A philistine in the nobility, the author is moliere. “Philistine in the nobility. The main characters of the comedy

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Jean Baptiste Moliere
Bourgeois in the nobility. The imaginary patient (collection)

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

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

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

Bourgeois in the nobility

Comedy characters

LORD JURDEN tradesman.

MRS. JURDEN is his wife.

LUCIL is their daughter.

CLEONT is a young man in love with Lucille.

DORIMENA Marquis.

DORANT the count, in love with Doremena.

NICOLE is the maid in the house of M. Jourdain.

KOVIEL is a servant of Cleontes.

MUSIC TEACHER.

MUSIC TEACHER STUDENT.

DANCE TEACHER.

FENCING TEACHER.

TEACHER OF PHILOSOPHY.

MUSICIANS.

APPENDIX OF THE PORTER.

TWO LAKEYS.

THREE PAGES.

CHARACTERS OF THE BALLET

IN FIRST ACTION

Singer. Two singers. Dancers.

IN THE SECOND ACTION

Tailor's apprentices (dancing).

IN THE THIRD ACTION

Chefs (dancing).

IN THE FOURTH ACTION

Mufti. Turks, retinue of the mufti (singing)... Dervishes (singing)... Turks (dancing).

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

Action one

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

The first phenomenon

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

MUSIC TEACHER (to singers and musicians)... Come here, to this room; rest before he comes.

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

MUSIC TEACHER (to the student)... Ready?

STUDENT. Ready.

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

DANCE TEACHER. Anything new?

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

DANCE TEACHER. Can I see?

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

DANCE TEACHER. Now we have things to do with you above our heads.

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

DANCE TEACHER. Well, not quite. For his own good, I would like him to better understand the things that we are telling him about.

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

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

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

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

MUSIC TEACHER. However, you can easily take money from our eccentric.

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

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

DANCE TEACHER. And here he is.

The second phenomenon

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

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

DANCE TEACHER. What? What trinket?

Mr. JOURDIN. Well, this one, the very ... What do you call it? Either a prologue, or a dialogue with songs and dances.

DANCE TEACHER. O! O!

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

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

MUSIC TEACHER. We are entirely at your service.

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

DANCE TEACHER. As you wish.

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

MUSIC TEACHER. We have no doubts about it.

Mr. JOURDIN. I made myself a robe out of Indian fabric.

DANCE TEACHER. Great bathrobe.

Mr. JOURDIN. My tailor assures that all the nobility wear these robes in the morning.

MUSIC TEACHER. It suits you wonderfully.

Mr. JOURDIN. Lackey! Hey, my two footmen!

FIRST LACQUER. What will you order, sir?

Mr. JOURDIN. I will not order anything. I just wanted to check how you obey me. How do you like their liveries?

DANCE TEACHER. Magnificent liveries.

Mr JURDIN (opens his robe; underneath he has narrow red velvet pants and a green velvet camisole)... And here's my morning exercise suit.

MUSIC TEACHER. Abyss of taste!

Mr. JOURDIN. Lackey!

FIRST LACQUER. Anything, sir?

Mr. JOURDIN. Another footman!

SECOND LACQUER. Anything, sir?

Mr JURDIN (removes robe)... Hold on. (Music teacher and dance teacher.) Well, am I good in this outfit?

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

Mr. JOURDIN. Now let's deal with you.

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

Mr. JOURDIN. It may very well be, but nevertheless, one should not have entrusted this to a student. It remains to be seen whether you yourself are fit for such a task, and not just a student.

MUSIC TEACHER. The word "disciple" should not confuse you, sir. Students of this kind understand music no less than great masters. Indeed, you cannot imagine a more wonderful motive. Just listen.

Mr JURDIN (to footmen)... Give me a robe - it’s more comfortable to listen to ... But wait, perhaps it’s better without a robe. No, bring a robe, it will be better that way.

Irida! I yearn, suffering ruins me,

Your stern gaze pierced me like a sharp sword.

When you torture someone who loves you so

How terrible you are to the one who dared to incur your wrath! 1
In the comedy "Bourgeois in the Nobility", the poems are translated by Argo.

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

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

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

DANCE TEACHER. I really don't know.

Mr. JOURDIN. It also says about the lamb.

DANCE TEACHER. About the sheep?

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

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

Nice song, isn't it?

MUSIC TEACHER. Still not nice!

DANCE TEACHER. And you sing it well.

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

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

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

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

MUSIC TEACHER. Of course, sir.

Mr. JOURDIN. Well, so I will begin to study. But I don’t know when: after all, besides the fencing teacher, I also hired a philosophy teacher - he should start studying with me this morning.

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

DANCE TEACHER. Music and dances ... Music and dances are all that a person needs.

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

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

MUSIC TEACHER. The state cannot exist without music.

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

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

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

Mr. JOURDIN. How so?

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

Mr. JOURDIN. Right.

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

Mr. JOURDIN. And that's true.

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

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

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

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

DANCE TEACHER. All this we say so that you understand the benefits and benefits of dancing and music.

Mr. JOURDIN. I understand now.

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

Mr. JOURDIN. Suitable.

MUSIC TEACHER. As I told you, this is my long-standing attempt to express every passion that music can convey.

Mr. JOURDIN. Wonderful.

MUSIC TEACHER (to the singers)... Come here. (To Monsieur Jourdain.) You must imagine that they are dressed as shepherdesses.

Mr. JOURDIN. And that they are always shepherdesses? Always the same!

DANCE TEACHER. When one speaks to music, one has to refer to the pastoral for greater believability. The love of singing has been attributed to shepherds from time immemorial; on the other hand, it would be very unnatural if princes or burghers began to express their feelings in singing.

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

MUSICAL DIALOGUE

Singer and two singers.

Hearts in love

There are always thousands of interferences.

Love brings us both happiness and longing.

No wonder there is such an opinion

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

FIRST SINGER

No, we are only dearer that joy without end,

Which hearts

Lovers merge.

There is no bliss on earth without passion.

Who neglects love

That and happiness do not know.

SECOND SINGER

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

Whenever there was a deceiving passion!

But, oh, what about an evil fate?

There is not a single faithful shepherdess here,

And the unworthy floor, shaming the white light,

It testifies to us that there is no more fidelity.

FIRST SINGER

Trembling hearts!

About passion in the eyes!

SECOND SINGER

Sheer lies!

FIRST SINGER

That moment is dear to me!

They are full of joy!

SECOND SINGER

I despise everyone!

FIRST SINGER

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

We will bring you now

To a loving and faithful shepherdess.

SECOND SINGER

Alas! There are no worthy ones among you!

I'm going to be tested, - Here's my love for you.

SECOND SINGER

Who will vouch in advance,

What not to be deceived again?

The one who is faithful, let him prove

Your heart's tender ardor.

SECOND SINGER

Let the sky punish the one who has shamefully changed.

ALL THREE TOGETHER

Above us, flaming

The crown burns of love.

Merging of two hearts -

What could be nicer?

Mr. JOURDIN. And it's all?

MUSIC TEACHER. Everything.

Mr. JOURDIN. In my opinion, it is cleverly twisted. Here and there very amusing words come across.

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

Mr. JOURDIN. Are the shepherds again?

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

BALLET

Four dancers, according to the instructions of the dance teacher, make different movements and perform all kinds of steps.

Second action

The first phenomenon

Mr. Jourdain, music teacher, dance teacher.

Mr. JOURDIN. It's very cool: the dancers are smart.

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

Mr. JOURDIN. I’ll need him today: the person in whose honor I’m arranging all this should be welcome to dinner with me.

DANCE TEACHER. Everything is ready.

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

Mr. JOURDIN. Do noble gentlemen have concerts?

MUSIC TEACHER. Of course, sir.

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

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

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

MUSIC TEACHER. Leave everything to us.

Mr. JOURDIN. Don't forget to send singers so there is someone to sing during dinner.

MUSIC TEACHER. You won't be lacking in anything.

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

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

Mr. JOURDIN. Ah, the minuet is my favorite dance! Look how I dance it. Well, master teacher!

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

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

La la la, la la la, la la la la, la la la, la la la, la la la, la la la, la la la, la la la, la la Please, to the beat. La la la, la la Do not bend your knees. La la la Do not jerk your shoulders. La-la, la-la-la-la, la-la, la-la Do not spread your arms out. La la la, la la Head up. Keep socks apart. La la la The body is straight.

Mr. JOURDIN. How is it?

DANCE TEACHER. It couldn't be better.

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

DANCE TEACHER. Bow to the Marquis?

Mr. JOURDIN. Yes. Her name is Dorimena.

DANCE TEACHER. Let your hand.

Mr. JOURDIN. No need. Just show it, but I will remember.

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

Mr. JOURDIN. Well, show me.

The dance teacher shows.

The second phenomenon

The same and the lackey.

LACKEY. Sir! The fencing teacher came.

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

The third phenomenon

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

FENCING TEACHER (takes two rapiers from the footman and gives one of them to M. Jourdan)... Please, sir: bow. The body is straight. Light emphasis on the left thigh. Don't spread your legs like that. Both feet are in line. The hand is at the level of the thigh. The end of the rapier is straight against the shoulder. There is no need to stretch out your hand like that. Left hand at eye height. Left shoulder back. Head straight. The look is confident. Lunge. The body is motionless. Parry with a quart and retreat with the same parade. One, two. Into position. Begin again confidently. Step back. When lunging, the rapier needs to be carried forward, and the body, as much as possible, be protected from impact. One, two. I ask you: parry with the Terce and retreat with the same parade. Lunge. The body is motionless. Lunge. Get into position. One, two. Start over. Step back. Defend yourself, sir, defend yourself! (Shouting: "Defend yourself!" - stabs Mr. Jourdain several times.)

Mr. JOURDIN. How is it?

MUSIC TEACHER. You are doing miracles.

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

Mr. JOURDIN. Therefore, in such a manner, each person, even not one of the brave, can certainly kill another, and he himself will remain intact?

FENCING TEACHER. Certainly. Haven't I proved it to you clearly?

Mr. JOURDIN. Proved.

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

DANCE TEACHER. But-but, mister swordsman-maester! Speak respectfully about dancing.

MUSIC TEACHER. Be kind and learn to respect the dignity of music.

FENCING TEACHER. You're just amusing! How can you put your sciences on a par with mine?

MUSIC TEACHER. Just think, an important bird!

DANCE TEACHER. Put on a bib, scarecrow!

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

DANCE TEACHER. And I, lord fighter-nishka, will teach you how to fight.

Mr JURDIN (to the dance teacher)... You're crazy! To start a quarrel with a man who knows all the thirds and quarts like the back of his hand and can kill the enemy by an illustrative example?

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

Mr JURDIN (to the dance teacher)... Complete, they tell you!

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

Mr. JOURDIN. Calm down, my dear swordsman!

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

Mr. JOURDIN. Calm down, dear dancemaster!

FENCING TEACHER. I just get to you ...

Mr JURDIN (to the fencing teacher)... Quiet!

DANCE TEACHER. I can only reach you ...

Mr JURDIN (to the dance teacher)... Will be for you!

FENCING TEACHER. I'll kick you off!

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

DANCE TEACHER. I will blow you so ...

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

MUSIC TEACHER. No, excuse me, we'll teach him good manners.

Mr JURDIN (to the music teacher)... Oh my God! Stop it!

The fourth phenomenon

The same is the teacher of philosophy.

Mr. JOURDIN. Ah, Mr. Philosopher! You just arrived in time with your philosophy. Make peace between these gentlemen somehow.

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

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

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

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

TEACHER OF PHILOSOPHY. The wise man stands above any insult. The best response to bullying is with restraint and patience.

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

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

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

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

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

TEACHER OF PHILOSOPHY. Excuse me, what then is philosophy? All three of you are pretty insolent, as I can see: you dare to speak in my presence such insolence and without a twinge of conscience you call science studies that are unworthy of the honor of being called even arts and which can only be equated with the pitiful crafts of street fighters, singers and dancers!

FENCING TEACHER. Silence, dog philosopher!

MUSIC TEACHER. Be quiet, you stupid pedant!

DANCE TEACHER. Be silent, learned cracker!

TEACHER OF PHILOSOPHY. Oh, you kind of creatures! .. (Throws himself at them; they shower him with blows.)

Mr. JOURDIN. Philosopher!

TEACHER OF PHILOSOPHY. Scoundrels, scoundrels, impudent!

Mr. JOURDIN. Philosopher!

FENCING TEACHER. The reptile! Beast!

Mr. JOURDIN. Gentlemen!

TEACHER OF PHILOSOPHY. Bastards!

Mr. JOURDIN. Philosopher!

DANCE TEACHER. Donkey head!

Mr. JOURDIN. Gentlemen!

TEACHER OF PHILOSOPHY. Scoundrels!

Mr. JOURDIN. Philosopher!

MUSIC TEACHER. Go to hell, you sassy!

Mr. JOURDIN. Gentlemen!

TEACHER OF PHILOSOPHY. Crooks, rogues, blowing beasts, crooks!

Mr. JOURDIN. Philosopher! Gentlemen! Philosopher! Gentlemen! Philosopher!

All teachers leave, continuing to fight.

Jean-Baptiste Moliere

Bourgeois in the nobility

Comedy in five acts

Poems translated by A. Argo

* * *

Comedy characters

Mr Jourdain, tradesman.

Ms Jourdain, his wife.

Lucille, their daughter.

Cleont, a young man in love with Lucille.

Dorimen, marquis.

Dorant, the count, in love with Doremena.

Nicole, maid in the house of M. Jourdain.

Koviel, Servant of Cleontes.

Music teacher.

Music teacher apprentice.

Dance teacher.

Fencing teacher.

Philosophy teacher.

Tailor.

Apprentice Tailor.

Two footmen.

Ballet characters

In the first act

Singer.

Two singers.

Dancers.

In the second act

Tailor's apprentices (dancing).

In the third act

Chefs (dancing).

In the fourth actTurkish ceremony

Mufti.

Turks, retinue of the mufti (singing).

Dervishes (singing).

Turks (dancing).

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

Action one

The overture is played by a variety of instruments; in the middle of the stage at the table music teacher student composes a melody for the serenade, commissioned by Monsieur Jourdain.

Phenomenon I

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

Music teacher (to singers and musicians)... Come here, to this room, rest before he comes.

Dance teacher (to dancers)... And you too - stand on this side.

Music teacher (to the student)... Ready?

Student... Ready.

Music teacher... Let's see ... Very good.

Dance teacher... Anything new?

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

Dance teacher... Can I see?

Music teacher... You will hear this along with the dialogue as soon as the owner appears. It will be out soon.

Dance teacher... Now we have things above our heads with you.

Music teacher... Still would! We found exactly the kind of person we need. Monsieur Jourdain, with his obsession with the nobility and social life, is just a treasure for us. If everyone would become like him, then your dances and my music would have nothing more to wish for.

Dance teacher... Well, not quite. I would like, for his own good, that he better understand those things about which we are talking to him.

Music teacher... He understands them poorly, but he pays well, and our arts do not need anything so much now as this.

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

Music teacher... I agree with that, I like praise myself. Indeed, there is nothing more flattering than applause, but you can't live on incense. Praise alone is not enough for a person; give him something more substantial. The best reward is to put something in your hand. Frankly, the knowledge of our master is small, he judges everything at random and applauds where it should not be, but money straightens out the curvature of his judgments, his common sense is in his wallet, his praises are minted in the form of coins, so from the ignorant this As you can see, a tradesman is much more useful to us than from that enlightened nobleman who brought us here.

Dance teacher... There is some truth in your words, but it seems to me that you attach too much importance to money; meanwhile, self-interest is something so base that a decent person should not show any particular inclination towards it.

Music teacher... However, you can easily take money from our eccentric.

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

Music teacher... Me too, because we both try to achieve this to the best of our ability. But be that as it may, thanks to him, they began to pay attention to us in society, and what others will praise, he will pay.

Dance teacher... And here he is.

Phenomenon II

Monsieur Jourdain in a robe and a nightcap, a music teacher, a dance teacher, a music teacher's student, a singer, two singers, violinists, dancers, two footmen.

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

Dance teacher... What? What trinket?

Mr Jourdain... Well, this very ... What do you call it? Either a prologue, or a dialogue with songs and dances.

Dance teacher... O! O!

Music teacher... As you can see, we are ready.

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

Music teacher... We are entirely at your service.

Mr Jourdain... I ask you both not to leave until my new suit is brought in; I want you to look at me.

Dance teacher... As you wish.

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

Music teacher... We have no doubts about it.

Mr Jourdain... I made myself a robe out of Indian fabric.

Dance teacher... Great bathrobe.

Mr Jourdain... My tailor assures that all the nobility wear these robes in the morning.

Music teacher... It suits you wonderfully.

First, let's talk about Monsieur Jourdain, because he is mainly a comedy. He literally admires the nobility, and so strongly gravitates towards such a way of life that he tries to behave in the same way in everything: to dress, to hire a dance, fencing or philosophy teacher, to gallantly look after a lady. Monsieur Jourdain does not admit, even when they threaten him with a weapon, that he is from a simple merchant family.

How ridiculous it looks! Let us emphasize an important detail in the analysis of the comedy "Bourgeois in the Nobility": an attempt to follow unfamiliar laws of culture and adopt other people's customs looks, to put it mildly, absurd. All the same, he cannot dress according to all the rules and reason adequately. Moliere compared his main character with the image of a crow with peacock feathers for a reason.

The main characters of the comedy

The eccentric Jourdain has a wife - Madame Jourdain. She cannot be denied a sobriety of mind. She is somewhat rude, and she does not care about culture, this woman is all about household chores and worries. And besides, the spouses have a daughter, Lucille, who suffers from her father's inappropriate and eccentric behavior. Lucille is in love, but her lover is not at all the person in whom Monsieur Jourdain would like to see his daughter's fiancé. For her, the father makes his choice: this, of course, is the marquis. Not without the intervention of the mother, who protected her daughter and cleverly resolved the issue.

An analysis of the comedy "Bourgeois in the Nobility" would not be complete enough without mentioning two servants, whose names are Koviel and Nicole. They bring funny and witty notes of happiness and joy to the lives of the characters in the play. The servant has a critical view of what her master does. And the lackey Koviel - the groom of young Lucille - is characterized by talented improvisation, due to which the way of life becomes like a scene in a theater. But all this contributes to a cheerful atmosphere throughout the entire action of the play.

Be sure to mention in the analysis of "The Bourgeois in the Nobility" that Moliere systematically develops the relationship that develops between the young gentlemen and their servants. Love and conflict develop in parallel. In the denouement, two weddings await the reader.

Features of composition and genre

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

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

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

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"Bourgeois in the Nobility" - a comedy-ballet, created by the great Moliere in 1670. This is a classicistic work, supplemented with elements of folk farce, features of antique comedy and satirical compositions of the Renaissance.

History of creation

In the fall of 1669, the ambassadors of the Sultan of the Ottoman ports visited Paris. The Turks were greeted especially pompously. But the decorations, the spectacular meeting and the luxurious apartments did not surprise the guests. Moreover, the Delegation stated that the reception was poor. It soon turned out that the palace was visited not by ambassadors, but by impostors.

However, the offended King Louis nevertheless demanded that Moliere create a work that would ridicule the pompous Turkish customs and specific customs 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, the talented playwright after a while radically transformed the original play. In addition to satire on Turkish customs, he supplemented the work with reflections on the modern customs of the nobles.

Analysis of the work

Plot

Monsieur Jourdain has money, a family and a good home, but he wants to become a true aristocrat. He pays barbers, tailors and teachers to make him a respectable nobleman. The more the 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 minuet and the art of bowing correctly. This was important for Jourdain, who was in love with one marquis. The fencing teacher told me how to strike correctly. He was taught spelling, philosophy, 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 servant Nicole told the man that he looked like a jester and that everyone was running around with him only because of his generosity and wealth. A skirmish 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 loves him. Madame Jourdain agrees to the marriage of her daughter to her lover. Monsieur Jourdain, having learned that Cleont is not of noble origin, sharply refuses. At this moment, Count Dorant and Dorimena appear. An enterprising adventurer courting the Marquise, handing over gifts from the naive Jourdain in his own name.

The owner of the house invites everyone to the table. The Marquis 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 the Marquise leave the house.

Koviel appears immediately. He introduces himself as a friend of Father Jourdain and a real nobleman. He tells that the Turkish heir to the throne arrived in the city, madly in love with the daughter of Monsieur Jourdain.

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

Characteristics of the main characters

Jourdain is the protagonist of a comedy, a bourgeois who wants to become a nobleman. He is naive and spontaneous, generous and reckless. Goes ahead to his dream. Will gladly lend money. If you make him angry, he instantly flares up, starts screaming and brawling.

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

Jourdain's wife

The wife of a tyrant and a false nobleman in the work is opposed to her husband. She is brought up 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, she is not obsessed with statuses. Even her beloved daughter, Madame Jourdain wants to marry off to a person of equal status and intelligence, so that she is comfortable and well.

Dorant

Count Dorant represents the noble class. He is aristocratic and vain. Leads friendship with Jourdain solely for selfish motives.

The entrepreneurial spirit of a man is manifested in the way he deftly appropriates the gifts of the enamored Jourdain, presented to the Marquise, as his own. He even gives out the diamond he presented as his 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 makes fun of stupid Jourdain.

Marquise

Marquis Dorimena is a widow, represents a noble family. For her sake, Jourdain studies all sciences, spends unthinkable money on expensive gifts and the organization of social events.

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

Beloved

Lucille and Cleont are people of a new generation. They are distinguished by good upbringing, intelligent and resourceful. Lucille loves Cleonte, therefore, upon learning that she will be married off to another, she sincerely opposes.

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

The 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 minor lines. Moliere introduces ballet into the dramatic work. This violates the requirements of classicism.

The theme is the madness of Monsieur Jourdain on titles of nobility and nobility. The author criticizes in his work the aristocratic way, the humiliation of the bourgeoisie in front of the class, which supposedly dominates.

This work was written in 1670. The storyline is built around one ignorant gentleman trying to join the "upper class" in any way. A summary of Moliere's comedy "Bourgeois in the Nobility" by actions and phenomena will show the reader how stupid and uncouth a person with big money can be, who does not understand that money cannot buy intelligence.

Main characters

• Monsieur Jourdain- a tradesman who dreams of becoming a nobleman.
• Madame Jourdain- wife of Jourdain.
• Lucille- the only daughter of Mr. Jourdain.
• Nicole- a maid in the house of M. Jourdain.
• Cleont- in love with Lucille.
• Koviel- Servant of Cleontes.
• Dorimen- the marquis.
• Dorant- graph. In love with Dorimenu.

Minor characters

• Music teacher
• Music teacher apprentice
• Dance teacher
• Fencing teacher
• Philosophy teacher
• Tailor
• Apprentice Tailor
• Lackeys

Action one

The first phenomenon

In the house of Monsieur Jourdain guests: teachers, singers, musicians, dancers. A music teacher's student composes a melody for a serenade ordered by the master. Everyone is waiting for the arrival of the owner. Teachers believe that he is slightly obsessed with the nobility and sociality. It is a shame for them to speak in front of a person who does not understand anything in art, but they are ready to close their eyes to it. The money for the performance is good.

The second phenomenon

Jourdain appears dressed, who knows. He's in awe of the custom-made robe. The merchant shows off his new clothes in anticipation of compliments. The outfit is ridiculous, but the teachers flatter, admiring the excellent taste.

The music teacher asks to listen to the music written by the student. Jourdain doubts the student's ability. The man is puzzled as to how it is more convenient to listen to music, with or without a robe. Music does not delight him. He begins to hum his song, believing that he is performing it beautifully. Praise is showered on him. The teachers invite him to take music and dance lessons, as it should be in high society.

Second action

The first phenomenon

Ballet, serenade - everything was started for the sake of a person invited to the evening, to whom Monsieur Jourdain was not indifferent. The music teacher advises Jourdain to give concerts himself at home, as is customary for noble gentlemen. The merchant is worried about how good the ballet will be. They calm him down. Everything should go fine. The viewer will not resist the minuets. He starts to dance. He is being praised again. Jourdain asks to teach him how to bow properly, so as not to go nuts in front of the Marquis Dorimena.

The second phenomenon

The servants announce the arrival of the fencing teacher.

The third phenomenon

The teacher gives the basic rules of fighting in fencing. Everyone admires how cleverly Jourdain waves his rapier. The fencing teacher convinces everyone that his science is the most important. The verbal skirmish turns into a fight.

The fourth phenomenon

A philosophy teacher appears on the threshold. Jourdain asks to reconcile angry teachers. Trying to calm down the quarreling, the philosopher is drawn into an argument. The situation is tense to the limit.

The fifth phenomenon

Jourdain waves his hand at the fighting. Do not separate them. Suddenly the new robe will be damaged.

Phenomenon six

Jourdain regrets that the philosophy teacher is so shabby after a fight with colleagues. The teacher is trying to figure out which science the master has more soul: logic, ethics, physics. Jourdain's logic did not inspire. He considered ethics useless. Physics is too fancy. We settled on spelling. Jourdain shares a secret that he has long been crazy about one lady and wants to write her a note in which he confesses his feelings.

The seventh phenomenon

Jourdain is agitated. There is no costume ordered for the evening. Swear words are poured at the tailor.

The eighth phenomenon

A tailor delivers a suit tailored to the latest fashion trends. Jourdain appraisingly looks at the new thing, noticing that the flowers are sewn buds down. The tailor assures that this is the beauty of it.

Phenomenon ninth

The apprentices, dancing, help to change into new clothes, at the same time spraying praise and receiving generous tips for this.

The tenth phenomenon

The apprentices dance, rejoicing in the master's unheard-of generosity.

Act three

The first phenomenon

Jourdain decided to walk his new suit, accompanied by footmen, so that they could see what an important person was walking.

The second phenomenon

Seeing the owner, the maid laughs hysterically. It was possible to stop the impudent only under the threat of a weighty slap in the face. Nicole is tasked with cleaning up the house. There will be guests.

The third phenomenon

Madame has no better reaction than Nicole. A jester he is a jester. The woman is trying to convince her husband that he does not need lessons with teachers. They all want one thing, rip off more money for the lessons. There is zero sense from the teachers, but the dirt has been trodden down.

Jourdain tries to impress by showing what he was taught, but to no avail. The maid makes sounds, just as he was taught. And she coped with the rapier at once.

The lady blamed everything on the noble gentlemen who constantly visit them. She is convinced that her husband is being used as a wallet, in contrast to him, who believes that friendship with gentlemen promises beneficial cooperation in the future. An example of this is a count who borrowed a decent amount. She is sure that he will not return the debt.

The fourth phenomenon

A graph appears. The gentlemen exchange pleasantries. Dorant starts talking about the amount he owes. The count asks to add some money to him to round up the borrowed amount. Madame winks with her husband, hinting how she was right about this rascal.

The fifth phenomenon

Dorant notices that Madame is out of sorts. He asks what the reason is and notices that he has not seen her daughter for a long time. The count invites ladies to the court performance.

Phenomenon six

Jourdain brings money to Dorant. Dorant promises that there will be the best seats for Mrs. The count reports to the gentleman that the Marquise received a note and promised to come and dine. Dorimena took the diamond, a gift from Jourdain, but had to persuade her. The Marquis is very pleased with the attention given to her. Jourdain vows that he will do his best to reach her heart. The maid overhears the conversation of the men.

The seventh phenomenon

Nicole reports to Mrs. that her husband is up to something. The madam replies that she has long suspected her husband of hitting on someone. Now the woman is worried about the fate of her daughter. Cleont is in love with Lucille. The guy liked Mrs. She wanted to help him marry Lucille.

Nicole liked the idea. If Cleont marries Lucille, then she can marry his servant, who was sympathetic to her. The mistress sends a maid to Cleonte with a request to come to their house. Together they must persuade Jourdain to agree to the marriage.

The eighth phenomenon

Nicole rushes with the good news to Cleonte. However, instead of responding joy, he hears angry speeches. The servant is at the same time with him. The girl does not understand the reason for this behavior. In frustrated feelings, she leaves the house.

Phenomenon ninth

Cleonte complains to the servant about how cruelly he was treated in the bride's house. Lucille doesn't look at him at all. The girl walked by as if they didn’t know each other. What was he guilty of? After all, his intentions towards her are sincere. The guy assumes that the count, who often visits the bride's house, is to blame. He is rich, noble. A great party for her. While they were discussing various versions of what is happening, Lucille appears on the doorstep with Nicole.

The tenth phenomenon

Young people bicker, making accusations against each other. The reason for Lucille's behavior became clear when she outlined the morning situation. The aunt, with whom she walked in the morning, said that men should be feared. At the sight of them run far away. That's the whole secret.

Phenomenon eleventh

Madam is delighted to have Cleontes. They are going to wait for the arrival of M. Jourdain to ask for consent to the marriage.

Phenomenon twelfth

Having indicated the purpose of the visit, Cleont hears a question about his origin. Hearing the answer that the future son-in-law has nothing to do with the nobility, Mr. Jourdain refuses to marry. Madame Jourdain tried to side with Cleontes, but to no avail. The husband did not listen to her. Not about such a party for his daughter he dreamed of. He wants to see Lucille only as a marquis or duchess.

Phenomenon thirteenth

Madame Jourdain comforts an upset Cleonte. The daughter receives advice from her mother on how to behave with her father.

Phenomenon fourteenth

For Cleonte it was a complete surprise to learn that the future son-in-law must have noble roots. He is upset. Koviel suggests playing Jourdain.

Phenomenon fifteenth

Jourdain wonders why everyone is trying to poke him once again with acquaintances with the nobles. For him, there is nothing more pleasant than such connections. He would give anything in the world to be born a marquis or a count.

Phenomenon sixteenth

The servant informs Jourdain that the count has come to the house with a lady by the arm.

Phenomenon seventeenth

The footman informs the guests that the master will be out soon.

Phenomenon eighteenth

Dorimenu is gnawing at doubts whether she did the right thing by arriving at an unfamiliar house. The Count convinces her that she did everything right. He himself has long been in love with her, but he did not have the opportunity to see her either at home or at her house. This could compromise the marquis.

The Marquis is flattered by the Count's attention. She thanks him for the gifts she received from him. Especially for a diamond that has no price. The woman does not even realize that the impudent count passed off gifts from Jourdain as his own, wanting to express his love in this way.

Phenomenon nineteenth

Jourdain bows to the Marquis, but the bow came out so awkward that the guests could hardly restrain a laugh. The welcome speech was no better. Dorant hints that it is time to have dinner.

Phenomenon twentieth

Guests pass to the set table. The singers are called.

Phenomenon twenty-first

The cooks who prepared the dinner dance in anticipation of the holiday.

Act four

The first phenomenon

Dorimen is delighted with the sumptuous feast. Monsieur Jourdain non-stop weighed out compliments to his dear guest. In the meantime, he draws attention to the diamond on Dorimena's finger. He's sure she knows who the ring is from.

The second phenomenon

Suddenly, Ms. appears and throws up a scandal. She understood for whom it was all started. This is where the spouse squanders money. Feast, singers, dancers, and her over the threshold. Dorant takes the hit. He justifies Mr., explaining that all the costs are from his funds, but the lady does not believe in this nonsense. Insulted, Dorimena runs out from the table. Dorant follows her.

The third phenomenon

The spouses bicker with each other.

The fourth phenomenon

Mr. is unhappy that his wife showed up ahead of time and ruined everything, but he had just begun to slay those present with his wit and was clearly in shock.

The fifth phenomenon

A disguised Koviel appears, posing as a close friend of the late father, Mr. Jourdain. Monsieur does not recognize him as Cleont's servant. Koviel puzzled him by mentioning that he remembered the deceased as a real nobleman. Jourdain is at a loss, because everyone assured him that his father was a merchant.

The following news is even more startling. Koviel tells about a friend, the son of a Turkish sultan, who is allegedly in love with Lucille. A young man is ready to marry a girl if he gets the go-ahead from her father, but before that it is necessary to hold a special ceremony over the future father-in-law, initiation into mamamushi. Then Jourdain will receive the most honorable dignity, standing on a par with the most famous nobles.

Jourdain says that her daughter is in love with Cleontes and has vowed to marry only him. Koviel calms him down, saying that by coincidence his friend is like two peas in a pod.

Phenomenon six

Cleont appears, disguised as a Turk. He asks Jourdain to start preparing for the ceremony as soon as possible.

The seventh phenomenon

Koviel is pleased with himself. Dexterously he succeeded.

The eighth phenomenon

Koviel asks Dorant to play along with them in a masquerade with their participation.

Phenomenon ninth

The beginning of the Turkish ceremony.

The tenth phenomenon

Monsieur Jourdain was dressed in Turkish clothes, shaved baldly. Everyone is dancing and singing.

Phenomenon eleventh

Turks sing in their own language and dance national dances. The fun continues.

Phenomenon twelfth

Turks dance and sing.

Phenomenon thirteenth

Jourdain in a turban with a saber in his hands. The mufti and dervishes conduct a rite of passage during which they beat with sticks to the beat of Jourdain's music. This is the only way to summon Mohammed.

Fifth action

The first phenomenon

Madame Jourdain, looking at her husband in a new guise, begins to think that he has lost his mind. Jourdain explains to his wife that he is now a mamamushi and demands respect for himself.

The second phenomenon

Dorant had to work hard to persuade Doremen to return to the Jourdains' house. It is necessary to support Cleonte with the draw. The Marquis agrees to marry Dorant, but henceforth asks him not to be so wasteful.

The third phenomenon

Dorimena and Dorant bring congratulations to Jourdain on the new title.

The fourth phenomenon

Dorant bows to the disguised Cleonte, convincing him of his loyalty.

The fifth phenomenon

Mr. Jourdain introduces Cleonta Dorant and Dorimenu, explaining that these people are his close friends and they are ready to pay their respects to the Turkish guest.

Phenomenon six

Mr. Jourdain asks his daughter to come closer and get to know her future husband. Lucille doesn't understand anything. She thinks her father is joking. The girl is against marriage, but recognizing the Turk as a disguised Cleonte, she agrees to the marriage.

The seventh phenomenon

Ms. is against marriage with a foreigner. Koviel explains to her that this is a game. They send for a notary. Dorant announces to Madame that now she will have no reason for jealousy. He and the marquise are going to have a wedding soon. While waiting for the notary, everyone watches the ballet, continuing to have fun.