an ardent admirer of music, dance, especially ballet, loved a variety of enchanting performances. But before Molière, playwrights were not able to combine stage action, dance numbers and ballet so skillfully. In this regard, "The Philistine in the Nobility" may well be considered the forerunner of the modern musical. Comedy-ballet - such is the original genre of the work of the great Moliere.

The history of the creation of comedy

The event that brought comedy to life is also not quite ordinary. When in 1669 the Sun King, as Louis was nicknamed for his passion for clothes, jewelry, external chic and brilliance, it became known that the Sultan of the Great Ottoman Empire (i.e. Turkey) was sending an embassy delegation to him, the ruler of France decided to surpass him in pieces of luxury. The sparkle of jewels, the abundance of gold and silver, expensive materials, luxury items should have overshadowed the eyes of ambassadors accustomed to such abundance in the East, and spread the glory of the wealth and grandeur of the French court and its ruler throughout the world. But the plan of the king failed: he became a victim of mystification and deceit. Enraged, Ludovic commissioned Molière to write a comedy that would make fun of the Turkish mentality along with their delegation. Thus was born the "Philistine in the nobility", the first presentation of which before the king and nobility was given in mid-October 1670, and the official one, for the Parisian public, in November 1670. From that very day (November 28) on the stage of the main theater of Paris - the Palais Royal - during the life of the author, the performance was staged more than 42 times, and this is not counting other productions in smaller theaters! And about a century later, the first professional translation of the comedy into Russian appeared. In Russia, "The Philistine in the Nobility" was accepted with a bang, and his victorious procession continues to this day.

The plot of the work is simple, the main intrigue of the comedy lies not in the conflict, but in the characters. Jourdain, a bourgeois of respectable age, very rich, but narrow-minded, rude, and sometimes frankly stupid, ignorant, wants with all his might to join the noble sophistication, grace, gallantry and outward brilliance. The ultimate goal of all his tricks is the Marquise Dorimena, a cutesy aristocrat, accustomed to judging people by the severity of their wallet and the loudness of the title. The ruined Count Dorant, a trickster and a deceiver, safely leads Jourdain by the nose, promising to help get closer to Dorimena and, in general, to introduce his “friend” into the high Parisian society. By nature, he is far from being a fool, Mr. Jourdain is blinded by the brilliance of the nobility and does not notice point-blank that he has long been a "cash cow" for such rogue aristocrats. He borrows huge sums of money from them without demanding a return. He hires a whole host of teachers, tailors, so that they educate and hew it a little. There is no sense in this, but gold coins are flowing away like a full-flowing river. In fact, “The Philistine in the Nobility”, the brief content of which is to ridicule and criticize the ruling class of the nobles and the bourgeoisie that comes to replace it, is a wonderful parody of the monarchical absolutist system that developed in France at the end of the 17th century. The comedy clearly emphasized that the future was not for jourdains and dorants, but for such honest, active, enterprising and viable types and characters, like Cleont, the groom of Jourdain's daughter, Covelier, his servant, and all those who are used to achieving everything in life thanks to his own mind and strength. In this regard, the book "The Philistine in the Nobility" could become a desktop book for the Russian nobility. However, the comedy of the remarkable Russian playwright Fonvizin "Undergrowth" turned out to be close to the point of view and the author's characteristics of Molière. Both of them are included in the golden fund of world literature.

Common noun of images

Needless to say, many comedy expressions have become aphorisms, and its main character symbolizes human rudeness and ignorance, lack of taste and sense of proportion! “Jourdain with papillots” - we are talking about this, and that says it all!

From French: Le Bourgeois gentilhomme. Literally: Bourgeois nobleman. Title of the Russian translation of the play (1670) by the French playwright Jean Baptiste Molière (pseudonym of Jean Baptiste Poquelin, 1622-1673). The hero of the play is a rich bourgeois Jourdain striving for ... Dictionary of winged words and expressions

WOMAN IN THE NOBILITY- "THE WOMAN IN THE NOBILITY", Russia, STUDIO OF ARCHIVE AND STOCK PROGRAMS OF TV CHANNEL "CULTURE", 2000, color, 50 min. Play. Based on the play by Jean Baptiste Molière. Video recording of the performance of the theater "FEST" (Artistic director of the theater Igor Shapovalov). V… … Cinema Encyclopedia

Tradesman in the nobility- wing. sl. This is the title of the Russian translation of Molière's comedy "Le Bourgeois gentilhomme" (1670), in which the bourgeois Jourdain is ridiculed, striving to infiltrate noble society at all costs, for which he resorts to the help of many people, from ... ... Universal additional practical explanatory dictionary by I. Mostitsky

tradesman in the nobility- bookstore about an upstart who tries to look important and educated. “The tradesman in the nobility” is the Russian title of Molière’s comedy “Le Bourgeois gentilhomme” (1670). Her hero, the bourgeois, Jourdain, seeks, by all means, to penetrate into ... ... Phraseology Handbook

tradesman (in the nobility)- Philistinism (inosk.) low-level views and direction beyond lofty aspirations Cf. I fully agree with you that the elevation of a man above his condition rarely makes him happy! this is true; but I do not agree with you that a person will never ... ... Michelson's Big Explanatory Phraseological Dictionary

Tradesman (in the nobility)- Philistine (in the nobility). Philistinism (inosk.) low-level views and direction beyond lofty aspirations. Wed I fully agree with you that the elevation of a man above his condition rarely makes him happy! this is true; but I don't agree with you... Michelson's Big Explanatory Phraseological Dictionary (original spelling)

Tradesman in the nobility- Book. Shuttle. iron. About a person who has taken a high position not on merit. BTS, 540… Big dictionary of Russian sayings

tradesman in the nobility- About a person who has taken a high position not on merit; upstart. Based on the title of Molière's comedy (1670) ... Dictionary of many expressions

Tradesman in the nobility (play)- Tradesman in the nobility Le Bourgeois gentilhomme Genre: comedy ballet

tradesman- (from Polish miasto "city"): A tradesman is an urban inhabitant. In Russia, until 1917, a person included in the petty-bourgeois estate, which consisted of small homeowners, townspeople and artisans. In a figurative sense, a person, for ... ... Wikipedia

Books

• A tradesman in the nobility, Molière J.. Before you is a book from the Classics at School series, which contains all the works studied in elementary school, middle and high school. Do not waste time looking for literary ... Buy for 154 rubles
• Tradesman in the nobility, Molière. "The Tradesman in the Nobility" is a brilliant, sparkling comedy by the classic of French literature by Jean Baptiste Molière. The attempts of an uneducated, ignorant, uncouth dork with big ...