"The tradesman in the nobility" as a work of French classicism. Satire on the nobility and the bourgeoisie in comedy
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 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 with the maid with the fruits of her scholarship, but without much success: Nicole calmly uttered the sound “y”, not even suspecting that at the same time she was stretching her lips and bringing her upper jaw closer to the lower one, and with a rapier she easily inflicted several injections on Jourdain, 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 had no 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 came out 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 his 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
"The Philistine in the Nobility" is a comedy-ballet created by the great Molière in 1670. This is a classic work, supplemented with elements of folk farce, features of ancient comedy and satirical compositions of the Renaissance.
History of creation
In the autumn of 1669, the ambassadors of the Ottoman Sultan visited Paris. The Turks were greeted especially pompously. But the decorations, spectacular meeting and luxurious apartments did not surprise the guests. Moreover, the Delegation stated that the reception was poor. 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 mores of Eastern culture. It took only 10 rehearsals and the play "Turkish Ceremony" was shown to the king. A month later, in 1670, at the end of November, the performance was presented at the Palais Royal.
However, a talented playwright after some time radically transformed the original play. In addition to satire on Turkish customs, he supplemented the work with reflections on the theme of the modern customs 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 master 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, learned the subtleties 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 jester and everyone rushed about him only because of his generosity and wealth. There is a skirmish. 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 loves him back. Madame Jourdain agrees to the marriage of her daughter with 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 courts the marchioness, passing on 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 makes a scandal. The Count and Marquise leave the house.
Koviel appears immediately. He introduces himself as a friend of Jourdain's father and a real nobleman. He tells that the Turkish heir to the throne arrived in the city, madly in love with the daughter of Mr. Jourdain.
To intermarry, Jourdain needs to go through the rite of initiation into mammamushi. Then the Sultan himself appears - Cleont in disguise. He speaks in a fictitious language and Coviel translates. This is followed by a mixed initiation ceremony, complete with ridiculous rituals.
Characteristics of the main characters
Jourdain is the protagonist of the comedy, a bourgeois who wants to become a nobleman. He is naive and direct, generous and reckless. Goes ahead to his dream. Happy to lend money. If he is angered, he instantly flares up, starts screaming and making a fuss.
He believes in the omnipotence of money, so he uses the services of the most expensive tailors, hoping that it is their clothes that will “do the job”. Everyone fools him: from servants to close relatives and false friends. Rudeness and bad manners, ignorance and vulgarity contrast very markedly with claims to noble gloss and grace.
Jourdain's wife
The wife of a petty tyrant and a false nobleman is opposed to her husband in the work. She is educated and full of common sense. A practical and sophisticated lady always behaves with dignity. The wife tries to guide her husband on the "path of truth" by explaining to him that everyone is using him.
She is not interested in titles of nobility, not obsessed with status. Even her beloved daughter, Madame Jourdain, wants to marry a person of equal status and intelligence, so that she feels comfortable and well.
Dorant
Count Dorant represents the nobility. He is aristocratic and vain. He makes friends with Jourdain solely out of selfish motives.
The man's enterprise is manifested in the way he deftly appropriates the gifts of the enamored Jourdain, presented to the marquise, as his own. Even the presented diamond he gives out as his gift.
Knowing about Covel's prank, he is in no hurry to warn his friend about the insidious plans of scoffers. Rather, on the contrary, the count himself has plenty of fun with the stupid Jourdain.
marquise
Marquise Dorimena - a widow, represents a noble noble family. For her sake, Jourdain is studying all the sciences, spending incredible money on expensive gifts and organizing social events.
It is full of hypocrisy and vanity. In the eyes of the owner of the house, she says that he spent so much for nothing on the reception, but at the same time enjoys delicacies with pleasure. The marquise is not averse to accepting expensive gifts, but at the sight of her boyfriend's wife, she pretends to be embarrassed and even offended.
Beloved
Lucille and Cleont are people of a new generation. They are distinguished by a good upbringing, smart and resourceful. Lucille loves Cleont, so when she learns that she will be married to another, she sincerely opposes it.
The young man really has something to love. He is intelligent, noble in manner, honest, kind and loving. He is not ashamed of his relatives, does not pursue ghostly statuses, openly declares his feelings and desires.
Comedy is distinguished by a particularly thoughtful and clear structure: 5 acts, as required by the canons of classicism. One action is not interrupted by secondary lines. Molière introduces ballet into the dramatic work. This violates the requirements of classicism.
The theme is Mr. Jourdain's crazyness in noble titles and nobility. The author criticizes in his work the aristocratic mode, the humiliation of the bourgeoisie in front of the class that allegedly dominates.
But also many undertakings in the field of art. Back in the 17th century, the son of the court upholsterer Jean-Baptiste Poquelin, better known to the whole world under the name of Moliere, composed a witty, brilliant comedy, combining two such different genres as a dramatic theatrical performance and ballet into one. And now, for the fourth century, it has not left the stages of metropolitan and provincial theaters, it has been studied in schools, and the heroes of the work have long since become household names.
Genre Discovery
Of course, we are talking about Moliere's great comedy "The tradesman in the nobility." Everything was new in the work: a pronounced mockery of the mores and habits of high society, and a realistic depiction of ignorant rudeness, ignorance, greed and stupidity of the bourgeoisie, stubbornly striving to share power and privileges in a country with the impoverished nobility, and the author’s obvious sympathy for a simple person, a representative of the so-called third estate. This is with regard to the problems and A spectacle of the production, colorful costumes, musical numbers ... Louis XIV, an ardent admirer of music, dance, especially ballet, loved a variety of enchanting performances. But before Molière, playwrights were not able to combine stage action, dance numbers and ballet so skillfully. In this regard, "The Philistine in the Nobility" may well be considered the forerunner of the modern musical. Comedy-ballet - such is the original genre of the work of the great Moliere.
The history of the creation of comedy
The event that brought comedy to life is also not quite ordinary. When, in 1669, the Sun King, as Louis was nicknamed for his passion for clothes, jewelry, external chic and brilliance, it became known that the Sultan of the Great Ottoman Empire (i.e. Turkey) was sending an embassy delegation to him, the ruler of France decided to surpass him in terms of luxury. The sparkle of jewels, the abundance of gold and silver, expensive materials, luxury items should have overshadowed the eyes of ambassadors accustomed to such abundance in the East, and spread the glory of the wealth and grandeur of the French court and its ruler throughout the world. But the plan of the king failed: he became a victim of mystification and deceit. Enraged, Ludovic commissioned Molière to write a comedy that would make fun of the Turkish mentality along with their delegation. Thus was born the "Philistine in the Nobility", the first presentation of which before the king and nobility was given in mid-October 1670, and the official one, for the Parisian public, in November 1670. From that very day (November 28) on the stage of the main theater of Paris - the Palais Royal - during the life of the author, the performance was staged more than 42 times, and this is not counting other productions in smaller theaters! And about a century later, the first professional translation of the comedy into Russian appeared. In Russia, "The Philistine in the Nobility" was accepted with a bang, and his victorious procession continues to this day.
The plot of the work is simple, the main intrigue of the comedy lies not in the conflict, but in the characters. Jourdain, a bourgeois of respectable age, very rich, but narrow-minded, rude, and sometimes frankly stupid, ignorant, wants with all his might to join the noble sophistication, grace, gallantry and outward brilliance. The ultimate goal of all his tricks is the Marquise Dorimena, a cutesy aristocrat, accustomed to judging people by the severity of their wallet and the loudness of the title. The ruined Count Dorant, a trickster and a deceiver, safely leads Jourdain by the nose, promising to help get closer to Dorimena and, in general, to introduce his “friend” into the high Parisian society. By nature, he is far from a fool, Mr. Jourdain is blinded by the brilliance of the nobility and does not notice point-blank that he has long been a "cash cow" for such rogue aristocrats. He borrows huge sums of money from them without demanding a return. He hires a whole host of teachers, tailors, so that they educate and hew it a little. There is no sense in this, but gold coins are flowing away like a full-flowing river. In fact, “The Petty Bourgeoisie in the Nobility”, the brief content of which is to ridicule and criticize the ruling class of the nobles and the bourgeoisie that comes to replace it, is a wonderful parody of the monarchical absolutist system that developed in France at the end of the 17th century. The comedy clearly emphasized that the future was not for jourdains and dorants, but for such honest, active, enterprising and viable types and characters, like Cleont, Jourdain's daughter's fiancé, Covelier, his servant, and all those who are used to achieving everything in life thanks to their own mind and strength. In this regard, the book "The Philistine in the Nobility" could become a desktop book for the Russian nobility. However, the comedy of the remarkable Russian playwright Fonvizin "Undergrowth" turned out to be close to the point of view and the author's characteristics of Molière. Both of them are included in the golden fund of world literature.
Common noun of images
Needless to say, many comedy expressions have become aphorisms, and its main character symbolizes human rudeness and ignorance, lack of taste and sense of proportion! “Jourdain with papillots” - we are talking about this, and that says it all!
I. Subject: JB Molière. "The tradesman in the nobility" as a work of French classicism. Satire on the nobility and the bourgeoisie in comedy.
II. Target: To acquaint students with the characteristic features of classicism; compare with Russian classicism; get acquainted with the work of the creator of the French comedy Jean-Baptiste Molière. "The Philistine in the Nobility" is like a comedy of classicism, and everything in it develops according to the laws of this genre.
III.During the classes:
Org. moment (2min)
IV. Repetition of the material covered:
Today we will repeat the features of Russian classicism, compare them with French classicism, consider, using the example of the comedy of classicism "The tradesman in the nobility", how events develop in it according to the laws of this genre. We will find out what or who the author is laughing at and why the comedy is called that.
A) conversation:
Where did classicism originate?
In the 17th century, the era of absolute monarchy begins in Western Europe. Rulers limit the freedom of the individual. The sublime and varied art of the Renaissance is replaced by strict classicism. It began to take shape in the Late Renaissance in Italy, but as an integral artistic system was formed in France in the 17th century during the period of strengthening and flourishing of absolutism. During the reign of Louis 14.
What does classic mean?
(from lat.classicus - exemplary, artistic direction that has developed in European literature of the 17th century (P. Corneille, J. B. Molière, J. Racine)
What hierarchy of genres was established by classicism?
(High - epic poem, epic; tragedy, ode: everything was written in verse;
medium - high comedy, love and philosophical poetry;
low - fable);
When was classicism born in Russia?
(In the 2nd half of the 18th century, in the work of A.D. Kantemir, V.K. Trediakovsky, M.V. Lomonosov: the struggle for the literary language began, ending in the work of A.S. Pushkin).
What genres are popular in Russian classicism?
(Tragedy and comedy).
What rules existed in Russian classicism?
(Strict unity of tone and three unities: unity of action, unity of place and time)
Why was tragedy and comedy written in 5 acts?
(Because the composition consisted of an exposition, an outset, a development of the action, a climax and a denouement).
B) Vocabulary work:
On the screen you see the keywords that we have already worked with and with which we will continue to work:
Classicism, rationalism, cult of reason, state life, historical events, educational pathos, high genres, tragedy, epic, ode, middle genres, didactic poetry, low genres, comedy, satire, fable, unity of time, place and action, plot, exposition, plot, development of action, climax, denouement.
V. Explanation of the new material:
Teacher's word: Open notebooks, write down the number, the topic of the lesson.
Today we will get acquainted with the work of the great playwright J.B. Molière, whose portrait you see on the screen.
The girls will introduce you to the biography of Jean-Baptiste Moliere, they have prepared slides, please meet:
(Text of the students' speech):
The creator of the French comedy Jean-Baptiste Molière (Poquelin) was born in Paris on January 13, 1622. He came from an old bourgeois family, for several years engaged in the craft of upholsterers and draperies. Father was the court upholsterer and valet of Louis XIII. The greatest writer who worked in the era of classicism, but more bold than others who went beyond it, was Moliere, the creator of French comedy, one of the founders of the French national theater.
Jean-Baptiste Poquelin (1622 - 1673), who took the name Moliere in his theatrical activity, received a good education. Passionately loving the theater, Moliere, against the will of his father, left the Faculty of Law and joined the theater troupe. For several years he wandered around the provinces with the theater, which he headed with the family of his friends - actors Bejart. He later married their youngest daughter, Armande Bejart.
A brilliant comedian, Molière played leading roles in his comedies until the end of his life. In the provinces, he took up the processing of old folk comedies (farces) for his theater, and then he began to write comedies himself. In 1658, having shown a performance at court that pleased the king, Molière stayed with his troupe in Paris. Here he works until the end of his life as a court comedian, artist and director.
Molière's creativity develops in the struggle against the Catholic clergy, from whose reprisal he is saved only by the intercession of the king. Physically torn by this persecution, Molière dies at the age of 52, in the prime of his creative powers.
The most important works of Molière were created in the 60s of the 17th century. The folk and realistic principle in his works is more pronounced than in any of the writers of classicism. Moliere creates three of the greatest comedies - "Tartuffe", "Don Juan" and "The Misanthrope".
In the comedy "The Philistine in the Nobility" Moliere gave a vivid satirical image of the wealthy bourgeois Jourdain. The hero of the comedy bows before the nobility, dreams of penetrating into the aristocratic environment. He tries to dress up in noble clothes, hires himself teachers of music, dance, fencing and philosophy.
Having lost all dignity, Jourdain does not want to admit that his father was a merchant. Here he makes friends with the nobles and, what is most ridiculous, tries to play the role of a gallant admirer of an aristocratic lady. The hero's quirks threaten his family with trouble: he wants to marry his daughter Lucille to the marquis and refuses the man she loves. Only a witty invention helps lovers overcome this obstacle.
The comedy of the protagonist lies in his ignorance and clumsy imitation of an alien culture. Ridiculous is his tasteless outfit, the hat he wears to dance over his nightcap, his naive reasoning during lessons. So, with great surprise, he learns that for forty years now he has been speaking prose. Molière compares his hero to a crow in peacock feathers.
The human characters presented in the comedy are diverse. The absurd inventions of Jourdain are opposed by the sobriety and common sense of his wife, Madame Jourdain. However, she herself is far from any cultural interests, rude. Her whole world is closed in the circle of household chores. A healthy beginning is manifested in her desire to help her daughter's happiness and in contact with an intelligent maid.
Cheerful, humorous Nicole is as critical as Dorina in Tartuffe is about her master's prejudices. She, too, seeks to protect his daughter's love from her father's tyranny. An important role is played in the play by two servants - she and Coviel, a witty merry fellow, footman of Cleont, Lucille's fiancé. They bring a cheerful tone to the comedy. Moliere turns the theme of love and quarrels between Nicole and Covel into an amusing parallel to the relationship between their masters. As a denouement, two weddings are planned.
Molière proved to be a master of comedic intrigue. Ballet was successfully introduced into the play. This is not just a dance number, but an organic part of the developing comedy action. "The Philistine in the Nobility" is a comedy of classicism, and everything in it develops according to the laws of this genre.
The remarks that the participants in the performance exchange are witty, especially in those scenes where Jourdain performs. Many of these remarks have entered into everyday speech, have become winged words.
Molière entered the history of the world theater as one of the most outstanding comedians. His skill is multifaceted, and in all countries of the world theaters do not stop turning to his legacy.
Teacher's word: Thank you, sit down.
VI. Work with text.
And now you and I, my dears, will open the pages of the immortal creation of the great master of comedic intrigue and you will enjoy the magnificent verses of the great master. Question: When you read a comedy, think about why it is called that?
We read: Action 1, phenomenon 1.2 (acquaintance with teachers and Mr. Jourdain); Action 2, phenomenon 3 (behavior of teachers); phenomenon 6 (chooses sciences); Act 3, Appearance 2 (Nicole laughs at Mr. Jourdain's costume); appearance 4 (Dorant, an impoverished nobleman who deceives Jourdain) and Act 4, appearance 9 (Turkish ceremony) and appearance 13 (initiation).
VII. Homework:
Prepare to dramatize and expressively read those episodes that you liked.
VIII. Fixing new material:
How does the comedy genre develop? Prove with examples from the text?
What traditions of classicism violated Molière?
So, let's repeat once again the characteristic features of classicism:
cult of reason;
a work of art is organized as an artificial, logically constructed whole;
strict plot-compositional organization, schematism;
life phenomena are organized in such a way as to reveal and capture their generic, essential features and properties;
human characters are outlined in a straightforward manner; positive and negative characters are opposed;
more active appeal to public, civic issues.
IX. Lesson grades.
Thank you for the lesson. Goodbye.
Ministry of Education and Science of the Republic of Kazakhstan
Ulansky district department of education
Subject:
JB Molière. "The tradesman in the nobility" as a work of French classicism. Satire on the nobility and the bourgeoisie in comedy.
Prepared and conducted by Kabdrakhmanova G.T.,
teacher of Russian language and literature
KSU "Secondary school named after Bazylbek
Akhmetov, Ulansky district, East Kazakhstan region
With. Novo-Odesskoe, 2014
Classicism was formed in France at the end of the 16th century. This literary trend is associated with the name of the poet Malherbe. High odes belong to him. Further development can be seen in the works of such authors as Corneille, La Fontaine, Racine, and, of course, Molière. It is easy to find features of classicism in the famous comedy of the great playwright "The Tradesman in the Nobility".
Classical comedy has always reflected everyday life in its ordinary everyday manifestations. And most of the time it's negative. Heroes are people who are far from the moral ideal. Their failure was shown with the help of laughter, either good or evil, satirical. The purpose of the comedy of classicism is to ridicule the shortcomings, negative qualities of a person, such as laziness, stupidity, rudeness, extravagance, eccentricity.
However, the comedies also had a social significance. The ideal person was the one who put the interests of the state above personal interests. Features that go beyond those were also ridiculed on the pages of works.
The comedy "" shows an attempt by the bourgeois to break out of the usual class circle and enter high society. Molière condemns Jourdain for his desire to live in aristocratic luxury, empty and worthless, for his desire to break ties with the environment in which he was born and lived. The author believes that it is necessary to preserve pure human feelings and not pretend to be someone who you really are not.
Thus, in this comedy, the purpose of comedy, accepted in classicism, is clearly traced - through laughter, to educate the "strayed" representatives of society.
He occupies a stable position, which he himself achieved, moreover, by constant work and the presence of a certain talent. But his claims just go wild! Ignorance and lack of education push Jourdain to a rash act - to bow before a foreign, little-known culture.
Molière's comedy is also characterized by the classical trinity of time, place and action. Events unfold in Paris in the house of Mr. Jourdain, all the time is enclosed in the framework of one day. The main events are shown around the main character. The work also includes a love line, but it has a secondary character. This is a slight deviation from the norm, but thanks to such innovations, comedy is only more interesting.
As for the language of the play, it basically also corresponds to the canons accepted at that time. True, to reveal characters who do not belong to the aristocratic circle, the author uses folk turns of speech.
So, having looked at all the main levels of the artistic system, we see that on all of them in Moliere's comedy "The Philistine in the Nobility" features characteristic of classicism can be traced. They can be found in the composition, ways of depicting heroes, means of expressing the comic, characters' speech.
