"Bourgeois in the nobility" (Le bourgeois gentilhomme - letters, translation - "Bourgeois nobleman", 1670). Monsieur Jourdain is one of the funniest characters in the great comedian. The characters of the play, readers and spectators alike make fun of him. Indeed, what could be more absurd to those around him than an elderly merchant who is suddenly obsessed with social life and frantically striving to resemble an aristocrat. The thirst for "a change of fate" is so strong in Jourdain that, overcoming the natural non-musicality and clumsiness, he learns the intricate "pas" of fashionable dances, brandishes a sword, an indispensable noble attribute, and under the guidance of numerous teachers comprehends the methods of seduction of demanding representatives of secular society.
Once again, in Moliere's comedy, everything revolves around the game. Jourdain is impatient to get used to the role of an inveterate courtier, and those around him, with a few exceptions, “play along” with the hero, pursuing their very mercantile goals. Even Madame Jourdain, who resists the expensive follies of her husband, and her funny maid eventually understand that it is enough to direct Jourdain's "game" in the right direction so that no one is hurt by it. So, at the end of the play, with the help of the mummers of the household, she marries her beloved daughter Jourdain, whom the adamant father predicted exclusively for a nobleman. And Jourdain himself, as a result of the cunning plan of his daughter's groom, becomes "mamamushi" and "close to the Turkish sultan." This quasi-Turkish word-monster expresses in the best possible way the monstrous tastelessness and irregularity of the claims of the newly appeared nobleman. It was composed especially for Jourdain by mischievous and enterprising fellows, Cleonte and Koviel, who decided at all costs to get the daughter and servant of a mad bourgeois as a wife. The "Turkish ceremony", designed to "initiate" Jourdain into the nobility, is the culmination of the comedy and the "apotheosis" of the hero, who felt himself to be a real "Muslim aristocrat" in the process of a parody ballet extravaganza.
Jourdain's image, however, is more complex than it might seem. Its social background, which is relevant for the era, does not prevent us from seeing in comedy a continuation of Moliere's serious reflections on the play space of human existence, on the functions of play that fills the life of society, on different hypostases of play behavior and on the “costs” of human play activity. This time the subject of research was the playful design of caste train de vie (lifestyles). The clumsy bourgeois Jourdain, who tries on the etiquette standards of the nobility, turns out to be a kind of mirror in the play, reflecting both the inert bourgeois way of life, devoid of a creative spirit, and the overly ornamented, cutesy style of aristocratic behavior. The space of comedy-ballet, in which everyday scenes, singing numbers and dance involuntary divertissements coexist, is an expression of the genre originality of "The Bourgeois in the Nobility". At the same time, pantomime, vocal and choreographic pictures framing the action turn out to be, as it were, the materialization of Jourdain's dreams of an aristocratic life in the form of a continuous ball of sophistication and gallantry.
Jourdain's thematic complex includes not only the motive of baseless social claims. Creating for himself an illusory world of "high taste" and grace, Monsieur Jourdain is intoxicated not only with a new "Indian fabric" robe, wig and suit with "flowers heads up". The key and most famous phrase of Moliere's bourgeoisie sounds like this: "... I had no idea that for more than forty years I have been speaking in prose." The discovery made by Jourdain, of course, exposes his illiteracy. But an uneducated, ridiculous, ill-mannered merchant, in contrast to his entourage, is able to suddenly see the squalor of a lived life, devoid of a glimpse of poetry, mired in gross material interests. Thus, another theme of Jourdain is a touching and sympathetic craving for the world of other values, which, however, were revealed by Moliere in a parodic manner. In this sense, Jourdain discovers a series of images of the bourgeois, seeking the spiritualized refinement of the noble life, images, among which Madame Bovary Flaubert , and Chekhov's Lopakhin.
Monsieur Jourdain in the play has at least three playable incarnations. He acts as an actor trying a winning role, as a toy for those around him who use his mania, and as a catalyst for the playful activity of young characters in comedy. At the end of the play, the hero gets what he is looking for (after all, his goal has always been appearance); all participants and witnesses of the "Turkish ceremony" are satisfied.
"Bourgeois in the Nobility" is also a play about illusions, about the illusory nature and relativity of many human institutions, such as, for example, caste "rules of good taste" and "accepted" forms of social life. And also about the fact that play is the last, and perhaps the only way to give creative energy to human existence, to make the layers of inert matter part to soar in the magical spaces of dreams. The image of Monsieur Jourdain, a merchant living in prosaic reality, but looking for poetry, confused and happy, a bourgeois and a nobleman, is one of the brightest manifestations of the irresistible duality of being and one of Moliere's unconditional masterpieces. It is not surprising that the motives of the comedy became the basis of M.A. Bulgakov "Crazy Jourdain", written in 1932 for the Studio Theater under the direction of Yu.A. Zavadsky.
The first performance of the comedy "Bourgeois in the Nobility" took place in the Chambord castle on October 14, 1670. Then, in the same year, Molière himself played Jourdain at the Palais-Royal. Among the outstanding performers of the role of Jourdain Coquelin Sr. (1903). In Russia, Jourdain was played by M.S. Shchepkin (1825), P.M. Sadovsky (1844), V.I. Zhivokini (1864).
Comedy is not an easy genre. The creator of the classic comedy is Jean-Baptiste Poquelin, better known under the pseudonym Moliere. His works are witty and full of philosophical ideas. In his comedy "Bourgeois in the Nobility," he raised one of the most pressing themes of the 17th century - the attempt by the petty bourgeoisie to penetrate the world of the aristocracy. For the sake of obtaining titles, they were ready to pay huge amounts of money, buy land and positions, master noble manners, and most importantly, make secular friends.
The main character of the comedy is an ordinary bourgeois mister Jourdain, who has everything necessary for happiness, except for the title of a nobleman. Despite the fact that he is not a nobleman either by origin or by upbringing, he strives to become a true aristocrat by all means. For the sake of his crazy dream, he is ready to spend fortunes, to hire teachers of logic, dance, music, fencing, tailors, hairdressers and other employees to make another person out of him. He himself is rude and uneducated by nature, so it is not easy for teachers to teach him secular manners. However, in words, they promise him any transformation.
Jourdain, without a moment's hesitation, pays this whole army of fraudsters and firmly believes that this will help in the realization of his dreams. In turn, the tailor deceives him. He sews him ridiculous outfits, calling them secular, while Jourdain himself has no idea what they really wear in the world. He sews clothes for himself from the remnants of materials. Many of Jourdain's employees receive money only for praising his new robe or cap, listening to his mediocre folk song and obsequiously calling him "Your Grace" or something else. Count Dorant, though of aristocratic blood, is not rich. He is friends with Jourdain only because of money and often borrows from him.
Jean Baptiste Moliere. Born January 15, 1622 in Paris. French comedian, actor, theatrical figure, reformer of the performing arts. He served at the court of Louis XIV. Based on the traditions of folk theater and the achievements of classicism, he created a genre of social and everyday comedy, in which buffoonery, humor were combined with grace and artistry. Making fun of the class prejudices of the aristocrats, the narrow-mindedness of the bourgeois, the hypocrisy of the nobles, he saw in them a perversion of human nature ("Ridiculous Cuteness", "Misanthrope", "Miser", "Scientists", "Bourgeois in the nobility"; "Imaginary patient"), with with special irreconcilability he exposed hypocrisy, creating the immortal image of Tartuffe - the comedy "Tartuffe, or the Deceiver."
Family. The Poquelin family (Moliere's real name) belonged to a wealthy merchant class: in 1631, Jean's father received the high official position of royal upholsterer. He gave an excellent education to his eldest son, who from 1636 to 1639 studied at the Jesuit College of Clermont in Paris, where the offspring of many noble families were brought up. Jean Baptiste knew a lot about the wallpaper craft and entered the craft workshop, but his relatives intended him for a legal career: in 1641 he was admitted to the bar.
The first steps in the theatrical field. Around 1641, Jean Baptiste made acquaintances in the acting environment: the Italian mime Fiorilli, gave him several lessons in stage skills, and the young actress Madeleine Bejart became his mistress. In 1643, he decided to finally link his fate with the stage and signed an agreement with Madeleine Bejart to create the "Brilliant Theater". In the 17th century, the acting profession was considered "vile", so no one performed on stage under their own name. The pseudonym "Moliere" was first recorded in a document dated January 28, 1644. In 1645, the future comedian was twice in prison due to debts, and the troupe had to leave the capital. The tour of the provinces lasted 12 years: Moliere's first plays "Shaly, or All Out of Place" (1655), "Love Quarrel" (1656) refer to this period. Years of wandering played a significant role in the life of the playwright: he became an excellent actor and director.
The Parisian Period: The First Pieces. In 1658 the troupe returned to Paris and staged a performance at the Louvre for Louis XIV, who greatly enjoyed Moliere's play The Doctor in Love. The playwright earned his first success with the public in 1659 with the comedy "Ridiculous Cutie", in which he ridiculed the sweetness and pretentiousness of manners. In 1661, Moliere's only "correct" play, Don Garcia of Navarre, failed, but the productions of The School of Husbands and The Troublesomes turned out to be extremely successful at the Palais Royal Theater, which now houses the Comedie Francaise (also known as Moliere's House) ).
"School for Wives" The next year, a "pamphlet war" broke out in connection with the performance of the "School for Wives": the saints saw in it an attempt on the principles of Christian education. The play was a tremendous success: according to a contemporary, "everyone found her pathetic, and everyone was in a hurry to see her." This meant the birth of the “double taste” or “double standard” so characteristic of France: either popularity or strict adherence to the “rules”. Moliere was accused of a weak intrigue, which, in fact, is almost primitive. As in many of Moliere's other comedies, the denouement is far-fetched. However, the playwright was not at all interested in the ending (for Arnolf, almost tragic), but in the "universal" type: an elderly man who fell in love with a young girl and raised her to the delight of a young rival.
Don Juan and the Misanthrope. In 1665, another storm was caused by the production of Don Juan: Moliere's enemies, not content with a temporary ban, did everything possible to finally expel the play from the stage, and after 15 performances it was never staged during the playwright's lifetime. From a financial point of view, the Misanthrope, staged in 1666, was also unsuccessful. This is one of the most "mysterious" and ambiguous comedies by Moliere. Alcest is an honest person who does not find his place in society. He loses the lawsuit, quarrels with his friend Filint, loses his beloved girlfriend Selimene and proudly retires "into the desert" - away from the vicious world. Alcesta's desire to reveal the true meaning of social conventions undoubtedly coincides with the position of Moliere himself. At the same time, Alcest is shown not only as an idealist, but also as a mature person who stubbornly does not want to grow up.
Last years of life. Financial difficulties forced Moliere to write five plays in just one season (1667-68): these include "The involuntary marriage" and "The Miser". In 1670, one of the most popular comedies of the playwright, "The Bourgeois in the Nobility," appeared, which is a funny farce with an inserted Turkish ballet. The play was immortalized by the figure of M. de Jourdain - a stupid and very funny bourgeois who became obsessed with his desire to become "one of our own" in the circle of nobles. The stage career of the playwright ended tragically. In February 1673, The Imaginary Patient was staged, where Moliere, despite a long-standing serious illness (most likely, he had tuberculosis) played the main role. On the fourth performance, he lost consciousness and had to be carried home. He died on the night of February 17-18, not having time to confess and renounce the acting profession. The parish priest forbade burying him on consecrated ground: the widow turned to the king for help, and only then was it allowed to perform a religious burial.
Moliere's work. Moliere's plays have withstood more than 30 thousand performances on the stage of the Comedie Française alone. The French Academy, which neglected the "comedian" during his lifetime, announced a competition for "Praise to Moliere" in 1769 and installed his bust. Moliere became the real creator of the genre of classicist comedy, where the collective hero is countless and immeasurable human delusions, which sometimes turn into mania.
1. Reading 1-2 Phenomena I Act How do these scenes prepare the appearance of M. Jourdain? How do we get a sense of Jourdain's moral character? (He is simple-minded, and naive, and natural, but at the same time loves flattery and, most importantly, is going to become like a nobleman).
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The literary process of the 17th century was characterized by the direction of classicism, which reflected the features of ancient literature. Moliere's play "Bourgeois in the Nobility" is a kind of standard of the literary trend of this period.
Characteristics of the image of Jourdain
The main character of the play "Bourgeois in the Nobility" - Jourdain, became a kind of mirror in which the author reflected all the shortcomings and vices of society. Jourdain is a rather elderly merchant, who once had an irresistible desire to become part of an aristocratic society.
The main character began to completely rebuild his life and old habits in order to be as much like a nobleman. He hires a teacher and learns to dance like secular gentlemen, equips his apartment following the example of fashionable salons, dresses in clothes made from expensive materials ordered abroad, looks for a groom with a noble pedigree for his daughter.
But this does not help Jourdain to join the coveted society, since all his actions on the way to achieving his goal, cause only the ridicule of others. After all, what could be more funny than an uneducated merchant who imagines himself a nobleman.
Close people use it for personal purposes: the daughter and wife demand new expensive outfits in order to match the future aristocrat. In order to marry her daughter off to a loved one, Jourdain's wife puts on a real show for her husband.
The low-income groom is dressed up as a Turkish sultan, whom, according to the scenario, the daughter should marry. Jourdain, so got used to the role of an aristocrat that he does not see in the Sultan the poor guy Clement, who asked for the hand of his child a month ago.
In every way playing along with the upper class, Jourdain is no more, no less than an unsuccessful caricature of him. Probably, his image would have caused ridicule of more than one generation of readers, if not for the epiphany that happened in Jourdain at the end of the play.
He realized that all his life he was striving for something more sublime than everyday vanity, and chose the wrong path, wanting to inherit the nobility. Jourdain realized that in fact his whole life he lived prosaically, while his soul desired lyrics.
At this moment, the protagonist becomes really sorry. However, this feeling is replaced by joy for him, finally, he received his sight and looked at the world with a completely different look.
The meaning of the story
In the play "Bourgeois in the Nobility", in addition to people who want to be equated with a high-ranking society, the aristocracy itself is ridiculed, along with its senseless and empty laws of life.
Jourdain's playing of the nobility is actually a showcase for the upper class, because sometimes they themselves, with their invented rules of good manners, and bad taste in some things, look just as comical as the protagonist of the play.
The main character of the comedy is Monsieur Jourdain. He is rich, but his kind confuses him, he is disgusted with his origin. Jourdain has a great desire to enter the circle of high society. His opinion that money is everything can be called erroneous. Jourdain is confident that funds will solve the issue of love, titles, knowledge and other issues. The main character is illiterate and not educated. Therefore, people only pretend that he is smart and educated, in fact, they only need his money. Jourdain is very naive and is deceived by almost all people. He is flattered and given compliments, and against this background both teachers and tailors are deceived.
The character looks very funny, especially in those situations when his desire to turn into an aristocrat appears. The author of the comedy makes it clear that the main character, with his striving, empties his soul from good inclinations. If you take, in general, the main character is not a fool, he managed to use his father's money and, moreover, multiply it. Also, Jourdain has enough intelligence to understand that his teachers are deceiving him, they give him the wrong truths. The truths given to him by teachers only fetter him and prevent him from developing in the right direction. Jourdain is often the subject of ridicule. Even his servants, at the sight of him, are unable to restrain themselves from laughing. The hero notices this, but it doesn't matter to him, because he has a goal that not only makes him a laughing stock, but also endangers others.
For his environment, which does not in any way affect his future, in his opinion, success in high society, Jourdain becomes dangerous. His wife can get under a hot hand, and Jourdain begins to insult and deceive her. Servants also fall prey to mistreatment and humiliation. Even a daughter is only a stage that can help Jourdain get his way. The happiness of his daughter is in great danger, but it does not matter, it is important to get the title of aristocrat.
The author of the play, for all the kindness and responsiveness of Jourdain, nevertheless presents him as a rude, cynical and illiterate person. Of course, the hero causes laughter, but how can you despise him for that? The author mainly tried to ridicule the aristocrats. Whatever the hero is, he adheres to his life line to the last, he does not change his judgments. As a result, we can say about Jourdain that he is too spoiled by the luxurious life and is bored. He is engaged in a completely unnecessary occupation.
Essay about Jourdain
The main character of the creation "Bourgeois into the nobility" is Monsieur Jourdain. Jourdain is the richest man who carefully hides his origin. His poor background prevented him from entering secular society.
The hero believed that money rules everything and that you can buy everything up to love and noble education with it. For his money, the hero hired a large number of teachers, who began to teach him the behavior of aristocrats and certain sciences. During the training, the hero managed to expose the shortcomings and ignorance of people from high society. The hero did not possess special knowledge and therefore he became a victim of deceivers. Jourdain was deceived by everyone from simple teachers to a tailor.
The desire to become a nobleman made Jourdain a real laughing stock. The author showed that thanks to vices, people can forget about their good inclinations. Hobbies have become the meaning of life for the hero. Jourdain had a special mind that helped him multiply his father's fortune. He knew that the tailor was deceiving him, and at the same time did not contradict him. Because the hero really wanted to become an aristocrat. Also Jourdain knew that his teachers did not teach him anything. However, the desire to become a nobleman was stronger than his mind.
Everyone laughed at Jourdain. His wife tried to dissuade her from the plan. Dorant the tailor pretended to be a friend, although in his heart he hated him. The hero became a laughing stock even in front of his servants. The reason for the laughter was Jourdain's ridiculous attire. His desire to break into the ranks of the nobles becomes dangerous for the people around him. He began to deceive and constantly humiliate his wife. He also began to mistreat the servants. He even decided to sacrifice his daughter's happiness in order to become an aristocrat.
In the work, the author described Jourdain as a rude and uneducated person. At the same time, the hero was a naive, sincere and good-natured person. After studying certain sciences, the hero began to express himself in prose. Each of his discoveries and actions caused only laughter. In the play, the author laughed at the aristocrats and directed the edge of satire against them. Despite a strong desire to get into high society, Jourdain has always remained a sincere person, unlike Dorimen and Dorant, who have no conscience and honor. Jourdain is a kind and wealthy person who has found himself an unnecessary hobby.
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