What does it mean to be a nobleman according to Jourdain? The main character of "The Tradesman in the Nobility" is Mr. Jourdain. Unsuccessful matchmaking and Koviel's idea

This is a man completely captured by one dream - to become a nobleman. The opportunity to get closer to noble people is happiness for him, all his ambition lies in achieving similarities with them, his whole life is the desire to imitate them. The thought of nobility takes possession of him completely; in this mental blindness he loses all correct understanding of the world. He acts without reasoning, to his own detriment. He reaches the point of spiritual depravity and begins to be ashamed of his parents. He is fooled by everyone who wants to; he is robbed by teachers of music, dancing, fencing, philosophy, tailors and various apprentices. The rudeness, bad manners, ignorance, vulgarity of language and manners of Mr. Jourdain comically contrast with his claims to noble grace and gloss. But Jourdain evokes laughter, not disgust, because, unlike other similar upstarts, he worships the nobility disinterestedly, out of ignorance, as a kind of dream of beauty.

Mr. Jourdain is opposed by his wife, a true representative of the philistinism. She is a sensible, practical woman with self-esteem. She tries with all her might to resist her husband’s mania, his inappropriate claims, and most importantly, to clear the house of uninvited guests who live at the expense of Jourdain and exploit his gullibility and vanity. Unlike her husband, she does not have any respect for the title of nobility and prefers to marry her daughter to a man who would be her equal and would not look down on her bourgeois relatives. The younger generation - Jourdain's daughter Lucille and her fiancé Cleont - are people of a new type. Lucille received a good upbringing; she loves Cleontes for his virtues. Cleont is noble, but not by origin, but by character and moral qualities: honest, truthful, loving, he can be useful to society and the state.

Who are those whom Jourdain wants to imitate? Count Dorant and Marquise Dorimena are people of noble birth, they have refined manners and captivating politeness. But the count is a poor adventurer, a swindler, ready for any meanness, even pimping, for the sake of money. Dorimena, together with Dorant, robs Jourdain. The conclusion to which Moliere leads the viewer is obvious: even though Jourdain is ignorant and simple-minded, even though he is ridiculous and selfish, he is an honest man, and there is nothing to despise him for. Morally, trusting and naive in his dreams, Jourdain is higher than the aristocrats. So the comedy-ballet, the original purpose of which was to entertain the king in his Chambord castle, where he went hunting, became, under the pen of Molière, a satirical, social work.

In Moliere's work, several themes can be distinguished, which he repeatedly addressed, developing and deepening them. These include the theme of hypocrisy (“Tartuffe”, “Don Juan”, “The Misanthrope”, “The Imaginary Invalid”, etc.), the theme of the bourgeois among the nobility (“The School of Wives”, “Georges Dandin”, “The Bourgeois among the Nobility” ), the topic of family, marriage, education, education. The first comedy on this topic, as we remember, was “Funny Primroses”, it was continued in “The School for Husbands” and “The School for Wives”, and was completed in the comedy “Learned Women” (1672), which ridicules the external passion for science and philosophy in Parisian salons of the second half of the 17th century. Moliere shows how a secular literary salon turns into a “scientific academy”, where vanity and pedantry are valued, where claims for the correctness and elegance of language try to cover up the vulgarity and sterility of the mind (II, 6, 7; III, 2).

A superficial interest in the philosophy of Plato or the mechanics of Descartes prevents women from fulfilling their immediate basic duties as a wife, mother, and housewife. Moliere saw this as a social danger. He laughs at the behavior of his pseudoscientific heroines - Filaminta, Belize, Armanda. But he admires Henrietta, a woman of a clear, sober mind and by no means an ignoramus. Of course, Moliere is not ridiculing science and philosophy here, but the fruitless game in them, which is harmful to a practical, common-sense outlook on life.

Moliere's last work, which constantly reminds us of his tragic personal fate, was the comedy “The Imaginary Invalid” (1673), in which the terminally ill Moliere played the main role. Like earlier comedies (“Love the Healer,” 1665; “The Reluctant Doctor,” 1666), “The Imaginary Invalid” is a mockery of modern doctors, their quackery, complete ignorance, as well as their victim, Argan. Medicine in those days was based not on the experimental study of nature, but on scholastic speculation, based on authorities that were no longer believed. But, on the other hand, Argan, a maniac who wants to see himself sick, is an egoist, a tyrant. He is opposed by the selfishness of his second wife, Belina, a hypocritical and selfish woman. This comedy of characters and morals depicts the fear of death that completely paralyzed Argan. Blindly believing ignorant doctors, Argan will easily succumb to deception - he is a stupid, deceived husband; but he is a tough, angry, unjust man, a cruel father. Moliere showed here, as in other comedies, a deviation from generally accepted norms of behavior that destroys personality.

The playwright died after the fourth performance of the play; he felt ill on stage and barely finished the performance. On the same night, February 17, 1673, Moliere passed away. The burial of Moliere, who died without church repentance and did not renounce the “shameful” profession of an actor, turned into a public scandal. The Archbishop of Paris, who did not forgive Moliere for Tartuffe, did not allow the great writer to be buried according to the accepted church rite. It took the king's intervention. The funeral took place late in the evening, without observing proper ceremonies, behind the fence of the cemetery, where unknown vagabonds and suicides were usually buried. However, behind Moliere’s coffin, along with his family, friends, and colleagues, was a large crowd of ordinary people, to whose opinion Moliere listened so subtly.

No wonder Boileau, who highly valued Moliere’s work, accused his friend of being “too popular.” The nationality of Moliere's comedies, which manifested itself both in their content and in their form, was based primarily on the folk traditions of farce. Moliere followed these traditions in his literary and acting work, maintaining a passion for democratic theater all his life. His folk characters also testify to the nationality of Moliere's work. These are, first of all, servants: Mascarille, Sganarelle, Soziy, Scapin, Dorina, Nicole, Toinette. It was in their images that Moliere expressed the characteristic features of the national French character: cheerfulness, sociability, friendliness, wit, dexterity, daring, common sense.

In addition, in his comedies, Moliere depicted peasants and peasant life with genuine sympathy (remember the scenes in the village in “The Reluctant Doctor” or in “Don Juan”). The language of Moliere's comedies also testifies to their true nationality: it often contains folklore material - proverbs, sayings, beliefs, folk songs that attracted Moliere with their spontaneity, simplicity, and sincerity (“The Misanthrope,” “The Bourgeois in the Nobility”). Moliere boldly used dialectisms, folk patois (dialect), various vernaculars, and incorrect phrases from the point of view of strict grammar. Witticisms and folk humor give Moliere's comedies a unique charm.

Describing Moliere's work, researchers often claim that in his works he “went beyond the boundaries of classicism.” In this case, they usually refer to deviations from the formal rules of classicist poetics (for example, in “Don Juan” or some farcical comedies). We cannot agree with this. The rules for constructing comedy were not interpreted as strictly as the rules for tragedy, and allowed for wider variation. Moliere is the most significant and most characteristic comedy writer of classicism. Sharing the principles of classicism as an artistic system, Moliere made genuine discoveries in the field of comedy. He demanded a truthful representation of reality, preferring to move from direct observation of life phenomena to the creation of typical characters. These characters, under the playwright's pen, acquire social definition; Many of his observations therefore turned out to be prophetic: such, for example, is the depiction of the peculiarities of bourgeois psychology.

Need to download an essay? Click and save - » The main character of “The Bourgeois in the Nobility” is Mr. Jourdain. And the finished essay appeared in my bookmarks.

He reaches the point of spiritual depravity and begins to be ashamed of his parents. He is fooled by everyone who wants to; he is robbed by teachers of music, dancing, fencing, philosophy, tailors and various apprentices. The rudeness, bad manners, ignorance, vulgarity of language and manners of Mr. Jourdain comically contrast with his claims to noble grace and gloss. But Jourdain evokes laughter, not disgust, because, unlike other similar upstarts, he worships the nobility disinterestedly, out of ignorance, as a kind of dream of beauty. Mr. Jourdain is opposed by his wife, a true representative of the philistinism. She is a sensible, practical woman with self-esteem.

She tries with all her might to resist her husband’s mania, his inappropriate claims, and most importantly, to clear the house of uninvited guests who live at the expense of Jourdain and exploit his gullibility and vanity. Unlike her husband, she does not have any respect for the title of nobility and prefers to marry her daughter to a man who would be her equal and would not look down on her bourgeois relatives. The younger generation - Jourdain's daughter Lucille and her fiancé Cleont - are people of a new type. Lucille received a good upbringing; she loves Cleontes for his virtues. Cleont is noble, but not by origin, but by character and moral qualities: honest, truthful, loving, he can be useful to society and the state. Who are those whom Jourdain wants to imitate? Count Dorant and Marquise Dorimena are people of noble birth, they have refined manners and captivating politeness.

But the count is a poor adventurer, a swindler, ready for any meanness, even pimping, for the sake of money. Dorimena, together with Dorant, robs Jourdain. The conclusion to which Moliere leads the viewer is obvious: even though Jourdain is ignorant and simple-minded, even though he is ridiculous and selfish, he is an honest man, and there is nothing to despise him for. Morally, trusting and naive in his dreams, Jourdain is higher than the aristocrats. So the comedy-ballet, the original purpose of which was to entertain the king in his Chambord castle, where he went hunting, became, under the pen of Molière, a satirical, social work. In Moliere's work, several themes can be distinguished, which he repeatedly addressed, developing and deepening them. These include the theme of hypocrisy (“Tartuffe”, “Don Juan”, “The Misanthrope”, “The Imaginary Invalid”, etc.

), the theme of the bourgeois in the nobility (“School of Wives”, “Georges Dandin”, “The Bourgeois in the Nobility”), the theme of family, marriage, upbringing, education. The first comedy on this topic, as we remember, was “Funny Primroses”, it was continued in “The School for Husbands” and “The School for Wives”, and was completed in the comedy “Learned Women” (1672), which ridicules the external passion for science and philosophy in Parisian salons of the second half of the 17th century. Moliere shows how a secular literary salon turns into a “scientific academy”, where vanity and pedantry are valued, where claims for the correctness and elegance of language try to cover up the vulgarity and sterility of the mind (II, 6, 7; III, 2). A superficial interest in the philosophy of Plato or the mechanics of Descartes prevents women from fulfilling their immediate basic duties as a wife, mother, and housewife. Moliere saw this as a social danger.

He laughs at the behavior of his pseudoscientific heroines - Filaminta, Belize, Armanda. But he admires Henrietta, a woman of a clear, sober mind and by no means an ignoramus. Of course, Moliere is not ridiculing science and philosophy here, but the fruitless game in them, which is harmful to a practical, common-sense outlook on life. Moliere's last work, which constantly reminds us of his tragic personal fate, was the comedy “The Imaginary Invalid” (1673), in which the terminally ill Moliere played the main role. Like earlier comedies (“Love the Healer,” 1665; “The Reluctant Doctor,” 1666), “The Imaginary Invalid” is a mockery of modern doctors, their quackery, complete ignorance, as well as their victim, Argan. Medicine in those days was based not on the experimental study of nature, but on scholastic speculation, based on authorities that were no longer believed.

But, on the other hand, Argan, a maniac who wants to see himself sick, is an egoist, a tyrant. He is opposed by the selfishness of his second wife, Belina, a hypocritical and selfish woman. This comedy of characters and morals depicts the fear of death that completely paralyzed Argan. Blindly believing ignorant doctors, Argan will easily succumb to deception - he is a stupid, deceived husband; but he is a tough, angry, unjust man, a cruel father. Moliere showed here, as in other comedies, a deviation from generally accepted norms of behavior that destroys personality. The playwright died after the fourth performance of the play; he felt ill on stage and barely finished the performance.

On the same night, February 17, 1673, Moliere passed away. The burial of Moliere, who died without church repentance and did not renounce the “shameful” profession of an actor, turned into a public scandal. The Archbishop of Paris, who did not forgive Moliere for Tartuffe, did not allow the great writer to be buried according to the accepted church rite. It took the king's intervention. The funeral took place late in the evening, without observing proper ceremonies, behind the fence of the cemetery, where unknown vagabonds and suicides were usually buried.

However, behind Moliere’s coffin, along with his family, friends, and colleagues, was a large crowd of ordinary people, to whose opinion Moliere listened so subtly. No wonder Boileau, who highly valued Moliere’s work, accused his friend of being “too popular.” The nationality of Moliere's comedies, which manifested itself both in their content and in their form, was based primarily on the folk traditions of farce. Moliere followed these traditions in his literary and acting work, maintaining a passion for democratic theater all his life. His folk characters also testify to the nationality of Moliere's work.

These are, first of all, servants: Mascarille, Sganarelle, Soziy, Scapin, Dorina, Nicole, Toinette. It was in their images that Moliere expressed the characteristic features of the national French character: cheerfulness, sociability, friendliness, wit, dexterity, daring, common sense. In addition, in his comedies, Moliere depicted peasants and peasant life with genuine sympathy (remember the scenes in the village in “The Reluctant Doctor” or in “Don Juan”). The language of Moliere's comedies also testifies to their true nationality: it often contains folklore material - proverbs, sayings, beliefs, folk songs that attracted Moliere with their spontaneity, simplicity, and sincerity (“The Misanthrope,” “The Bourgeois in the Nobility”). Moliere boldly used dialectisms, folk patois (dialect), various vernaculars, and phrases that were incorrect from the point of view of strict grammar. Witticisms and folk humor give Moliere's comedies a unique charm.

Describing Moliere's work, researchers often claim that in his works he “went beyond the boundaries of classicism.” In this case, they usually refer to deviations from the formal rules of classicist poetics (for example, in Don Juan or some farcical comedies). We cannot agree with this. The rules for constructing comedy were not interpreted as strictly as the rules for tragedy, and allowed for wider variation. Moliere is the most significant and most characteristic comedy writer of classicism. Sharing the principles of classicism as an artistic system, Moliere made genuine discoveries in the field of comedy. He demanded a truthful representation of reality, preferring to move from direct observation of life phenomena to the creation of typical characters.

These characters, under the pen of the playwright, acquire social definition; Many of his observations therefore turned out to be prophetic: such, for example, is the depiction of the peculiarities of bourgeois psychology.

My first contact with the Fatyanovites began in the first summer of my independent excavations on Lake Nero in front of Rostov the Great.

That summer was stormy and specious. The morning began with the blue of a gloomless sky, the soft freshness of trees and grass, the volcanic wilderness of the lake, in which the white and rust-colored walls of the Rostov Kremlin with its towers and domes and greenery were visible, the willows on the low marshy bank Yes. Before noon, over the treeless hillocks that bordered the lakeside valley, yellow-horned storm clouds began to swell. The stinks grew, swelled, filled with dark blue, and suddenly, on the spot, on the lake, on many fields in the forest and gurkot, important thunderstorms fell...

“I’m dying in the sunshine,” I remember for many reasons. The old Rostov Kremlin, even after the hurricane of 1954, is old, deserted, not yet discovered by tourists, like a Cossack castle for me and my two people utniks, who represented the whole The obvious warehouse of the expedition. A quiet, provincial, kind and quiet place, revealing to us the unsettled life of the Russian province, as if in connection with the past. in, first at the bottom of exploration and excavation, meant the beginning of this book, as I will continue to write on these sites - books about the past of people and nature.

After excavations on the island in front of the place, we will briefly cover and describe the settlement of ancient people already in the area. The museum has preserved the records of their pioneers, local local explorers and professional archaeologists, and, following their descriptions, I went through my own school, following the traces of my work the best and their best assessments with their own. Returning in the evening to the museum office, assigned for the night, we sorted out the day's discoveries, miles of them, described them, and before going to bed we wandered along the passages of the fortress walls, experiencing the nightly calm of the Rostov elders.

One evening, turning to the museum, I saw on the windowsill, littered with our bags of treasures, a small clay pot with a round bottom and a low vertical neck. Behind him lay tassels like a stiletto, and a kochedyk, behind the help of a face and birch bark they wove on the Evening (and weave them at once) posts, purses, pesteri and other ruler’s stuff. As it was written from the submitted note, the driver brought gravel from the museum to the museum, transporting gravel for road work from a car that had been driven twenty-five kilometers from the place. In his words, there were human bones in the gravel.

Among the successes of that summer there was yet another success, about which I can only die. Before me lay speeches from the relics of the Fatyanovo culture - one of the most famous and mysterious manifestations of the ancient history of Converging Europe.

The Fat "Yanivka culture, which took its name from the first excavated burial ground in the village of Fatyanovo in the Yaroslavl region, has been visible to archaeologists for more than a hundred years. During this time, dozens of burial grounds were discovered and explored, great material has been systematized and seen, a lot of articles have been written and books, but the aura of mystery has not changed.

Until now, archaeologists have not been able to find out the settlement of these people.

There are burial grounds, and there is no settlement, which means that the Fat Yan people were nomads? So the “Fat Yan diet” was initially accepted... until they gained respect for the rule of these people, which could be judged by discoveries in the burial places.

The Fatyanovo burial grounds occupy high hills in the middle of current fields - hills filled with gravel and excess moraine. Here, not marked by any gravestones, mounds or stones, in deep straight holes dug in balls of gravel sand, lie the skeletons of the Yanivts: on their sides or on their backs, or sometimes in a crouched position - with their legs bent at the knees i h with hands raised up to the surface. Next to them stand a beautiful piece of clay vessel - round, flattened, with a vertical crown, in the middle of the polished surface, on top of which there is a thin, extremely thinned wicker, similar to the wicker of wicker or fabric.

Along with the vessels and skeletons lie a bunch of brushes: chisels, picks, glazes, daggers - and various decorations: hammer-like pins, pendants from the teeth of animals, namist from the tubular brushes of birds. There are also stones: arrowheads and arrowheads, knives, scrapers, grinding plates, and firebrands. There are two types, and the offensive stench most clearly reveals the evidence of this culture: drilling martyr juice from important crystals the time to guess the tomahawks of the ancient American Indians , only more massive, and flat polished working juices made of flint, inserted into brushes or wooden couplings, made with a handle.

Even the objects found in the first burial ground of this culture showed that the veils were familiar with metal, and not just familiar, but were directly involved in smelting and casting. ,- in In their tombs lie bronze jukes, lists and liqueur forms in which metal objects were preserved.

It is no less important that the Fat "Yanivtsi, as it has been reliably established, were animal hunters. The brushes of domestic animals - pigs, sheep, cattle - found in the graves of the Fat" Yanivtsi were lost as burial goods Ezhi, placed during the funeral. From the brushes of cows and horses, several types of brushes were made for the veils of the Yanivtsi, and from their teeth - pendants for necklaces. Such discoveries made it possible to accurately represent not only the warehouse, but also the structure of the Fatyanovo herd.

The increased mystery of the veils of the Yanivtsi disappeared and those circumstances, which upon closer examination of the veils of the Yanivtsi appeared to be the smallest and most similar parts of the megaculture of “fighting falcons”, named as I already wrote, the most characteristic subject , found in the dry complexes without excluding these controversies crops - polished stone sap with a drilled opening for the handle.

The “relatives” of the Yanivtsev, as it turns out, are well known throughout the continental and Western Europe - Sweden, Finland, Denmark, Germany, Poland, , in the Baltic States, where, besides the burial grounds of these people, their settlements with great huts, pens for thinness, Comoros and deserted villages fields. These people made their lives on the ground from poles and stakes, intertwining them with needles and coating the animals with clay, just like the Ukrainian mud huts did. Archaeologists conducted detailed studies of these cultures, and their rulers culture, cultural and trade ties with the Susidas, The natural minds, looks of people, decisions have been clarified, the chronology has been clarified - the basis of the foundations, without any successor to the past appears helpless in his work. But it’s all there, in the more remote areas of Converging Europe...

Immediately, with a single thread in the hands of the archaeologist, who was trying to unravel the mysteries of the Yanivtsi’s veils, objects made by them were revealed, found at the camps of the forest Myslivits. During excavations at various places, the investigators found shards Fatyanovo ships, Fatyanovo sokiri and kam"yani stovpchiki, which settled at drilling “combat juicers” with a partial drill bit. Findings of such stone swifts were especially important. Being the departures of the spawning industry, they witnessed that the Fat "Yanivts" not only led to the places of Neolithic camps, but also, in a number of deposits, immediately prepared their sokiri, so they lived here every hour...

Maybe the fat "Yanivtsi" were the bastards of these camps?

In fact, it’s worth guessing that the burial grounds of the forest Myslyvs are practically unknown to us. Possibly, they chanted their heavenly people on the platforms above the ground, just as the Sami and Mysli peoples of Siberia were afraid. So you can guess the thought that inevitably came into the minds of those who followed. The fragments, the stench was fading, on one side we see only the settlements of the Neolithic Myslyts, and on the other - only the burial grounds of the Fatalists, why not admit that before us are two halves of one whole, the same caves culture, add one to the other? , in vessels? Or similar activities can occur within the same culture, in their settlements, which vary in different times. utensils are used for everyday use, and in burial places - ritual, special prepared, like all other objects of the funeral rite! Findings of Fatyanovo’s speeches in the settlements only reinforce the unique nature of their...

This was the point of view of the scholars who wanted to tell the end after the end, at once explaining the presence of burial grounds of the forest Myslivts and the settlements of the Fat Yanivts.

This explanation was done in detail, in order to know the sufficient number of beneficiaries. The difference between the Myslyovites and the Fatyanovo people lay not only in the form and method of preparing objects of material culture. Golovne was in the reign, in the knowledge of the Fatyanovites with metal, their creativity was widely developed. It was impossible not to gain respect for the anthropological dignity between the Fatyanovites and the Forest Myslivtsy; moreover, on the identity of the veils of the Yanivts with the representatives of the foreign cultures of the “combat” sokir."

Along with the robots of anthropologists, who were lifting skulls and bones from the Fatyanovo burial grounds, the smell was primarily due to the people of the so-called “Mediterranean” type with a high steep forehead, a massive beautiful skull, a thin, often with a small hump nose and a wide, massive subsets. This type of people can be seen in sculptural portraits of ancient Romans, who were preserved among the population of Central Europe and the Baltic States, in the Danube and often on the Balkan Peninsula. Fatyanovsky women, however, appear thinner and thin, voluptuous hot rice, dressed as it can be served according to the reconstructions of anthropologists.

Behind all the signs it turned out that the Fat "Yanivtsy - undoubted immigrants from the western regions of Similar Europe, from the territory of present-day Poland and Czechoslovakia, where the history of the disputed tribes is clear From a much earlier hour, the veils of the Yanivtsev began to appear near the Volga-Oksky interstate. And this already gave scope for fantasy. In the thirties of our century, when the development of European archeology was under increasing pressure from political ideas, primarily associated with racism and fascism, a number of German archaeologists, anthropologists And historians have voted for the fated Yanivtsi with the advanced corrals of ancient The Germans are on their way out. Behind their assertions, the fated Janians were “storm pens”, which brought down their rocks on the heads of the local bastards during the hour of the conquest’s marches to the gathering.

The warlike nature of the veils was derived literally from everything, starting with specific “combat juices” and ending with creatures for which new spaces were needed, and metalworking, for which needs were new and the origins of the media and the markets will be known. It didn’t occur to anyone that the university the specialization of the Fatyanovo creature dominion not only does not convey the conflict with the local myslivians and fishermen, but, on the contrary, allows them to absolutely painlessly replenish what has appeared to be a healthy, environmentally friendly shu,” how people joked during the hour of their shuffling and how they passed on in our forests survival of cultures, and - spivrobіtnitstvo.

But everything became clearer only later, a decade or two after the end of another light war.

The women from whom I began to talk about the Fatyanovo people, whose food rose with particular urgency, screamed, baked the archaeologists’ supers, saved themselves at the brightest point of view. Preparing to enter into science, we, students, not only listened to these scientific discussions, but also tried to find out the arguments of opponents, to know our way, to determine our point of view, so that the “problem” of the fated Yanivtsev, mute in focus, has become anonymous ours, table important methodical nutrition, which signified the path to further development of our science.

Reach out to the Fatyanovo people themselves, not behind the glass window; and in the place of all those, because of which the super-sinks burst into flames, became my cherished death. Why, early in the morning, after the driver had brought objects from the constructed Fatyanovo burial to the Rostov museum, I was at the office of the traffic police, and another hour later, squeezed into the cabin of a rather dented self-skid, driving to the spot of the discovery...

A small hump, adjacent to the gravel quarry of the village of Khaldeevo, occupying the top of a gently sloping ridge, offering a view of the same enormous hillocks, occupied by villages and fields, running down to dense bows, in the middle of which there were loops of small river. Grabbing a lot of eyes, all This region is made up of bows and fields.

The picture, which had been lost in my memory, probably affected me further away from the Fatyanovo people and the problems associated with them in the wider world, and a glance at the walls of the quarry, which confirmed the presence of a burial ground here and brought another trophy - battle juice times green color. Perhaps, even now, trying to look at the structure of more light, I pay respect not so much to the objects that appeared before me from the layers of the past, but to the furnishings of their discoveries, to those that I note. Valo, in the first place landscape, trying to catch up with the everyday - the other, the old one.

I wanted the Chaldeevsky burial ground to be lost to the single Fatyanovo burial ground, which I myself dug up, turning here to the advancing river, and the Fatyanovo materials with which I happened to stumble on the shores of Lake Pleshcheyevo, I realized that we were going to the open Their secret chambers are not only discovered through excavations. We also need a different approach to the problem, a different one, not an archaeological one, but an ecological look at the mystery.

Mr. Jourdain is the main character of Moliere's play "". He is rich, but not famous. His father is a simple merchant. Jourdain hides his origin and tries with all his might to pose as a nobleman in order to get a pass to high society.

He believes that everything is about money. And if they exist, you can buy absolutely everything, from knowledge to positions and titles. Jourdain invites teachers to his house to learn the basics of science and learn the rules of behavior in secular society. The scenes of teaching an overaged student are comical: the bourgeois is ignorant and does not know the most basic things. This, of course, is also a kind of stone in the garden of education of that time.

Jourdain is stupid and simple-minded, but is ready to do anything to achieve his goal. And therefore he is easily deceived by those who are greedy for money. The bourgeois is susceptible to flattery. He is easily bribed with good respectful address. In fact, everyone, from teachers to tailors, is only interested in Jourdain’s tight wallet. He himself does not evoke even a drop of respect from them.

A bourgeois without a clan or tribe is pitiful and ridiculous in his insane, bordering on insanity, desire to become an aristocrat. The author shows how vice and passionate desire crowd out all good thoughts and principles from a person. Jourdain is so carried away by his crazy idea that it completely fills his inner world and outer life.

He's actually not that stupid. He managed not only to preserve, but also to increase the capital left by his father. He notices the tailor's fraud and Dorant's deception. True, he hides that he sees and understands everything in order to be able to communicate with aristocratic society. Jourdain himself is well versed in music, giving preference to folk motifs rather than salon songs.

In teachers, he also exposes the bluff: they give truths that are long dead, which in no way can influence the development of human nature, his inclinations and abilities. But the desire to become a nobleman is stronger than all arguments and common sense: Jourdain’s internal inclinations pale before his vain passion.

Everyone in the play laughs at the bourgeoisie. True, some openly, and some secretly. The wife is frank in her ridicule and torment. The servants, Coviel and Nicole, seeing Jourdain in secular attire, cannot contain their loud laughter. But this does not in any way affect his path to achieving his goal; he will definitely not turn away from it. Although over time this desire becomes not just comical, but dangerous. And first of all for the Jourdain family: he deceives his wife, insults her, is cruel and despotic in his treatment of servants, wants to marry his daughter to the marquis, not caring that she is already in love with another person.

In the play, Jourdain is an uneducated and rude bourgeois, but in reality he is not devoid of good nature and sincerity, and is sometimes touching and naive, like a child. It’s as if he is discovering the world for the first time at the age of forty, and this causes a smile, not contempt.

“The Bourgeois in the Nobility” is a comedy-ballet created by the great Molière in 1670. This is a classic work, complemented by elements of folk farce, features of ancient comedy and satirical compositions of the Renaissance.

History of creation

In the autumn of 1669, ambassadors from the Sultan of the Ottoman port visited Paris. The Turks were greeted with particular pomp. But the decorations, spectacular meeting and luxurious apartments did not surprise the guests. Moreover, the delegation stated that the reception was sparse. It soon turned out that it was not ambassadors who visited the palace, but impostors.

However, the offended King Louis nevertheless demanded that Moliere create a work that would ridicule the pompous Turkish customs and the specific morals of Eastern culture. It took only 10 rehearsals and the play “Turkish Ceremony” was demonstrated to the king. A month later in 1670, at the end of November, the performance was presented at the Palais Royal.

However, after some time, the talented playwright radically transformed the original play. In addition to satire on Turkish customs, he supplemented the work with reflections on the topic of modern mores of the nobles.

Analysis of the work

Plot

Mr. Jourdain has money, a family and a good house, but he wants to become a true aristocrat. He pays barbers, tailors and teachers to make him a respectable nobleman. The more his servants praised him, the more he paid them. Any whims of the gentleman were embodied in reality, while those around him generously praised the naive Jourdain.

The dance teacher taught the minuet and the art of bowing correctly. This was important for Jourdain, who was in love with a marquise. The fencing teacher told me how to strike correctly. He was taught spelling, philosophy, and learned the intricacies of prose and poetry.

Dressed in a new suit, Jourdain decided to take a walk around the city. Madame Jourdain and the maid Nicole told the man that he looked like a buffoon and everyone was rushing around with him only because of his generosity and wealth. A quarrel ensues. Count Dorant appears and asks Jourdain to lend him some more money, despite the fact that the amount of debt is already quite substantial.

A young man named Cleon loves Lucille, who reciprocates his feelings. Madame Jourdain agrees to her daughter's marriage to her lover. Mr. Jourdain, having learned that Cleont is not of noble origin, sharply refuses. At this moment Count Dorant and Dorimena appear. An enterprising adventurer courtes the marquise, transferring gifts from the naive Jourdain in his own name.

The owner of the house invites everyone to the table. The Marquise is enjoying delicious treats when suddenly Jourdain’s wife appears, who was sent to her sister. She understands what is happening and causes a scandal. The Count and the Marquise leave the house.

Koviel immediately appears. He introduces himself as a friend of Jourdain's father and a real nobleman. He talks about how the Turkish heir to the throne arrived in the city, madly in love with the daughter of Mr. Jourdain.

To become related, Jourdain needs to undergo a rite of passage into mamamushi. Then the Sultan himself appears - Cleont in disguise. He speaks in a fictitious language, and Koviel translates. This is followed by a mixed initiation ceremony, complete with ridiculous rituals.

Characteristics of the main characters

Jourdain is the main character of the comedy, a bourgeois who wants to become a nobleman. He is naive and spontaneous, generous and reckless. Goes ahead towards his dream. He'll be happy to lend you money. If you make him angry, he instantly flares up and starts screaming and making trouble.

He believes in the omnipotence of money, so he uses the services of the most expensive tailors, hoping that their clothes will “do the trick.” He is fooled by everyone: from servants to close relatives and false friends. Rudeness and bad manners, ignorance and vulgarity contrast very noticeably with claims to noble gloss and grace.

Jourdain's wife

The wife of a tyrant and false nobleman is contrasted with her husband in the work. She is well-mannered and full of common sense. A practical and sophisticated lady always behaves with dignity. The wife tries to direct her husband to the “path of truth”, explaining to him that everyone is using him.

She is not interested in titles of nobility and is not obsessed with status. Madame Jourdain even wants to marry her beloved daughter to a person of equal status and intelligence, so that she can feel comfortable and good.

Dorant

Count Dorant represents the noble class. He is aristocratic and vain. He makes friends with Jourdain solely for selfish reasons.

The man's entrepreneurial spirit is manifested in the way he cleverly appropriates the gifts of the lover Jourdain, presented to the Marquise, as his own. He even passes off a given diamond as his own gift.

Knowing about Koviel's prank, he is in no hurry to warn his friend about the insidious plans of the scoffers. Rather, on the contrary, the count himself has plenty of fun with the stupid Jourdain.

Marquise

Marquise Dorimena is a widow and represents a noble noble family. For her sake, Jourdain studies all sciences, spends incredible amounts of money on expensive gifts and organizing social events.

She is full of hypocrisy and vanity. In the eyes of the owner of the house, she says that he has wasted so much on the reception, but at the same time enjoys the delicacies with pleasure. The marquise is not averse to accepting expensive gifts, but at the sight of her suitor’s wife, she pretends to be embarrassed and even offended.

Beloved

Lucille and Cleonte are people of a new generation. They are well-educated, smart and resourceful. Lucille loves Cleontes, so when she learns that she will be married off to someone else, she sincerely resists.

The young man really has something to love. He is intelligent, noble in manners, honest, kind and loving. He is not ashamed of his relatives, does not chase illusory statuses, openly declares his feelings and desires.

The comedy has a particularly thoughtful and clear structure: 5 acts, as required by the canons of classicism. One action is not interrupted by secondary lines. Moliere introduces ballet into a dramatic work. This violates the requirements of classicism.

The theme is Mr. Jourdain's obsession with noble titles and nobility. The author criticizes in his work the aristocratic mood, the humiliation of the bourgeoisie before the class that supposedly dominates.