How I got cancer. Rami Blekt Intro to number four...
1. Molière and the traditions of classicism.
2. The background to the creation of the comedy "The tradesman in the nobility."
3. The image of the main character of the comedy.
4. Other comedy characters.
I know this kind of pompous asses:
Empty like a drum, but how many loud words!
They are slaves of names. Make up a name for yourself
And any of them is ready to crawl before you.
O. Khayyam
Molière is a 17th century writer. In art and literature at that time, the principles of classicism dominated, among which the most important were: the observance of the "three unities" - time, place and action - as well as the strict division of literary genres into "high" and "low". In accordance with this, the speech of the heroes of works of "high" genres, such as tragedy, differs greatly from the speech of heroes from comedy, which was considered a "low" genre. The characters of the literary works of the era of classicism are not yet multifaceted characters, but the embodiment of some pronounced quality, positive or negative. According to the ideas of the classicists, the depiction of human vices was aimed at exposing and correcting them.
Moliere, of course, was the son of his age and organically accepted some of the ideas of classicism; however, many of his works can be regarded as a step towards realism. Why? The fact is that in the comedies of Molière there is often a mixture of genres. Another innovation introduced by the playwright was the comedy-ballet - this genre also includes "The Tradesman in the Nobility".
It is interesting to note that this comedy was created by Moliere by order of the French king. Louis XIV, enraged by the careless remark of the Turkish ambassador. He dared to declare that the horse of his master, the Turkish Sultan, was richer and more elegantly decorated than that of the King of France. The Sun King, as they called Louis XIV, first sent the impudent Turk under arrest, and then completely sent him out of his possessions. Wanting to expose the Turks to ridicule, the king ordered a play with this plot from Molière.
The playwright carried out the order of his king; however, Molière went much further. The amusing dance of the mummers, representing the Turks, and Jourdain's absurd initiation into mammamushi is a funny scene, which, of course, should have caused laughter from the king and his entourage. But Moliere chose human vanity as the main object for irony. In addition, the playwright shows in his comedy the ever-increasing power of capital, which over time will push the nobility of the family into the background. But this is still somewhere far away, but for now, the wealthy bourgeois Jourdain desperately dreams of being considered a nobleman. And whatever he did, just to be noble! “I would allow myself to cut off two fingers on my hand, if only I would be born a count or a marquis,” sighs Jourdain. However, such a reincarnation, of course, is unlikely to take place. But Jourdain, with the persistence of a successful businessman, rushes towards his goal - to enter the society of nobles. For this, he does not feel sorry for any money. He constantly supplies money to Count Dorant, who, out of self-interest, indulges Jourdain's eccentricities. The cunning count praises him, and he, already in seventh heaven, does not notice that he actually looks ridiculous. But the family vied with each other to tell him about it! In fact: Jourdain is far from being a young man, since he has an adult daughter, and yet this respectable father of the family hires people who would teach him all the subtleties of court manners. Of course, there is nothing wrong with the desire for knowledge, however, wanting to be elegant and irresistible, Jourdain looks funnier and funnier. Bowing to the Marquise Dorimene, Jourdain tries at all costs to do it the way his dance teacher taught him, so he asks the astonished lady to take a step back - otherwise he will not be able to make the third bow.
Vanity drowns out the voice of common sense in Jourdain; moreover, he does not want to listen to those who are trying to bring him back to reality. He feels uncomfortable in tight stockings and tight shoes, and his new suit is ridiculed by his family. But since the tailor and the count say that it is so fashionable at court, Jourdain willingly endures inconvenience and brushes off the ridicule of his wife and maid.
But Jourdain's grotesque vanity reaches its highest point after the buffoon's initiation into mammamushi. He seriously imagines that he has been given a noble rank and is now a Turkish nobleman. But it is obvious that Jourdain was not always so divorced from reality and gullible in relation to everyone who flatters him. If this person did not have such qualities as prudence, ingenuity, practicality, he would hardly have managed to get rich by trading. But vanity has so blinded the clever merchant that he becomes a laughing stock for those around him and an easy prey for flatterers who use him for their own selfish purposes.
However, the satire of Molière's comedy is directed not only against the arrogant bourgeois, who are ready to acquire the title of nobility for money. The nobleman Dorant also does not look very attractive. Taking advantage of the eccentricity of his fellow tradesman, the count not only constantly borrows money from him, all the time promising to repay the debt very soon. Noticing the far-fetched passion of Jourdain for the Marquise Dorimene (for a respectable tradesman, her main charm lies in the fact that she is a noble lady), the count offers his friend his help. Not a very honest move, given the fact that Dorant himself wants to earn the favor of Dorimena and marry her; moreover, the count from own name presents the Marquise with a diamond, which Jourdain asked him to give her as a gift. Likewise, the dinner and the ballet given in honor of the Marquise Jourdain. Through the efforts of the Count, the Marquis believes that he arranged all this himself. Of course, she likes Dorant, and she worries that he spends so much on her, so she agrees to marry him. Meanwhile, the count not only spent nothing out of his own pocket, but also constantly borrows money from Jourdain. It must be admitted that the count knows how to gain the trust of people and deftly use it for his own purposes, but here it just doesn’t smell of nobility, which was once customary to attribute to the nobles.
Jourdain's teachers are also satirically depicted. Everyone seeks to assure others that exactly what he is doing is the most necessary thing, and everything else is nonsense. In glorifying their craft, teachers reach the point of absurdity: “Without dancing, a person would not be able to do anything”; "All strife, all wars on earth come solely from ignorance of music." And it ends with the pundits - the dance teacher, the music teacher and the fencing teacher - starting a rough squabble. When a teacher of philosophy intervenes in their argument and declares that only philosophy brings the light of wisdom, and their occupations “are not worthy of the honor of being called ... arts,” the indignant debaters unite and attack him with their fists. It is interesting to note that teachers, like Jourdain, are also driven by vanity. As Jourdain wants to rise above the people of his class and look down on them, so each of the teachers wants to be considered the best by his colleagues at work.
The literary process of the 17th century was characterized by the direction of classicism, which displayed the features ancient literature. Moliere's play "The Philistine in the Nobility" is a kind of standard of the literary direction of this period.
Characteristics of the image of Jourdain
The protagonist of the play "The Philistine 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 protagonist began to completely rebuild his life and old habits in order to resemble a nobleman as much as possible. He hires a teacher and learns to dance, like secular gentlemen, equips his apartment according to the example of fashionable salons, dresses in clothes from expensive materials ordered from abroad, is looking 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 amusing than an uneducated merchant who imagines himself to be 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 off her daughter to a loved one, Jourdain's wife plays a real performance for her husband.
A low-income groom is dressed up as a Turkish sultan, whom, according to the script, the daughter should marry. Jourdain has become so accustomed 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.
Playing along with the upper class in everything, Jourdain is no more, no less than an unsuccessful caricature of him. Probably, his image would have evoked ridicule from more than one generation of readers, if not for the epiphany that Jourdain had at the end of the play.
He realized that all his life he had been striving for something higher than everyday vanity, and he chose the wrong path, wanting to inherit the nobility. Jourdain realized that he had actually lived his entire life prosaically, while his soul longed for lyrics.
At this point, the protagonist becomes for real it's a pity. However, this feeling is replaced by joy for him at last, he had his sight and looked at the world with a completely different look.
The meaning of the story
In the play "The Philistine 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 meaningless and empty laws of life.
Jourdain's game of the nobility is actually a demonstration performance for the upper class, because sometimes they themselves, with their fictitious rules of etiquette, and bad taste in some things, look as comical as the protagonist plays.
The main characters of the play "The tradesman in the nobility" are divided into positive and negative, in their characters the dominant feature is clearly defined
"The tradesman in the nobility" Molière the main characters
- Mister Jourdain,
- Mrs. Jourdain,
- Lucille, their daughter,
- Cleont in love with Lucille
- Dorimena, marquise.
- Dorant, count, in love with Dorimena
- Nicole, Jourdain's maid
- Coviel, Cleont's servant
- Music teacher
- Music teacher's apprentice.
- Dance teacher.
- fencing teacher
- philosophy teacher
- Tailor.
- tailor's apprentice
- two servants.
"The tradesman in the nobility" characterization of the heroes
Jourdain - the protagonist of "The tradesman in the nobility", for whom the desire to become a nobleman is a beautiful dream. Passionately desiring to fulfill this dream, Jourdain cannot talk sensibly about anything, therefore everyone around him fools him, including the teachers of linguistics, philosophy, dance, and fencing who fed him. However, with all the passion to “become noble”, Jourdain retains his living nature and remains himself: lending money, he always knows their account; if he is angered, he swears and fights, forgetting all high-society rules; in studying the sciences, he chooses the most practical; he prefers a cheerful folk song to the mournful song of shepherdesses; he glorifies science because there are vowels and consonants, he is delighted with what he says in prose.
Ms. Jourdain- the wife, compared to her husband, is smart and well-read, it’s not easy to fool, she immediately sees the catch.Jourdain's wife, a true representative of the nobility. She is a sensible, practical woman with self-respect. She is trying with all her might to resist the mania of her husband, his inappropriate claims:“You're crazy about all these quirks, hubby. And it started with you from the time you took it into your head to hang out with important gentlemen.All the efforts of Madame Jourdain are aimed at clearing the house of uninvited guests who live off her husband and use his credulity and vanity for their own purposes: “Here you are, drive your teachers in the neck with all their gibberish.”
Lucille- stubborn, in love with Cleont, daughter of Jourdain. Lucille has received a good upbringing, she loves Cleont for his virtues. Therefore, not knowing about the idea of \u200b\u200bthe beloved and his servant, she is sincerely indignant and resists her father’s attempt to marry her to the son of the Turkish Sultan: “ No, father, I have already told you that there is no such force that would force me to marry someone | anything but Cleont».
Cleont- In love with Lucille. Cleont is noble not by origin, but by character, he is honest, truthful, loving. Cleon is sure that only the spiritual nobility of a person and his reasonable behavior in society are true. In his opinion, every deceit casts a shadow on a person. In the form of Cleont the ideal of classicism was embodied: a truly noble person could only be one who, in his behavior, was guided by the requirements of reason, proceeded from what was considered to be good.
Count Dorant has a noble origin, refined manners, captivating appearance. But at the same time, he is a poor adventurer, a swindler, ready for any meanness for the sake of money, even pandering.
Nicole- servant, in love with Covelya.
Coviel- a servant who is in love with Nicole.
Analysis of the main characters of the comedy "The tradesman in the nobility"
The 17th century, in which Molière worked, was the century of classicism, which demanded a trinity in time, place and action of literary works, and strictly divided - into "high" (tragedies) and "low" (comedies) - literary genres. The heroes of the works were created with the aim of fully highlighting some - positive or negative - property of character and either elevating it to a virtue or ridiculing it.
However, Molière, basically observing the requirements of classicism, stepped into realism, ridiculing, in the person of Jourdain, a huge stratum of the population - the wealthy bourgeois, rushing into the upper classes. And to emphasize how ridiculous these upstarts are, striving to get into other people's sleighs, the satirist created a completely new genre: comedy-ballet.
Molière wrote “The Tradesman in the Nobility” for the French King Louis XIV, who was greatly stung by the arrogant remark of the Turkish ambassador, who claimed that the horse of the Turkish Sultan was decorated much richer and more elegant than that of the king.
The amusing dances of dancers dressed up as Turks, Jourdain's stupid and mocking initiation into the non-existent class of mammamushi - all this causes sincere laughter at what a fool vanity turns a person into.
It is especially ugly where they rely on accumulated wealth. But in fact, no capital will ever displace the born aristocracy and nobility of the family from the first roles.
Jourdain, who got rich in trade, only now decided to learn everything and, most importantly, quickly. Literally in three days, he “learns” the subtleties of etiquette, correct, literate speech (comically amazed at the discovery that he, it turns out, speaks prose!), Various dances and other subtleties of polite treatment.
On this vain desire to break into the nobility, not only false teachers “graze”, assuring Jourdain of his unsurpassed success in teaching, but also the mercenary and cunning Count Dorant, who borrowed very solid sums from a tradesman blinded by his desire, which he, of course, is not going to return . Jourdain, who believes that he is simply obliged to have a lady of the heart, through an imaginary friend Dorant, gives the Marquise Dorimene a diamond, and the Marquise believes that this is a gift from the count. The count is also credited with an exquisite dinner and a ballet performance arranged by the bourgeois for the marquise.
Jourdain is especially funny in costumes that are extremely uncomfortable for him, but supposedly put on by a nobleman, at which not only his wife and maid laugh, but everyone around him, including the imaginary friend and patron of the count. But the peak of events is the initiation of the merchant into "mamamushi", allegedly into the Turkish aristocratic class, played out by Jourdain's servant Koviel, dressed as a Turk. On such joys, unable to refuse the "son of the Turkish Sultan", the newly-made "mamamushi" agrees not only to the marriage of his daughter Lucille and Cleont, but also servants.
The smart and dexterous, energetic and prudent merchant seemed to have lost all these qualities, intending to get himself a nobility. Involuntarily, he feels sorry for him when he fights off ridicule by explaining that he is striving for the title not for himself, but for his daughter: almost uneducated, working hard, but deprived of the opportunity to comprehend science, he saw, realized the squalor of the life that he lived and decided to provide a different, much better daughter. This effort did not bring any good to Jourdain himself, or to his daughter, who was almost separated from her beloved, or to scoundrels claiming to be teachers of music, dance and philosophy, or to the rogue count - to anyone. Vanity is not an assistant in the desire to climb a step higher in the ranking table.
In addition to the analysis of the main characters of the work "The Philistine in the Nobility", read other works related to Molière:
