Molière a tradesman in the nobility to read the full content. Read online "philistine in the nobility". Tradesman in the nobility

(JEAN BAPTISTE PAUQLIN)

Brilliant playwright

The French playwright, actor, theatrical figure Molière was born in the family of a furniture maker and royal upholsterer Jean Poquelin. Jean Baptiste was educated at the prestigious Jesuit Clermont College, where the children of the nobility and wealthy bourgeois studied. There he first tried himself in literature: he translated the poem "On the Nature of Things" by the Roman philosopher Titus Lucretius Cara. In 1639, at the University of Orleans, the young man passed the exam for the title of licentiate 1 in law. Two paths opened before him: to follow in the footsteps of his father or to practice law.

However, none of them appealed to him.

He abandoned the hereditary title of royal upholsterer, took the pseudonym Molière and became an actor.

Together with the comedians Joseph and Madeleine Bejart, Molière created the Brilliant Theater troupe. Not accepted by the metropolitan public, in 1645 the theater went on a tour of the province, which lasted thirteen years. Molière became director of the troupe and began to write plays. Wandering around France, Moliere's theater created its own repertoire and found an audience. In 1658, the members of the troupe decided that the time had come to conquer Paris.

The Brilliant Theater performed before Louis XIV himself. The king and court were pleased with the performance. The impressed monarch provided Moliere and his wards with the building of the old Petit-Bourbon theater and appointed a good annual pension, and the king's brother allowed the troupe to be named after him.

The troupe was doing well for a while. However, in 1660, at the height of the theatrical season, the envious Molière expelled the theater from its premises under the pretext of construction work. Louis again came to the aid of the actors: he gave the troupe the hall of the Palais Royal Palace.

In 1673, the troupe staged a new play by Molière, The Imaginary Sick. The playwright played the main role in it. The first three performances were a great success. On the day of the fourth performance, Molière felt unwell, but nevertheless went on stage, as among the spectators were the Prince of Condé and many noble foreigners. The comedian with difficulty played the performance, after which he became even worse. Molière was taken home, where he soon died.

The French playwright wrote over forty plays, of which thirty-three have survived. These are mainly comedies, farces and comedy-ballets. Performances based on the plays of Molière are still successfully staged on many stages of the world.

Molière's "High Comedy"

In the classical hierarchy, comedy belonged to the low genres. As you know, a comedy is a dramatic work in which the characters are presented in a funny way. The main task of comedy is to make the audience laugh and entertain. Moliere, in his works, addressed

to serious moral, social and philosophical questions. So, in the play "Tartuffe" the playwright raised the problem of hypocrisy, religious hypocrisy, in the work "The Philistine in the Nobility" ridiculed vanity. In addition, Moliere introduced people of the upper class into his works, while the heroes of traditional comedies were representatives of the social lower classes. Most of Molière's comedies are written in verse, which, according to the canons of classicism, was prescribed tragedy, but was an optional condition for "low" comedy.

Going beyond the rules, Moliere created a "high comedy" that opened the way for the further development of European drama.

"Tartuffe, or the Deceiver"

Molière's most famous work was the comedy Tartuffe, or the Deceiver.

It was first played before the king in his country residence of Versailles in 1664. With the help of the image of the protagonist, Moliere sought to expose hypocrisy and hypocrisy.

The protagonist of the play, the intriguing Tartuffe, settles in the house of the rich Orgon, entangles the owner with flattery and lies, lives at his expense, tries to seduce the benefactor's wife and eventually takes possession of his property. Hypocrisy is the main character trait of Tartuffe. He became an "omnipotent tyrant" in the house of Orgon, skillfully covering up greed, voluptuousness, evil pettiness, and vindictiveness with piety. The hero preaches Christian humility, but at the same time tramples on all Christian virtues. His credo is "it is not sinful to sin, if sin is shrouded in mystery." Tartuffe is not just a petty charlatan and a prudent criminal who deceives someone else's property. On his conscience, the atrocity is much more serious: a deliberate mockery of Christian values.

In the course of the play, the character of Tartuffe is gradually revealed. In order to form the correct assessment of the hero in the viewer, Molière uses a peculiar composition. In the first two acts, we learn about Tartuffe from the words of other characters. The hypocrite himself appears only in the third act. The author explained this construction in the “Preface” to the comedy: “I ... made every effort to oppose the hypocrite I brought out to a truly pious person. To this end, I spent two whole actions to prepare the appearance of my wicked. The viewer is not deceived about him for a single minute: he is immediately recognized by the signs with which I endowed him. »

"Tartuffe" is a vivid example of "high comedy". Sometimes the events of the play take on a truly dramatic turn, bringing the work closer to tragedy. For example, throughout the course of

Orgon causes laughter. The viewer is amused that the head of the family, a mature and experienced person, believes every word of the rogue Tartuffe. However, in the fifth act, when Tartuffe throws off the mask of a saint and drives Orgon's family out of the house, the audience already experiences indignation, pity, compassion - feelings that tragedy usually causes.

The denouement of the work is happy, as befits a comedy: Tartuffe is arrested by order of the king. But this denouement does not detract from the tragicomic nature of the play. The name of the hero - Tartuffe - entered the European languages ​​​​as a synonym for hypocrisy and hypocrisy.

We comprehend what we read

1. What fact of Molière's biography interested you, surprised you?

2. Why are the comedies of the French playwright called "high"?

3. What is common between Molière's comedies and tragedies?

4. What issues did Molière raise in Tartuffe or the Deceiver? Work in the theater influenced the work of Molière as a playwright. On the interactive.ranok.com.ua electronic educational resource, read a short article about Molière's theatrical activities. What new did you learn about Molière? Conclude how Molière as a playwright benefited from the knowledge of the theater from the inside, the practice of theater management and acting experience.

TARTUFFE, OR THE DECEIVER

Comedy

(Excerpts)

Characters

Madame Pernel, his mother.

Elmira, his wife.

Damis, his son.

Mariana, his daughter.

Valer, a young man in love with Mariana.

Cleanthes, Elmira's brother.

Tartuffe, saint.

Dorina, Mariana's maid.

Mr. Loyal, bailiff.

Flipota, Madame Pernelle's maid.

The action takes place in Paris, in the house of Orgon.

STEP ONE

[Madame Pernelle got ready to leave Orgon's house. On the threshold, she entered into an argument with her grandchildren and daughter-in-law about Tartuffe. Members of the Orgon family tried to prove to Madame Pernel that Tartuffe was a deceiver. Furious, Madame Pernelle left the house. Orgon returned home after a two-day absence. To his question about the health of the household, Dorina began to tell how Elvira suddenly fell ill and almost died. Orgon interrupted the story with questions about Tartuffe: he obviously did not care about his wife's health. When Dorina replied that Tartuffe ate well, drank plenty of wine and slept a lot on luxurious featherbeds, Orgon took pity on him: “Poor fellow!”.]

The sixth phenomenon

Cleante, Orgon.

<...>How did this person take power over you?

And is it possible to fall under his influence like that,

To forget about everyone? I understood when you gave shelter to the poor, but.

Brother-in-law! You're not right.

Because you don't know him yet.<...>

Just get to know him better - and immediately you will become His follower forever.

Here's a man! He. He. Well, in a word, man!

I'm happy! I was inspired by his mighty verb,

That the world is a big dunghill.

How comforting this thought is to me, my brother!

After all, if our life is only pus and stench,

Is it possible to value at least something in the world? Now let both my mother and children die,

Let me bury my brother and wife -

I, believe me, will not bat an eyelid.

Yes. This feeling is truly extremely human.

I met him - and loved forever.

He prayed next to me in church every day,

In a pious impulse, I kneel.

He attracted everyone's attention:

That suddenly flew out of the mouth of his moaning,

Then he raised his hands to heaven in tears,

And then he lay prostrate for a long time, kissing the ashes;

When I went out, he ran down the aisle,

To give me holy water in the porch.

I questioned his servant (to him in everything the Master is a model); he confessed to me

That they are in poverty: there is no money for food. I offered assistance to Tartuffe,

However, he blamed the generosity of my mites:

It’s not worth it, they say, he is doing these good deeds;

And, in his modesty, being content with a little, He gave the surplus to the orphans and the poor.

Listening to heaven, I offered him shelter,

And happiness has reigned in my house ever since.

Tartuffe delves into everything with me together,

He stands guard over my family honor:

He's more jealous than me. A little to my wife With courtesies - he immediately informs me.

How virtuous! How full of humility!

He imputes to himself a crime, The most insignificant trifle, trifle, nonsense.

Here - for a prayer I caught a flea the other day,

So then he brought repentance to the sky,

That crushed her without a sense of compassion.<...>

[Cleant asked if Orgon was still going to give his daughter to her beloved Valera, as he had promised before. However, Orgon refrained from answering.]

ACT TWO

[Orgon informed Mariana that he wished to marry her to Tartuffe. Mariana told her father that she did not love this man. But Orgon did not even want to listen to objections. Dorina, who witnessed the conversation between father and daughter, tried to reason with the owner: they say that Orgon is pushing Mariana onto the path of treason; Tartuffe is not worthy of the girl's love, and she will seek happiness on the side. However, Orgon remained adamant.

After a difficult scene between Orgon and Mariana, Valer appeared. The news that his beloved was given by force to Tartuffe led him to despair. Dorina began to comfort the young people and gave them advice in words to put up with Orgon's decision, but to delay the wedding as long as possible under various pretexts.]

ACT THREE

[Damis confessed to Dorina that he wanted to interfere with his sister's marriage to Tartuffe. The dialogue of the characters was interrupted by the appearance of Tartuffe. Damis, whom the hypocrite did not notice, hid in a small room at the back of the stage. Dorina also left, and Elmira entered the room.]

The third phenomenon

Tartuffe, Elmira.

[Tartuffe behaved inappropriately for a humble: he grabbed the interlocutor by the hand, then put his hand on her knee. Elmira asked if it was true that Orgon intended to marry his daughter to Tartuffe.]

Indeed, he hinted at something along these lines.

However, I prefer another lot:

I cherish, I confess, I seek the highest dream And other charms with all my being.

Rejected, I know, you are the vanity of the world.

All the same, the heart is in my chest, and not a flint.

Your whole day is filled with holy thoughts,

Earthly desires and cares are alien to you.

To the one who loved immortal beauties,

Mortal beauty should also be pleasant:

Heaven will give it to us for joy.

Sometimes in other charming creatures We see reflections of heavenly images,

But your beautiful face is more tender than all a hundred times,

He excites the heart and delights the eye.<...>

At first I thought that I had to fight With the flame of love, that this is the machinations of hell,

And no matter how pure you are, no matter how good you are,

In you imagined an obstacle to the salvation of the soul,

But in vain I was afraid, of little faith, -

So your beauty is alien to worldly filth,

That I, having fallen in love with you, do not risk falling into sin:

This is not pernicious, but passion is life-giving.<. >

An ardent confession ... But, no matter how flattering it is,

I'm afraid your speech is a little. out of place.

And I thought until today,

That your piety is the strongest armor From the temptations of the world, a reliable dam.

As devout as I am, I am still a man.<.>[Suddenly, Damis came out of his hiding place, wanting to expose Tartuffe in front of his father. Elmira urged the young man to composure. But Damis did not listen to his stepmother and immediately told about the behavior of Tartuffe to Orgon who appeared in the room.]

The sixth phenomenon

Tartuffe, Damis, Orgon.

What do I hear? What should I believe? Good God! Tartuffe

Believe my brother! I am a villain, shameless and crafty The culprit of all evils, the source of all troubles.

The world has never seen such a sinner.

With the most vile of creatures I do not dare to be near,

My whole life is full of shame, filth, stench,

In it is a cluster of sins and a dump of sewage,

And the sky rightly sends me such an execution.

Let them attribute any crime to me -

Humble myself without uttering a single word of excuse.

So believe everything! Hearing and seeing

All my baseness, bring down the ardent anger,

Drive me away. Whatever blows

I have not suffered from you - I am worth a greater punishment.

Orgon (Damisu)

How did your unscrupulous tongue turn To scoff at the righteous? Slanderer!

What? This hypocrite grimaces shamelessly.

And you him...

Shut up, damned viper!

Oh, let him speak, and you believe him!

I will accept reproach without a murmur.<...>

(to Damisu) So, my dear son, here I am in front of you; Label me with slanderous words:

I am a fiend, a hypocrite, a perjurer, a thief,

A murderer, a harlot, I won't deny it.

On my knees, I will endure the reproach As for my sins from heaven retribution.

(Kneels down.)<...>

Orgon (kneeling before Tartuffe)

How can you, dear brother.

(To Damisu) Look, you won't find anything like this in the entire universe of Generosity!

Be quiet! Everything is trickery and lies.

He is hateful to you: my wife and children,

And even servants; you and this righteous man want to quarrel me. Never!

The more labor you put into it,

The more precious he is to me. I will put an end to slander and insults at once: I will marry my daughter to him And with this marriage I will knock down arrogance from all of you.<. >

[Orgon demanded that Damis apologize to Tartuffe. He refused. Then Orgon drove his son out of the house with a curse and a promise to deprive him of his inheritance.

After the departure of Damis, Tartuffe began to complain to Orgon about his relatives. With a meek air, the hypocrite expressed his intention to leave the house of Orgon, so as not to increase discord between family members. Frightened, Orgon decided to make Tartuffe the sole heir and transfer the entire fortune to him.]

ACT FOUR

Cleante, Tartuffe.

[Cleant tried to appeal to the conscience of Tartuffe, reproaching him for allowing Damis to quarrel with his father. Cleanthes advised the hypocrite to settle the scandal with kindness.

Tartuffe retired to pray. Mariana asked her father to abandon the idea of ​​marrying her to Tartuffe - otherwise she would become a nun. Orgon went berserk. Elmira arrived in time to help her stepdaughter: she reminded her husband that Tartuffe was trying to seduce her. Orgon did not believe his wife. Then she offered to prove her case. Orgon agreed to hide under the table and watch Elmira's meeting with Tartuffe from there.

Tartuffe appeared. Elmira told him that her heart had responded to his ardent call.]

Fifth phenomenon

The same and Tartuffe.

If you really did not despise my devotion,

Why not show the whole flame of feelings in practice?

However, if I yielded to you,

Wouldn't I defy heaven

Whose commandments do you order to honor so strictly?

Are you afraid of heaven? Useless anxiety!

Here I will settle everything, I vouch for success.

Breaking the commandment is a mortal sin!

Oh, I will deliver you from the smallest shadow

So naive fears that torment you!

Yes, other pleasures are forbidden to us,

But people are smart when they want to

They always collide with the providence of heaven.

The circle of conscience when it gets tight<...>

[Orgon got out from under the table extremely angry and ordered the hypocrite to get out of the house. To this Tartuffe threatened:

See how you don't get kicked out of your house!

Elvira asked her husband what the insolent words meant. Orgon, saying that he had written over the entire estate to Tartuffe, in alarm rushed to check whether a certain casket was in place.]

ACT FIVE

[Orgon confessed to Cleanthe that his friend Argas, having fallen out of favor with the authorities, had given him a chest of important papers for safekeeping. A friend's life depended on these papers. Orgon foolishly told about the casket to Tartuffe. The hypocrite advised to give the casket to him, which the rich man immediately did.

Damis and Madame Pernelle came into the house. Orgon told his mother about the meanness of Tartuffe, but she refused to believe his words. While the relatives were arguing, the bailiff Loyal came. He presented the court decision to evict the Orgon family from the house, since Tartuffe is its new owner. Loyal gave one day for training. Hearing this, Madame Pernel finally saw the light and changed her mind about Tartuffe.

Soon Valer joined the family. He brought the news that Tartuffe had denounced Orgon to the authorities. The scoundrel penetrated to the king and handed him a chest with documents, accusing Orgon of hiding them from the monarch. Frightened, Orgon decided to run.]

The seventh phenomenon

The same, Tartuffe and officer.

Tartuffe (stops Orgon)

Well, well, why hurry? Let's take a little time:

The road to new housing is not long.

You are under arrest by decree of the king.

How does the earth tolerate this traitor?

For the fact that I dared to tear off the mask from you,

You, vile soul, stab me in the back with a knife.

My hearing is immune to your swear words:

For the glory of heaven, I'm ready to demolish everything.<...>

Have you forgotten who delivered you from poverty?

No gratitude, no conscience, no rules!<...>

Tartuffe (to an officer)

I ask you to spare me the attacks.

It's time, I think, to put things in order here.

So follow your orders!

Yes, there is no need to delay, your advice is just right.

I suggest that you follow me to prison, and there I will arrange for you to live.

Whom? Me?

Why am I in jail?

Please explain.

Yes, to someone

And I'm not going to give you an explanation here.

(to Orgon) You, sir, should put aside your fears. Our sovereign is an enemy of lies. From his vigilance Deception and swindle cannot hide.<. >Could the insidious tricks of this creature not immediately cause doubts in the sovereign, who revealed many and not such intrigues?

He penetrated the convolutions of the villainous soul. The scammer, having betrayed you, got into his own networks.

There is truth and law. Seeing these tricks,

Under the new name, the sovereign recognized in him the impudent Villain, about whom he had heard of in olden times.

The king has long known his deeds:

Their dirty list could fill volumes with Ingratitude, which he showed here,

The monarch was angered by an inveterate rogue,

And the cup overflowed from this drop.

I was sent with him to your dwelling,

To let him reach the shamelessness to the end And after that, in front of you, humiliate the insolent.

The papers that got to this scoundrel,

By the will of the king, sir, I return you.

He agrees to terminate the contract,

According to which the impudent thief conceived Assign this house and all your estate.

And, moreover, the king grants you forgiveness,

At least a rebellious friend received help from you.

All these favors to you in honor of past merits are rendered now, when you do not expect them, -

Let everyone know what honor the King has for Good Zeal. His soul is generous.

And in his rules - do not forget the good.<...>

Gotcha, bastard!

The officer takes Tartuffe away.

[Orgon blessed Valera and Mariana for marriage.]

(Translated by M. Donskoy)

1. What impression did the play make on you? Which of the characters evoked sympathy, sympathy? Why?

2. In the title of the comedy, the main character is called a deceiver. Choose other words to characterize Tartuffe.

3. How do you think Tartuffe bribed Orgon?

4. Fill in the table "Tartuffe through the eyes of different characters" in your notebook. When doing work, use quotes from the play. 5 6 7 8 9

5. Why do researchers talk about the tragicomic nature of the work?

6. Using the example of the play "Tartuffe", reveal the features of Moliere's "high comedy".

7. Prove that the play "Tartuffe" can be called a classic work.

8. Formulate the main idea of ​​the play.

9. What moral lessons have you learned for yourself by reading the comedy "Tartuffe, or the Deceiver"?

Reading expressively

10. Assign roles and prepare an expressive reading of your favorite passage of the play. Justify your choice of passage.

Expressing an opinion

11. Researchers consider the denouement of the play artificial, due to

comedy requirements. Do you agree with their position?

Justify your answer.

12. Do you think the play is relevant today?

We realize creative abilities

13. Imagine that you are a playwright. Come up with your own denouement of the play, containing an element of surprise. Choose actors from your classmates and play your comedy ending.

"THE WOMAN IN THE NOBILITY"

The history of the creation of comedy

In 1669, ambassadors from the Ottoman Empire arrived at the court of King Louis XIV of France. A magnificent reception was arranged in their honor, but the Turks did not show the monarch due respect. Insulted, Louis ordered Molière and the composer J.-B. Lully ballet, which would have ridiculed the Turkish delegation and oriental customs. The choice fell on the genre of ballet is not accidental: in the XVII century. he was the most fashionable entertainment at court.

The premiere of the production of "The Philistine in the Nobility" took place in 1670 in the country castle of King Chambord. Already at the first performance, it became clear that Moliere went beyond the scope of the task and created a funny and sharp satirical picture of the mores of the wealthy bourgeois and aristocracy.

The plot and artistic features of the play

During the time of Moliere, the aristocracy was impoverished and wealthy bourgeois penetrated into its environment, buying titles of nobility for huge money. The playwright reflected these social changes in the play. The main theme of the comedy is apostasy from his estate, and its main character is the bourgeois Jourdain, obsessed with the idea of ​​becoming a nobleman - that is, someone he could not be either by origin or by upbringing.

The plot of the work consists of scenes in which others play along with the protagonist, pursuing their own goals: teachers take money for lessons; Count Dorant at his expense gives expensive gifts and throws dust in the eyes of the Marquise Dorimene; young man Cleont arranges

marriage to Jourdain's daughter Lucille. Jourdain, intoxicated by the idea of ​​becoming a nobleman, is confronted by the prudent Count Dorant. He skillfully plays on the passion of a fool, undertaking to help him charm the Marquis Dorimena. Dorant borrows huge sums from a gullible tradesman, and in his own name gives Dorimene a diamond bought by Jourdain. Noble persons appear in the play as people who have only a title among their merits.

Moliere revealed the idea of ​​the play with the help of various means of the comic. Firstly, humor, a cheerful ridicule of the naivety of the protagonist. Jourdain is ridiculous in tasteless outfits, in his stubborn desire to quickly master various sciences and arts. Secondly, Moliere resorted to satire - condemning, evil laughter. Satire in comedy is directed not only at Jourdain, but also at the images of aristocrats. The playwright exposed their meanness and commercialism in all its ugliness.

We comprehend what we read

1. What did you learn about the history of the comedy "The Tradesman in the Nobility"?

2. What social process is reflected in the play?

3. How is the prank plot used in the work?

WOMAN IN THE NOBILITY

Comedy in five acts (Abbreviated 1)

Actors in comedy

M. Jourdain, tradesman.

Madame Jourdain, his wife.

Lucille, their daughter.

Cleont, a young man in love with Lucille. Dorimene, Marchioness.

Dorant, count, in love with Dorimene.

Nicole, maid in M. Jourdain's house. Coviel, Cleont's servant.

Music teacher.

Music teacher's student.

Dance teacher.

Fencing teacher.

Philosophy teacher.

Musicians.

tailor's apprentice.

Two footmen.

Three pages.

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

ACT ONE The First Appearance

Dance teacher Now we have things above our heads.

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

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

The music teacher understands them poorly, but on the other hand he pays well, and our arts do not need anything now as much as this.<...>

ACT TWO Appearance six

Philosophy teacher, Mr. Jourdain, lackey.

Philosophy teacher (straightening his collar). Let's get to the lesson.

Monsieur Jourdain What can I do: after all, I want to become a scientist, and such an evil takes me to my father and mother, that from an early age they did not teach me all the sciences!<. >

Philosophy teacher Do you have the basics, the beginnings of any knowledge?

Philosophy Teacher Where would you like to start? Do you want me to teach you logic?

Mr. Jourdain And what is this thing - logic?

Philosophy Teacher This is the science that teaches us the three processes of thinking.

Mr. Jourdain Who are these three thought processes?

Philosophy teacher First, second and third. The first is to form a correct idea of ​​things by means of universals 1 , the second is to correctly judge them by means of categories, and finally the third is to draw a correct conclusion by means of figures ...<...>

Mr. Jourdain Painfully, the words are intricate. No, the logic doesn't suit me. Something more exciting is better.<...>

Philosophy teacher So what do you want to do?

M. Jourdain Take care of my spelling.<...>

Philosophy teacher Good. If we consider this subject from a philosophical point of view, then, in order to fully satisfy your desire, it is necessary, as the order requires, to begin with a precise idea of ​​the nature of letters and the various ways of pronouncing them. First of all, I must inform you that the letters are divided into vowels, so named because they denote sounds of the voice, and consonants, so named because they are pronounced with vowels and serve only to indicate various changes in voice. There are five vowels, or, in other words, voice sounds: A, E, I, O, U.<...>To pronounce the sound A, you need to open your mouth wide: A.

Mr. Jourdain A, A. So!<...>

[The teacher explained how to pronounce the rest

vowels. Jourdain was delighted and exclaimed: “How nice to know that you have learned something!”]

Philosophy teacher All these curious things I will explain to you in detail.

Mr. Jourdain Be so kind! And now I must tell you a secret. I am in love with a lady of high society, and I would like you to help me write her a little note, which I am going to drop at her feet.<. >After all, wouldn't that be polite?

Philosophy Teacher Of course. Do you want to write poetry for her?

Mr. Jourdain No, no, not poetry.

Philosophy teacher Do you prefer prose?

M. Jourdain No, I don't want prose or poetry.

Philosophy teacher It's impossible: either one or the other.

Mr. Jourdain Why?

Teacher of Philosophy For the reason, sir, that we can express our thoughts in no other way than prose or verse.<...>Everything that is not prose is poetry, and everything that is not poetry is prose.

Mr. Jourdain And when we talk, what will it be like?

Philosophy teacher Prose.

Mr. Jourdain What? When I say, "Nicole, bring me shoes and a nightcap," is that prose?

Philosophy teacher Yes, sir.

Mr. Jourdain Honestly, I did not suspect that for more than forty years I have been speaking prose. Thank you very much for saying. So this is what I want to write to her: "Beautiful marquise, your beautiful eyes promise me death from love," but can't the same thing be said more kindly, somehow more beautifully expressed?

Philosophy teacher Write that the flame of her eyes incinerated your heart, that you endure day and night because of her so heavy.<. >

Mr. Jourdain No, they tell you! I don't want the note to contain anything other than these words, but they should be arranged properly, as is customary today. Give me some examples, please, so I know what order to follow.

Teacher of Philosophy The order can be, firstly, the one that you have established yourself: "Beautiful marquise, your beautiful eyes promise me death from love." Or: "From love, death is promised to me, beautiful marquise, your beautiful eyes." Or: "Your beautiful eyes from love promise me, beautiful marquise, death." Or: "The death of your beautiful eyes, beautiful marquise, from love they promise me." Or: "Your beautiful eyes promise me, beautiful marquise, death."

Mr. Jourdain Which of all these ways is the best?

Philosophy teacher The one you chose yourself: "Beautiful marquise, your beautiful eyes promise me death from love."

Mr. Jourdain But I didn’t study anything, and yet I came up with it in an instant. I humbly thank you. Please come early tomorrow.<. >

[A tailor comes to Jourdain with a new suit.]

ACT THREE

Ms. Jourdain, Mr. Jourdain,

Nicole, two lackeys.

Madame Jourdain Ah, ah! What is this news? What's that outfit you're wearing, hubby? Is it true that he decided to make people laugh, if he dressed up as such a jester? Do you want everyone to point fingers at you?

Monsieur Jourdain Only fools and fools will point fingers at me.

Madame Jourdain Yes, and they show: your habits will make everyone laugh for a long time.

Mr. Jourdain Who is "everyone", may I ask you?

Madame Jourdain All reasonable people, all who are smarter than you. And I'm so ashamed to see what fashion you have started. You don't recognize your own house. You might think that every day we have a holiday: from the very morning, you know, they chirp on the violins, they yell songs, - there is no rest for the neighbors.<...>It would be better to think about how to attach a daughter: after all, she is already marriageable.

Monsieur Jourdain I'll think about it when a suitable match presents itself. In the meantime, I want to think about how I could learn different good things.<. >

Madame Jourdain Here's what, drive your teachers in the neck and with all their gibberish.<...>You're obsessed with all these quirks, hubby. And it began with you from the time you took it into your head to associate with important gentlemen.

The fourth phenomenon

Dorant, Mr. Jourdain, Ms. Jourdain, Nicole.

Dorant. Hello Mr Jourdain! How are you, dear friend?

Mr. Jourdain Excellent, Your Excellency. Welcome.<. >

Dorant However, Monsieur Jourdain, what a dandy you are today!<...>You look flawless in this suit. There is not a single young man in our court who is as well built as you.<...>

Madame Jourdet (aside). Knows how to get into the soul.<...>

Dorant You have been so generous as to lend me several times, and, it must be observed, with the greatest delicacy.<. >However, I consider it indispensable

by my duty to pay my debts, and I know how to appreciate the courtesies rendered to me.<...>I intend to get even with you. Let's calculate together how much I owe you.<...>

[Jourdain and Dorant have calculated the count's debts. It turned out that Jourdain paid almost all the expenses of the count, and he owed him fifteen thousand eight hundred livres 1 .]

Dorant The bottom line is correct.<...>Give me another two hundred pistoles 2 and add them to the total: you get exactly eighteen thousand francs, which I will return to you as soon as possible.

Madame Jourdain (quietly to M. Jourdain). Well, was I right?<...>You are a cash cow for him.<...>

Dorant If this is inconvenient for you, I will turn to someone else.

Mr. Jourdain No, no, Your Excellency.<...>

The sixth phenomenon

Mr. Jourdain, Ms. Jourdain, Dorant, Nicole.

M. Jourdain (to Dorant). Here's exactly two hundred louis.<...>Dorant (quietly to Monsieur Jourdain). Our lovely marquise, as I have already informed you by note, will now come to you to dine and see the ballet. In the end, I still managed to persuade her to go to the performance that you are putting on for her.

Monsieur Jourdain Let's go away just in case. Dorant We have not seen each other for a whole week, and until now I could not tell you anything about the diamond, which I was supposed to give from you to the Marquise, but the whole point is that it cost me the greatest difficulty to overcome her scrupulousness: she agreed to accept it only today.

Mr. Jourdain How did she like him?

Dorant She admires him. I am almost sure that the beauty of this diamond will elevate you extraordinarily in her eyes.<. >Mr. Jourdain I don't know how to thank you. How embarrassing for me that such an important person as you bothers herself for me!<...>

Dorant You managed to find the shortest way to her heart. Women love most when they are spent, and your incessant serenades, your countless bouquets,

the marvelous fireworks you set up for her on the river, the diamond you gave her, the performance you are preparing for her, all this speaks more eloquently of your love than all the words that you could say to her personally.

Mr. Jourdain I will stop at no cost, if only they will pave the way for me to her heart. A society lady has for me an incomparable charm - I am ready to buy such an honor at any price.

The twelfth phenomenon

Cleont, Mr. Jourdain, Ms. Jourdain,

Lucille, Coviel, Nicole.

Cleont. Mr. Jourdain, I have decided not to resort to any mediation in order to turn to you with a request that concerns my long-standing dream.<...>So, I will tell you without hesitation that the honor of being your son-in-law would be the highest favor for me, and it is precisely this favor that I ask you to show me.

Monsieur Jourdain Before I give you an answer, sir, I will ask you to tell me: are you a nobleman or not?

Cleont<...>People without a twinge of conscience appropriate themselves the title of nobility - this kind of theft, apparently, has become a custom. But on this score, I confess, I am more scrupulous. I believe that every deceit casts a shadow on a decent person. To be ashamed of those from whom heaven destined you to be born into the world, to shine in society with a fictitious title, to pretend not to be what you really are - this, in my opinion, is a sign of spiritual baseness. Of course, my ancestors occupied honorary positions, I myself served with honor for six years in the army, and my condition is such that I hope to take not the last place in the world, but with all that, I do not intend to assign myself a title of nobility, despite the fact that many in my place would consider themselves entitled to do this, and I will tell you bluntly: I am not a nobleman.

Monsieur Jourdain It's over, sir: my daughter is not for you.<...>

Madame Jourdain What does it have to do with it: a nobleman, not a nobleman?<. >We ourselves are not from honest philistine families?<. >Weren't our parents merchants?

Mr. Jourdain<...>If your parent was a merchant, so much the worse for him, and only evil tongues can say that about my parent. In a word, I want my son-in-law to be a nobleman.

Madame Jourdain Your daughter needs a suitable husband: it is better for her to marry an honest, rich and stately man than a beggar and clumsy nobleman.<. >

Mr. Jourdain<...>I have enough goods in store for my daughter, only honor is missing, so I want her to be a marquise.<...>

Madame Jourdain I don't agree with that. Don't expect anything good from an unequal marriage. I do not want my son-in-law to reproach my daughter with her parents and that their children be ashamed to call me grandmother. If she happens to one fine day roll up to me in a carriage, and if she inadvertently forgets to bow to one of the neighbors, why won’t they talk about her!<...>

Mr Jourdain. It was then that all your petty soul had an effect: you would have to vegetate all your life in insignificance. Enough talk! Against all odds, my daughter will be a marquise, and if you piss me off even more, I will make her a duchess.<...>

[Cleont is bored. Coviel comforted him with the news,

that he figured out how to outsmart Jourdain and win a hand

Lucille. The servant decides to arrange a costume prank.]

The eighteenth phenomenon

Dorimena, Doran T.

Dorimena. I don't know, Dorant, but I think I was rash enough to let you take me to a strange house.

Dorant Where, then, Marquise, could my love greet you, since you, in order to avoid publicity, do not want to meet me either at home or at my place?

Dorimene Yes, but you do not want to confess that I imperceptibly become accustomed to the daily and too strong proofs of your love for me.<...>Now I don’t answer for anything: I’m afraid that you will still persuade me to marry, although I avoided it in every possible way.

DORANTH It's high time, Marchioness, I assure you. You are a widow, you are not dependent on anyone. I, too, am my own master and love you more than life itself. Why don't you make me happy today?

Dorimena Oh, my God, Dorant, in order for a life together to be happy, too much is required from both parties!<. >I'm putting you on the line, and that worries me.<. >By the way, the diamond you forced me to take is such an expensive thing.

Dorant Marquise, I beg you, do not overestimate the little thing that my love considers unworthy of you, and allow it. But here is the owner of the house.

The nineteenth phenomenon

Mr. Jourdain, Dorimena, Dorant.

M. Jourdain (having made two bows, he finds himself too close to Dorimene). A little back, sir.

Dorimena What?

Mr Jourdain. If possible, one step.<...>Step back a little, otherwise I can’t make the third bow.

Dorant. Monsieur Jourdain loves refined manners.

M. Jourdain Madame, it is my greatest joy that I turned out to be such a darling of fate and such, one might say, lucky that I have such happiness and you were so kind that you did me a favor and wished to honor me with the honor of your favorable presence, and if only I were worthy to be worthy of such merit as yours. and sky. envious of my bliss. provided me. deserve an advantage. deserve.

Dorant Quite, Monsieur Jourdain! Marquise does not like long compliments. She's already heard a lot about the extraordinary sharpness of your mind. (Quietly to Dorimene.) As you can see, this nice tradesman has rather amusing manners.

Dorimene (quietly to Dorant). This is easy to see.

Dorant Let me introduce you, Marchioness, my best friend.<.>(Quietly to M. Jourdain.) Be careful not to let slip about the diamond that you gave her.<.>

ACT FOUR

Madame Jourdain, Mr. Jourdain, Dorimena, Dorant, singers, lackeys.

Ms. Jourdain Ba! Ba! Yes, there is a nice company here, and, apparently, they did not expect me! So that's why you were impatient, my dear husband, to take me to dinner with my sister?<.>Nothing to say, I found where to put the money: you treat ladies in my absence, you hire singers and comedians for them, and I'm out of the yard.

Dorant What do you say, Madame Jourdain? What is your fantasy? Where did you get the idea that your husband spends money and that he gives a dinner in honor of the lady? Let it be known to you that I am organizing the dinner, and he only provided his house for this - I advise you to think carefully first, and then speak.

Madame Jourdain All lies.<...>I have been smelling something unkind for a long time, you should not think that I am such a fool. Shame on you, noble lord, to indulge my husband's foolishness. And you, madam, such an important lady, do not suit and it is unsuitable to bring discord into the family and allow my husband to drag after you.

Dorimena. What does all this mean? Listen, Dorant, are you kidding me? To make me listen to the absurd nonsense of this absurd woman!

DORANTH (running after Dorimene). Marquise, wait! Marquise, where are you?

Monsieur Jourdain Madame!.. Your Excellency, apologize to her for me and persuade her to return!<. >

[Jourdain cursed his wife for being

she shamed him in front of the whole world by upsetting the dinner party.]

Fifth phenomenon

Mr. Jourdain, Coviel in disguise.

Koviel. I don't know, sir, whether I have the honor of being your acquaintance.

M. Jourdain No, sir.

Koviel (pointing to foot 1 from the floor). And I knew you like this.<. >You were a lovely child, and all the ladies took you in their arms and kissed you.<...>I was a close friend of your late father.

Mr. Jourdain My late father?

Covel Yes. It was a real gentleman.<...>

Mr. Jourdain Who, my father?

Covel Yes.<...>

Mr. Jourdain That's after that and believe people!<...>There are such boobies who claim that he was a merchant!<...>

Koviel Since the time when I made friends with your late father, as I already told you, with this real nobleman, I managed to travel all over the world.<...>It has only been four days since I returned from a long journey, and since I take a close interest in everything that concerns you, I considered it my duty to come to tell you the most pleasant news for you.<...>Do you know that the son of the Turkish Sultan is here?

Mr. Jourdain Me? No, it's unknown.

Koviel How so? He has a brilliant retinue, everyone runs to see him, he is received by us as extremely

important person.<...>What matters to you here is that he is in love with your daughter.<...>And he aims to be your son-in-law.

Mr. Jourdain Who is my son-in-law? Son of the Turkish Sultan? Kovyel The son of the Turkish Sultan is your son-in-law. I visited him, I know the Turkish language perfectly, we talked with him, and among other things he told me: “Aksyam krok soler onsh alla mustaf gidelum amanachem varahini ussere karbulat”, that is: “Have you seen a beautiful young girl, daughter Monsieur Jourdain, a Parisian nobleman?<. >I replied that I know you well and saw your daughter, and he told me: “Ah, marababa sachem!”, That is: “Ah, how I love her!”<...>

Mr Jourdain.<...>What an amazing language!<...>Koviel. So, in fulfilling his order, I bring to your attention that he came here to ask for the hand of your daughter, and so that the future father-in-law in his position would be worthy of him, he set out to promote you to “mamamushi” - this is their high rank.

Mr. Jourdain In "mamamoushi"?

Covel Yes. “Mamamushi”, in our opinion, is like a paladin 1 . Paladin - this is the ancients. in a word, paladin. This is the most honorable dignity that there is in the world - you will be on a par with the noblest nobles.

Mr. Jourdain The son of the Turkish Sultan does me a great honor. Please take me to him: I want to thank him.

Koviel Why? He will come to you.<...>His love does not linger.

M. Jourdan One thing confuses me: my daughter is stubborn - she has fallen head over heels in love with a certain Cleont and swears that she will marry only him.

Koviel She will change her mind as soon as she sees the Turkish Sultan's son.<. >

[Cleont entered, dressed as a Turk, and in gibberish asked Jourdain for the hand of Lucille. Meanwhile, Coviel ran into Dorant, told him about the prank, and asked the Count to take part in it. People disguised as Turks staged a solemn ballet performance. Dancing, they brought in and laid out carpets, with grimaces and grimaces they prayed to Allah. A dressed-up mufti (Muslim priest) initiated Jourdain into mammamushi.]

ACT FIVE The First Appearance

Ms. Jourdain, Mr. Jourdain.

Madame Jourdain Lord have mercy! What else is this? Who do you look like? What are you putting on yourself? Did you want to dress up? Tell me, finally, what does it all mean? Who dressed you up like a jester?

Mr. Jourdain What a fool! That's how you talk to mommy!<...>

Madame Jourdain What kind of animal is this?

Mr. Jourdain Mamamoushi, in our paladin.

Miss Jourdain Baldin? Balda you are. I decided to start dancing in my old age.

Mr. Jourdain Here is the darkness! This is the rank to which I have now been initiated.<. >

The second phenomenon

Dorant, Dorimena.

Dorant. Yes, marquise, a most amusing sight awaits you. I can guarantee that you will not find such a madman as our Jourdain anywhere. Then it is our duty to take part in the affairs of the heart of Cleont and to support his undertaking with a masquerade. He is a nice person and needs help.<...>In addition to all this, we should not miss the ballet, which, in fact, is arranged for us. Let's see how successful my idea is.

Dorimena. I've noticed the grand preparations here, and here's the thing, Dorant: I won't take it anymore. Yes, yes, I want to put an end to your extravagance: so that you no longer spend money on me, I decided to marry you without delay. This is the only remedy: with the wedding, all this follies end.<. >

Dorant Oh, how I appreciate your concern for my condition! It belongs entirely to you as exactly as my heart: dispose of them as you see fit.<. >

The sixth phenomenon

Lucile, Cleont, M. Jourdain,

Dorimena, Dorant, Coviel.

M. Jourdain Come here, my daughter, come near and give your hand to this gentleman, who does you the honor of wooing you.<. >

Lucille I don't want to get married.<...>

Mr. Jourdain Without any talk! Live, they tell you! Well, give me your hand!

Lucille No, father, I have already told you that there is no such force that would force me to marry anyone but Cleont, and I would rather decide on any extreme than ... (Recognizes Cleont.) Of course, you are my father, I must obey you implicitly, arrange my fate as you please.

Monsieur Jourdain Ah, how glad I am that the sense of duty has returned to you so soon! It is good to have an obedient daughter.

The seventh phenomenon

Ms. Jourdain, Cleont, M. Jourdain, Lucile, Dorant, Dorimena, Coviel.

Madame Jourdain What is it? What is this news? They say you're going to marry off your daughter to some jester?<...>

Mr. Jourdain I want to marry our daughter to the son of the Turkish Sultan.<...>(Pointing to Covel.) Pay your respects to him through this interpreter.<. >

KOVIEL (quietly to Madame Jourdain). Dead hour, madam, we are making signs to you. Don't you see that we started all this only to imitate Monsieur Jourdain with his eternal whims? We fool him with this masquerade: after all, the son of the Turkish Sultan is none other than Cleont himself.

Madame Jourdain (quietly to Coviel). Ah, that's the point!<...>Well, if so, then I give up.

KOVIEL (quietly to Madame Jourdain). Just don't show it.

Madame Jourdain (loudly). Yes. Everything worked out. I agree to marriage.

Mr. Jourdain Well, that's all and come to their senses! (To his wife.) And you still didn't want to listen to him! I was sure that he would be able to explain to you what the son of the Turkish Sultan means.

Madame Jourdain He explained everything to me, and now I am satisfied. You have to send for a notary.

Dorant. Commendable intent. And so that you, Madame Jourdain, may be completely calm and from today cease to be jealous of your venerable husband, I announce to you that the Marquise and I will use the services of the same notary and conclude a marriage alliance.

Madame Jourdain I agree to that as well.

M. Jourdain (quietly to Dorant). Are you a distraction?

Dorant (quietly to Monsieur Jourdain). Let yourself amuse yourself with this fable. M. Jourdain (quietly). Great, great! (Loudly.) Send for the notary!<...>

Madame Jourdain What about Nicole?

Mr. Jourdain Nicole I give to the interpreter, and my wife to anyone.

Koviel Thank you, sir. (Aside.) Well, you won't find another such madcap in the whole world!

The comedy ends with a ballet.

(Translated from French by N. Lyubimov and A. Argo)

Thinking about the text of a work of art

1. What in the play made a particularly strong impression on you? Why?

2. What are your first impressions of Jourdain, the teachers, Dorant and Madame Jourdain?

3. Which of the heroes owns the phrase: “... our master’s knowledge is not great, he judges everything at random and applauds where he shouldn’t, but money straightens the curvature of his judgments, his common sense is in his wallet, his praises are minted in the form of coins? How does she characterize the hero who pronounces it, and Jourdain himself?

4. Is it possible to unequivocally divide the characters of the play into positive and negative ones? Justify your answer.

5. What repels and perhaps attracts you about Jourdain?

6. In what comedy scenes are the stupidity, vanity, naivety and gullibility of the protagonist manifested? Expressively read these episodes in faces.

7. Name the means and techniques by which Moliere created the image of Jourdain.

8. Throughout the play, Moliere skillfully used the contradiction between the appearance (nobleman) and essence (philistine) of M. Jourdain. Watch how this discrepancy manifests itself and what a comic effect it causes.

9. What moral and social problems did the playwright reveal when he portrayed aristocrats and a tradesman striving to become a nobleman?

10. List the genre features of Moliere's comedy.

11. What classicistic norms did Moliere adhere to in his comedy?

12. Formulate the theme and main idea of ​​the work.

Learning to Compare

13. Make a written comparison of Jourdain and Dorant using quotes from the text. What do the characters have in common? How do they differ?

We invite you to the discussion

14. Researchers believe that in the play Moliere raised a question concerning the social role of the bourgeois class, the duty of the bourgeois to the country and to their families. During the discussion, confirm or refute this judgment.

15. Compare the work of Molière with the tragicomedy of the Ukrainian classic I. Karpenko-Kary "Martyn Borulya". How do the plays resonate at the levels of plot, portrayal of characters, themes, ideas?

Expressing an opinion

16. In your opinion, what moral lesson can comedy teach the modern reader?

17. Imagine that you are an editor. Analyze Jourdain’s speech: “Madam, it is my greatest joy that I turned out to be such a darling of fate and such, one might say, lucky that I have such happiness and you were so kind that you did me a favor and wished to honor me with the honor of your favorable presence, and if only I were worthy to be honored with such merits as yours... and the sky... envious of my bliss... granted me... the advantage of deserving... deserving..." Why does the hero's monologue sound funny?

GO TO THE LIBRARY

What are your ideas about the literature of the late Renaissance, classicism and the end of the 18th century? will expand if you read the following works in the library or on the interactive.ranok.com.ua electronic educational resource:

Comedy D. Fonvizin "Undergrowth";

Comedy P. Beaumarchais "Crazy Day, or The Marriage of Figaro";

Molière's comedy "The Miser";

Comedy L. de Vega "Dog in the Manger";

Comedy K. Goldoni "Servant of two masters";

N. Karamzin's story "Poor Liza".

SUMMING UP

1. Complete one of the creative tasks:

Write a review of the musical film "Tartuffe" (dir. J. Frid, 1992);

Write an essay “To be ashamed of those from whom you were born is a sign of spiritual baseness” (based on the comedy “The Tradesman in the Nobility” and your own life experience).

This is textbook material.

Act one

The first phenomenon

The music teacher invites singers and musicians to sit in the hall and rest until the host arrives. The dance teacher offers the same to the dancers. The music teacher tells the dance teacher that Monsieur Jourdain, obsessed with the nobility, is just a treasure for them.

The dance teacher admits that he is offended “to bring his creation to the court of a blockhead” (he meant Mr. Jourdain). The music teacher does not agree with him and says that it is good when, in addition to the praises of enlightened people, a person of art also receives money.

The second phenomenon

M. Jourdain enters in a dressing gown and nightcap. He asks the audience to show him "either a prologue or a dialogue with songs and dances." Jourdain explains his delay by the fact that he could not put on his new tight silk stockings, because he now dresses the way he dresses to know. He asks both teachers not to leave until they bring a new suit. Jourdain wants teachers to look at him in a new thing.

Mr. Jourdain put on a dressing gown made of Indian fabric because all the nobility wear such dressing gowns in the morning. Suddenly, interrupting the conversation, Jourdain calls two lackeys, but does not give orders to them, explaining that he called them to check how they obey him.Jourdain ponders whether to listen to music in a dressing gown or without a dressing gown, then decides nevertheless that it will be better in a dressing gown.

Jourdain listens to a lyrical love song, interrupts the singing and says that the motive needs to be made more fun. As an example, he cites a banal song about a sheep.Learning that the nobles also learn music, Jourdain decides that he himself needs it.A music teacher and a dance teacher encourage Jourdain to master these arts, explaining that they are the most important in the world.A singer and two singers begin to sing a piece about love. Next, the dance teacher offers to watch ballet.

Action two

The first phenomenon

Mr. Jourdain says that the ballet, composed especially for him, is most welcome, because a distinguished guest will come to him today.The music teacher advises Monsieur Jourdain to give concerts on Wednesdays and Thursdays, as is done in all noble houses.Hearing that the nobles are giving concerts, Jourdain immediately agrees with the proposal of the music teacher.Jourdain dances the minuet and asks to be taught how to bow to the marquise. The dance teacher explains to Mr. Jourdain what a respectful bow should be.

The second phenomenon

The footman reports that the swordsman has arrived.Mister Jourdain asks the dance teacher and the music teacher to stay to watch the lesson.

The third phenomenon

The fencing teacher starts the lesson. He explains to Mr. Jourdain that the main thing in the art of fencing is to strike and not receive those. From this, the fencing teacher concludes that his art is superior to others, calling dance and music useless sciences. The music teacher and dance teacher are outraged by this attitude.

A fencing teacher calls a music teacher a “musician”, a dance teacher a “dancer”, and in response he receives the nickname “fighter”. The dance teacher almost threw himself into a fight with the swordsman teacher.Mr. Jourdain is trying to separate the quarreling.

The fourth phenomenon

The philosophy teacher enters. Mr. Jourdain asks him to reconcile the quarreling gentlemen of the teachers. The philosopher says that “the best response to bullying is restraint and patience.” Each tells the philosopher that his art is the most important, but the teacher of philosophy declares that all three are impudent, because their arts cannot even be compared with the most important science - philosophy.A fight breaks out between all four teachers.

Fifth phenomenon

Mr. Jourdain says that he is not going to separate the fighters, otherwise he will tear his new robe.

The sixth phenomenon

The philosophy teacher returns and is ready to start the lesson. M. Jourdain says that he is annoyed that everything turned out this way. Mr. Jourdain explains to the philosopher that he wants to learn everything, because he can only read and write. The philosopher proposes to start learning with the development of logic and explains its basic concepts.

Mr. Jourdain did not like the logic ("The words are too tricky. No, the logic does not suit me. Something more enticing is better.")Monsieur Jourdain also refuses ethics, saying that he is too hot-tempered for this. Physics also does not appeal to Jourdain.In the end, Jourdain asks the philosophy teacher to do spelling with him, to which he gladly agrees. Jourdain, following the teacher, learns to pronounce sounds (vowels and consonants).

Interrupting the lesson, Mr. Jourdain asks the teacher of philosophy to help write a note to one noble lady, with whom Mr. Jourdain is in love. Jourdain cannot explain whether he wants to write a note in prose or verse, because he does not know the definitions of either one or the other.In a note, Jourdain wants to write the following: "Beautiful marquise! Your beautiful eyes promise me death from love".

The philosophy teacher offers options for declarations of love, but all of them are not liked by the stubborn Jourdain, who does not want to change the text of the note. In the end, the philosophy teacher praises Jourdain's taste and says that this is the way to write a message to a woman.Jourdain remains quite pleased with himself.

The seventh phenomenon

M. Jourdain is nervous that he has not yet received a new suit and scolds the tailor.

The eighth phenomenon

The tailor brings the suit. Jourdain complains that the stockings sent to the tailor are too tight, the shoes are too tight.The tailor convinces Jourdain that this is the way it should be. He agrees.Mister Jourdain asks the musicians to come in so that they can put on a new suit to their performance.

The ninth phenomenon

Apprentices dancing to the music dress Mr. Jourdain. The apprentice asks M. Jourdain to donate some money so that they drink to his health. At the same time, the apprentice called Jourdain "Your grace." Hearing this, Jourdain immediately gave money and decided that because of the new suit he was so flatteringly called. The apprentice calls Jourdain in gratitude “Your Excellency”, and then “Your Grace”.For each of these appeals, Jourdain gives the apprentices money, almost giving away everything he had with him.

Act Three

The first phenomenon

Mr. Jourdain decided to walk around the city in a new suit, accompanied by lackeys (so that everyone could see that he had lackeys).

The second phenomenon

The maid Nicole, who entered, does not hold back and laughs at the sight of the owner in a new suit. She says that Jourdain looks so funny that there is no strength to stop laughing. M. Jourdain threatened to give her a slap in the face if she did not stop laughing.Jourdain orders Nicole to clean the house before the guests arrive.

The third phenomenon

Madame Jourdain tells her husband that his clothes and behavior will make everyone laugh for a long time. Nicole supports the hostess, saying that the house will be impossible to keep clean if so many people walk here every day. Madame Jourdain and Nicole ask Mr. Jourdain why he needed fencing and dancing teachers at his age.Jourdain calls women ignorant, and his wife says that it would be better if he married his daughter.

Mr. Jourdain boasts to his wife of his knowledge (he now knows that people speak prose, and also knows how to pronounce the sound “y”).Nicole especially does not like the fencing teacher, from which the dust is a pillar.

Monsieur Jourdain immediately demands rapiers, hands one to Nicole, and is about to defend himself. Nicole easily pricked Mr. Jourdain several times with a rapier.The wife says that all this nonsense with Jourdain began from the time he was associated with the nobles, although he himself is a tradesman. Madame Jourdain explains to her husband that all these noble gentlemen are affectionate with him only because, like a count, for example, they borrow money from Jourdain.

The graph appears.

The fourth phenomenon

Count Dorant greets Jourdain, calling him "dear friend".The Count praises Jourdain's new suit and gives him a lot of compliments.Dorant says that he spoke about Jourdain in the royal bedchamber.The count asks to calculate how much he owes Mr. Jourdain. He replies that the debt is fifteen thousand eight hundred livres. The count asks for an even sum to lend him another two hundred pistoles to get exactly eighteen thousand francs.The wife quietly calls Jourdain a "cash cow" and demands that he not lend.Count Jourdain replies that it is an honor for him to give a loan to the count, and goes for money.

Fifth phenomenon

The count asks Madame Jourdain about her daughter and offers to visit the court ballet and watch a comedy.

The sixth phenomenon

M. Jourdain gives Dorant two hundred louis. The Count informs Jourdain that the Marquise will soon come to dinner and attend a performance that Jourdain is putting on for her. The marquise, according to Dorant, for a long time refused the diamond presented by Jourdain, but in the end accepted the gift.Jourdain is grateful to the count for his sincere participation in his heart affairs.Mr. Jourdain noticed that Nicole was eavesdropping on them, gave her a slap in the face and left with the Count.

The seventh phenomenon

Nicole told the hostess about everything she heard. Ms. Jourdain says she has long suspected that her hubby is hitting on someone. But then Madame Jourdain changes the subject. She says that Cleont is in love with her daughter without memory, and it would be good if Lucille could be married to him.Nicole is delighted because she is in love with Cleont's servant.Madame Jourdain sends Nicole to Cleont to ask M. Jourdain for the hand of Lucille.

The eighth phenomenon

Nicole is about to tell Cleont the good news, but Cleont and his servant Coviel drive Nicole away without listening to her.

The ninth phenomenon

Cleont was indignant at the fact that when meeting with Lucile, she passed away as if she had not noticed him. Coviel is offended by Nicole for this: she also passed by without noticing him.Cleont suspects that Lucille is turned to the head by Count Dorant, who often visits their house.Coviel criticizes Lucille: her eyes are small, her mouth is large, she is small in stature, “in her speeches and in her movements she is deliberately careless.”Cleont replies to all this that Lucille is charming, but he promises himself to stop loving her and leave her.

The tenth phenomenon

Nicole told Lucille about how she got kicked out.The girls meet Cleont and Covel. Lucille asks why Cleont is so hard on her. The same is true for Nicole. Lucille herself explains why she avoided meeting Cleont this morning.Both refuse to listen to the girls, but then, when they are about to leave, they themselves ask to tell what really happened during the morning meeting.Lucille explained that her old aunt, who had been walking with them, was to blame. The aunt is sure that if a man approached a woman, then he had already dishonored her in this way.Cleont and Coviel immediately forgave their lovers.

The eleventh phenomenon

Madame Jourdain greets Cleonte and says that now is an opportunity to ask Lucille's hand in marriage from her husband. Cleont is happy that he has such an opportunity.

The twelfth phenomenon

Cleont turns to Mr. Jourdain with a request to marry Lucille to him. Monsieur Jourdain: “Before I give you an answer, sir, I will ask you to say whether you are a nobleman or not.” Cleont replies that words are cheap now, people often pass themselves off as nobles, but he won't do that. And although he is wealthy and has a good position in society, and his ancestors were respected people, he still has no right to consider himself a nobleman. M. Jourdain says that in this case he will not marry his daughter to him. Jourdain's wife is outraged by this answer, Cleont is amazed. It turns out that Jourdain wants his daughter to be a Marchioness.

The thirteenth phenomenon

Madame Jourdain reassures Cleont and tells her daughter that the father needs to set a condition: Lucille will not marry anyone but Cleont.

The fourteenth phenomenon

Cleont's servant Coviel explains to the owner that Lucille's father cannot be taken so seriously, because he is obsessed with the nobility. Coviel immediately comes up with some kind of idea, announcing to the owner that they will play one joke with Mr. Jourdain, after which he will give Lucille for Cleont.

Fifteenth phenomenon

Monsieur Jourdain says to himself that he would allow two fingers to be cut off from his hand, if only he would be born a count or a marquis.

The sixteenth phenomenon

The footman reports to Mr. Jourdain that the count has come with some lady.

The seventeenth phenomenon

The footman tells Count Dorant and Dorimene that Monsieur Jourdain will now come out to them.

The eighteenth phenomenon

Dorimena doubts that it was worth coming to this house. Dorant tells the Marquise Dorimene about his love for her, that since they cannot meet with him or her in order to avoid publicity, then this house is the best refuge.

Dorimena admits that the Count's gifts are too expensive (Dorant made gifts on his own behalf, receiving them from Mr. Jourdain). Marquise even says that Dorant is about to persuade her to marry him. The Count invites the Marquise to take this step at once. Dorimena is embarrassed that the Count spends too much on her.The owner of the house enters.

The nineteenth phenomenon

Monsieur Jourdain bows as the dance teacher explained to him, but he has come too close to the Marquise and asks her to step back a little so that he can make the third bow. Then Jourdain expressed admiration that such a beautiful marquise visited his house. At the end of his speech, he became completely confused and was interrupted by Count Dorant.The Count quietly reminds Jourdain not to let it slip about the diamond given to Dorimene.

The twentieth phenomenon

Everyone goes to the table.

act four

The first phenomenon

Dorimena tells Dorant that this is not a dinner, but a sumptuous feast. Dorant replies that he ordered dinner himself, but all the same, all these treats are not worthy of Dorimena.Monsieur Jourdain admires the awning's handles aloud. Dorimena praises aloud the diamond she has on her finger. Count Dorant now and then interrupts Monsieur Jourdain when he tries to compliment Dorimene. The show starts.

The second phenomenon

Suddenly, Madame Jourdain appears, whom her husband, because of the visit of Dorimena, sent to her sister. Dorant tells Madame Jourdain that it is not her husband who arranges the dinner. Dinner is given by the count, and Mr. Jourdain allegedly only provided his house for this.

Jourdain immediately confirms Dorant's words in order to reassure his wife. Madame Jourdain, in response to all these explanations, shamed the Marquise, saying that such an important lady as Dorimena was completely unsuitable for allowing a married man to drag herself behind her (she meant her husband Jourdain). Dorimena is outraged, offended by Dorant for bringing her to this house. Marquise leaves, Dorant follows her.

The third phenomenon

Jourdain scolds his wife for driving such noble gentlemen out of his house. Madame Jourdain replies that she does not care about their nobility.

The fourth phenomenon

Mr. Jourdain laments the unsuccessful return of his wife.

Fifth phenomenon

A disguised servant of Cleont Coviel comes to Jourdain and introduces himself as a close friend of his late father. Coviel reveals that he knew Jourdain as a child. Then Coviel says that Jourdain's father was a real nobleman, and agrees to testify to this in front of everyone.

Koviel informs Jourdain that the son of the Turkish Sultan is in love with Jourdain's daughter and wants to marry her. Koviel comes up with ridiculous words on the go, explaining to Jourdain that these are Turkish expressions. Jourdain tries to remember all these words.

The guest says that the son of the Turkish sultan came to ask for the hand of Lucille and wants to initiate Jourdain into mammamushi (Koviel invented the word himself, explaining what it means to become a respected nobleman). Jourdain agrees.

The sixth phenomenon

Cleont appears, dressed as a Turk, along with the pages. Kleon utters meaningless words, and Koviel translates them supposedly from the Turkish language. Jourdain believes everything and agrees to prepare for the ceremony of initiation into mammamushi.

The seventh phenomenon

Coviel laughs at Jourdain's stupidity.

The eighth phenomenon

Covielle invites Count Dorant, who has come, to take part in a comedy that he started with Mr. Jourdain in order to marry Cleont to Lucile. Dorant agrees.

The ninth phenomenon

The Turkish ceremony begins with music and dancing.

The tenth phenomenon

Monsieur Jourdain appears with a shaved head, dressed as a Turk. The mufti, leading the ceremony in a broken language with mistakes that he makes on purpose, begins the dedication.

The eleventh phenomenon

The ceremony continues. In a strange language, actors in disguise act out the initiation into mammamushi. Jourdain believes everything.

The twelfth phenomenon

Turks sing and dance.

The thirteenth phenomenon

During the ceremony, Mr. Jourdain is put on his knees so that his hands touch the ground, and the Koran is placed on his back. Mufti, clown and mocking, supposedly conducts the ceremony. In the end, Jourdain is declared a nobleman and a saber is handed to him. Then the dancing Turks, allegedly continuing the initiation ceremony, beat Jourdain with their sabers flat, then they beat him with sticks. Eventually everyone leaves.

Act Five

The first phenomenon

Madame Jourdain appears and shouts at her husband that for no reason at all he has dressed up as a jester. Jourdain replies that he is now a mother, so everyone should be respectful to him. Jourdain repeats all the ridiculous words he heard at the ceremony. The wife thinks he's crazy.

The second phenomenon

Dorant asks the marquise to support Coviel's idea in order to marry Cleont to Lucille. Dorimena agrees to everything and says that she decided to immediately marry Dorant so that he would no longer spend money on her. Monsieur Jourdain appears.

The third phenomenon

Dorant congratulates Jourdain on his initiation into mammamushi and the forthcoming marriage of Lucille with the son of the Turkish sultan. Dorimena joins the congratulations. Cleont, disguised as a Turk, appears.

The fourth phenomenon

Dorant congratulates Cleont on his upcoming marriage and, addressing him as the son of the Turkish Sultan, expresses his respect.

Fifth phenomenon

Jourdain asks Covel to translate to Cleonta that before him is a count and a marquise, people from high society.

The sixth phenomenon

Lucille appears. She asks her father why he looks so strange and what kind of comedy it is. Lucille at first refuses to marry, but then she recognizes Cleont in disguise and immediately agrees.

The seventh phenomenon

Madame Jourdain is outraged that her husband is going to give his daughter to a jester. Jourdain explains that Lucille will become the wife of the Turkish Sultan. Madame Jourdain vs. Dorant and Dorimene try to persuade Madame Jourdain to agree to this marriage and report that Lucille herself agreed. Madame Jourdain says that if her daughter did this, she would strangle her with her own hands.

Lucille appears, but her mother does not want to talk to her.

Disguised, Coviel asks Madame Jourdain to listen to him and, taking her aside, explains that the whole masquerade was invented in order to pass off Lucille as Cleont. Madame Jourdain immediately announces to her husband that she gives her consent to the marriage. They are going to send for a notary.

Count Dorant announces that he will marry the Marquise Dorimene, so it is better to celebrate two weddings at once. Jourdain thinks that Dorant is saying all this as a distraction. It never occurs to Jourdain that the Count is actually getting married.

While waiting for the notary, Dorant offers to see the ballet. Jourdain declares that he is marrying the maid Nicole to an interpreter (Coviel in disguise). Satisfied, Coviel thanks Jourdain.

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Jean Baptiste Molière
Tradesman in the nobility. Imaginary sick (compilation)

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

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

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

Tradesman in the nobility

Actors in comedy

M. JOURDAIN is a tradesman.

MADAME JOURDAIN his wife.

Lucil is their daughter.

CLEONT is a young man in love with Lucille.

DORIMENA Marchioness.

DORANT Count, in love with Dorimena.

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

KOVEL Cleont's servant.

MUSIC TEACHER.

MUSIC TEACHER'S STUDENT.

DANCE TEACHER.

FENCING TEACHER.

PHILOSOPHY TEACHER.

MUSICIANS.

TAILOR'S JOURNEY.

TWO LACKIES.

THREE PAGES.

ACTORS OF THE BALLET

IN FIRST ACTION

Singer. Two singers. Dancers.

IN THE SECOND ACT

tailor's apprentices (dance).

IN THE THIRD ACT

cooks (dance).

IN THE FOURTH ACT

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

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

Act one

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

The first phenomenon

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

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

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

MUSIC TEACHER (to the student). Ready?

STUDENT. Ready.

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

DANCE TEACHER. Anything new?

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

DANCE TEACHER. Can I see?

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

DANCE TEACHER. Now we have things above our heads.

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

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

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

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

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

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

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

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

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

DANCE TEACHER. And here he is.

The second phenomenon

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

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

DANCE TEACHER. What? What a trifle?

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

DANCE TEACHER. O! O!

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

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

MUSIC TEACHER. We are at your service.

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

DANCE TEACHER. As you wish.

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

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

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

DANCE TEACHER. Excellent robe.

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

MUSIC TEACHER. It suits you amazingly.

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

FIRST LACKEY. What do you order, sir?

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

DANCE TEACHER. Great liveries.

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

MUSIC TEACHER. Abyss of taste!

Mr. JOURDIN. Footman!

FIRST LACKEY. Whatever, sir?

Mr. JOURDIN. Another lackey!

SECOND LACKEY. Whatever, sir?

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

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

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

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

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

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

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

Irida! I languish, suffering destroys me,

Your stern gaze pierced me like a sharp sword.

When you hurt someone who loves you so much

How terrible you are to him who dared to incur your wrath! 1
In the comedy "The Philistine in the Nobility" the verses are translated by Argo.

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

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

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

DANCE TEACHER. Right, I don't know.

Mr. JOURDIN. It also talks about sheep.

DANCE TEACHER. About a sheep?

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

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

Isn't it a nice song?

MUSIC TEACHER. Still not nice!

DANCE TEACHER. And you sing it well.

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

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

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

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

MUSIC TEACHER. Of course, sir.

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

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

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

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

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

MUSIC TEACHER. Without music, the state cannot exist.

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

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

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

Mr. JOURDIN. How so?

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

Mr. JOURDIN. Right.

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

Mr. JOURDIN. And that's true.

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

Mr. JOURDIN. Yes, they say so.

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

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

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

Mr. JOURDIN. I understand now.

MUSIC TEACHER. Would you like to see our writings?

Mr. JOURDIN. Anything.

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

Mr. JOURDIN. Wonderful.

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

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

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

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

MUSICAL DIALOGUE

Singer and two singers.

Hearts in love

Always meet thousands of obstacles.

Love brings us both happiness and longing.

No wonder there is such an opinion,

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

FIRST SINGER

No, we only love that joy without end,

Which heart

Merges lovers.

There is no bliss on earth without passion.

Who neglects love

That's why you don't know happiness.

SECOND SINGER

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

Whenever there was no deceptive passion!

But, ah, what about the evil fate?

There is not a single faithful shepherdess here,

And the unworthy floor, disgracing the white light,

It testifies to us that there is no fidelity anymore.

FIRST SINGER

O trembling hearts!

O passion in the eyes!

SECOND SINGER

A total lie!

FIRST SINGER

That moment is dear to me!

They are full of fun!

SECOND SINGER

I despise everyone!

FIRST SINGER

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

We will bring you now

To the loving and faithful shepherdess.

SECOND SINGER

Alas! There are no worthy among you!

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

SECOND SINGER

Who vouches in advance

Why not be deceived again?

Whoever is faithful, let him prove

Your tender heart.

SECOND SINGER

Heaven let him punish, Who shamefully changed.

ALL THREE TOGETHER

Above us, burning

The crown of love burns.

Merging two hearts

What could be cuter?

Mr. JOURDIN. And it's all?

MUSIC TEACHER. Everything.

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

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

Mr. JOURDIN. Shepherds again?

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

BALLET

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

Action two

The first phenomenon

Mr. Jourdain, music teacher, dance teacher.

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

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

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

DANCE TEACHER. Everything is ready.

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

Mr. JOURDIN. And noble gentlemen have concerts?

MUSIC TEACHER. Of course, sir.

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

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

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

MUSIC TEACHER. Leave everything to us.

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

MUSIC TEACHER. You will not lack anything.

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

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

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

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

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

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

Mr. JOURDIN. Well, how?

DANCE TEACHER. It couldn't be better.

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

DANCE TEACHER. Bow to the marquise?

Mr. JOURDIN. Yes. Her name is Dorimena.

DANCE TEACHER. Allow your hand.

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

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

Mr. JOURDIN. Well, show me.

Dance teacher shows.

The second phenomenon

The same footmen.

LAKEY. Sir! The swordsman has arrived.

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

The third phenomenon

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

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

Mr. JOURDIN. Well, how?

MUSIC TEACHER. You are doing miracles.

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

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

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

Mr. JOURDIN. Proved.

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

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

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

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

MUSIC TEACHER. Think important bird!

DANCE TEACHER. Put on a bib, scarecrow!

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

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

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

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

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

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

Mr. JOURDIN. Calm yourself, dear fence master!

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

Mr. JOURDIN. Calm down, dear dance master!

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

Mr JOURDAIN (fencing teacher). Quiet!

DANCE TEACHER. I can only reach you...

Mr JOURDAIN (dance teacher). Will you!

FENCING TEACHER. I'll beat you up!

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

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

Mr JOURDAIN (dance teacher). I beg you!

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

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

The fourth phenomenon

The same teacher of philosophy.

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

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

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

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

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

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

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

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

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

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

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

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

FENCING TEACHER. Shut up, canine philosopher!

MUSIC TEACHER. Shut up, stupid pedant!

DANCE TEACHER. Shut up, scientist cracker!

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

Mr. JOURDIN. Mister Philosopher!

PHILOSOPHY TEACHER. Scoundrels, scoundrels, impudent ones!

Mr. JOURDIN. Mister Philosopher!

FENCING TEACHER. Reptile! Beast!

Mr. JOURDIN. Lord!

PHILOSOPHY TEACHER. Insolent people!

Mr. JOURDIN. Mister Philosopher!

DANCE TEACHER. Donkey head!

Mr. JOURDIN. Lord!

PHILOSOPHY TEACHER. Scoundrels!

Mr. JOURDIN. Mister Philosopher!

MUSIC TEACHER. Get the hell out, you bastard!

Mr. JOURDIN. Lord!

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

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

All the teachers leave, continuing to fight.

Molière's comedy "The Philistine in the Nobility" was written in 1670. The work was created within the literary direction of realism. If you need to quickly understand what is at stake, we recommend that you read the summary of the “Participant in the Nobility” on the actions on our website. The play "The Philistine in the Nobility" is included in the 8th grade school curriculum.

In the comedy "The Philistine in the Nobility", the author ridicules the typical bourgeois - the ignorant Mr. Jourdain, who tried to join the "upper class", but he only succeeded in clumsily imitating the life of the nobility. Also, this material will allow you to quickly prepare for the lesson of world literature.

The main characters of the comedy

Main characters:

• Monsieur Jourdain is 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 - the wife of Mr. Jourdain; did not share his desire to become a nobleman.
• Cleont is a young man who is in love with Lucille.
• Coviel is Cleont's servant.
• Dorant is a count, an acquaintance of Jourdain, who constantly borrowed money from the tradesman. In love with Dorimena.

Other characters:

• Lucille is the daughter of Mr. and Mrs. Jourdain, in love with Cleont.
• Nicole is Lucille's maid.
• Dorimena - marquise; Jourdain tried to win her favor through Dorant.
• Teachers of dance, music, fencing, philosophy, who were hired by Jourdain.

"The tradesman in the nobility" is very brief

Jean-Baptiste Molière "The Philistine in the Nobility" summary for the reader's diary:

The protagonist 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 nobility, Jourdain hires teachers for himself. The main character has a role model - this is a certain Count Dorant, who is known in society as a scoundrel and a swindler.

Jourdain also has a wife who is incredibly intelligent as well as well educated, but she has not the slightest sympathy for the nobility. 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 Cleont. This young man is very smart, noble and handsome, and most importantly, he incredibly loves Lucille. But, of course, Jourdain refuses Cleont, since the young man has nothing to do with the nobility. It would seem that the young couple was not destined to be together. But the circumstances are completely different. The servant, whose name is Covelier, decides on a very desperate, but at the same time cunning step.

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

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

this is interesting: The comedy "Tartuffe, or the Deceiver" by Molière, written in 1664, has been one of the most popular plays in the world for several hundred centuries. For a reader's diary and in preparation for a literature lesson, we recommend reading through actions and phenomena. In his work, the French comedian severely criticized such human vices as meanness, hypocrisy, stupidity, selfishness, cowardice.

A short retelling of Molière's "The Bourgeoisie in the Nobility"

It would seem, what else does the venerable bourgeois Mr. Jourdain need? Money, family, health - everything you can wish for, he has. But no, Jourdain took it into his head to become an aristocrat, to become like noble gentlemen. His mania caused a lot of inconvenience and unrest to the household, but it played into the hands of a host of tailors, hairdressers and teachers, who promised through their art to make Jourdain a brilliant noble gentleman.

And now two teachers - dances and music - together with their students were waiting for the appearance of the owner of the house. Jourdain invited them so that they would decorate a dinner that he arranged in honor of a titled person with a cheerful and elegant performance.

Appearing before the musician and dancer, Jourdain first of all invited them to evaluate his exotic dressing gown - such, according to his tailor, is worn by all the nobility in the mornings - and the new liveries of his lackeys. From the assessment of Jourdain's taste, apparently, the size of the future fee of connoisseurs directly depended, therefore, the reviews were enthusiastic.

The dressing gown, however, caused some hitch, since Jourdain could not decide for a long time how it would be more convenient for him to listen to music - in it or without it. Having listened to the serenade, he considered it insipid and, in turn, sang a lively street song, for which he again received praise and an invitation, among other sciences, to also take up music and dance. To accept this invitation, Jourdain was convinced by the assurances of teachers that every noble gentleman would certainly learn both music and dance.

A pastoral dialogue was prepared for the upcoming reception by the music teacher. Jourdain, in general, liked it: since you can’t do without these eternal shepherdesses and shepherdesses, all right, let them sing to themselves. The ballet presented by the dance teacher and his students was to Jourdain's liking.

Inspired by the success of the employer, the teachers decided to strike while the iron was hot: the musician advised Jourdain to be sure to arrange 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.

The exercises in graceful movements were interrupted by the fencing teacher, the teacher of the science of sciences - the ability to strike, but not to receive them himself. The dance teacher and his fellow musician unanimously disagreed with the swordsman's claim that the ability to fight had absolute priority over their time-honored arts. The people got carried away, word for word - and a couple of minutes later a fight broke out between the three teachers.

When the teacher of philosophy came, Jourdain was delighted - who better than a philosopher to admonish those who are fighting. He willingly took up the cause of reconciliation: he mentioned Seneca, warned his opponents against anger that degraded human dignity, advised him to take up philosophy, this first of the sciences ... Here he went too far. He was beaten along with the others.

The shabby, but still unmutilated philosophy teacher was finally able to start the lesson. Since Jourdain refused to deal with both logic - the words there are already painfully tricky - and ethics - why does he need to moderate his passions, if it doesn’t matter, if it goes wrong, nothing will stop him - the pundit began to initiate him into the secrets of spelling.

Practicing the pronunciation of vowels, Jourdain rejoiced like a child, but when the first enthusiasm was over, he revealed a big secret to the teacher of philosophy: he, Jourdain, is in love with some high society lady, and he needs to write this lady a note. To the philosopher it was a couple of trifles - whether in prose or in verse.

However, Jourdain asked him to do without these very prose and verses. Did the venerable 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 shoes and a nightcap”, just think, the purest prose came from his mouth!

However, in the field of literature, Jourdain was still not a bastard - no matter how hard the philosophy teacher tried, he could not 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, sewn, of course, according to the latest court fashion. The apprentices of the tailor, 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 the flattering “your grace”, “your excellency” and even “lordship”, and the extremely touched Jourdain - on tips.

In a new suit, Jourdain set out to stroll through the streets of Paris, but his wife resolutely opposed this intention of his - half the city laughs at Jourdain without that. In general, in her opinion, it was time for him to change his mind and leave his silly quirks: why, one wonders, should Jourdain fencing if he does not intend to kill anyone? Why learn to dance when your legs are about to fail anyway?

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

For all the foolish things her husband indulged in, Madame Jourdain blamed the noble gentlemen who had recently begun to make friends with him. For court dandies, Jourdain was an ordinary cash cow, but he, in turn, was confident that friendship with them gives him significant - how are they there - pre-ro-ga-tivas.

One of these high society friends of Jourdain was Count Dorant. As soon as he entered the drawing room, this aristocrat paid a few exquisite compliments to the new suit, and then briefly mentioned that he had spoken about Jourdain that morning 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 that it would be 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 an intermediary in cordial affairs between Jourdain and the subject of his worship, the Marquise Dorimena, for whose sake a dinner with a performance was started.

Madame Jourdain, so as not to interfere, was sent that day to dinner with her sister. She did not know anything about her husband’s plan, but she herself was preoccupied with the arrangement of her daughter’s fate: 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, who was interested in marrying the young mistress, since she herself was going to marry Cleont's servant, Covel, brought the young man. Madame Jourdain immediately sent him to her husband to ask for the hand of her daughter.

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

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

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

The Marquise was not without pleasure eating delicious dishes to the accompaniment of the exotic compliments of an eccentric bourgeois, when all the splendor was suddenly broken by the appearance of an angry Madame Jourdain. Now she understood why they wanted to send her away to dinner with her sister - so that her husband could safely spend money with strangers.

Jourdain and Dorant began to assure her that the count was giving a dinner in honor of the Marquise, and he paid for everything, but their assurances did not in any way moderate the ardor of the offended wife. After her husband, Madame Jourdain took on a guest who should have been ashamed to bring discord into an honest family. Embarrassed and offended, the marquise got up from the table and left the hosts; Dorant followed her.

Only noble gentlemen left, as a new visitor was reported. It turned out to be Coviel in disguise, who introduced himself as a friend of M. 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. Covel's calculation was justified: after such a statement, he could tell anything, without fear that Jourdain would doubt the veracity of his speeches.

Coviel told Jourdain that his good friend, the son of the Turkish Sultan, had arrived in Paris, madly in love with his, Jourdain, daughter. The Sultan's son wants to ask for the hand of Lucille, and in order for his father-in-law to be worthy of a new relative, he decided to dedicate him to mammamushi, in our opinion - paladins. Jourdain was delighted.

The son of the Turkish sultan was represented by Cleont in disguise. He spoke in terrible gibberish, which Coviel supposedly translated into French. With the main Turk, the appointed muftis and dervishes arrived, 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 with the ritual beating of the initiate with sticks.

Dorant, who was initiated into Coviel's plan, finally succeeded in persuading Dorimena to return, seducing her with the opportunity to enjoy a funny spectacle, and then also an excellent ballet. The count and the marquise, with the most serious look, congratulated Jourdain on conferring a high title on him, and he was also eager to hand over his daughter to the son of the Turkish sultan as soon as possible.

At first, Lucille did not want to marry the Turkish jester, but as soon as she recognized him as a disguised Cleon, 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 as her own ears. But as soon as Covel whispered a few words in her ear, mother changed her anger to mercy.

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

See also: "Dog in the Manger" by Lope de Vega is a comedy about a young widowed woman, Diana, who fights her crazy love for secretary Theodore. An obstacle to their relationship is the fact that they cannot be together due to Theodore's lack of title and lineage. for a reader's diary or preparation for a literature lesson

The plot of the play "The tradesman in the nobility" by phenomena

Act one

Phenomenon 1

Paris. Mister Jourdain's house. The music teacher and dance teacher prepare for the evening's performance and discuss that although Jourdain is not at all versed in the arts, "money straightens the crookedness of his judgment, his common sense is in his wallet."

Phenomenon 2

Jourdain boasts to the teachers of his new robe, they flatter him in everything.

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

Action two

Phenomenon 1

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

Apparitions 2–3

A visiting fencing teacher teaches a tradesman, explaining that “the whole secret of fencing is to<…>inflict blows on the enemy" and "do not receive such blows yourself." The fencing teacher expresses the idea that dance and music are useless sciences. There is an argument between the teachers.

Apparitions 4–5

Jourdain asks the visiting teacher of philosophy to reconcile the quarreling. Referring to Seneca's treatise on anger, the philosopher tries to calm them down, but he himself gets involved in an argument that 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 how to spell. 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 original version of the tradesman: "Beautiful marquise, your beautiful eyes promise me death from love." Suddenly, the tradesman learns that he has been expressing himself in prose all his life.

Apparitions 7–8

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

Apparitions 9–10

Dancing around Jourdain, the apprentices put on a new costume for 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 women in any way. Moreover, fencing with a man, the maid easily stabs him several times.

Apparitions 4–5

Dorant praises Jourdain's new costume and mentions that he spoke about him "in the royal bedchamber", which amuses the vanity of the tradesman.

Dorant asks Jourdain for "another two hundred pistoles" to round up the amount of his considerable debt. Outraged, Madame Jourdain calls her husband a "cash cow" and Dorant a "rogue."

Phenomena 6

Dorant reports that he persuaded the Marquis to come today to the tradesman, giving her a diamond - a gift from Jourdain. Nicole accidentally hears part of the men's conversation and finds out that the tradesman sends his wife to visit his sister in the evening so that nothing "constrains" them.

Apparitions 7–11

Ms. 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 decision as a mistress, as she likes Cleont's servant.

Madame Jourdain advises Cleont to ask Monsieur Jourdain for the hand of her daughter today.

Event 12

Cleont asks M. Jourdain for Lucile'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. Jourdain refuses, because he wants his daughter to be a marchioness.

Apparitions 13–14

Coviel calms the upset Cleont - the servant figured out how to "circle our dupe around the finger."

Apparitions 15–18

Dorimena did not want to meet Dorant at her place or at his house, so she agreed to dine at Jourdain's. The count gave all the gifts of the tradesman to the Marquise on his own behalf.

Apparitions 19–20

Meeting the marquise, Jourdain bows absurdly, which amuses the woman very much. Dorant warns the tradesman not to mention the diamond donated by Dorimen, as it is impolite in secular society.

act four

Phenomenon 1

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

Apparitions 2–4

Madame Jourdain suddenly appears. The woman is indignant that, having sent his wife out, her husband arranges a "feast" for another lady. Dorant tries to justify himself by explaining that he arranged the dinner. Madame Jourdain does not believe it. The frustrated Marchioness leaves, followed by Dorant.

Apparitions 5–8

In disguise, Coviel poses as an old friend of Father Jourdain. Koviel says that the tradesman's father was not a merchant, but a nobleman. However, the main purpose of his visit is the message 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 an interpreter, Covel, announces his intentions.

Coviel asks Dorant to play along with them.

Apparitions 9–13

Turkish ceremony. Mufti with retinue, dervishes and Turks sing and dance, conducting the initiation of Jourdain, dressed in Turkish clothes, into a Turk. Mufti puts the Koran on the back of the tradesman, calls Mohammed.

Act Five

Phenomenon 1

Jourdain explains to his wife that now he has become a mother. The woman decides that her husband has gone mad.

Apparitions 2–3

Dorant persuades Dorimene to stay to support Cleont's idea with a masquerade and watch a ballet arranged for her.

Apparitions 4–7

Lucille at first refuses to marry, but, recognizing Cleont in the Turk, 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 Marchioness have also decided to get married. Jourdain thinks that the count said this as a distraction. The joyful tradesman gives Nicole to the "interpreter" Covel, and his "wife - to anyone." Koviel is surprised that “you won’t find another such madcap in the whole world!”.

"Comedy ends with ballet."

It would seem, what else does the venerable bourgeois Mr. Jourdain need? Money, family, health - everything you can wish for, he has. But no, Jourdain took it into his head to become an aristocrat, to become like noble gentlemen. His mania caused a lot of inconvenience and unrest to the household, but it played into the hands of a host of tailors, hairdressers and teachers, who promised through their art to make Jourdain a brilliant noble gentleman. And now two teachers - dances and music - together with their students were waiting for the appearance of the owner of the house. Jourdain invited them so that they would decorate a dinner that he arranged in honor of a titled person with a cheerful and elegant performance.

Appearing before the musician and dancer, Jourdain first of all invited them to evaluate his exotic dressing gown - such, according to his tailor, is worn by all the nobility in the mornings - and the new liveries of his lackeys. From the assessment of Jourdain's taste, apparently, the size of the future fee of connoisseurs directly depended, therefore, the reviews were enthusiastic.

The dressing gown, however, caused some hitch, since Jourdain could not decide for a long time how it would be more convenient for him to listen to music - in it or without it. Having listened to the serenade, he considered it insipid and, in turn, sang a lively street song, for which he again received praise and an invitation, among other sciences, to also take up music and dance. To accept this invitation, Jourdain was convinced by the assurances of teachers that every noble gentleman would certainly learn both music and dance.

A pastoral dialogue was prepared for the upcoming reception by the music teacher. Jourdain, in general, liked it: since you can’t do without these eternal shepherdesses and shepherdesses, all right, let them sing to themselves. The ballet presented by the dance teacher and his students was to Jourdain's liking.

Inspired by the success of the employer, the teachers decided to strike while the iron was hot: the musician advised Jourdain to be sure to arrange 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.

The exercises in graceful movements were interrupted by the fencing teacher, the teacher of the science of sciences - the ability to strike, but not to receive them himself. The dance teacher and his fellow musician unanimously disagreed with the swordsman's claim that the ability to fight had absolute priority over their time-honored arts. The people got carried away, word for word - and a couple of minutes later a fight broke out between the three teachers.

When the teacher of philosophy came, Jourdain was delighted - who better than a philosopher to admonish those who are fighting. He willingly took up the cause of reconciliation: he mentioned Seneca, warned his opponents against anger that degraded human dignity, advised him to take up philosophy, this first of the sciences ... Here he went too far. He was beaten along with the others.

The shabby, but still unmutilated philosophy teacher was finally able to start the lesson. Since Jourdain refused to deal with both logic - the words there are already painfully tricky - and ethics - why does he need to moderate his passions, if it doesn’t matter, if it goes wrong, nothing will stop him - the pundit began to initiate him into the secrets of spelling.

Practicing the pronunciation of vowels, Jourdain rejoiced like a child, but when the first enthusiasm was over, he revealed a big secret to the teacher of philosophy: he, Jourdain, is in love with some high society lady, and he needs to write this lady a note. To the philosopher it was a couple of trifles - whether in prose or in verse. However, Jourdain asked him to do without these very prose and verses. Did the venerable 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 shoes and a nightcap”, just think, the purest prose came from his mouth!

However, in the field of literature, Jourdain was still not a bastard - no matter how hard the philosophy teacher tried, he could not 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, sewn, of course, according to the latest court fashion. The apprentices of the tailor, 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 the flattering “your grace”, “your excellency” and even “lordship”, and the extremely touched Jourdain - on tips.

In a new suit, Jourdain set out to stroll through the streets of Paris, but his wife resolutely opposed this intention of his - half the city laughs at Jourdain without that. In general, in her opinion, it was time for him to change his mind and leave his silly quirks: why, one wonders, should Jourdain fencing if he does not intend to kill anyone? Why learn to dance when your legs are about to fail anyway?

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

For all the stupid things that her husband indulged in, Madame Jourdain blamed the noble gentlemen who had recently begun to make friends with him. For court dandies, Jourdain was an ordinary cash cow, but he, in turn, was confident that friendship with them gives him significant - how are they there - pre-ro-ga-tivas.

One of these high society friends of Jourdain was Count Dorant. As soon as he entered the drawing room, this aristocrat paid a few exquisite compliments to the new suit, and then briefly mentioned that he had spoken about Jourdain that morning 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 that it would be 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 an intermediary in cordial affairs between Jourdain and the subject of his worship, the Marquise Dorimena, for whose sake a dinner with a performance was started.

Madame Jourdain, so as not to interfere, was sent that day to dinner with her sister. She did not know anything about her husband’s plan, but she herself was preoccupied with the arrangement of her daughter’s fate: 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, who was interested in marrying the young mistress, since she herself was going to marry Cleont's servant, Covel, brought the young man. Madame Jourdain immediately sent him to her husband to ask for the hand of her daughter.

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

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

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

The marquise was not without pleasure consuming exquisite dishes to the accompaniment of exotic compliments of an eccentric bourgeois, when all the splendor was suddenly broken by the appearance of an angry Madame Jourdain. Now she understood why they wanted to send her away to dinner with her sister - so that her husband could safely spend money with strangers. Jourdain and Dorant began to assure her that the count was giving a dinner in honor of the Marquise, and he paid for everything, but their assurances did not in any way moderate the ardor of the offended wife. After her husband, Madame Jourdain took on a guest who should have been ashamed to bring discord into an honest family. Embarrassed and offended, the marquise got up from the table and left the hosts; Dorant followed her.

Only noble gentlemen left, as a new visitor was reported. It turned out to be Coviel in disguise, who introduced himself as a friend of M. 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. Covel's calculation was justified: after such a statement, he could tell anything, without fear that Jourdain would doubt the veracity of his speeches.

Coviel told Jourdain that his good friend, the son of the Turkish Sultan, had arrived in Paris, madly in love with his, Jourdain, daughter. The Sultan's son wants to ask for the hand of Lucille, and in order for his father-in-law to be worthy of a new relative, he decided to dedicate him to mammamushi, in our opinion - paladins. Jourdain was delighted.

The son of the Turkish sultan was represented by Cleont in disguise. He spoke in terrible gibberish, which Coviel supposedly translated into French. With the main Turk, the appointed muftis and dervishes arrived, 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 with the ritual beating of the initiate with sticks.

Dorant, who was initiated into Coviel's plan, finally succeeded in persuading Dorimena to return, seducing her with the opportunity to enjoy a funny spectacle, and then also an excellent ballet. The count and the marquise, with the most serious look, congratulated Jourdain on conferring a high title on him, and he was also eager to hand over his daughter to the son of the Turkish sultan as soon as possible. At first, Lucille did not want to marry the Turkish jester, but as soon as she recognized him as a disguised Cleon, 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 as her own ears. But as soon as Covel whispered a few words in her ear, mother changed her anger to mercy.

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

retold