The tradesman in the nobility is a typology of conflict. Artistic features of Molière's comedy the tradesman among the nobility
I. Subject: J-B Molière. "The Bourgeois in the Nobility" as a work of French classicism. Satire on the nobility and bourgeoisie in comedy.
II. Target: Introduce students to characteristic features classicism; compare with Russian classicism; get acquainted with the work of the creator of French comedy Jean-Baptiste Moliere. “A Bourgeois in the Nobility” is like a comedy of classicism, and everything in it develops according to the laws of this genre.
III.During the classes:
Org. moment (2min)
IV. Repetition of covered material:
Today we will repeat the features of Russian classicism, compare them with French classicism, and consider, using the example of the comedy of classicism “The Bourgeois in the Nobility,” how events develop in it according to the laws of this genre. Let's find out what or who the author is laughing at and why the comedy is called that.
A) Conversation:
Where did classicism originate?
In the 17th century Western Europe The era of absolute monarchy begins. Rulers restrict individual freedom. The sublime and varied art of the Renaissance gives way to strict classicism. The era of the Late Renaissance in Italy began to take shape, but as a holistic art system formed in France in the 17th century during the period of strengthening and flourishing of absolutism. The reign of Louis 14.
What does classicism mean?
(from Latin classicus – exemplary, artistic direction, developed in European literature of the 17th century (P. Corneille, J.B. Molière, J. Racine)
What hierarchy of genres did classicism establish?
(High - epic poem, epic; tragedy, ode: everything was written in verse;
medium – high comedy, love and philosophical poems;
low - fable);
When did classicism originate in Russia?
(In the 2nd half of the 18th century, in the works of A.D. Kantemir, V.K. Trediakovsky, M.V. Lomonosov: the struggle for the literary language began, ending in the works of A.S. Pushkin).
What genres are popular in Russian classicism?
(Tragedy and Comedy).
What rules existed in Russian classicism?
(Strict unity of tone and three unities: unity of action, unity of place and time)
Why were tragedy and comedy written in 5 acts?
(Because the composition consisted of exposition, beginning, development of action, climax and denouement).
B) Vocabulary work:
On the screen you see the keywords that we have already worked with and with which we will continue to work:
Classicism, rationalism, cult of reason, public life, historical events, educational pathos, high genres, tragedy, epic, ode, middle genres, didactic poetry, low genres, comedy, satire, fable, unity of time, place and action, plot, exposition , plot, development of action, climax, denouement.
V. Explanation of new material:
Teacher's word: Open your notebooks, write down the date and topic of the lesson.
Today we will get acquainted with the work of the great playwright J.B. Moliere, whose portrait you see on the screen.
The girls will introduce you to the biography of Jean-Baptiste Moliere, they have prepared slides, please meet:
(Text of students’ speech):
The creator of the French comedy, Jean-Baptiste Moliere (Poquelin), was born in Paris on January 13, 1622. He came from an old bourgeois family, which for several years was engaged in the craft of upholsterers and drapers. Father was a court upholsterer and valet to Louis XIII The greatest writer, who worked in the era of classicism, but was bolder than others who went beyond it, was Moliere, the creator of French comedy, one of the founders of French national theater.
Jean-Baptiste Poquelin (1622 - 1673), in his theatrical activities who took the name Moliere, received a good education. Passionately loving the theater, Moliere, against his father’s will, dropped out of law school and joined a theater troupe. For several years he wandered around the province with the theater, which he headed together with the family of his friends - actors Bejart. He later married their youngest daughter, Armande Bejart.
A brilliant actor-comedian, Moliere played leading roles in his comedies until the end of his life. In the provinces, he began processing old folk comedies (farces) for his theater, and then he began to write comedies himself. In 1658, having shown a performance at court that the king liked, Moliere remained with his troupe in Paris. Here he worked until the end of his life as a court comedian, artist and director.
Moliere's creativity develops in the struggle against the Catholic clergy, from whose reprisals he is saved only by the intercession of the king. Physically torn by this persecution, Moliere dies at the age of 52, in his prime creative forces.
The most important works of Moliere were created in the 60s of the 17th century. The folk and realistic principles in his works are more pronounced than in any of the classicist writers. Moliere creates three greatest comedies - Tartuffe, Don Juan and The Misanthrope.
In the comedy "The Bourgeois in the Nobility" Moliere gave a vivid satirical image of the rich bourgeois Jourdain. The hero of the comedy admires the nobility and dreams of infiltrating the aristocratic environment. He tries to dress up in noble clothes, hires teachers of music, dancing, fencing and philosophy.
Having lost all dignity, Jourdain does not want to admit that his father was a merchant. So he makes friends with nobles and, what’s funniest of all, tries to play the role of a gallant admirer of an aristocratic lady. The hero's whims threaten his family with troubles: he wants to marry his daughter Lucille to the marquis and refuses the man she loves. Only a witty invention helps lovers overcome this obstacle.
The main character's comedy lies in his ignorance and clumsy imitation of an alien culture. His tasteless outfit, the hat he puts on over his nightcap for dancing, and his naive reasoning during lessons are funny. So, with great surprise, he learns that he has been speaking in prose for forty years. Moliere compares his hero to a crow in peacock feathers.
The human characters presented in the comedy are diverse. Jourdain's absurd inventions are contrasted with the sobriety and common sense of his wife, Madame Jourdain. However, she herself is far from any cultural interests and is rather rude. Her whole world is closed in the circle of household chores. Her healthy beginning is manifested in her desire to help her daughter’s happiness and in her contact with an intelligent servant.
Cheerful, funny Nicole, just as critically as Dorina in Tartuffe, is critical of her master’s prejudices. She also seeks to protect his daughter’s love from her father’s tyranny. Two servants play an important role in the play - she and Koviel, a witty, merry fellow, lackey of Cleonte, Lucille's fiancé. They bring a cheerful tone to the comedy. Moliere turns the theme of love and quarrels between Nicole and Coviel into a funny parallel to the relationship between their masters. As a denouement, two weddings are planned.
Moliere proved himself to be a master of comedic intrigue. Ballet was successfully introduced into the play. This is not just a dance number, but an organic part of the developing comedy action. “A Bourgeois in the Nobility” is a comedy of classicism, and everything in it develops according to the laws of this genre.
The remarks exchanged between the participants in the play are witty, especially in those scenes where Jourdain performs. Many of these remarks entered everyday speech and became catchphrases.
Moliere went down in the history of world theater as one of the most outstanding comedians. His skill is multifaceted, and theaters in all countries of the world never cease to turn to his legacy.
Teacher's word: Thank you, sit down.
VI. Work with text.
And now you and I, my dears, will open the pages of the immortal creation of the great master of comedic intrigue and you will enjoy the magnificent poems of the great master. Question: When you read a comedy, think about why it is called that?
We read: Act 1, phenomenon 1,2 (meeting the teachers and Mr. Jourdain); Action 2, phenomenon 3 (teachers’ behavior); phenomenon 6 (chooses science); Act 3, scene 2 (Nicole laughs at Mr. Jourdain’s costume); scene 4 (Dorant, an impoverished nobleman who deceives Jourdain) and Act 4, scene 9 (Turkish ceremony) and scene 13 (initiation).
VII. Homework:
Prepare to dramatize and expressively read the episodes you liked.
VIII. Consolidating new material:
According to what laws does the comedy genre develop? Prove with examples from the text?
What traditions of classicism did Moliere break?
So, let's once again repeat the characteristic features of classicism:
cult of reason;
a work of art is organized as an artificial, logically constructed whole;
strict plot and compositional organization, schematism;
life phenomena are organized in such a way as to identify and capture their generic, essential features and properties;
human characters are depicted straightforwardly; positive and negative heroes are opposed;
more active attention to social and civil issues.
IX. Lesson grades.
Thank you for the lesson. Goodbye.
Ministry of Education and Science of the Republic of Kazakhstan
Ulansky district department of education
Subject:
J-B Molière. "The Bourgeois in the Nobility" as a work of French classicism. Satire on the nobility and bourgeoisie in comedy.
Prepared and conducted by G.T. Kabdrakhmanova,
teacher of Russian language and literature
KSU "Secondary school named after Bazylbek
Akhmetov", Ulansky district, East Kazakhstan region
With. Novo-Odesskoye, 2014
Sections: Literature
“Since the purpose of comedy is to entertain people by correcting them, I reasoned that, due to the nature of my occupation, I could not do anything more worthy than to scourge the vices of my age...”
J.-B. Poquelin
Equipment: portrait of J.B. Molière, texts of the comedy “The Bourgeois in the Nobility”, slide presentation, recording of Strauss’s suite “The Bourgeois in the Nobility”, chessboard, table.
Lesson objectives.
1. Consider Moliere’s play “The Bourgeois in the Nobility” as a classic work.
2. Reveal the ideological and artistic originality of the play.
3. Analyze the episodes of the play that express the author’s understanding of his task as a playwright.
4. Foster a critical attitude towards yourself, others and reality.
1. Introductory speech by the teacher.
2. Moliere Theater.
Comparison with a chess game.
3. Principles of classicism.
4. Characteristic features of classicism in the text.
5. Student’s message “Features of the era.”
6. Slide “Two Worlds”.
7. Ideological and artistic originality of the play.
8. Conclusion on the lesson. Features of the play.
9. Relevance of the play.
During the classes
1. Moliere Theater
The proud columns of the ancient Greek Parthenon live on for centuries, the stained glass windows of the Cathedral of Notre Dame in Paris shine in many colors, the statues of Michelangelo tower, and Raphael’s “Sistine Madonna” still awes today... (Slides)
As long as the granite, marble and paints are physically intact, the creations of the cutter and brush themselves are also unshakable.
The theater does not have this property. He is powerless in the face of the inexorable passage of time. And he must die at the moment when the performance itself has expired, but it has the miraculous property of resurrecting from the dead... The stage image, like the legendary phoenix bird, is reborn from the ashes, the heroes rise to the stage again, and the theatrical branch again turns green and blooms with flowers. To be in two eras at once is the norm of classical drama, and theater is an intermediary between the geniuses of the past and us.
2. Announcement of the topic and purpose of the lesson. Epigraph (Slides)
The motto of the classic theater is: “depicting and ridiculing, educate.” How do we understand these words today?
In front of you is a chessboard. What do the game of chess and classicism have in common?
Name the principles of classicism. (Slide)
Name the characteristic features of classicism in the play. Prove with examples from the text?
Why did M. turn to this topic?
Student’s message “Features of the 17th century era.” (The 17th century is the heyday of the absolute monarchy in France...).
Before turning to the content of the play, let's try to see this difficult era in frozen moments on the canvases of Western European artists of the 17th and 18th centuries. Reproductions of paintings are grouped on the board as follows: one part is paintings reflecting the life of court circles, the so-called “gallant festivities”, the other represents scenes from the life of merchants and wealthy artisans.
Two worlds. (Presentation).
We saw two worlds in these frozen moments: the world of aristocrats and the world of the bourgeoisie, the so-called third estate.
Which one does it belong to? main character Moliere's comedies. Why did you decide so? (J.’s world is a world of peace and coziness, comfort, simple joys and pleasures. People representing it are happy, rich, but simple in their morals.)
Is there anything attractive in this world? What's important about it? (Of course there is. In this world you don’t have to pretend, everything is quite simple and clear, money makes it possible to receive all its joys from life. After all, prosperity, comfort, coziness are the main values of this world)
Who represents him in Moliere's comedy? (Jourdain, Madame J, Lucille, Cleonte)
Why is J. drawn to another world? To answer this question, let's look at the other half of our exhibition. What does this world look like in the eyes of a tradesman?
(And in the paintings dedicated to the life of court circles, the same subjects are repeated: feasts, concerts, festivities, etc. But they are more refined, sophisticated, the clothes of the heroes are luxurious, poses and gestures are cutesy, sometimes even artificial. All this is more like holiday, for carnival, than for daily life. Maybe the whole life of aristocrats is an endless holiday?)
All this is so attractive and tempting for the tradesman!..
What else attracts J. in the world of noble aristocrats?
In high society, J. is attracted by refined manners, elegant costumes, exposure to cultural values, the opportunity to communicate with the nobility and getting closer to the court circle itself.
Who represents this world in Moliere's comedy?
(Dorant and Dorimena. They are dressed in the latest fashion.... These are the people who are for him the embodiment of the aristocratic world). But in other way…
Conclusion. What conclusion follows from what you said? (The conclusion that Moliere draws is that the nobles who served Jourdain as a model are completely unworthy of him, that aristocrats are rogues, thieves, slackers. Jourdain is morally superior to them, he is purer in his thoughts and way of life).
There are cards on the desks (voice). Select contextual antonyms for these words based on the text. Remember which words are called contextual antonyms. (Contextual antonym is a lexical means of expressiveness. Words with opposite meanings in context; word pairs with mutually opposite meanings in a specific text)
Characteristics of Jourdain.
Stupidity - cleverness (reading dialogue).
Ignorance is the desire for knowledge.
Prosaicity, inertness – a sense of language.
Imitating the nobility is a desire to overcome petty-bourgeois limitations.
Tyranny, tyranny - a sense of family.
Conclusion. Jourdain's image is ambiguous. Strange. In the era of classicism, it was impossible for such a hero to appear (he should only be negative or only positive). Just as it is impossible for such a piece to appear (to place a black and white pawn on a chessboard) in a chess game. And Moliere did it this way... This is one of the features in Molière TV. Previously, this was impossible.
Jourdain seems to be trying on a mask. The mask is a nobleman, but the essence is a tradesman. Throughout the play, M. uses the contradiction between the appearance (nobleman) and the essence (philistine) of Mr. J.
What feature clearly dominates in the image of J?
(Eccentricity... Let's build a chain of increasing semantic and emotional meaning. Eccentricity – passion – mania- this stylistic device is called gradation.
Gradation is the arrangement of a number of words in order of increasing or decreasing their semantic and emotional meaning as a stylistic device. (Write on the board)
3. The ideological and artistic originality of the play.
Name the main idea of the play (in the words of which character in the play it is formulated).
(Cleont: “People without a twinge of conscience assign to themselves the title of nobility - this kind of theft, apparently, has become a custom. But I admit, I am more scrupulous on this score. I believe that any deception casts a shadow on a decent person. To be ashamed those from whom Heaven destined you to be born, to shine in society with a fictitious title, to present yourself not as what you really are - this, in my opinion, is a sign of spiritual baseness”)
These words oppose the eccentricity of the protagonist. Is it so. What happens at the end of the play. (Cleont is deceiving...)
Let's turn to the features of the composition.
3. Conclusion on the lesson. Features of the play.
What is unique about the genre of the work?
1. Comedy-ballet (excerpt).
2. What technique from the commedia dell'arte did the author introduce? (Scene “love annoyance” – dialogue)
Who is laughing at whom in this scene? The author and the audience laugh at everyone, because... individuals take their goals extremely seriously, they act “as the object of someone else’s laughter.” Carnival laughter involves the hero laughing at himself along with everyone else. Satirical and carnival laughter are quite difficult to combine in the play.
Commedia dell'arte (which combines speech, dance, pantomime, music, visual arts, and the features of character comedy, built on exposing character traits that cause laughter).
Moliere stood at the origins of comic opera - an opera genre.
3. Departure from the framework of classicism. There is no absolutely positive and negative hero.
4. The image of the main character is ambiguous.
5. Two storylines. (Why two? The first plot represents the traditions of the French farce - M. portrays the father of the family who has lost his mind, wanting to join the noble society. The second line is Cleonte and Lucille. It is twice parodically shaded - Nicole and Kovel, Dorant and Dorimena). Does Moliere violate the canons of classicism? No. Both lines are connected. The comedy of character appears against the background of the comedy of manners (artistic originality).
6. Created a genre social comedy, (satire) in which slapstick and humor were combined with grace and artistry.
8. In Moliere's comedies, common sense wins, but it is not the guarantee of a person's morality.
9. Moliere’s cheerful, cheerful laughter is combined with tragicomic and satirical laughter.
10. Created a “comedy of character” against the backdrop of a “comedy of manners.”
11. Relevance. Moliere is a bridge from the past to the future. Why might a modern reader or viewer be interested in a play today? Is it relevant?
Oct 06 2010
The main problem on which the plot of “The Bourgeois in the Nobility” is built reflects a certain historical stage development of the bourgeoisie in France. The newly minted bourgeois, who had accumulated a lot of money earned in various ways, felt like nobles. That is why they tried to imitate noble manners, behavior, clothing, and lifestyle. Moliere (Jean-Baptiste Poquelin) - playwright, actor - created wonderful plays that are still on the stages of many theaters around the world: “Tartuffe”, “Don Juan”, “The Misanthrope”. And one of his best, brightest comedies is “The Bourgeois in the Nobility,” where he painted a satirical bourgeois.
It was about one of these bourgeois - the gentleman - that Moliere spoke in his. For the tradesman Jourdain, the noble name itself is a guarantee of the highest moral values, so he unconditionally relies on the cunning nobleman Count Dorant for everything. Through their relationship, real common relationships are practically shown. Therefore, laughing at the unfortunate Jourdain, who at all costs wants to become like the nobles and even marry his daughter to a nobleman, we sympathize with him. Count Dorant and Dorimena represent the nobility. And in addition, using their example, Moliere showed that nobles could also be untruthful, capricious, and dishonest.
Such is Count Torlit, who has squandered his wealth and is looking for a rich bride. And Dorimena fell in love with him, convinced that he was rich, as he gave expensive gifts. There was no talk about real feelings here. But other heroes are capable of love - Lucille and Cleonte, Nicole and Koviel. They are pure in heart, and therefore victory is on their side. So, the problem of the real and the unreal, the problem of truth and untruth, is solved through funny situations in which the heroes find themselves thanks to the heroes’ false perception of one another. Depicting the funny events that happened to the unfortunate Jourdain, Moliere rises to a broad generalization of social phenomena, not forgetting the moral lessons without which classicism is impossible.
Before us is a tradesman - the main character of the play, who is trying to suddenly turn from a tradesman into a nobleman. It seems to him that he has the main thing for this - money. There is money, but there is no basic education, decent manners, and most importantly, there is no intelligence, he is hopelessly stupid. When he was no longer young, Jourdain decided to study philosophy (here he makes a big “discovery”: it turns out he speaks in prose!), study music, dance, and fencing. He seriously believes that, having gained some knowledge and having money, he can take a place in the circle of noble nobles. He surrounds himself with servants and teachers who demand high salaries for work, but do not do it or think about doing it. And the “noble” sciences somehow do not fit into the head of a foolish philistine. His wife tries to appeal to her husband’s prudence and asks him to stop countless expenses, but he doesn’t want to hear anything. Strives: to bring to mind her master and maid Nicole, and at the same time it is clear how much smarter the poor uneducated girl is than her master.
Jourdain is so stupid that he even takes the comic initiation into “mamamushi” seriously. It would seem that Jourdain’s desire to gain intelligence is worthy of respect. But how funny he is when he wants to do it in a few days!
Moliere laughs at Jourdain's boundless stupidity. And using the example of a tradesman, he once again shows how low and uncouth even a rich man can be, who believes that money can buy intelligence. But he laughs great playwright not from a specific person. He ridicules the desire to imitate some external signs of a higher social position without changing internally. The main thing is not the title, not the costume, says Moliere. Honor and dignity, intelligence and education cannot be bought.
Need a cheat sheet? Then save - "The main problems of Moliere's comedy "The Bourgeois in the Nobility." Literary works!
LESSON #9
Subject. The embodiment of the features of classic comedy in the “philistine among the nobility” (the hero is the bearer of one passion)
Target: repeat the features of classicism as literary direction; introduce students to the plot basis and intrigue of Moliere’s comedy “The Bourgeois - Nobleman”; consider how comedy embodies the rules of classicism; deepen knowledge of literary theory; continue to develop skills in analyzing a dramatic work.
Equipment: cards for group work, lots for division.
Lesson type: assimilation of new knowledge and the formation of skills and abilities based on it.
We deal vices a heavy blow by exposing them to public ridicule. The best I can do is to ridicule and expose the vices of my age.
J. B. Moliere
DURING THE CLASSES
I. Updating knowledge
Homework discussion
What is comedy? (Comedy - dramatic genre, in which conflict, action, characters, situations are presented in funny, comedic forms. Comedy makes fun of social phenomena and human vices.)
Is comedy a high or low genre in the hierarchy of genres of classicism? (Short)
How does classic comedy differ from ancient comedy and ancient Greek?
What do you know about the comedy of masks, or commedia dell'arte? (Italian sottesia (ІеІІ"арье - professional comedy - a type of Italian improvised folk theater of the Renaissance, inheriting the traditions of the Roman era. The characters of the comedy of masks were the embodiment of comic grotesque, buffoonery, a bright spectacle of the carnival type. As a theatrical genre, the comedy of masks influenced the work of Moliere. )
How does situation comedy differ from character comedy? (In the first, preference is given to events, intricate intrigue. In the second, characters are ridiculed. Some comedies combine both components.)
Which comedies by Molière are most famous?
II.Motivation for learning activities
Teacher. Unlike tragedy, which portrayed kings, generals, and heroes, comedy depicted ordinary everyday life. She showed minor nobles, burghers, and servants. It was in their environment that Moliere found funny features in behavior, characters, lifestyle and life aspirations. Thanks to the reign of Louis XIV, the prestige of the nobility rose very high. Often wealthy merchants bought titles of nobility for themselves. The title of nobleman for an ordinary burgher was a symbol of greatness and grace. Moliere tried to show that there is nothing lofty in the nobility: nobles can be narrow-minded, deceitful, rude and capricious. He also ridiculed the greed for profit, the desire of the burghers to get into high society.
Please pay attention to the epigraph of today's lesson. The words of the playwright himself will be a kind of key to understanding the play “The Bourgeois - Nobleman,” which has not left the world stage for more than 300 years. It is this play that we will get acquainted with today. (Students write down the topic and epigraph of the lesson.)
III.Work with a work of art
General overview of Molière's comedy "The Bourgeois - Nobleman"
Work in groups: “5 x 5 x 5” (equivalent to “Lace saw”, “Jigsaw”).
Methodical comment
The class is united into groups (the number of groups corresponds to the number of people in the group), for example, by drawing lots A1, A2, ...B1, B2, ...B1, B2, ...D1,D2, ...D1, D2.. .D5.
First, the groups unite behind the letter. Each group receives from the teacher a card with information that needs to be processed, select the most important thing, write it down briefly in a notebook and pass on the information to others (it is necessary to keep notes!). This type of work takes 10 minutes.
At the second stage, students are regrouped by numerical indicator. In the newly formed groups, in turn, according to the serial number of the letter (previous section), they transmit information processed in the previous group. The entries in the notebooks are supplemented. After completing this stage of the lesson, the teacher conducts cross-questioning.
Texts to be processed
Group A. Moliere's last outstanding comedy, “The Bourgeois in the Nobility” (1670), was written in the genre of “ballet comedy”: at the direction of the king, Turkish dances were included in it. Moliere was able, by introducing dance scenes into the plot of the comedy, to maintain the unity of its structure. The basic law of structure is that the comedy of character develops against the background of the comedy of manners. The bearers of customs are all the heroes of the comedy, with the exception of Mr. Jourdain, the main actor. The sphere of zvicha-el is traditions, habits of society. The characters are Jourdain's wife and daughter, his servants, teachers, aristocrats Dorant and Dorimena, who have the goal of making money at the expense of the wealthy bourgeois Jourdain. They are endowed with characteristic features, but not characters; these traits are comically pointed but believable. Jourdain, unlike the characters in the comedy of manners, appears as a comedic character. The peculiarity of Molière's characters is that the hero's actions go beyond the boundaries of the natural, reasonable order. These are all the heroes of Moliere's plays - heroes in the highest degree honest and dishonest, martyrs of noble passions and stupid ones. This is Jourdain, a bourgeois who decided to become a nobleman.
Group B. The comedy was preceded by an overture, at the end of which music and dance teachers appeared on stage, they were very pleased that they had found themselves a rich patron, Mr. Jourdain, favorable to the nobility and secular behavior. So immediately, from the first lines of the play, its main theme is determined. Jourdain dreams of becoming a noble person. This goal determines all his thoughts, desires and activities, completely subjugates his nature, and becomes the meaning of his life. Mr. Jourdain's first appearance is significant: having dressed as nobility dresses, he is sure that his dream - the dream of becoming a nobleman - is becoming a reality. Mr. Jourdain willingly takes on a new role and truly considers himself worthy of this title. He is friends with people close to the royal court. But the more confident Jourdain behaves, the more he becomes crazy and the funnier his desire to be an aristocrat looks. What caused Mr. Jourdain’s “madness”? And the fact that his ideas about the exclusive importance of the nobility were feigned. And therefore, satire was born from a blatant discrepancy between judgments about the greatness and nobility of the nobility and the true meaning of the dominant position.
Group B. Laughing at Jourdain, who strives to become an aristocrat, Moliere simultaneously laughed at the ideal that Jourdain had invented for himself. But no matter how hard Jourdain tried to be like himself among the nobility, he still remained the same. The count is obsessed with money, he counts it to the last sou; quarreling with a tailor, a maid or his wife, he resorts to swearing and even fighting, forgetting about all the “high society” lessons; in an effort to study the sciences, he chose the one in which he saw practical necessity; I loved a simple cheerful song more than sad singing. His desire to gain nobility was not a cunning calculation of the bourgeois; subjectively, it became a sincere dream that took possession of Jourdain. This leads to the fact that the respected Mr. Jourdain easily enters into the last, slapstick act of comedy and acts freely in the masquerade of initiation into the rank of “mamamushi.” It’s in vain that they beat him with sticks, but he achieved his desired goal. And it is very significant that in this atmosphere of general fun, serious words are heard that frankly express the position of the author.
Group. G. To the question that Jourdain puts to Leontes, the fiancé of his daughter Lucille, whether he is a nobleman or not, Leontes, not without pride, answers that he does not intend to appropriate the title of nobility to himself and is not a nobleman. He served six years in the army and feels useful to the state and society. The nobility of Leontes, according to Moliere, was acquired by his lifestyle and activities, while the behavior of the aristocrats depicted in the play - Count Dorant and the Marchioness Dorimeni - is completely devoid of the nobility that was given to them from birth. In the overall composition of the play, the task of the carnival finale is to ridicule the shameful and vulgar passion for the “nobles” - Mr. Jourdain becomes a universal laughing stock. Of course, Jourdain is not at all such a fool as all the characters in the comedy think he is, and not at all such an old fool as to explain his actions by his venerable age (he is only a little over forty). Moreover, age-related characteristics, like stupidity, are not the subject of comedy.
Group D. At the premiere of “The Tradesman - the Nobleman” on February 14, 1670, arranged for Louis and his court in the royal castle of Chambord, there was no rush to laugh “very much.” After all, the king was the first to laugh at court. And he - neither during the performance nor after it - did not show his attitude towards comedy at all: neither with laughter, nor with a gesture, nor with a word. The court decided that the comedy was a failure. Rumors about this instantly spread throughout Paris. This happened after the second performance. However, there was no reason to accuse Moliere of sedition. “I didn’t tell you anything about your play after the premiere,” Louis told Moliere a few days later. - It seemed to me that I was fascinated by the way it was staged. Indeed, Moliere, of all that you have created, nothing has ever given me such pleasure, and your play itself is wonderful.” The courtiers lined up to see Moliere. Each of them declared that he had “always been an ardent supporter” of the art of comedy and “always knew” that his new comedy was the best of all that this genre is rich in...
Conversation
By what basic law was the structure of Moliere's play created?
What are the features of Molière's characters?
Which part of the play defines its main theme? Formulate it.
What explains Mr. Jourdain's thirst for the title of nobleman?
Who else, besides Mr. Jourdain, is the author laughing at? Explain the idea.
Designed to expose the play's carnival ending?
What was the reaction of the nobility to the premiere of the comedy “The Tradesman - Nobleman”?
What does Moliere ridicule and what does he glorify in comedy?
IV. Reflection
1. Working with a table
Teacher. Remember the rules of classicism. After completing the i-blitz, determine in what respects Moliere adheres to the rules of classicism and in what respects he violates them.
(Students work first in pairs, then summarize the information while transferring it to the board.)
2. Teacher's summary
Moliere laughs merrily at those who allow themselves to be deceived, and at those who do it. But the comedian believed in the great nobility of man. According to his beliefs, common sense and sincerity always win. In Moliere's comedy, classicism, like rationalism, reached the “last line”, beyond which its cognitive capabilities were exhausted. And Moliere does not sin against the classic definition of the genre: “Comedy is the transition from misfortune to happiness.”
V. Homework
Characterize Jourdain’s image, select quotes to characterize the image; make crosswords on the topic; advanced task for 4 students: be ready to speak on behalf of the main characters of the play.
But also many endeavors in the field of art. In the distant 17th century, the son of the court upholsterer Jean-Baptiste Poquelin, better known to the whole world under the name Moliere, composed a witty, brilliant comedy, combining two such different genres, as a dramatic theater performance and ballet. And now for the fourth century it has not left the stages of capital and provincial theaters, it is studied in schools, and the heroes of the work have long ago become household names.
Discovery of the genre
Of course, we are talking about Moliere’s great comedy “The Bourgeois in the Nobility.” Everything was new in the work: a pronounced mockery of the morals and habits of the high society, and a realistically depicted ignorant rudeness, lack of education, greed and stupidity of the bourgeoisie, persistently striving to share power and privileges in the country with the impoverished nobility, and the author’s obvious sympathy for to the common man, a representative of the so-called third estate. This concerns the issues and the entertainment of the production, colorful costumes, musical numbers... Louis the 14th, an ardent fan of music, dance, especially ballet, loved a variety of enchanting performances. But before Moliere, playwrights had never been able to so masterfully combine stage performances, dance numbers and ballet performances. In this regard, “A Tradesman in the Nobility” may well be considered a predecessor of the modern musical. Comedy-ballet is a unique genre of the work of the great Moliere.
History of the comedy
The event through which the comedy was born is also not entirely ordinary. When in 1669 the Sun King, as Louis was nicknamed for his passion for clothes, jewelry, external chic and brilliance, learned that the Sultan of the Great Ottoman Empire (i.e. Turkey) was sending an ambassadorial delegation to him, the ruler of France decided to surpass him in pieces of luxury. The glitter of jewelry, the abundance of gold and silver, expensive materials, and luxury items should have blinded the eyes of ambassadors, accustomed in the East to such abundance, and spread throughout the world the glory of the wealth and greatness of the French court and its ruler. But the king’s plan failed: he became a victim of hoax and deception. Angered, Louis commissioned Molière to write a comedy that would ridicule the Turkish mentality along with their delegation. This is how “The Bourgeois in the Nobility” was born, the first performance of which was given to the king and the nobility in mid-October 1670, and the official performance for the Parisian public in November 1670. From that very day (November 28) on the stage of the main theater in Paris - the Palais Royal - during the author's lifetime, the play was staged more than 42 times, and this is not counting other productions in smaller theaters! And about a century later, the first professional translation of the comedy into Russian appeared. In Russia, “The Bourgeois in the Nobility” was received with a bang, and its victorious march continues to this day.
The plot of the work is simple; the main intrigue of the comedy lies not in the conflict, but in the characters. Jourdain, a middle-aged tradesman, very rich, but narrow-minded, rude, and sometimes downright stupid, ignorant, wants with all his might to join the noble sophistication, grace, gallantry and external splendor. The final target of all his tricks is the Marchioness of Dorimena, a cutesy aristocrat, accustomed to judging people by the weight of their wallet and the loudness of their title. The bankrupt Count Dorant, a trickster and deceiver, successfully leads Jourdain by the nose, promising to help him get closer to Dorimena and, in general, to introduce his “friend” to the highest Parisian society. Far from being a fool by nature, Mr. Jourdain is blinded by the splendor of the nobility and does not notice that he has long become a “cash cow” for such rogue aristocrats. He borrows them huge sums of money without demanding repayment. He hires a whole host of teachers and tailors to educate and trim him. There is no sense in this, but gold coins flow away like a deep river. Essentially, "A tradesman among the nobility" summary which consists in ridiculing and criticizing the ruling class of nobles and the bourgeoisie that replaced it, is a wonderful parody of the monarchical absolutist system that developed in France at the end of the 17th century. The comedy clearly emphasized that the future lies not with Jourdains and dorants, but with such honest, active, enterprising and viable types and characters as Cleonte, the fiancé of Jourdain’s daughter, Covelier, his servant, and all those who are used to achieving everything in life thanks to your own mind and strength. In this regard, the book “The Bourgeois in the Nobility” could become a reference book for the Russian nobility. However, the comedy of the wonderful Russian playwright Fonvizin “The Minor” turned out to be close to the point of view and author’s characteristics of Moliere. Both of them are included in the golden fund of world literature.
Popularity of images
Needless to say, many expressions of comedy have become aphorisms, and its main character symbolizes human rudeness and lack of education, lack of taste and sense of proportion! “Jourdain with curlers” - we talk about this, and that says it all!
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