What a human flaw is ridiculed in the comedy tartuffe. The character system of the classic comedy "Tartuffe" by Moliere

Not a single comedy by Moliere has brought him so much suffering, but also such lasting success. For five years the playwright fought for its production, corrected the text, softening the critical thrust of the comedy. Molière directed his attack on the secret religious organization "Society of the Holy Gifts", which was engaged in spying on ill-intentioned fellow citizens and apostates. By removing specific allusions to the activities of the Society of the Holy Gifts, he achieved more by showing how religious fanaticism cripples the souls of believers. "Tartuffe" eventually became a parable that devout piety deprives a person of his sanity. Before meeting Tartuffe, Orgone was a caring father of the family, but the bigot and hypocrite hypnotized him with ostentatious asceticism so that noble nobleman ready to give to the fraudster everything he owns.

The name of Tartuffe went down in history as a household name. It shows a close-up of hypocrisy

But for the comedy to reach the viewer, Moliere had to fight the powerful church authorities for five years. Tartuffe M dressed in secular clothes, and changed the name to "Deceiver", but even so everyone recognized Tartuffe. The ban on the work dealt a blow to Moliere's repertoire.

Tartuffe. Hypocrite. And here it is not important for Moliere whether he is a nobleman or a bourgeois. We do not know the environment in which I acquired this trait. His passion itself is essential - hypocrisy, a psychological trait, and not a social background. This is a crystal clear image taken from the historical environment. Moliere strives to create a clean, abstract stage space and time. This is the desire for abstraction, characteristic of the classicists, and this desire is even more pronounced in the characters. Moliere, typing the image, cannot but give the hero and individual traits. Individual feature Tartuffe is that he is the bearer of hypocrisy. He is arrogant, stubborn. It's like a person. And as a type - he embodies what Moliere wants to express in him - condensed hypocrisy. One of the ways to depict such an image is to surround the hero. He arises from this environment. Tartuffe is generally outlined by others. Orgone admires him. Dorina talks about him. This environment of Tartuffe is artificial. By the hand of Moliere, all obstacles have been removed from the path of the protagonist. back side the boundless arrogance and hypocrisy of Tartuffe - the boundless credulity of Orgon, his devotion to Tartuffe. The second way to achieve abstraction by Moliere is hyperbole. He introduces this hyperbole with strokes. It is necessary that the exaggerated trait be true, real, fixed in gestures, intonation, phraseology, behavior that are really characteristic of a person possessed by this passion. Tartuffe is absolute in its imaginary piety: Dorina's neckline is covered with a scarf. Moliere takes the classical principle of characterization to the last degree of completeness, surpassing in this sense the most orthodox classicists. In general, the principles of classicism are very important to him. For example, it is important for him to gravitate towards symmetry, towards the balance of all parts. In Moliere, there are always two heroes who complement each other according to the method of contrast. In "Tartuffe" it is the impudent Tartuffe and the gullible Orgon

15. Interpretation of the image of Don Juan and Moliere's "high" comedy

Don Juan is a legendary Spanish hero who gave his name to one of the most popular types in art. The hero of the legend is a representative of one of the aristocratic Seville families, D. João Tenorio. His bold adventures remained unpunished, thanks to his participation in them close friend, King Don Pedro (1350 - 1369), for a long time terrified the whole of Seville, until, finally, heavenly justice, in the person of the commander Don Gonzago killed by him, put an end to his atrocities. This legend was later mixed with another, also Sevillian, about the libertine D. João de Marana, who sold his soul to the devil, but afterwards repented and entered the monastery. With the passage of time, the type changes, as the mores soften; the harsh character traits, the rudeness of the methods of D. João's predecessors are gradually replaced by more attractive qualities, and finally the hero of the Seville legend is clothed in a charming form that immediately acquires him extraordinary popularity. This is the case of Tirso de Molina, who created in his play: that bizarre character that later went around the whole world under the name of D. João.

Moliere, in his comedy: the first stripped the hero of the distinctive features of his Spanish origin and introduced the French to the play. the reality of its time. He threw away the comic introduced by the Italians and destroyed the clerical connotation that characterized Tirso's play.

D.Zh. - the only mythical hero in the entire history of world culture, not borrowed by the theater, but generated by the theater. But unlike the comedic characters of the Renaissance, the hero of "The Mischievous Man of Seville" plays a love game, ignorant of love, at least of that uplifting, beautiful love that triumphed in the art of the Renaissance. Baroque art, which is close to "Seville mischievous", reveals the tragic duality of love feelings.

D.Zh. may seem contradictory: he laughs at women's feelings, but is almost brotherly towards the servant Sganarelle, he is indifferent to what they say about him “in the world”, but rushes to the aid of a stranger in trouble. He is daring and fearless, but he can also run away from pursuers, disguised as a peasant.

In drawing his character, Moliere does not seem to care too much about making him a cynical monster. Leprosy D.J. with women, which the reader has the opportunity to observe, they do not cause active protest, all the more indignation, on the contrary, they are forced to marvel at the gallant virtuosity of the loving senor. Inspirational tirades of the hero to the glory of his victories over women make us see in him more an ardent conqueror than a cold seducer. Meanwhile, heavenly punishment falls on the sinner, whose guilt is so recognizable and so commonplace. Apparently, the immoderate and irresponsible love of women D.Zh. and his blasphemous hypocrisy is only a part and a consequence of the crime that entailed such a terrible punishment. Molierovsky D.Zh. really belongs to his time, and the hero's guilt cannot be interpreted without taking into account the priority ideas for the era, without analyzing the many components that make up the spiritual climate of society. "Don Juan" is one of the most "baroque" plays of the great comedian. The Romanesque legendary plot underlying it, many structural violations of the classicist canon, and genre overlapping speak of the belonging of Moliere's masterpiece to the grandiose cultural and historical complex that determined the face 17th century,

The main thing for JF, a convinced womanizer, is the desire for pleasure. Moliere portrayed in Don Juan one of those secular free-thinkers of the 17th century who justified their immoral behavior with a certain philosophy: they understood pleasure as the constant satisfaction of sensual desires. At the same time, they openly despised the church and religion. Doesn't exist for Don Juan afterlife, hell, heaven. He only believes that twice two is four. The pretense, the mask of piety don Juan wears, is nothing more than a profitable tactic; it allows him to extricate himself from seemingly hopeless situations; make peace with his father, on whom he financially depends, safely avoid a duel with the brother of Elvira he abandoned. Like many in his social circle, he only assumed the appearance of a decent person. In general, Moliere has long been attracted by the topic of hypocrisy, which he observed everywhere in public life... In this comedy, Moliere turned to the most common form of hypocrisy at that time - religious. According to Don Juan's own words, hypocrisy has become a "fashionable privileged vice", covering up any sins, and fashionable vices are regarded as virtues. Moliere shows the general character of hypocrisy, prevalent in different classes and officially encouraged. The French aristocracy is also involved in it.

Jean-Baptiste Moliere was both an actor and theater director. But he is best known to us as a comedian. Repertoire famine forced Monsieur Poquelin (family name) to take up the pen. The forty-two-year-old writer, having already become famous and recognized by the royal court, ventured to present to the theatrical performance a caustic social pamphlet parodying the hypocrisy of the sophistry of the French clergy.

Moliere's plot intrigue

An attempt to play the work in the theater was successful only five years later. This article has it summary... "Tartuffe" has a rather prosaic plot: the resolution of the circumstances preventing the wedding of Marianne, the daughter of the owner of the house (Orgon), and her beloved Valera. (Marianna's brother Damis, in turn, is in love with Valera's sister). The whole intrigue is "twisted" around the main character - Tartuffe, who is visiting the house. Outwardly, this is a young, educated, pious person, inclined to high deeds. In reality, having a criminal past, Tartuffe possesses a whole bunch of "advantages": chronic deceit, a rare ability to weave a continuous chain of fraud. But the highlight of the image of a swindler is professional mimicry - imitation of the sermons of a clergyman. Moliere brilliantly presented this “explosive cocktail” to the audience. A complete picture of comedy can only give it theatrical performance, for a bad mirror for the irony of the great Frenchman is a summary devoid of emotions. Moliere's "Tartuffe" has been at the head of the hits of theatrical seasons for over 350 years.

The rogue manages to turn Orgon to such an extent that he decides to cancel the wedding with Valera and marry his daughter to Tartuffe. But the goal of the swindler is to get his hands on the whole house and fortune. He also has an influence on Ms. Pernel, the mother of the owner of the house.

Moliere shows the deceiver, deliberately without resorting to the intricate lace of lies. He is so confident in the trouble-free impact of his sanctimonious pseudo-morality on simpletons that he often acts simply “clumsy”.

Comedy characters

The summary of "Tartuffe" tells not only about scoundrels and fools. The wife of Oregon, Elmira Dorina, is a fairly sober-minded lady, distinguished by her calm disposition and self-control. At the same time, she is flirtatious and secular. Tartuffe frankly drags after her, inviting the pretty mistress of the house to make love to him on occasion. She refuses, threatening to betray the hypocrite, and then tries to outplay the fraudster by offering him her silence in exchange for his refusal to marry Marianne.

The mother's plan is inadvertently destroyed by the young and hot son Damis, overhearing and transferring its contents to his father - Oregon. Naive! Tartuffe, however, costs nothing to convince the owner of the house, a simpleton, of the sublimity of his feelings and actions. He, fooled, in anger drives out his son, promising all the property due to him to the swindler.

Secondary images also add their accents to the summary of "Tartuffe". The servant Doreena has a keen antipathy for the swindler. She is credited with some of the most poignant statements by Moliere. Cleanthe, Elmira's brother, according to Moliere's plan, presents with his decency a contrast to the swindler Tartuffe. He first tries to persuade Tartuffe to refuse to marry Marianne, then convinces Damis not to beat the fraudster, since it is preferable to follow reason.

However, despite all the antipathy and opposition that accompanies it, Tartuffe's plan is moving “like clockwork”. The matter is going to the wedding. Even if something gets upset, the fooled Oregon has transferred all his property to him. In addition, he has in his hands incriminating evidence - a hidden chest with letters that are delicate for him, handed over to him of his own free will by the close owner of the house. In addition, he bribed the bailiff Loyal (here Moliere's irony is evident: “loyal” is translated from French as “justice”).

Climax

Elmira, on the other hand, pretends to love him, but the villain, as a guarantee of refusing to marry his daughter, wants intimacy with her stepmother. This finally opens Oregon's eyes and he kicks the trickster out of the house.

But according to the documents, the house is already owned by Tartuffe. Bailiff Loyal comes to Mr. Oregon with a prescription demanding that the house be vacated by tomorrow. However, to ruin, it seemed to the villain a little, wanting to finally destroy the owner of the house, he sends the king a secret chest with letters testifying to his brother-rebel aid. The monarch acts wisely by first identifying the identity of the denouncer. The astonished Tartuffe, who maliciously came with the royal officer to enjoy the arrest of Oregon, is arrested himself.

Conclusion

So the traditional happy ending, and even the exaltation of the wisdom of the king, ends with Moliere's comedy "Tartuffe", called by our classic Alexander Sergeevich Pushkin a genius. Like Shakespeare, the strength of the writer's talent was combined in this man with dedication and service to the Theater. Contemporaries believed that Moliere's talent blossomed because he had the Gift - to see "something extraordinary" in every person.

The characters are grouped more complexly, and their genealogical arrangement is more convenient here:

Ms Pernel, mother of Orgon - Flipota, maid of Ms Pernel.

Orgon is Elmira, his wife is Cleant, Elmira's brother.

Damis, son of Orgon, Marianne, daughter of Orgon.

Valera, beloved of Marianne,

Dorina, Marianne's maid.

Occasional persons: Mr. Loyal, officer.

Action at Orgon's house in Paris.

Act I. Phenomenon I. Orgone's mother Mrs. Pernel irritably reads the notation to all members of the Orgone family (except for the absent Orgone). From the cross remarks, we learn that against the background of her dissatisfaction with everyone, she has a feeling of special respect for some Tartuffe, hated by everyone else. The existence of two camps in the Orgon family is revealed - Tartuffe, Orgon and his mother - on the one hand, the others - on the other.

Phenomenon II. Everyone leaves to see Madame Pernelle off, except for Doreena and Cleanthe. In Dorina's speech, the characterization of Tartuffe, a feigned hypocrite, got into the confidence of Orgon and settled in Orgon's house, where he rules everything.

Phenomena III and IV. From short remarks we learn about the love between Marianne and Valera (as well as about the love between Damis and Valera's sister - a traditional parallel to French comedies), which is hindered by Tartuffe.

Phenomena V and VI. From the conversation of Orgone who came with Dorina and Cleant, it becomes clear, in the form of comic remarks, Orgone's blinding about Tartuffe and his unwillingness to listen to Cleant's sound advice. When Cleanthes asked about the fate of Marianne, to whose marriage to Valera Orgone had previously agreed, Orgone answered evasively.

Act II. Phenomena I and II. Orgon announces to Marianne his decision to marry her to Tartuffe. Dorina (the type of comedic servant who moves the dialogue and the main "springs" of intrigue) enters into a comic argument with Orgon, accompanied by a game (Orgone's pursuit of Dorina).

Phenomena III and IV develop the love affair of Marianne and Valera with characteristic quarrels, reconciliation (assisted by Dorina's guiding action), outpourings, explanations, etc.

Act III. Phenomenon I. Damis expresses his hatred towards Tartuffe to Doreena.

Phenomenon II. The appearance of Tartuffe. (The comedy "Tartuffe" is an exceptional phenomenon of the late appearance of the hero. For two acts, Tartuffe was only spoken about, and he himself did not appear). The dialogue between Tartuffe and Doreena characterizes Tartuffe's exorbitant pretentious modesty.

Phenomena III and IV. Tartuffe and Elmira (preparation of the interchange). Unexpectedly discovered secret passion that Tartuffe has for Elmira. He declares his love to her (Damis overhears from the next room). Damis bursts in with the intention of exposing Tartuffe.

Phenomena V and VI. Orgon, who appeared, believes Tartuffe in everything, takes the words of his son for slander, curses him, drives him away, and here he gives his property as a gift to Tartuffe.

Act IV. Phenomenon I. Cleants wants to get Tartuffe's intercession for Orgon for Damis, but is refused. Tartuffe leaves.

Phenomena II-IV. Orgon announces to the family his will to give Marianne in marriage to Tartuffe, but Elmira invites him to make sure personally of Tartuffe's hypocrisy. Orgone hides under the table, Elmira is left alone and calls Tartuffe.

Phenomena V – VII. Orgon overhears the conversation between Tartuffe and Elmira, becomes convinced of his pretense and drives him away. Tartuffe leaves with threats.

Phenomenon VIII. Orgone confesses to his wife in transferring the property to Tartuffe and expresses concern about a box.

Act V. Phenomena I and II. Orgon finds out the story of the box in which he kept the incriminating documents entrusted to him by a friend - a political exile - that fell into the hands of Tartuffe (preparation for a false denouement). Damis, reconciled with his father, wants to take revenge on Tartuffe.

Phenomenon III. A comic dialogue between Orgone and his mother, in which Orgon has to prove Tartuffe's hypocrisy to his mother. Ms. Pernel stubbornly disbelieves.

Apparitions IV and V. Mr. Loyal - the bailiff - brings Orgon the order to evict from the house and transfer the property into the hands of Tartuffe. Madame Pernelle is convinced of the villainy of Tartuffe

Phenomena V-VII. Valere informs Orgon of his impending arrest, since the documents compromising him were transferred by Tartuffe to the government; Valera facilitates the escape of Orgon, who is stopped by the officer who appears with Tartuffe (Spannung in the form of a false denouement). After Tartuffe's speech, the officer intervenes, arrests Tartuffe, in whom the police have discovered a hiding criminal, and proclaims a royal pardon to Orgon.

Phenomenon VIII (denouement). Orgone prepares for the marriage of Valera and Marianne.

The plot texture of the comedy is characterized by its complexity in comparison with the tragic plot. Here we have a number of parallel plot lines intertwined with each other: the love of Marianne and Valera (a traditional comedic love affair), a clash between father and son, an episode of Tartuffe and Elmira leading to the exposure of Tartuffe, the story and characterization of Tartuffe in speeches, last episode with a box leading to a false interchange, etc. The central plot line, closing the denouement, is perhaps the least developed and introduced by virtue of a tradition that required a love affair in a comedy.

Episodic persons (Doreena, Cleant - Reasoner, Ms. Pernel) play a responsible role in the development of dialogical episodes and sometimes lead the stage movement. Instead of mental struggle and internal hesitation, there is a clash of clearly outlined interests. Motives of ignorance, eavesdropping, etc. widely used. The game side has been strengthened. Monologues are almost absent - there are dialogues, sometimes cross-cutting (especially in the first phenomenon, where Ms. Pernel speaks to everyone, giving replicas consistently to everyone present).

The pace is accelerated. Time and place are much more specific (a tendency towards naturalistic motivation. It should be noted that comedy began to break "unity" before the tragedy).

Although the comedy was also written in Alexandrian verse, but much more free, with a variety of rhythms, less distinct caesura, with cutting the verse with remarks, for example:

The first verse is cut into six separate lines.

It should be noted that, along with the Alexandrian verse, Moliere used free (uneven) verse and prose in other comedies.

The sharpness of Moliere's comedy lies in its anticlericalism. This was taken into account by the clerics of his time, who launched a campaign against the play and achieved its temporary ban. Taking out specific issues of everyday life, politics, etc. typical for comedy, while tragedy belongs mainly to the interpretation of the "universal" problems of love, hate, a sense of duty, etc. Only Voltaire from the 18th century. made a means of political and philosophical propaganda out of tragedy, which was followed by the theater of the era of the Revolution (in the tragedies of Marie-Joseph Chenier, etc.). But this change in the ideological function of the tragedy occurred on the eve of the fall of the classical canon and the confusion of the techniques of comic and tragic composition, which took place in the German and French tragedies of the era of romanticism ( end of XVIII v. in Germany - 20s of the XIX century. in France). In their reform of the tragedy, the French proceeded from the teachings of Shakespeare. Shakespeare's theater, which influenced continental drama as early as the 18th century, determined the evolution of drama in the 19th century.

The comedy Tartuffe, or the Deceiver, created in the 60s of the 17th century, became one of the most famous plays French playwright... In it, Moliere subjected the most disgusting human vices to merciless criticism: hypocrisy, greed, meanness, stupidity, voluptuousness, selfishness, timidity.

Each of the heroes of the comedy is the bearer of one dominant character trait. In this division of characters into positive and negative, the main features of classicism reveal themselves - literary direction that does not imply psychological development characters. Central hero- Tartuffe - appears to the reader as a creature devoid of any human dignity... The imaginary saint is a repository of a whole host of vices: he burns with passion for the wife of his benefactor, he does not hesitate to rob the one who gave him a table and shelter, finally, he is not afraid of either earthly power, or heavenly judgment, sin both before people and before God ... Life motto Tartuffe: "Sin quietly, and you will get away with everything!" The vile deceiver in the comedy is opposed by Mariana's maid, Dorina is a smart and lively girl. She alone, during all five actions, manages at least in words to resist Tartuffe. The rest of the characters cannot cope with him with a whole family: the head of a noble family, Orgon, is too gullible and stupid to discern someone else's meanness; his son Damis is too impetuous and ardent; his daughter Mariana, on the contrary, is timid and bashful; his wife Elmira prefers to take a detached position in life and not worry about such trifles as someone else's love and meanness. Elmira's brother, Cleant, like most nobles, is honest and smart, but lacks the inner gift of persuasion. Mariana's groom Valera, as a noble man, does not even think about bringing Tartuffe to clean water, because he thereby intervenes in the affairs of someone else's family. Each of the heroes of the comedy, to the very end, behaves as if he does not dare to believe in the incredible hypocrisy of the imaginary saint and the impenetrable stupidity of his patron Orgon. When in the finale the family finds itself on the verge of ruin and arrest, only the intervention of the king cuts the network of Tartuffe's malicious intrigues. In this denouement, Moliere reveals himself as a true classicist: he endows the monarch with a number of virtues - love of truth, perspicacity, a heightened sense of justice, love of goodness. In a sense, the king becomes in Moliere's comedy God, whose name Tartuffe is hiding behind in order to achieve the desired wealth and woman.

The comedy genre does not prevent "Tartuffe, or the Deceiver" from organically entering the classicist system of works. On the contrary, referring to the "low" layers literary creation allowed Moliere to present to the viewer an example of social comedy, in which the internal inconsistency of the highest public class, and the inexhaustible thirst for life of the lower class (in the person of Doreena and the ruined Tartuffe). The heroes of "Tartuffe" are not sublime heroes of high classicist genres, they are the most ordinary people living with their little one, private life but not making them less interesting.

Among classic features in "Tartuffe" includes principle of three unity - time, place and action. The artistic time of the comedy does not exceed a day. The artistic space is limited by the house of Orgon, where all the other characters come, if necessary, - Madame Pernel, Valere, the bailiff - Mr. Loyal, an officer sent by the king. The plot of "Tartuffe" develops in a "single breath": events replace each other as naturally as possible. At the same time, the composition of the work is particularly original: in the first act, the viewer gets acquainted with the problem called "Tartuffe" from the words of the Orgon family, in the second one becomes a witness of how harmful the influence of the imaginary saint on the life of a noble family is, in the third - finally, appears Tartuffe himself and discovers his true essence before Damis, in the fourth - Orgon is convinced of the meanness of Tartuffe, in the fifth comes the long-awaited denouement, starting with tragedy and ending with the standard for classicism ending - the triumph of good over evil.

Actually the comedy "Tartuffe, or the Deceiver" is in the first four acts. The fifth act is more like a tragedy. There is nothing funny about it, and even Dorina's constantly sounding, mocking voice is not heard so clearly in the fifth act. In the comedy, Mariana's maid is a real mouthpiece of the mind, not afraid to speak the truth in person to everyone who needs it. Most of the comedic situations in Tartuffe are associated with artistically Doreena and her caustic comments that reveal the true essence of what is happening.

Anticlerical ideas occupy a special place in Tartuffe. Under the guise of the main villain of the comedy, there is a well-known image to many (both Moliere's contemporaries and people of the 21st century), an image of a cunning and greedy for the pleasures of life, a monk who only hides behind faith in order to commit his villainy. Initially, Tartuffe was a priest, but under the influence of dissatisfied religious people, Moliere changed his image to the mundane, making the hero simply a "pious man." As Doreena pointed out, Tartuffe is not the only one so deceitful. public character: An acquaintance of Mrs. Pernel, a certain old woman Oranta, does not sin simply because she has already passed the age when she could do it. Orgone's brother-in-law, Cleanthe, behaves like a true believer in comedy: he periodically tries to operate with basic Christian principles that allow him to expose Tartuffe's hypocrisy and Orgon's stupidity. But the latter is too blinded by the imaginary holiness of his idol, and the former is too cunning to fall for the bait of an honest man.

Not a single comedy by Moliere has brought him so much suffering, but also such lasting success. For five years the playwright fought for its production, corrected the text, softening the critical thrust of the comedy. Molière directed his attack on the secret religious organization "Society of the Holy Gifts", which was engaged in spying on ill-intentioned fellow citizens and apostates. By removing specific allusions to the activities of the Society of the Holy Gifts, he achieved more by showing how religious fanaticism cripples the souls of believers. "Tartuffe" eventually became a parable that devout piety deprives a person of his sanity. Before meeting Tartuffe, Orgone was a caring father of the family, but the prude and hypocrite hypnotized him with ostentatious asceticism so that a noble nobleman was ready to give the swindler everything he owned.

The name of Tartuffe went down in history as a household name. It shows a close-up of hypocrisy

But for the comedy to reach the viewer, Moliere had to fight the powerful church authorities for five years. He dressed Tartuffe M in secular clothes, and changed the name to "Deceiver", but even so everyone recognized Tartuffe. The ban on the work dealt a blow to Moliere's repertoire.

Tartuffe. Hypocrite. And here it is not important for Moliere whether he is a nobleman or a bourgeois. We do not know the environment in which I acquired this trait. His passion itself is essential - hypocrisy, a psychological trait, and not a social background. This is a crystal clear image taken from the historical environment. Moliere strives to create a clean, abstract stage space and time. This is the desire for abstraction, characteristic of the classicists, and this desire is even more pronounced in the characters. Moliere, typing the image, cannot fail to give the hero and individual features. Individual feature Tartuffe is that he is the bearer of hypocrisy. He is arrogant, stubborn. It's like a person. And as a type - he embodies what Moliere wants to express in him - condensed hypocrisy. One of the ways to depict such an image is to surround the hero. He arises from this environment. Tartuffe is generally outlined by others. Orgone admires him. Dorina talks about him. This environment of Tartuffe is artificial. By the hand of Moliere, all obstacles have been removed from the path of the protagonist. The reverse side of Tartuffe's boundless arrogance and hypocrisy is Orgon’s boundless gullibility, his devotion to Tartuffe. The second way to achieve abstraction by Moliere is hyperbole. He introduces this hyperbole with strokes. It is necessary that the exaggerated trait be true, real, fixed in gestures, intonation, phraseology, behavior that are really characteristic of a person possessed by this passion. Tartuffe is absolute in its imaginary piety: Dorina's neckline is covered with a scarf. Classic principle characteristics Moliere brings to the last degree of completeness, surpassing in this sense the most orthodox classicists. In general, the principles of classicism are very important to him. For example, for it is important for him his gravitation towards symmetry, towards the balance of all parts. In Moliere, there are always two heroes who complement each other according to the method of contrast. In "Tartuffe" it is the impudent Tartuffe and the gullible Orgon

15. Creativity J. - B Moliere

Moliere in the history of literature is usually referred to the number of representatives

classicism.

However, obeying the basic laws of the poetics of classicism, Moliere managed

use all realistic possibilities within the framework of this

directions, and in some cases brilliant artist came out of these sometimes

embarrassing framework for him and created a truly realistic

works and images that retain their meaning today.

The typicality of images, the ability to find in the characters of their works the most

essential, socially determined features of the human

character - this basic feature of realism appears with great force in all

best comedies Moliere.

Moliere surrounds his "heroes" with a non-fictional environment, in which

the heroes of classic tragedies act - he places them in a typical

living environment, surrounds with typical circumstances. Most often action

his comedies are developing in a bourgeois family ("Tartuffe", "The Miser", "Bourgeois

nobility "). The relationship between the head of the house and the household, owners and

servants, parents and children, peculiarities of speech, mentality, customs

French bourgeois of the time are represented in Moliere's comedies with fidelity

and liveliness.

In the accusatory content of comedies, in the choice positive characters

Moliere's democratic sympathies are clearly evident.

Moliere used the weapon of laughter for the purpose of acute social satire. This

led to the extreme sharpening of the images he created, to hyperbolization,

that is, strengthening their leading features (Harpagon in the comedy "The Miser", Tartuffe in

comedies of the same name, etc.).

A sharp division of heroes into positive and negative, an introduction

the edifying nature of comedy also limited the realism of the depiction.

In his work "Bourgeois in the nobility" he creates the image of the bourgeois Jourdain, who at all costs wants to become a nobleman. This passion captures all the thoughts of the hero, becoming an obsession and pushing him to funny, unreasonable actions.

Moliere based the plot on general trend, more and more rooted in the society of the XVII century. This time was characterized by the division into "courtyard" and "city". Moreover, in the "city" there was a constant attraction to the "court". In order to get as close as possible to those from whom their philistine origin separated them, the petty bourgeois bought positions, land holdings, diligently (sometimes to the point of absurdity) mastered all the noble manners, language, customs, style of dress and many other features of the life of the upper world. But, despite all the efforts of the bourgeoisie, the differences between them and the nobility remained significant. In his comedy, Molière strove to show the destructive power of the “court” over the minds and actions of the bourgeoisie. And at the same time, his goal was to deprive the nobles of this power, to expose, to show their true low essence, the pettiness of their interests, hidden under the guise of nobility and sophistication, and therefore, to emphasize the groundlessness of the aspirations of representatives of the philistine in everything to imitate the high society. The pernicious influence of such aspirations can be most clearly seen in the image of the main character of the comedy.

At first, Jourdain's fascination with the nobility is just an innocent weakness. But, as the plot develops, it grows, reaching grandiose proportions, expressed in unthinkable, almost manic, actions and judgments. For the hero, the opportunity to approach the nobility is the only goal, the highest happiness. He tries to achieve the maximum resemblance to representatives of the nobility, and his whole life is spent trying to imitate them in absolutely everything.

Gradually the idea of ​​joining secular society he is so captivated by Jourdain that any real idea of ​​the world and life disappears from him. He completely loses his mind, causing harm, first of all, to himself by his actions. In his infatuation, he reaches a complete mental baseness, beginning to be ashamed of his loved ones, his parents. He pays no attention to real values, to true human feelings.

At the time the author writes about, the contrast between the nobility and the bourgeoisie was manifested, first of all, in high level noble culture and the low level of development of the bourgeoisie. However, in his thirst for imitation, the hero does not see these clear differences. He does not realize how comical the claims to secular grace and gloss, culture and education look, against the background of his rudeness, ignorance, vulgarity of language and manners. He is so captured by his idea that, without hesitation, he agrees to undergo the ridiculous rite of passage into "mamamushi". And, moreover, he is actually ready to believe in his transformation into a certain noble person.
Moliere made many discoveries in the field of comedy. Always striving to truthfully portray reality, he created vivid typical characters in his works. This is how his master Jourdain became. Depicting the life and customs of contemporary society, reflecting the specifics of the social system, the author in such a peculiar form expressed his protest, a decisive demand for social justice.

16 Metaphysical poetry and works of J. Donne.

METAPHYSICAL SCHOOL - direction in English poetry 1st floor 17th century (J. Donne, J. Herbert). The "Metaphysical School" is distinguished by a spiritualistic character characteristic of the poetics of the Baroque, an intense experience of world outlook, poetic meditation, a complicated form - sophisticated metaphors, symbols, allegories.
The founder is John Donne (157301631) - was born in the family of a successful merchant, headman of the shop of ironmongers. Donna's mother was the great-niece of Thomas More, the famous Renaissance humanist and author of Utopia. In the family, the future poet received a strict Catholic education. Then he studied at Oxford and Cambridge ...

His followers Gervert, Crasho, Vaughan, were guided by late work their predecessor, they assimilated his penchant for mysticism, abstract "metaphysical" reasoning, sophisticated verbal ornament. Metaphysical poetry is characterized by the feeling of the disintegrated universe and the loss of the integrity of the idea of ​​it. As Donne noted, the human mind is unable to restore the universe, but there remains hope for an inquiring mind that seeks and finds the necessary (possibly very distant) connections.
The main concept of Donnov's aesthetics was conceit- a paradoxical or ironic comparison of extremely dissimilar objects in order to illustrate a particular idea (for example, the body of a beloved is compared with a map of the Earth, lovers moving away from each other are compared with the legs of a compass). In the technique of the style, dissonance and disharmony are used meaningfully (this emphasizes the feeling of confusion and confusion characteristic of the authors). The poetry of the "metaphysicians" gave the impression of exceptional intellectual complexity, was intended only for a select circle of readers and was alien to social and civic issues. He penned works on theological themes, a poem of secular and religious content. Beginning with the poems of a cheerful hedonic character, Donn eventually plunged more and more into a religious attitude, which meant the poet's departure from the traditions of Renaissance humanism. (in the poem "the path of the soul" he indulges in reflections on the sufferings of the soul in this world and the joys in the other world) the "anatomy of the world", which interpreted the transience of everything earthly, was very famous. At the heart of poetry Donna most fully embodied the principle of "school metaphysis", the concept is based on lengthy and bizarre metaphors, which often grow into a whole metaphorical system, which gave the poem an intricate character. As a thinker Donne is inferior to the poets of the Renaissance. He is deprived of that bright outlook on life inherent in humanist poets. His worldview is disharmonious, decadent, which testifies to the inferiority of the poetry "metaphysis of the school", growing on the basis of social reaction. And only occasionally does simplicity and spontaneity slip through in D.'s poetry.

Donn was only eight years younger than Shakespeare, but he was already a

to another generation.

Donne said about himself in one of his sonnets:

I'm all a struggle: for my misfortune,

Impermanence - has become permanent.

The reader who first turns to "Songs and Sonnets" is immediately amazed

an extraordinary variety of moods and situations recreated by the imagination

poet. "Flea", the first poem of the cycle and editions of 1635, witty

reinterprets the motive common in erotic poetry of the 16th century: the poet

jealous of a flea touching the body of his beloved. Donn makes a flea

bite not only the girl, but also the hero, making the annoying insect a symbol

their carnal union:

Take a look and judge: here is a flea

She bit, poured out a little blood,

First - mine, then - yours,

And our blood mixed in it.

Already the poem "C Good morning"much more serious in tone. The poet

talks in it about how lovers, waking up at dawn, realize

the power of feeling, which creates for them a special world that opposes all

universe:

Our souls woke up only now

We woke up - and froze in anticipation;

Love closed our door with a key

Turning the closet into the universe.

Donne's poetic style was so original that the reader,

addressing his poems after reading the senior Elizabethan people, may

it seems that he is in another world. Smooth, melodiously flowing verse

Donne contrasted the Elizabethan with the neuro-dramatic beginning of his lyrics.

Donne deliberately made metaphors an important part of his poetic technique.

Striking readers with unexpected associations, they helped the poet express

movement of thought that played around with all sorts of paradoxes and

oppositions.

Like the legs of a compass, doubly

We are inseparable and united:

Wherever I roam, to me

You reach out from the middle.