Questions about Molière's comedy, the tradesman among the nobility. Molière tradesman in nobility test

Lesson type: Learning new material

Lesson topic:

Lesson objectives: 1. Educational: introduce students to the images of J.-B.’s comedy.

Moliere "The Bourgeois among the Nobility."

2. Developmental: a) develop the concept of satire;

b) develop an idea of a dramatic work;

c) develop students’ speech, thinking, and imagination within

proposed topic.

3. Educational: a) moral and aesthetic education;

b) to form moral convictions in students within the framework

proposed topic;

c) show the universal meaning of Moliere’s comedy.

Bibliography: 1. Lesson developments in literature, ed.

I. Zolotareva, N.V. Egorova. M., Vako, 2009.

2. Program ed. V.Ya. Korovina. 9th grade.

During the classes:

I . Organizing time.

Greeting students. Checking absentees. (1 min.)

Setting goals. In today's lesson we are with you

We continue our acquaintance with the comedy of J.-B. Moliere

"A tradesman among the nobility." We'll talk about images

this comedy, we will find the features of classicism in the play and

Let us determine the place of comedy in the system of works by J.-B.

Moliere.

Psychological preparation of students.

Method: Open your notebooks. Write down the number. Lesson topic: (2 min.)

Conversation."A tradesman among the nobility." Comedy images.

III.

Conversation on issues. Method: 1. What are Jourdain's aspirations?

(35 min.) Conversation,

(Jourdain is a rich tradesman. He dreams activity about his social transformation: Goal:

teach reproductive wishes to acquire the title and thereby

guys analysis. character. stand on par with the nobility. Jourdain wants

images transform yourself internally: acquire

comedies.

all the qualities and signs of an aristocrat.

In his old age he began to study

Aristocratic manners, started at home

there is a whole staff of teachers at home.)

2. How do we see Mr. Jourdain? Only

(Of course, Jourdain is ridiculous. The absurdity of his aspirations, their impossibility are predetermined by the upbringing and life of the hero: Jourdain himself admits that he can barely read and write. He rejects the proposal to study logic and aesthetics because of their “tricky, twisted” and, with his point of view, uselessness. He prefers spelling, which, he thinks, will be useful. Jourdain has an excellent memory, he remembers what he learns from his teachers. He is not ashamed to learn “in his old age: “Let them pull me out even now. , in front of everyone, just to know everything they teach at school!”

Jourdain rejoices like a child, admires the knowledge of others, reveres science, and laments his lack of education. But he craves only external gloss, wants to be known as an educated person. Jourdain sometimes even evokes sympathy with his simple-minded desire for transformation, but the goal of this transformation is empty, unnatural, and harmful to all worthy characters in the play. The leading characteristic of Jourdain's image is vanity. He was overcome by a passion that became naturally significant for him - he “went crazy with nobility.” He becomes a tyrant and admits it himself: “I’m as hot-tempered as a hundred devils... when I’m overcome with anger, I want to rage as much as I like.”)

3. How does Jourdain achieve his goal?

(Jourdain blindly adopts the habits and lifestyle of the nobles, because he is ready to “cut off two fingers on his hand, just to ... be born a count or a marquis.”

He hires teachers who are of no use, arranges luxurious dinners and festivities for noble people, gives them jewelry, and lends money (obviously without return). He is ready to endure inconvenience and even humiliation, mistaking them for the privileges of the nobility: he fits into a jester's suit, puts on tight stockings that do not stretch at all. All this causes ridicule from others.)

4. Why does Jourdain end up in

comic situations?

(Jourdain looks stupid because his behavior does not correspond to the usual way of life of the bourgeois, because he violates the usual order, wastes money in vain. Common sense and practicality coexist in him with amazing gullibility and stupidity. The hero readily accepts any obvious absurdity as truth, hoping in this way to advance towards the intended goal - high society.)

5. What is this fanatical basis based on?

stupidity of Jourdain's desire? Why he

definitely wanted to become a nobleman?

(The idea of the superiority of the nobility over all classes in the state was deeply rooted in Jourdain’s mind. His rich life experience at every step confirmed the privileges and advantages of belonging to the upper class. Jourdain considered it possible to enter the circle of these people thanks to the fortune he had acquired. Jourdain’s aspiration was nothing - exceptional. Many rich bourgeois dreamed of the same thing. Moliere only showed what absurdity can be reached when feelings are petty, aspirations are insignificant, actions cause deserved ridicule.)

6. What are the consequences for Jourdain of his

aspirations “to become nobility”?

(Jourdain, with his new way of life, his recklessness, puts himself in an unnatural position, becomes defenseless. Therefore, he turns out to be a toy, a source of pleasure, and sometimes even the existence of people, “noble” by birth, but obviously unworthy and extremely unsympathetic: Count Dorant and the Marquise Dorymen.)

7. How Moliere portrayed Dorant and

Doriman?

(Dorant is depicted in satirical colors. Sly, cynical and somewhat cowardly Dorant is deprived of those noble qualities that a nobleman should have. He belongs to that part of the ruined nobility that has lost the opportunity, but not the desire to live well. In essence, Dorant is trading on his title, exploiting vanity Jourdain openly demonstrates his financial interest, only slightly covering it with florid speeches and ostentatious sophistication. Dorimena is an “interesting” widow, far from the image of a “Beautiful Lady.” Her “secularity” lies mainly in affectation. and false sophistication.)

8. Highlight the main features of classicism in this comedy?

In Moliere's play "The Bourgeois in the Nobility" all three basic unities are not observed. The unity of time is observed: the comedy takes place over 24 hours.

The unity of place is maintained: the action takes place only in the house of Mr. Jourdain. H corresponds to unity of action: in a comedy there are 3 plot lines instead of one. Heroes are vaguely divided into positive and negative, since positive characters exhibit negative traits, and negative ones exhibit positive qualities. The “role system” is presented in the comedy.

Dorant (first lover) – Dorimena (ideal heroine) – Jourdain (second lover, loser). Soubrette - Nicole's maid. Reasoner - Cleont.

(The author’s position is manifested in the satirical depiction of vices. Mockery, from soft and benevolent to downright evil, becomes Moliere’s leading artistic means. Although, following the traditions of classicism, Moliere emphasized one or another trait of the heroes, his artistic generalization made the images typical, as if interspersed in living fabric of society associated with its time.)

IV. Lesson summary.

Method: (5 min.)

Activity

teach

guys analysis.

Moliere believed that “the task of comedy is to depict human shortcomings in general and mainly the shortcomings of his contemporaries.” In his opinion, comedy faces two tasks. The first and main thing is to teach people, the second and secondary thing is to entertain them. If you deprive comedy of its edification, it will turn into empty ridicule; if you take away its entertainment functions, it will cease to be a comedy, and its moralizing goals will also not be achieved. In short, “the duty of comedy is to correct people by amusing them.”

V. Homework.

TEST ON THE PLAY “The Bourgeois in the Nobility” Option 1

1. In what year was Moliere’s work “The Bourgeois in the Nobility” created?

A. 1670; B. 1671; V. 1673; G. 1676.

3. “The Bourgeois in the Nobility” is a play about how the rich bourgeois Mr. Jourdain wants:

A) become a nobleman at any cost; B) learn to dance; B) learn to fencing; D) learn to sing.

4. What science did not Mr. Jourdain study?

A. Philosophy; B. Fencing; V. Painting; G. Music.

5. Whom did Jourdain, with the help of the count, try to impress with his refined manners and education?

A. His wife B. Marquis Dorimen C. All secular society

6. Who did Mr. Jourdain give the diamond to?

A) marquise; B) Mrs. Jourdain; B) Lucille; D) Nicole.

7. What did the musician suggest that Jourdain do in order to benefit even more?

A. Organize home concerts every week

B. Teach him to play several musical instruments

B. Teach his whole family music

8. The external impetus for the creation of the play “The Bourgeois in the Nobility” was

A) The bourgeoisie occupied an increasingly stronger place in the life of society in France

B) Making fun of Turkish ceremonies

C) Show the nobles who remained masters of the situation in the state, having neither the moral right nor the material capabilities to do so.

9. Which characters represent the nobility in the comedy A) Mr. Jourdain B) Cleon C) Dorant D) Dorimena

10. Where, says Dorant, he put in a good word for Jourdain put in a good word for him

A) in the royal bedchamber B) royal reception

11. Who tells Mr. Jourdain that “...you are my best friend, and I was afraid that I would offend you if I asked someone else” (to borrow money)?

A) Cleont, B) Dorant C) Dorymene

12. Who is Count Dorant in love with?

A) Madame Jourdain B) Lucille C) Dorimena

13. Who owns the words “You are obsessed with all these fads... And this began with you from the time you decided to hang out with important gentlemen.”

A) Lucille B) Madame Jourdain C) Dorant

14. What did Mr. Jourdain ask the philosophy teacher?

A) Help him translate Seneca’s texts;

B). Help him write a love note to the Marquise;

IN). Explain to him the basics of ancient Greek philosophy;

G). Explain to him the basics of the universe.

15. Why did Madame Jourdain consider Dorant a rogue?

A. Madame Jourdain knew that Dorant was an ordinary tramp, and not a count;

B. Dorant constantly brought young ladies to their house;

V. Dorant tried to deceive Mr. Jourdain and marry Lucille;

G. Dorant constantly asked Mr. Jourdain to borrow money.

Preview:

TEST ON THE PLAY “The Bourgeois in the Nobility” Option 2

1. In what city do the events of the comedy “A Tradesman in the Nobility” take place?

A. London; B. Madrid; In Paris; G. Rome.

2. “A tradesman among the nobility” is:

A) tragedy; B) comedy-ballet; B) vaudeville; D) drama.

3.“Beautiful marquise! Your beautiful eyes promise me death from love.” Who is this love note for?

A) Dorimene, B) Nicole, C) Lucille

4. Who owns the words: “I would allow two fingers on my hand to be cut off, if only I could be born a count or a marquis.”

A) Jourdain B) Dorant. B) Cleonta

5. Who pronounces these words: “Mr. Jourdain, with his obsession with the nobility and secular manners, is just a treasure for us.”

A) Dorimena, B) Dorant, C) One of the teachers

6. To whom Mr. Jourdain almost gave his entire wallet for calling him “Your Grace,” “Your Grace,” and “Your Excellency.”

A) Dance teacher B) Dorant C) tailor's apprentice

7. To whom did Jourdain pronounce this phrase: “... you don’t even know how to pronounce the letter u,” Mr. Jourdain said with importance... “oh, it’s a misfortune to deal with fools!” You see, you pull your lips forward and bring your upper jaw closer to your lower jaw.”

A) Madame Jourdain, B) daughter LUCILLE, C) maid Nicole

8. Which of the acting characters in the comedy “A Tradesman in the Nobility”, deceiving Mr. Jourdain, calls him his best friend, “a very noble man”?

A) Dorimena, B) Dorant, C) Cleont

9. How did others treat Mr. Jourdain?

A. They were afraid of the wrath of Jourdain, who treated the servants cruelly;

B. They laughed at the absurd behavior of the tradesman;

B. Jourdain’s sharp mind and wisdom were respected;

G. Nobody noticed the tradesman, considering him an insignificant person.

10. What did Jourdain’s philosophy teacher teach him?

A. Because there are vowels and consonants; B. Fundamentals of logic and ethics;

B. Because there are many theories about the creation of the world; G. Fundamentals of Greek versification.

11. Why did a fight break out between the dance, fencing and music teachers?

A. Because the fencing teacher convinced Jourdain to give up lessons from dance and music teachers

B. Because the fencing teacher declared that his art is much higher than the frivolous pursuits of a dancer and musician

B. Because the fencing teacher began calling names when Jourdain chose a dancer and musician over him

A. Math teacher B. Philosophy teacher C. History teacher

13. Dorant’s story about the royal bedchamber was followed by:

A) 200 louis on loan; B) a new suit for Mr. Jourdain; B) a kiss on the sly; D) forgiveness of all debts

14. What did Mr. Jourdain strive for?

A. Join the nobility and upper class;

B. Earn as much money as possible and go to the village;

B. Marry his only daughter to a rich bourgeois;

15. Music for the serenade ordered by Mr. Jourdain, he wrote:

A) music teacher; B) his student; B) singer; D) one familiar nobleman.

« Option 1 1. In what year was Moliere’s work “The Bourgeois in the Nobility” created? A. 1670; b. ..."

TEST ON THE PLAY “The Bourgeois in the Nobility”

Option 1

1. In what year was Moliere’s work “The Bourgeois in the Nobility” created?

A. 1670; b. 1671; V. 1673; 1676.

3. “The Bourgeois in the Nobility” is a play about how the rich bourgeois Mr. Jourdain wants:

A) become a nobleman at any cost; B) learn to dance; B) learn to fencing; D) learn to sing.

4. What science did not Mr. Jourdain study?

A. Philosophy; b. Fencing; V. Painting; Mr. Music.

5. Whom did Jourdain, with the help of the count, try to impress with his refined manners and education?

A. His wife b. Marquis Dorimen v. All secular society

6. Who did Mr. Jourdain give the diamond to?

A) marquise; B) Mrs. Jourdain; 3. B) Lucille; D) Nicole.

7. What did the musician suggest that Jourdain do in order to benefit even more?

A. Organize home concerts every week b. Teach him to play several musical instruments. Teach his whole family music

8. The external impetus for the creation of the play “The Bourgeois in the Nobility” was

A) The bourgeoisie occupied an increasingly stronger place in the life of society in France B) Ridiculing Turkish ceremonies C) Show the nobles who remained the masters of the position in the state, having neither the moral right nor the material capabilities.

9. Which characters represent the nobility in the comedy A) Mr. Jourdain B) Cleon C) Dornt D) Dorimena 10. Where, says Dorant, he put in a good word about Jourdain put in a good word about him

A) in the royal bedchamber B) royal reception

11. Who tells Mr. Jourdain that “... you are my best friend, and I was afraid that I would offend you if I asked someone else” (to borrow money)? A) Cleont, B) Dorant C) Dorimena12. Who is Count Dorant in love with? A) Madame Jourdain B) Lucille C) Doriman13. Who owns the words “You are obsessed with all these fads... And this began with you from the time you decided to hang out with important gentlemen.” A) Lucille B) Madame Jourdain D) Dorant14. What did Mr. Jourdain ask the philosophy teacher?

A. Help him translate Seneca's texts; b. Help him write a love note to the Marquise;

B. Explain to him the basics of ancient Greek philosophy; d. Explain to him the basics of the universe.

15. Why did Madame Jourdain consider Dorant a rogue?

A. Madame Jourdain knew that Dorant was an ordinary tramp, and not a count;

b. Dorant constantly brought young ladies to their house;

V. Dorant tried to deceive Monsieur Jourdain and marry Lucille;

Mr. Dorant constantly asked Mr. Jourdain to borrow money.

TEST ON THE PLAY “The Bourgeois in the Nobility”

Option 2

1. In what city do the events of the comedy “A Tradesman in the Nobility” take place?

A. London; b. Madrid; in Paris; Rome

2. “A tradesman among the nobility” is:

A) tragedy; B) comedy-ballet; B) vaudeville; D) drama.

3.“Beautiful marquise! Your beautiful eyes promise me death from love.” Who is this love note for? A) Dorimene, B) Nicole, C) Lucille4. Who owns the words: “I would allow two fingers on my hand to be cut off, if only I could be born a count or a marquis.” A) Jourdain B) Dorant. C) Cleont5. Who pronounces these words: “Mr. Jourdain, with his obsession with the nobility and secular manners, is just a treasure for us.” A) Dorimena, B) Dorant, C) One of the teachers

6. To whom Mr. Jourdain almost gave his entire wallet for calling him “Your Grace,” “Your Grace,” and “Your Excellency.”

A) Dance teacher B) Dorant C) tailor's apprentice

A) Madame Jourdain, B) daughter LUCILLE, c) maid Nicole

8. Which of the acting characters in the comedy “A Tradesman in the Nobility”, deceiving Mr. Jourdain, calls him his best friend, “a very noble man”?

9. How did others treat Mr. Jourdain?

A. They were afraid of the wrath of Jourdain, who treated the servants cruelly; b. They laughed at the absurd behavior of the tradesman; V. Jourdain's sharp mind and wisdom were respected; Nobody noticed the tradesman, considering him an insignificant person.

10. What did Jourdain’s philosophy teacher teach him?

A. Because there are vowels and consonants; b. Fundamentals of logic and ethics;

B. Because there are many theories about the creation of the world; g. Fundamentals of Greek versification.

11. Why did a fight break out between the dance, fencing and music teachers?

A. Because the fencing teacher convinced Jourdain to give up lessons from dance and music teachers

B. Because the fencing teacher declared that his art is much higher than the frivolous pursuits of a dancer and musician

B. Because the fencing teacher began calling names when Jourdain chose a dancer and musician over him

A. Math teacher b. Philosophy teacher v. History teacher

13. Dorant’s story about the royal bedchamber was followed by:

a) 200 francs on loan; b) a new suit for Mr. Jourdain; c) a kiss on the sly;

d) forgiveness of all debts

14.. What was Mr. Jourdain aiming for?

A. Join the nobility and upper class; b. Earn as much money as possible and go to the village; V. Marry your only daughter to a rich bourgeois;

15. Music for the serenade ordered by Mr. Jourdain, he wrote:

a) music teacher;

b) his student;

c) singer;

d) one familiar nobleman.

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ACT I

It would seem, what else does the venerable bourgeois Mr. Jourdain need? Money, family, health - he has everything you could want. But no, Jourdain decided to become an aristocrat, to become like noble gentlemen. His mania caused a lot of inconvenience and unrest for his household, but it played into the hands of a host of tailors, hairdressers and teachers, who promised him, through their art, to turn a simpleton into a brilliant noble gentleman. So now two teachers - dance and music - together with their students were waiting for the owner of the house to appear. Jourdain invited them to decorate the dinner he was throwing in honor of a titled person with a cheerful and elegant performance.

Presenting himself before the musician and dancer, Jourdain first of all invited them to evaluate his exotic robe - the kind, according to his tailor, all the nobility wear in the morning - and the new liveries of his lackeys. Apparently, the size of the connoisseurs' future fees directly depended on the assessment of Jourdain's taste, which is why the reviews were enthusiastic. The robe, however, caused some hesitation, since Jourdain could not decide for a long time how it would be more convenient for him to listen to music - with or without it. Having listened to the serenade, he found it a bit bland and, in turn, performed a lively street song, for which he again received praise and an invitation, in addition to other sciences, to also take up music and dancing. Jourdain was convinced to accept this invitation by the teachers’ assurances that every noble gentleman would certainly learn both music and dancing.

A pastoral dialogue was prepared for the upcoming reception by the music teacher. Jourdain generally liked it: since you can’t do without these eternal shepherdesses and shepherdesses, fine, let them sing to themselves. Jourdain really liked the ballet presented by the dance teacher and his students.

ACT II

Inspired by the success of the employer, the teachers decided to strike while the iron was hot: the musician advised Jourdain to organize weekly home concerts, as is done, according to him, in all aristocratic houses; the dance teacher immediately began to teach him the most exquisite of dances - the minuet.

Exercises in graceful body movements were interrupted by a fencing teacher, a teacher of science - the ability to deliver blows, but not receive them himself. The dance teacher and his musician colleague unanimously disagreed with the fencer’s statement about the absolute priority of the ability to fight over their time-honored arts. The people got carried away, word for word - and a couple of minutes later a fight broke out between three teachers.

When the philosophy teacher arrived, Jourdain was delighted - who, if not the philosopher, should admonish the fighting. He willingly took up the task of reconciliation: he remembered Seneca, warned his opponents against anger that demeans human dignity, advised them to take up philosophy, this first of the sciences... Here he went too far. They began to beat him like the others.

The battered, but still uninjured, philosophy teacher was finally able to begin his lesson. Since Jourdain refused to study both logic - the words there are too tricky - and ethics - why does he need the science to moderate passions, if it doesn’t matter, since he breaks up, nothing will stop him - the learned man began to initiate him into the secrets of spelling.

Practicing the pronunciation of vowel sounds, Jourdain rejoiced like a child, but when the first delights passed, he revealed a big secret to the philosophy teacher: he, Jourdain, is in love with a certain high-society lady, and he needs to write a note to this lady. For the philosopher it was a piece of cake - in prose or poetry... However, Jourdain asked him to do without this very prose and poetry. Did the respectable bourgeois know that here one of the most stunning discoveries in his life awaited him - it turns out that when he shouted to the maid: “Nicole, give me your shoes and nightcap,” the purest prose came from his lips, just think!

However, in the field of literature, Jourdain was still no stranger - no matter how hard the philosophy teacher tried, he was unable to improve the text composed by Jourdain: “Beautiful Marquise! Your beautiful eyes promise me death from love.”

The philosopher had to leave when Jourdain was informed about the tailor. He brought a new suit, made, naturally, according to the latest court fashion. The tailor's apprentices, while dancing, made a new one and, without interrupting the dance, dressed Jourdain in it. At the same time, his wallet suffered greatly: the apprentices did not skimp on flattering “Your Grace,” “Your Excellency,” and even “Your Lordship,” and the extremely touched Jourdain did not skimp on tips.

ACT III

In a new suit, Jourdain intended to stroll through the streets of Paris, but his wife resolutely opposed his intention - half the city was already laughing at Jourdain. In general, in her opinion, it was time for him to come to his senses and leave his stupid quirks: why, one might ask, does Jourdain need fencing if he does not intend to kill anyone? Why learn to dance when your legs are already about to give out?

Objecting to the woman’s senseless arguments, Jourdain tried to impress her and the maid with the fruits of his learning, but without much success: Nicole calmly pronounced the sound “u”, not even suspecting that at the same time she was stretching her lips and bringing the upper jaw closer to the lower one, and with a rapier she easily struck Jourdain received several injections, which he did not deflect, since the unenlightened maid did not inject according to the rules.

For all the nonsense that her husband indulged in, Madame Jourdain blamed the noble gentlemen who had recently begun to make friends with him. For the court dandies, Jourdain was an ordinary cash cow, and he, in turn, was confident that friendship with them would give him significant—what’s their name—pre-ro-ga-tives.

One of these high-society friends of Jourdain was Count Dorant. As soon as he entered the drawing room, this aristocrat paid several exquisite compliments to the new suit, and then briefly mentioned that this morning he had spoken about Jourdain in the royal bedchamber. Having prepared the ground in this manner, the count reminded him that he owed his friend fifteen thousand eight hundred livres, so there was a direct reason for him to lend him another two thousand two hundred - for good measure. In gratitude for this and subsequent loans, Dorant took on the role of intermediary in matters of the heart between Jourdain and the object of his worship - the Marchioness Dorimena, for whose sake the dinner with the performance was started.

Madame Jourdain, so as not to be disturbed, was sent to her sister for lunch that day. She knew nothing about her husband’s plan, but she herself was concerned about the fate of her daughter: Lucille seemed to reciprocate the tender feelings of a young man named Cleont, who, as a son-in-law, was very suitable for Madame Jourdain. At her request, Nicole, interested in the young lady’s marriage, since she herself was going to marry Cleont’s servant, Koviel, brought the young man. Madame Jourdain immediately sent him to her husband to ask for her daughter's hand in marriage.

However, Cleont did not meet Jourdain’s first and, in fact, only requirement for the applicant for Lucille’s hand - he was not a nobleman, while the father wanted to make his daughter, at worst, a marquise, or even a duchess. Having received a decisive refusal, Cleont became despondent, but Koviel believed that all was not lost. The faithful servant decided to play a joke with Jourdain, since he had actor friends and the appropriate costumes were at hand.

Meanwhile, the arrival of Count Dorant and Marchioness Dorimena was reported. The count brought the lady to dinner not out of a desire to please the owner of the house: he himself had been courting the widow marquise for a long time, but did not have the opportunity to see her either at her place or at his place - this could compromise Dorimena. In addition, he cleverly attributed all of Jourdain’s crazy spending on gifts and various entertainments for her to himself, which ultimately won a woman’s heart.

Having greatly amused the noble guests with an elaborate, awkward bow and the same welcoming speech, Jourdain invited them to a luxurious table.

ACT IV

The Marquise, not without pleasure, devoured exquisite dishes to the accompaniment of the exotic compliments of the eccentric bourgeois, when all the splendor was unexpectedly disrupted by the appearance of the angry Madame Jourdain. Now she understood why they wanted to send her to dinner with her sister - so that her hubby could calmly waste money with strangers. Jourdain and Dorant began to assure her that the count was giving the dinner in honor of the marquise and that he was paying for everything, but their assurances in no way moderated the ardor of the offended wife. After her husband, Madame Jourdain took on the guest, who should have been ashamed to bring discord into an honest family. The embarrassed and offended marquise got up from the table and left the hosts; Dorant followed her away.

Only the noble gentlemen had left when a new visitor was reported. It turned out to be Koviel in disguise, introducing himself as a friend of Mr. Jourdain’s father. The late father of the owner of the house was, according to him, not a merchant, as everyone around him said, but a real nobleman. Coviel's calculation was justified: after such a statement, he could say anything without fear that Jourdain would doubt the veracity of his speeches.

Koviel told Jourdain that his good friend, the son of the Turkish Sultan, had arrived in Paris, madly in love with his, Jourdain’s, daughter. The Sultan's son wants to ask for Lucille's hand in marriage, and in order for his father-in-law to be worthy of his new family, he decided to initiate him into a mamamushi, or in our opinion, a paladin. Jourdain was delighted.

The son of the Turkish Sultan was represented by Cleont in disguise. He spoke in terrible gibberish, which Koviel allegedly translated into French. The appointed muftis and dervishes arrived with the main Turk, who had a lot of fun during the initiation ceremony - it turned out to be very colorful, with Turkish music, songs and dances, as well as the ritual beating of the new convert with sticks.

ACT V

Dorant, privy to Coviel's plan, finally managed to persuade Dorimena to return, tempting her with the opportunity to enjoy a funny spectacle, and then also an excellent ballet. The count and marquise, with the most serious looks, congratulated Jourdain on conferring a high title on him, and they were also impatient to hand over their daughter to the son of the Turkish Sultan as soon as possible.

At first, Lucille was reluctant to marry the Turkish jester, but as soon as she recognized him as Cleonte in disguise, she immediately agreed, pretending that she was dutifully fulfilling her daughter’s duty. Madame Jourdain, in turn, sternly declared that the Turkish scarecrow would not see her daughter like his own ears. But as soon as Koviel whispered a few words in her ear, the mother changed her anger to mercy.

Jourdain solemnly joined the hands of the young man and the girl, giving a parental blessing for their marriage, and then they sent for a notary. Another couple, Dorant and Dorimena, decided to use the services of the same notary. While waiting for the representative of the law, everyone present had a wonderful time enjoying the ballet choreographed by the dance teacher.

For some time now, a fairly successful bourgeois, Mr. Jourdain, decided to become an aristocrat. Teachers, hairdressers and tailors were hired for this purpose. The man believed that they would help him raise his social status. Jourdain's household did not support the aspirations of the head of the family.

The teachers vied with each other to advise the future aristocrat on their understanding of beauty, and what, in their opinion, every self-respecting connoisseur of art should know. The dispute gradually turned into a brawl. The philosophy teacher who tried to reconcile everyone was also hit.

Mr. Jourdain had a secret desire - to achieve the favor of a noble lady. That is why he tried in every possible way to give himself an external gloss. Literature lessons were also successful. Now a man could beautifully express his feelings in a love note.

Jourdain's wife did not want to appear with her husband in public places, so they mocked him because of his quirks. The only people in an advantageous position were teachers and tailors - the owner paid them extremely generously. And his newly-made friends also extracted money from the future aristocrat.

And now one came to visit Jourdain. It was Count Dorant. In addition to laudatory odes to the owner, the count promised to help arrange a date with the very lady with whom Jourdain was in love. For this purpose, a dinner was planned where the Marquise of Dormain and Jourdain would be introduced to each other.

Madame Jourdain was supposed to go to her sister at this time. She had other concerns. A worthy young man named Cleontes asked for the hand of their daughter Lucille. The girl agreed, but the guy turned out to be not noble enough for the father. Cleonte's servant suggested achieving the blessing in a different way.

In the midst of dinner, during which Jourdain tried to show off his sophistication in front of the beautiful marquise, his wife appears. She is outraged by her husband’s behavior and does not mince words. The marquise leaves the inhospitable house with the count.

Soon a new guest appeared. He said that the son of the Turkish Sultan visited Paris, who was captivated by the beauty of Jourdain’s daughter. And of course, he asks for her hand. The newly-made aristocrat was speechless with happiness. He, of course, blessed the newlyweds in the presence of a notary. All this action was accompanied by oriental music and dances. And the disguised Turks were Cleont and his servant.

Summary of “The Bourgeois in the Nobility” Option 2

About the product
Main characters
Other characters
Summary
Conclusion

About the product

Molière's comedy "The Tradesman among the Nobility" was written in 1670. The work was created within the framework of the literary movement of realism. In the comedy “The Bourgeois in the Nobility” the author ridicules the typical bourgeois - the ignorant Mr. Jourdain, who tried to join the “upper class”, but he could only clumsily imitate the life of the nobility.

If you need to quickly understand what Moliere’s story is about, we recommend reading the summary of “The Bourgeois in the Nobility” by action on our website. This material will also allow you to quickly prepare for a world literature lesson. The play “The Tradesman in the Nobility” is included in the 8th grade school curriculum.

Main characters

Mister Jourdain- a tradesman who wanted to be a nobleman. Those around him laughed at him, but played along with him for their own benefit.

Madame Jourdain- wife of Mr. Jourdain; did not share his desire to become a nobleman.

Cleont – a young man in love with Lucille.

Koviel- servant of Cleonte.

Dorant- a count, an acquaintance of Jourdain, who constantly borrowed money from the tradesman. In love with Dorimena.

Other characters

Lucille- daughter of Mr. and Mrs. Jourdain, in love with Cleonte.

Nicole- maid Lucille.

Dorimena– marquise; Jourdain tried to gain her favor through Dorant.

Teachers of dance, music, fencing, philosophy, who were hired by Jourdain.

Act one

Phenomenon 1

Paris. Mr. Jourdain's house. The music teacher and dance teacher prepare for the evening's performance and discuss that although Jourdain has no understanding of art, "money straightens the crookedness of his judgment, his common sense is in his wallet."

Phenomenon 2

Jourdain boasts to his teachers about his new robe, and they flatter him in everything.

To the tradesman the sound of the violin seems mournful. Teachers note that Jourdain should study the arts, since “all the strife, all the wars on earth,” “all the misadventures with which history is full” come from ignorance of music and the inability to dance.

Act two

Phenomenon 1

Jourdain orders that the ballet be ready by evening, as the person for whom he is arranging all this will arrive. The music teacher, anticipating good pay, advises the tradesman to give concerts on Wednesdays and Thursdays, as all noble gentlemen do.

Phenomena 2-3

A fencing teacher comes and teaches the tradesman, explaining that “the whole secret of fencing is to strike the enemy with blows” and “not to receive them yourself.” The fencing teacher expresses the idea that dancing and music are useless sciences.
An argument begins between the teachers.

Phenomena 4-5

Jourdain asks the visiting philosophy teacher to reconcile the quarrels. Referring to Seneca's treatise on anger, the philosopher tries to calm them down, but he himself gets involved in an argument, which develops into a fight.

Phenomenon 6

Philosophy lesson. The teacher offers to teach Jourdain the wisdom of philosophy: logic, ethics and physics, but they do not arouse interest in the tradesman. Jourdain asks to teach him spelling. The teacher tells him that there are vowels and consonants.

Jourdain asks the philosopher to help him write a love note, but in the end they settle on the bourgeoisie’s original version: “Beautiful marquise, your beautiful eyes promise me death from love.” Suddenly the tradesman learns that he has expressed himself in prose all his life.

Apparitions 7-8

The tailor brings Jourdain a new suit. The tradesman notices that the suit is made from the same fabric as the clothes at the tailor, and the pattern (flowers) is located upside down. The tailor reassures him with what is so fashionable in high society.

Apparitions 9-10

Dancing around Jourdain, the apprentices put a new suit on him. They call the tradesman “Your Grace”, “Your Excellency”, “Your Grace”, for which they receive a generous payment.

Act three

Phenomena 1-3

Seeing Jourdain's new outfit, Nicole can't help but laugh. Madame Jourdain is outraged by the appearance of her husband, who “dressed up as a jester,” and everyone is laughing at him anyway. Jourdain decides to show off his knowledge to his wife and Nicole, but does not surprise the women. Moreover, while fencing with a man, the maid easily stabs him several times.

Phenomena 4-5

Dorant praises Jourdain’s new suit and mentions that he spoke about it “in the royal bedchamber,” which pleases the tradesman’s vanity.

Dorant asks Jourdain for “two hundred more pistoles” to round up the amount of his significant debt. The indignant Madame Jourdain calls her husband a “cash cow” and Dorant a “rogue.”

Phenomena 6

Dorant reports that he persuaded the marquise to come to the tradesman today, giving her a diamond - a gift from Jourdain.
Nicole accidentally overhears part of the men’s conversation and learns that the tradesman is sending his wife to visit his sister in the evening so that nothing “embarrasses” them.

Apparitions 7-11

Mrs. Jourdain is sure that her husband is “hitting on someone.” A woman wants to marry her daughter to Cleont, who is in love with her. Nicole is delighted with her mistress's decision, since she likes the servant Cleonte.

Madame Jourdain advises Cleonte to ask Mr. Jourdain for her daughter’s hand in marriage today.

Phenomenon 12

Cleontes asks Monsieur Jourdain for Lucille's hand in marriage. The tradesman is only interested in whether the future son-in-law is a nobleman. Cleont, not wanting to deceive, admits that he is not one. Jourdain refuses because he wants his daughter to be a marquise.

Apparitions 13-14

Koviel calms the upset Cleont - the servant has figured out how to “twist our simpleton around his finger.”

Apparitions 15-18

Dorimena did not want to meet Dorant at her or his home, so she agreed to dine at Jourdain’s. The count gave all the tradesman's gifts to the marquise in his own name.

Apparitions 19-20

Meeting the marquise, Jourdain bows absurdly, which greatly amuses the woman. Dorant warns the tradesman not to mention the diamond given to Dorimen, as this is discourteous in secular society.

Act four

Phenomenon 1

Dorimena is surprised that a “luxurious feast” was arranged for her. Jourdain, drawing attention to the diamond on the marquise’s hand, calls it “a mere trifle,” believing that the woman knows that it is a gift from him.

Phenomena 2-4

Suddenly Madame Jourdain appears. The woman is outraged that after sending his wife away, her husband is throwing a “feast” for another lady. Dorant tries to justify himself, explaining that he organized the dinner. Madame Jourdain does not believe this. The upset marquise leaves, and Dorant goes after her.

Phenomena 5-8

Coviel, in disguise, poses as an old friend of Jourdain's father. Koviel says that the tradesman’s father was not a merchant, but a nobleman. However, the main purpose of his visit is to report that the son of the Turkish Sultan has long been in love with Jourdain’s daughter and wants to marry her. Soon, Cleont, disguised as a Turk, joins them and, through the translator Koviel, announces his intentions.

Koviel asks Dorant to play along with them.

Apparitions 9-13

Turkish ceremony. The mufti and his retinue, the dervishes and the Turks sing and dance as they initiate Jourdain, dressed in Turkish clothes, into a Turk. The Mufti places the Koran on the tradesman's back and calls upon Mohammed.

Act five

Phenomenon 1

Jourdain explains to his wife that he has now become a mamamushi. A woman decides that her husband has gone crazy.

Phenomena 2-3

Dorant persuades Dorimena to stay to support Cleont’s idea of a masquerade and watch the ballet arranged for her.

Apparitions 4-7

Lucille at first refuses to marry, but, recognizing the Turk as Cleonte, she agrees.

Madame Jourdain was also against the marriage, but when Koviel quietly explained to her that what was happening was only a masquerade, she ordered to send for a notary.

Dorant announces that he and the marquise have also decided to get married. Jourdain thinks that the count said this as a diversion. The joyful tradesman gives Nicole to the “interpreter” Koviel, and his “wife to anyone.” Koviel is surprised that “you won’t find another such madman in the whole world!” .

"The comedy ends in ballet".

Conclusion

Molière's comedy "The Bourgeois in the Nobility" is one of the most famous dramatic works. The play was staged by more than twenty leading theaters and was filmed four times. Attracting with the brightness of the characters described and subtle humor, the brilliant work remains interesting for modern readers.

Jean Baptiste Moliere

A tradesman among the nobility. Imaginary patient (collection)

Tradesman in the nobility

Comedy characters

MR JOURDAIN is a tradesman.

MADAME JOURDAIN is his wife.

LUCILLE is their daughter.

CLEONTE is a young man in love with Lucille.

DORIMENA Marquise.

DORANT Count, in love with Dorimena.

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

KOVIEL servant of Cleont.

MUSIC TEACHER.

MUSIC TEACHER'S STUDENT.

DANCE TEACHER.

FENCING TEACHER.

PHILOSOPHY TEACHER.

MUSICIANS.

Tailor's Apprentice.

TWO LACKEYS.

THREE PAGES.

BALLET CHARACTERS

IN THE FIRST ACT

Singer. Two singers. Dancers.

IN THE SECOND ACT

Tailor's apprentices (dancing).

IN ACT THIRD

Cooks (dancing).

IN ACT FOUR

Mufti. Turks, Mufti's retinue (singing). Dervishes (singing). Turks (dancing).

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

Act one

The overture is performed by a variety of instruments; in the middle of the scene at the table, a MUSIC TEACHER'S STUDENT is composing a melody for a serenade ordered by Mr. Jourdain.

First appearance

A music teacher, a 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 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 to compose music for a serenade while our eccentric woke up.

DANCE TEACHER. Can I have a look?

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

DANCE TEACHER. Now you and I have things going over our heads.

MUSIC TEACHER. Still would! We found exactly the person we needed. Mr. Jourdain, with his obsession with the nobility and social manners, is just 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. For his own good, I would like him to better understand the things that we explain to him.

MUSIC TEACHER. He doesn’t understand them well, but he pays well, and our arts need nothing more now than this.

DANCE TEACHER. I admit, I'm a little partial to fame. Applause gives me pleasure, but to waste my art on fools, to submit my creations to the barbaric court of a fool - this, in my opinion, is an unbearable torture for any artist. Whatever you say, it’s nice 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 reward for all our hardships - the praise of an enlightened person gives inexplicable pleasure.

MUSIC TEACHER. I agree with this, 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 reward someone is to put something in your hand. Frankly speaking, our master’s knowledge is not great, he judges everything crookedly and at random and applauds where he should not, but money straightens the crookedness of his judgments, his common sense is in his wallet, his praises are minted in the form of coins, so from this ignorant The tradesman, as you see, is of much more use to us than the 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 so base that a decent person should not show any 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 only his wealth and even a little good taste - that’s what I would like.

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

DANCE TEACHER. And here he is.

Second phenomenon

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

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

DANCE TEACHER. What? What trinket?

Mr. JOURDAIN. Well, this one... What do you call it? It's either a prologue or a dialogue with songs and dances.

DANCE TEACHER. ABOUT! ABOUT!

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

Mr. JOURDAIN. I hesitated a little, but the point is this: I now dress as nobles dress, and my tailor sent me silk stockings, so tight - really, I thought that I would never get them on.

MUSIC TEACHER. We are entirely at your service.

Mr. JOURDAIN. I ask you both not to leave until they bring me my new suit: I want you to look at me.

DANCE TEACHER. As you wish.

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

MUSIC TEACHER. We have no doubt about this.

Mr. JOURDAIN. I made myself a robe from Indian fabric.

DANCE TEACHER. Great robe.

Mr. JOURDAIN. My tailor assures me that all the nobles wear such robes in the morning.

MUSIC TEACHER. It suits you amazingly.

Mr. JOURDAIN. Lackey! Hey, my two lackeys!

FIRST LACKEY. What do you order, sir?

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

DANCE TEACHER. Magnificent liveries.

Mr. JOURDAIN (opens his robe; underneath 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. JOURDAIN. Lackey!

FIRST LACKEY. Anything, sir?

Mr. JOURDAIN. Another lackey!

SECOND LOOKEY. Anything, sir?

Mr. JOURDAIN (takes off his robe). Hold it. Well, am I good in this outfit?

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

Mr. JOURDAIN. Now let's get busy with you.

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

Mr. JOURDAIN. It may very well be, but still you shouldn’t have entrusted this to a student. It remains to be seen whether you yourself are fit for such a task, let alone a student.

MUSIC TEACHER. The word "student" should not confuse you, sir. Students of this kind understand music no less than great masters. In fact, you couldn’t imagine a more wonderful motive. Just listen.

Mr. JOURDAIN (to the 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 will be better.

Iris! I'm languishing, suffering is destroying me,

Your stern gaze pierced me like a sharp sword.

When you torture someone who loves you so much,

Mr. JOURDAIN. 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 correspond to the words, sir.

Mr. JOURDAIN. I was recently taught a very nice song. Wait... now, now... How does it start?

DANCE TEACHER. Really, I don't know.

Mr. JOURDAIN. It also talks about a sheep.

DANCE TEACHER. About the sheep?

Mr. JOURDAIN. Yes Yes. Oh, here it is! (Sings.)

I thought Jeanette

And kind and beautiful,

I considered Jeanette to be a sheep, but oh!

She's cunning 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. JOURDAIN. 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 types of art are inextricably linked.

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

Mr. JOURDAIN. What, noble gentlemen also study music?

MUSIC TEACHER. Of course, sir.

Mr. JOURDAIN. Well, I’ll start studying too. I just don’t know when: after all, in addition to a 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 are all 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 arise solely from ignorance of music.

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

Mr. JOURDAIN. How so?

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

Mr. JOURDAIN. Right.

MUSIC TEACHER. And if everyone studied music, wouldn’t it put people in a peaceful mood and contribute to the reign of universal peace on earth?

Mr. JOURDAIN. And that's true.

DANCE TEACHER. When a person does not act as he should, be it just the father of a family, or a statesman, or a military leader, they usually say about him that he took the wrong step, isn’t it?

Mr. JOURDAIN. Yes, that's what they say.

DANCE TEACHER. What else could cause a wrong step if not the inability to dance?

Mr. JOURDAIN. Yes, I agree with this too, you are both right.

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

Mr. JOURDAIN. I understand now.

MUSIC TEACHER. Would you like to familiarize yourself with our writings?

Mr. JOURDAIN. Anything.

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

Mr. JOURDAIN. Wonderful.

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

Mr. JOURDAIN. And what are they always shepherdesses? Always the same!

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

Mr. JOURDAIN. OK OK. Let's see.

MUSICAL DIALOGUE

A singer and two singers.

Hearts in love

There are always thousands of interferences.

Love brings us both happiness and longing.

No wonder there is such an opinion,

What is dearest to us is not to know the pleasures of love.

FIRST SINGER

No, what is dearest to us is that endless joy,

Which hearts

The lovers are drained.

There can be no bliss on earth without passion.

Who neglects love,

That will never know happiness.

SECOND SINGER

Oh, who would not want love to taste power,

If only passion were not deceptive!

But, oh, what to do with evil fate?

And the unworthy sex, disgracing the white world,

Testifies to us that there is no longer any loyalty.

FIRST SINGER

Oh, trembling hearts!

O passion in the eyes!

SECOND SINGER

A complete lie!

FIRST SINGER

That moment is dear to me!

They are full of joy!

SECOND SINGER

I despise everyone!

FIRST SINGER

Oh, don’t be angry, forget your immeasurable anger!

We'll bring you in now

To a loving and faithful shepherdess.

SECOND SINGER

Alas! There are none worthy among you!

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

SECOND SINGER

Who will guarantee in advance,

Why not be deceived again?

He who is faithful, let him prove

Your heart's tender ardor.

SECOND SINGER

Let heaven punish the one who shamefully cheated.

ALL THREE TOGETHER

Above us, flaming,

Love's crown burns.

Merging of two hearts -

What could be cuter?

Mr. JOURDAIN. And it's all?

MUSIC TEACHER. All.

Mr. JOURDAIN. In my opinion, it was cleverly twisted. Here and there you come across some very interesting words.

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

Mr. JOURDAIN. Shepherds again?

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

BALLET

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

Act two

First appearance

Mr. Jourdain, music teacher, dance teacher.

Mr. JOURDAIN. It’s really cool: the dancers are doing a great job.

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

Mr. JOURDAIN. I will need it today: the person in whose honor I am arranging all this should come to dinner with me.

DANCE TEACHER. All is ready.

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

Mr. JOURDAIN. Do noble gentlemen have concerts?

MUSIC TEACHER. Of course, sir.

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

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

Mr. JOURDAIN. It would be nice to have a sea pipe as well. I love her very much, she is pleasant to the ear.

MUSIC TEACHER. Leave everything to us.

Mr. JOURDAIN. Don't forget to send singers so that there is someone to sing during lunch.

MUSIC TEACHER. You will not lack anything.

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

MUSIC TEACHER. You will be pleased, especially with some of the minuets.

Mr. JOURDAIN. Ah, the minuet is my favorite dance! Look how I dance it. Come on, Mister Teacher!

DANCE TEACHER. Please, sir, put on your hat.

Monsieur Jourdain takes his footman's hat and puts it on top of his cap. The dance teacher takes Mr. 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, keep 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 socks apart. La-la-la. The body is straight.

Mr. JOURDAIN. So how?

DANCE TEACHER. It couldn't be better.

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

DANCE TEACHER. Bow to the marquise?

Mr. JOURDAIN. Yes. Her name is Dorimena.

DANCE TEACHER. Allow me your hand.

Mr. JOURDAIN. No need. Just show me, and I’ll remember.

DANCE TEACHER. If you want this 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. JOURDAIN. Well, show me.

The dance teacher shows.

Second phenomenon

The same and the footman.

LACKEY. Sir! The fencing teacher has arrived.

Mr. JOURDAIN. Tell him to come in and start the lesson. (To the music teacher and dance teacher.) And look how it turns out for me.

The third phenomenon

The same, a fencing teacher and a footman with two rapiers.

FENCING TEACHER (takes two rapiers from the footman and gives one of them to Mr. Jourdain). I ask you, sir: bow. The body is 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 hip level. The end of the rapier is directly against the shoulder. You don't have to stretch your hand like that. The left hand is at eye height. Left shoulder back. Head straight. Confident look. Lunge. The body is motionless. Parry with a quart and leave in the same parade. One, two. Into position. Start again with confidence. Step back. When you lunge, you need the rapier to be carried forward, and your body to be protected from the blow as much as possible. One, two. I ask you: parry with a terce and retreat in the same parade. Lunge. The body is motionless. Lunge. Get into position. One, two. Start again. Step back. Defend yourself, sir, defend yourself! (With a shout: “Defend yourself!” - he stabs Mr. Jourdain several times.)

Mr. JOURDAIN. So how?

MUSIC TEACHER. You are doing miracles.

FENCING TEACHER. As I already told you, the whole secret of fencing is, firstly, to inflict blows on the enemy, and secondly, not to receive them yourself, and you will never receive them if, as I proved to you last time By means of a clear example, learn to move the enemy’s sword away from your body, and for this you only need a slight movement of the hand - towards or away from you.

Mr. JOURDAIN. Therefore, in this manner, every person, even not one of the brave ones, can surely kill another, but he himself will remain unharmed?

FENCING TEACHER. Certainly. Didn’t I clearly prove this to you?

Mr. JOURDAIN. They proved it.

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

DANCE TEACHER. But, but, Mr. Fence Master! Speak respectfully about dancing.

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

FENCING TEACHER. You are just funny! How can you put your sciences on the same level as mine?

MUSIC TEACHER. Just think, an important bird!

DANCE TEACHER. Put on a bib, stuffed animal!

FENCING TEACHER. Be careful, little dance, you won’t dance with me, but you, little musician, will sing with an angelic voice.

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

Mr. JOURDAIN (to the dance teacher). You're crazy! Start a quarrel with a man who knows all the terces and quarts like the back of his hand and can kill his opponent by direct example?

DANCE TEACHER. I didn’t give a damn about his clear example and all his ters and quarts!

Mr. JOURDAIN (to the dance teacher). Enough, they tell you!

FENCING TEACHER (to the dance teacher). Oh, that's how you are, you impudent little bastard!

Mr. JOURDAIN. Calm down, dear fencing master!

DANCE TEACHER (to fencing teacher). Oh, that's how you are, a draft horse!

Mr. JOURDAIN. Calm down, dear dance master!

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

Mr. JOURDAIN (to fencing teacher). Quiet!

DANCE TEACHER. I just need to reach you...

Mr. JOURDAIN (to the dance teacher). It will be for you!

FENCING TEACHER. I'll beat you up!

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

DANCE TEACHER. I'm going to blow you up so much...

Mr. JOURDAIN (to the dance teacher). I beg you!

MUSIC TEACHER. No, let me, we’ll teach him good manners.

Mr. JOURDAIN (to the music teacher). My God! Stop it!

The fourth phenomenon

The same goes for the philosophy teacher.

Mr. JOURDAIN. Ah, Mr. Philosopher! You came just in time with your philosophy. Somehow reconcile these gentlemen.

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

Mr. JOURDAIN. They quarreled over whose craft was better, they quarreled and almost came to blows.

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

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

PHILOSOPHY TEACHER. A sage is above any insult. The best response to bullying is restraint and patience.

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

PHILOSOPHY TEACHER. Is this a cause for concern? Because of vain fame and because of position in society, people should not enter into competition with each other: where we differ sharply from each other is in wisdom and virtue.

DANCE TEACHER. I maintain that dancing is a science worthy of all admiration.

MUSIC TEACHER. And I stand on the fact that music has been revered in all centuries.

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

PHILOSOPHY TEACHER. Excuse me, what then is philosophy? All three of you are pretty impudent, as I see it: you dare to speak such insolence in my presence and without a twinge of conscience you call sciences activities that are not worthy of the honor of being called arts and which can only be equated with the pitiful crafts of street fighters, singers and dancers!

FENCING TEACHER. Be silent, canine philosopher!

First let's talk about Mr. Jourdain, because he is mainly a comedian. He literally worships the nobility, and gravitates so strongly towards this way of life that he tries to behave the same way in everything: dress, hire a dance, fencing or philosophy teacher, gallantly court a lady. Mr. Jourdain will not admit, even when threatened with weapons, that he is from a simple merchant family.

How funny it looks! Let us emphasize an important detail in the analysis of the comedy "A Bourgeois in the Nobility": an attempt to follow unfamiliar laws of culture and adopt other people's customs looks, to put it mildly, ridiculous. All the same, he cannot dress according to all the rules and reason adequately. It was not without reason that Moliere compared his main character to the image of a crow with peacock feathers.

The main images of comedy

The eccentric Jourdain has a wife - Madame Jourdain. You can't deny her sobriety. She is somewhat rude, and does not care about culture, this woman is all about household chores and worries. And besides, the couple have a daughter, Lucille, who suffers from her father’s inappropriate and eccentric behavior. Lucille is in love, but her lover is absolutely not the person in whom Mr. Jourdain would like to see his daughter’s groom. For her, her father makes his choice: this is, of course, the Marquis. This could not have happened without the intervention of the mother, who defended her daughter and cleverly resolved the issue.

An analysis of the comedy "The Bourgeois in the Nobility" would not be complete enough without mentioning two servants, whose names are Koviel and Nicole. They bring cheerful and witty notes of happiness and joy into the lives of the characters in the play. The maid has a critical view of what her master is doing. And the footman Koviel - young Lucille's fiancé - is characterized by talented improvisation, thanks to which the way of life becomes similar to a scene in the theater. But all this contributes to a cheerful atmosphere throughout the play.

We will definitely mention in the analysis of “The Bourgeois in the Nobility” that Moliere systematically develops the relationships that develop between the young gentlemen and their servants. Love and conflicts develop in parallel. At the end, the reader will find two weddings.

Features of composition and genre

Moliere wrote his comedy in the best traditions of the classics, taking into account three important factors: place, time and action. Firstly, everything happens at the home of the Jourdain family, secondly, it takes only one day, and thirdly, there is a central event around which the plot revolves. As for the heroes of the comedy, each of them has one bright satirical feature.

However, after a thorough analysis of the comedy "A Bourgeois in the Nobility", one can nevertheless see some deviations from the classical direction. The action of the play cannot be called uniform in the full sense of the word. Moliere introduces the theme of love, which gradually fades into the background. But it looks interesting against the backdrop of all the action. The language of comedy is folk, which also arouses curiosity. And mainly the comedy stands out due to the ballet numbers.

We must not forget that the author himself pointed out the genre feature of the work - it is a comedy-ballet. And the ballet numbers do not interfere with the realism of the plot, on the contrary, they emphasize it. Each comedy hero is very artistic, which, by the way, makes it difficult to stage the play on stage.

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The main character of the work is Mr. Jourdain. His most cherished dream is to become a nobleman. In order to become at least a little like a representative of the noble class, Jourdain hires teachers for himself. The main character has a role model - a certain Count Dorant, who is known in society as a scoundrel and a swindler.

Jourdain also has a wife who is incredibly smart and also well educated, but she does not have the slightest sympathy for the noble class. This beautiful woman considers her main task to marry her own daughter to a wonderful, worthy young man. The daughter of Jourdain and his wife is named Lucille.

The girl is in love with a certain Cleonte. This young man is very smart, noble and handsome, and most importantly, he loves Lucille incredibly. But, of course, Jourdain refuses Cleonte, since the young man has nothing in common with the noble class. It would seem that the young couple is not destined to be together. But the circumstances are completely different. The servant, whose name is Covelier, decides to take a very desperate, but at the same time cunning step.

In order for the young people to finally find their happiness, he disguises Cleontes, who in turn appears before Jourdain as the “son of the Sultan.” After which, Jourdain, who had dreamed of a noble title for so long, gives his consent to the wedding of Cleont and his beautiful daughter. In this incredible way, the cunning servant helps young people find true happiness, because young Lucille’s father gave his parental blessing.

And what happens to Jourdain himself? For a very long time he coveted the precious title of nobility, but at the same time he was left with nothing. But his wife has fulfilled her main task, and her daughter is marrying a worthwhile man. This is where the work comes to its logical conclusion.

Read a detailed summary of Molière's Bourgeois in the Nobility

The hero of the play “The Bourgeois in the Nobility” is Mr. Jourdain. Despite his low-class origins, he was able to get rich. However, for complete happiness he lacks a title; he wants to be an aristocrat. To become equal to people from high society, he decides to learn good manners and receive an education worthy of an aristocrat.

This brings a lot of inconvenience to his family, but it comes in handy for Jourdain’s tailors, hairdressers and teachers.

The first thing the owner wanted was for the music and dance teachers to put on a performance and entertain the guest invited to dinner.

The tailor offered Jourdain new liveries for the footmen and a very unusual robe, in which the gentleman appeared before his teachers. Despite the absurdity of the outfit, the teachers maintained a serious appearance and even expressed their delight at the attire. But they, of course, flattered the owner, since they were promised a good reward for this.

Next, Jourdain listened to the serenade, and at first he could not decide for a long time how to listen to it: in a new robe or without it. He didn’t like the serenade; it seemed boring, unlike the cheerful street song, which he didn’t sing right away. Jourdain was praised for such a skillful performance and was advised to also take up music and dancing.

According to teachers, every noble person certainly pays attention to these activities.

The dance teacher, together with his students, showed Jourdain a ballet, which the latter liked. The musician immediately advised us to organize home concerts every week. The dance teacher began to teach Jourdain the minuet, but the classes were interrupted by the fencing teacher, who stated that his art was the most important, which, of course, the music and dance teachers did not agree with. Each of them began to prove the superiority of their occupation and soon a fight broke out.

Fortunately, a philosophy teacher soon arrived, on whom Jourdain pinned his hopes as a peacemaker. But he himself found himself in the thick of the fight, even though he initially wanted to calm the fighting.

The philosophy teacher, who miraculously escaped injury, nevertheless began his lesson. Logic turned out to be too much for Jourdain - the words were too complex, and he considered ethics simply unnecessary - if he started swearing, nothing would stop him.

Then it was decided to start a spelling lesson. This activity fascinated Jourdain - he really liked pronouncing vowel sounds. But he soon admitted that he was in love with a society lady and longed to write her a love note. When the philosopher began to clarify in what form to write it - in prose or in poetry, Jourdain wanted to do without them. Here the future aristocrat had one of the biggest discoveries in his life - it turns out that when he called the maid, he spoke in prose.

However, the philosophy teacher was unable to improve the text of the note composed by Jourdain.

At this time, the tailor was reported, and the philosopher had to leave. The apprentices brought in a new suit, tailored according to all the laws of fashion. While dancing, they dressed Jourdain in new clothes, and tirelessly treated him like a high-society nobleman, thanks to which he forked out money, being touched by such treatment.

Jourdain wanted to go out onto the streets of Paris in a new outfit, but his wife was against it - there was still not enough new ridicule from the townspeople. In her opinion, he was already too carried away by nonsense. For example, why would he learn to fencing if he's not going to kill anyone? Why, at his age, when his legs already hurt, should he also take up dancing?

In response, Jourdain decided to amaze his wife and maid with what he had learned, but nothing came of it: Nicole pronounced the sound “u” in the same way, without knowing how to pronounce it “correctly,” and inflicted several injections on the owner with a rapier, since I didn't use it according to the rules.

His wife accused the noble gentlemen, with whom Jourdain had recently made friends, of his new useless activities. He saw the benefit of communicating with such people, while they saw in him only a plump wallet.

Count Dorant, one of Jourdain's new friends, borrowed fifteen thousand eight hundred livres from him, and was going to borrow another two hundred thousand for good measure, in return promising to provide a favor - to introduce Jourdain to the Marquise Dorimene, with whom he is in love and is going to give a dinner with a performance.

Mr. Jourdain's wife at this time went to dinner with her sister, thinking only about the fate of her daughter Lucille. She wanted to marry her to the young man Cleont, who was not a nobleman, and therefore did not meet the requirements of Mr. Jourdain. And of course, the guy was refused and fell into despair.

Then Koviel, Jourdain’s servant, decided to lead him through.

At this time, Count Dorant and the Marchioness of Dorimena arrived. The Count himself liked this lady, but they could not see her. And all the gifts and entertainment that Jourdain spent on were given by the count supposedly from himself, which endeared him to Dorimena.

Jourdain greeted the guests with a rather awkward speech, before which he awkwardly bowed and invited them to the table.

The owner’s wife unexpectedly returned and raised a scandal that she had been sent away on purpose so that her husband could spend time with someone else’s lady at that time, and then began accusing the marquise of promiscuity. The guests immediately left the house.

But soon a new visitor was reported, who was the disguised servant Koviel. He introduced himself as a friend of Jourdain's father. Previously, he assured everyone that the deceased was not a merchant, but a real nobleman. After such words, Jourdain was ready to listen to the new guest and not doubt the veracity of his stories.

Coviel said that the son of the Turkish Sultan had arrived in the city and intended to propose to Lucille, Jourdain’s daughter. In order for the marriage to take place, and for the father-in-law to match his noble relatives, it was decided to initiate him into mamamushi, that is, paladins. Jourdain's delight knew no bounds.

The son of the Turkish Sultan turned out to be, of course, Cleont. He spoke in a made-up language, and Coviel allegedly translated this nonsense into French. The initiation ceremony was very spectacular, with music and dancing, and its climax was the beating of the future mamamush.

Meanwhile, Lucille recognized the overseas prince as Cleonte and gave her consent. Madame Jourdain was against this marriage, but Koviel explained everything to her, and she already changed her mind.

Jourdain gave his father's blessing for the marriage of his daughter and the young man, joining their hands, and then they began to wait for the notary, enjoying the ballet, which was staged by the dance teacher.

Moliere's play "The Bourgeois in the Nobility" ridicules the class of people who, thanks to circumstances, became rich and received the status of nobility, but did not receive proper education and upbringing. He also makes fun of wayward, stupid and narrow-minded people who believe that with money you can achieve whatever you want, and that money is the most important thing in life, who do not notice that they are making a mockery of themselves.

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