"The Philistine in the Nobility" is a comedy-ballet created by the great Molière in 1670. This is a classic work, supplemented with elements of folk farce, features of ancient comedy and satirical compositions of the Renaissance.
History of creation
In the autumn of 1669, the ambassadors of the Ottoman Sultan visited Paris. The Turks were greeted especially pompously. But decorations, a spectacular meeting and luxurious apartments did not surprise the guests. Moreover, the Delegation stated that the reception was poor. It soon turned out that it was not ambassadors who visited the palace, but impostors.
However, the offended King Louis nevertheless demanded that Moliere create a work that would ridicule the pompous Turkish customs and the specific mores of Eastern culture. It took only 10 rehearsals and the play "Turkish Ceremony" was shown to the king. A month later, in 1670, at the end of November, the performance was presented at the Palais Royal.
However, a talented playwright after some time radically transformed the original play. In addition to satire on Turkish customs, he supplemented the work with reflections on the theme of the modern customs of the nobles.
Analysis of the work
Plot
Mr. Jourdain has money, a family and a good house, but he wants to become a true aristocrat. He pays barbers, tailors, and teachers to make him a respectable nobleman. The more his servants praised him, the more he paid them. Any whims of the master were embodied in reality, while those around him generously praised the naive Jourdain.
The dance teacher taught the minuet and the art of bowing correctly. This was important for Jourdain, who was in love with a marquise. The fencing teacher told me how to strike correctly. He was taught spelling, philosophy, learned the subtleties of prose and poetry.
Dressed in a new suit, Jourdain decided to take a walk around the city. Madame Jourdain and the maid Nicole told the man that he looked like a jester and everyone rushed about him only because of his generosity and wealth. There is a skirmish. Count Dorant appears and asks Jourdain to lend him some more money, despite the fact that the amount of debt is already quite substantial.
A young man named Cleon loves Lucille, who loves him back. Madame Jourdain agrees to the marriage of her daughter with her lover. Mr. Jourdain, having learned that Cleont is not of noble origin, sharply refuses. At this moment, Count Dorant and Dorimena appear. An enterprising adventurer courts the marchioness, passing on gifts from the naive Jourdain in his own name.
The owner of the house invites everyone to the table. The marquise is enjoying delicious treats, when suddenly Jourdain's wife appears, who was sent to her sister. She understands what is happening and makes a scandal. The Count and Marquise leave the house.
Koviel appears immediately. He introduces himself as a friend of Jourdain's father and a real nobleman. He tells that the Turkish heir to the throne arrived in the city, madly in love with the daughter of Mr. Jourdain.
To intermarry, Jourdain needs to go through the rite of initiation into mammamushi. Then the Sultan himself appears - Cleont in disguise. He speaks in a fictitious language and Coviel translates. This is followed by a mixed initiation ceremony, complete with ridiculous rituals.
Characteristics of the main characters
Jourdain is the protagonist of the comedy, a bourgeois who wants to become a nobleman. He is naive and direct, generous and reckless. Goes ahead to his dream. Happy to lend money. If he is angered, he instantly flares up, starts screaming and making a fuss.
He believes in the omnipotence of money, so he uses the services of the most expensive tailors, hoping that it is their clothes that will “do the job”. Everyone fools him: from servants to close relatives and false friends. Rudeness and bad manners, ignorance and vulgarity contrast very markedly with claims to noble gloss and grace.
Jourdain's wife
The wife of a petty tyrant and a false nobleman is opposed to her husband in the work. She is educated and full of common sense. A practical and sophisticated lady always behaves with dignity. The wife tries to guide her husband on the "path of truth" by explaining to him that everyone is using him.
She is not interested in titles of nobility, not obsessed with status. Even her beloved daughter, Madame Jourdain, wants to marry a person of equal status and intelligence, so that she feels comfortable and well.
Dorant
Count Dorant represents the nobility. He is aristocratic and vain. He makes friends with Jourdain solely out of selfish motives.
The man's enterprise is manifested in the way he deftly appropriates the gifts of the enamored Jourdain, presented to the marquise, as his own. Even the presented diamond he gives out as his gift.
Knowing about Covel's prank, he is in no hurry to warn his friend about the insidious plans of scoffers. Rather, on the contrary, the count himself has plenty of fun with the stupid Jourdain.
marquise
Marquise Dorimena - a widow, represents a noble noble family. For her sake, Jourdain is studying all the sciences, spending incredible money on expensive gifts and organizing social events.
It is full of hypocrisy and vanity. In the eyes of the owner of the house, she says that he spent so much for nothing on the reception, but at the same time enjoys delicacies with pleasure. The marquise is not averse to accepting expensive gifts, but at the sight of her boyfriend's wife, she pretends to be embarrassed and even offended.
Beloved
Lucille and Cleont are people of a new generation. They are distinguished by a good upbringing, smart and resourceful. Lucille loves Cleont, so when she learns that she will be married to another, she sincerely opposes it.
The young man really has something to love. He is intelligent, noble in manner, honest, kind and loving. He is not ashamed of his relatives, does not pursue ghostly statuses, openly declares his feelings and desires.
Comedy is distinguished by a particularly thoughtful and clear structure: 5 acts, as required by the canons of classicism. One action is not interrupted by secondary lines. Molière introduces ballet into the dramatic work. This violates the requirements of classicism.
The theme is Mr. Jourdain's crazyness in noble titles and nobility. The author criticizes in his work the aristocratic mode, the humiliation of the bourgeoisie in front of the class that allegedly dominates.
My first hunter with the Fatyanovites became the first summer of my independent excavations on Lake Nero in front of Rostov Veliky.Those summers were thunderous and screeching. Early in the morning, beginning with the blue of the gloomy sky, the soft freshness of trees and grass, the watery breath of the lake, in which the white-and-rozhevy walls of the Rostov Kremlin with yogo vezhami and domes and greenery, merchants of willows on a low swampy birch were pierced. Ale, until noon, over the treeless hillocks, overlooking the lakeside gorge, yellow and erysipelas storm clouds swelled. The stench grew, shivered, filled with a dark blue, and indefatigably on the place, on the lake, on the fields in the fields in syayv and gurkot fell important thunderstorms ...
Summer “I sank the wood with the sun” in memory of “for a variety of reasons. The old Rostov Kremlin, also only inspired by the hurricane of 1954 rock, old, deserted, not yet welcomed by tourists, but a kazkovy castle for me and my two companions, who were all Fixtures Warehouse Ekpeditions. Tiek, Provintsіin, Dobrosychlivius І Zatishna Mistisko Rosіyskiviy Provіntsії, Yak Bli "Jazu" Syazhnnya Za Minillim I continue to write on these sides - books about the past of man and nature.
Krіm excavations on the island in front of the city, we were small enough to describe and describe the settlement of the ancient people. The museum has preserved the names of their pioneers, local scholars and professional archaeologists, and, while completing their descriptions, I went through my own school, watching the robots of my successors and the stars of their assessments. Turning in the evening to the office of the museum, nadan for the night, we sorted out the day's knowledge, miles of it, described it, and before going to bed we wandered along the passages of the solid walls, traversing the nightly calm Rostov old times.
One evening, turning to the museum, I saw on the podium, littered with our bags of knowledge, a small earthenware miner with a round bottom and a low vertical neck. Behind him lay the peasants of the wind, similar to a stiletto, and a kochedyk, for the help of some sort of face and birch bark, they wove on Pivnochi (that weave at once) beds, purses, pesters and other stuff of the state. As if squealing from the added note, the chauffeur brought the chauffeur from the museum, carrying gravel for road work from the car, rolled out twenty kilometers away from the city. Behind yoga words, in the gravel there were boules and human brushes.
There was one more luck in the series of acknowledgments of that summer, about which I could only dream of a moment. Before me were speeches about the inscription of the Fatyanovo culture - one of the most famous and mysterious phenomena of the ancient history of Northern Europe.
Fat "Yanivska culture, as it took away its name after the first excavated burial ground in the village of Fatyanovo in the Yaroslavl region, archaeologists have already seen more than a hundred rokiv houses. In an hour, dozens of burial grounds, hundreds of graves were systematized, and richly written articles and books, but the halo of mystery has not changed in any way.
Archaeologists did not know the settlement of these people until tsikh pіr.
Є cemeteries, but there is no settlement, - it means, fat "janivtsі were nomads? So it was said "fat" janіvske nourishment" ... until quiet feast, until they raised respect for the state of these people, about which one can be judged by knowledge in burial places.
Fatyanovo cemeteries occupy high hillocks in the middle of modern watering, - hillocks, folded with gravel and excess moraine. Here, not designated by some sort of tombstones, spores or stones, in deep straight-cut pits, digging in balls of gravel sand, lie the skeletons of fat "yanivtsiv: on the boots or on the back, but in a crouched position - with legs bent in the knees and s hands, lifted to the face. On top of them stand a beautiful vein of clay vessels - kulyas, flattened, with a vertical vein, vcrit mazhe polished, on top of such applications, a thin, supra-linguistically thinned vizerunk, similar to the vizerunk wattle or fabric.
At once, from the vessels, the skeletons of the skeletons were lying: chisels, kochedyks, hones, daggers - and various embellishments: hammer-like hairpins, plinths from the teeth of creatures, namist from tubular tassels of birds. There are also stones "znaryadda: arrowheads and scribbles, knives, scrapers, grinding plates, and a smut - sokiri. You can see two of them, and insulting stench is the most beautiful picture of cultural culture: drilling of fighting sokiri from important crystal pores, which predict American tomahawks , but more massive, and flat polished working flint sokiri, inserted into brushes or wood muffs, made with a handle.
Already, the objects found in the first burial ground of culture culture showed that fat "yanivtsy knew metal, and not just knew, but directly engaged in melting and casting. in their graves lie bronze sokiri, scribbles and livar forms, in which metal objects were placed.
It is no less important that fat "yanivtsі, as if it was established with authenticity, were creatures. The bones of domestic creatures - pigs, sheep, kiz, - were found in the graves of fat" yanivtsiv, were lost in shmatkіv zaupokіynoї zhі, laid at the funeral. From the brushes of cows and horses, they prepared deaks of kistyany znaryaddya fat "yanivtsiv, and from їx teeth - to the necklaces. Such experts made it possible to accurately imagine not only the warehouse, but also the structure of the Fatyanovo herd.
The increased mystique of the fat "yanivtsiv" was also taken away by those surroundings that, at the closest look, the fat "yanivtsiv" appeared to be only small and the most similar ones in the megaculture of the "fighting sokirs", called, as I already wrote, the most characteristic object found in the complexes of the ancient disputes without inclusion cultures, - stone polished sokiri with a drilled opening for the handle.
"Relatives" fat "janivtsiv, like z" yasuvalosya, good in the house on the terenas of the ussієї Skhіdnoї i Pivnіchnoї Єuropi - Sweden, Finland, Denmark, Nіmechchini, Poland, Czechoslovakia, in the Baltics, de krіm hіm hіmіkhіvіnі tsikh people for thinness, comoros and deserted settlement fields. These people lived their lives on the ground with poles and stakes, intertwining them with needles and smearing the beast with clay, - well, as if there were Ukrainian mud huts. z "is a natural mind, looking at people, nareshti, clarified chronology - the basis of the foundations, without any successor of the past, they appear to be helpless in their work. But everything is there, in the greater western regions of Northern Europe...
Right there, as a single thread in the hands of an archaeologist, as if spoofing in the riddles of fatyanovskihs, they revealed objects prepared by them, found on the camps of fox myslivtsiv. drilling "fighting juice" with a tubular drill. The acquaintances of such stone "strizhnіv" were especially important.
Maybe buti, fat "janivtsi and were bagmen of these camps?
Really, varto guess that the burial grounds of the forest myslivtsiv are practically unknown to us. Possibly, they hoisted their celestials on platforms above the earth, as if they were slaying the Saami and the wise people of Siberia. You can guess a thought to that, like a vinyl in the minds of the past. Oskilki, stinks flickered, from one side, we see only the settlements of neolithic myslivtsivs, and from the other - only the burial grounds of fat "yanivtsivs", then why not let it in, that before us are two halves of one whole, manifestations of one culture, complementing one of one? , at the dishes? prepared, like all other objects of the funeral rite!
Such was the point of the dawn of the scientists, as they tried to call kіntsі z kіntsami, at once explaining the presence of cemeteries in forest myslivtsіv and the settlement of fat "yanіvtsіv.
Such an explanation was too piecemeal, in order to know enough of the number of addicts. Vіdminnіst mіzh lіsovymi myslivtsy i fatyanovtsy was considered not only in the form and methods of preparing objects of material culture. There was a lot of smut in the state, in the acquaintance of fat "yanivtsiv with metal, a wide development of their creatures. Nareshti, it was impossible not to gain respect for the anthropological vіdmіnnosti between Fatyanovtsy and lіsovymi myslivtsy; juicer.
Along with the robots of anthropologists, like the skulls and bones of the Fatyanovo burial grounds, the stench was more important than that of the people of the so-called "Mediterranean" type with a high, twisting neck, a massive beautiful skull, a thin, often with a small hump nose and a wide, massive pidboriddy. This type of people can be seen on the sculptural portraits of the ancient Romans, in the midst of the population of Central Europe, the Skhidnoy Baltic, in the Podunav "and partly on the Balkan Brewery. on reconstructions of anthropologists.
For VIMima, Scho Fat "Yanіvtsі - Ankimnіvnі Pribultzі zhіdnyy regions of Schіdnіїі єvorropi, from the Territory of the Tribe, de іstorіi і іднених ї им пбенина заперовый забата більша рандный шуса, Ніж от олява га« Yanіvtsіv's Volga ok clerk Mezhikіchі. But it already gave room for fantasies. In the thirty years of our century, if political ideas were put on the development of European archeology, in the first place they were "sung" by racism and fascism, a number of German archaeologists, anthropologists and historians voted ahead of them the Germans at their step on the skhid. Behind their hardships, fat "yanivtsi" were "assault pens", like they brought down on the heads of mystic bagmen in their own "yans of falcons for the hour of conquest trips to the skhіd.
The warfare of fat "janivtsiv was developed literally from the mustache, starting from the specific "fighting juices" and kіnchayuchi creatures, for which you need new spaces, and to build a metalworking, for which you need new genera of the mouse, it’s not in your head. Spec_alіzatsiya Fatyanovsky Triarinnitsky gentlemen not Tіlki not before the confline with missemi Misiltsi І Ribalks, Ale, Napaki, Dzvololiє ї ї absolutely Bezbinsno Posting Tue, Shchoiya Wizhuya, Ecology "Nіshu", Yaku Shukali PID HOUR HOURS WHERE PERSONS DOCTLY HOUSE IS NOT resistance of cultures, and - spіvrobіtnitstvo.
But everything became clearer later, a second or two decades after the end of another light war.
At the mountains, from which I began to tell about the Fatyanovites, the meals rose with special poignancy, baked archaeologists' super-brackets, scrambled to the yakisny opposite point of the dawn. Getting ready to enter science, we, students, not only listened to these scientific discussions, but also tried to argue with opponents, to know your ways, to point out your point of view, because the “problem” of fat “janivtsiv, dumb at the focus, chose the impersonal others, lay on the floor.” important, methodical nutrition, the accomplishment of which marked the way for a distant development of our science.
Dotorknutis to the Fatyanovites themselves; and in the world all those, because of which the super-girls were spitting, were also my sacred dream. Why, at the onset of early morning, since the driver brought to the Rostov museum objects from the ruined Fatyanovo burial, I was at the office of the motorcade, and another hour later, squeezing into the cabin of a rumpled samoskid, їhav on the plate of knowledge ...
A small hump, which may have been hovering over the gravel car of the village of Khaldeevo, having occupied the top of a gentle ridge, the stars showed a view of the same large hillocks, occupied by villages and fields, running down to thick bows, in the middle of which the loops of small rivers vibrated. the whole region was folded with bows and waterings.
The picture, as it was lost in the memory of the “yatі”, perhaps, pushed on my far away to the Fatyanovites and pov “there were problems with them in the larger world, lower looking at the walls of the car” єru, which confirmed the presence of the burial ground here and brought one more trophy - fighting juice from Possibly, at the same time, trying to grow up in the structure of a new world, I turned my attention not to the objects that appeared in front of me from the layers of the past, the links to furnish them with signs, on those that irritated them, in the first black on landscape, trying to keep up with the present - the one, the other, the old one.
I wanted the Khaldeevsky burial ground to be filled with the only Fatyanovo burial ground, which I myself dug, turning here on the approaching river, cultivating Fatyanovo materials, for which I happened to be stuck on the shores of Lake Pleshcheeva, I realized that the way to open these taєmnitsa is not possible through roses. In view of another approach to the problem, not an archaeological one, but an ecological look at the riddle.
People help! We need the image of Mr. Jourdain from the comedy The tradesman in the nobility! and got the best answer
Answer from Albinochka[newbie]
The satirical orientation of Molière's comedy "The tradesman in the nobility"
“The tradesman in the nobility” is a unique work that very rightly ridicules people who claim what they do not have at all - a title and material values. Not all people, namely those who have never had this in their lives. As the saying goes, "from rags to riches." After all, there are people who work day and night on their land in order to have the opportunity to live, and those like Monsieur Jourdain try to resemble noble persons in everything, showing themselves from the most stupid side. Yes ... For some, the main thing is happiness, but for some, money.
The main character of this comedy is Mr. Jourdain. He inherited enough money from his father, but the only thing he aspired to in life was to be a nobleman. He so wanted to be surrounded by nobles that he made considerable sacrifices for this: he wore shoes in which the leg almost folded in half, barely pulled on silk stockings, dressed ridiculously and tastelessly. His desire to acquire the title clouded his eyes on everything around him. Quickly recognizing that all the nobles are scientists, Mr. Jourdain also decided to take up his education, hiring a teacher of dance, music, fencing and a philosopher for this. At the very beginning of the comedy, one of the heroes of the play utters the following words: “Of course, Mr. Jourdain is a man without any education, He talks about everything without any sense and is delighted only with nonsense. But for his money you can forgive him for any stupidity; understanding of things is in his purse, and the praises of this man are money.” These words perfectly characterize the main character of the comedy. Mr Jourdain. At the very beginning of the work, when the reader has just met the music teachers, Mr. Jourdain enters the room where, in fact, most of the comedy took place. Jean-Baptiste Moliere begins with wit to describe all those phrases that Jourdain uttered with extraordinary pride. For example, about how Jourdain wants to look like noble people and for this he bought himself silk stockings, which he later barely pulled on. Or with what stupidest and most amusing arrogance he called: “Lakey! Oh no! Another lackey! “People like Monsieur Jourdain are commonly referred to as purses. The main thing is to convince such a person that he is the best, like a nobleman, and only then gradually shake money out of him. For example, Jourdain almost gave all his money to an apprentice tailor just because he decided to call him “Your Grace”, “Your Grace” and “Your Excellency”. At the end, he even said, “Oh, thank God he's gone! Otherwise, if he had reached Your Highness, I would have gone bankrupt.” Yes ... Such people are a godsend for those who really need money. Mr. Jourdain is ready to give his money to anyone who even hints at anything related to the nobility: from the tailor's apprentice, who almost called him "Your Highness", and ending with another comedy hero - Dorant, who endlessly borrowed Jourdain has the money, all the while saying: “Today I spoke about you in the apartments of the king,” after which Jourdain already had his wallet ready.
And here is another amusing phrase of the “scientist” Jourdain: “Nicole, you don’t even know how to pronounce the letter u,” Mr. Jourdain said with importance to his maid, “oh, what a misfortune to deal with fools! You see, you pull your lips forward and bring the upper jaw closer to the lower one” This phrase perfectly proves how Mr. Jourdain was “educated”.
He was just as enlightened in the knowledge of philosophy, dance, music and fencing. Speaking of the last science - once Nicole almost hurt Jourdain when he decided to prove to the "uneducated woman" his skill in the field of fencing. The unfortunate maid almost got fired!
But the worst thing in this comedy was Jourdain's daughter Lucille - once her fiancé came to his formidable father
Mr. Jourdain is the main character in Molière's comedy "The Bourgeoisie in the Nobility", a bourgeois who dreams of becoming a nobleman. Jourdain has a cherished dream - to learn secular manners and become a real aristocrat. To do this, he hires a host of teachers, tailors, hairdressers, musicians, etc. He does not skimp and spends a lot of money on their services, for which they promise to make him a real nobleman. This brings endless inconvenience to his household, but pleases the workers. They are ready to call him "Your Grace", "Your Grace", praise his ridiculous outfits and songs, just to get a generous payment. Jourdain himself is not an educated person, ignorant, with rude manners, but with a claim to the nobility. For readers and viewers, it rather causes not neglect, but laughter.
Vanity pushes him to waste. Everyone is borrowed from him, including Count Dorant, whom Madame Jourdain calls "a cash cow." Having fallen in love with the widow Marquise Dorimena, he gives her diamonds, arranges receptions and performances. He asks teachers to teach him how to bow to ladies correctly, how to write love notes. Meanwhile, the cunning Dorant attributes all these insane expenses to himself, which wins the heart of Dorimena. Blinded by the dream of becoming a nobleman, Jourdain is ready to interfere with the personal happiness of his only daughter. Young Cleont, who asks for her hand, is not a nobleman by blood, which is why Jourdain refuses him. However, Coviel, playing on Jourdain's vanity, later introduces Cleont as the heir to the Turkish sultan, madly in love with his daughter.
This is a man completely captured by one dream - to become a nobleman. The opportunity to approach noble people is happiness for him, all his ambition is to achieve similarity with them, his whole life is the desire to imitate them. The thought of the nobility takes possession of him completely, in this mental blindness of his, he loses all correct idea of the world. He acts without reasoning, to his own detriment. He reaches mental baseness and begins to be ashamed of his parents. He is fooled by everyone who wants to; he is robbed by teachers of music, dancing, fencing, philosophy, tailors and various apprentices. Rudeness, bad manners, ignorance, vulgarity of the language and manners of Mr. Jourdain comically contrast with his claims to noble elegance and gloss. But Jourdain causes laughter, not disgust, because, unlike other similar upstarts, he bows to the nobility disinterestedly, out of ignorance, as a kind of dream of beauty.
Mr. Jourdain is opposed by his wife, a true representative of the bourgeoisie. This is a sensible practical woman with self-esteem. She is trying with all her might to resist her husband's mania, his inappropriate claims, and most importantly, to clear the house of uninvited guests who live off Jourdain and exploit his gullibility and vanity. Unlike her husband, she does not have any respect for the title of nobility and prefers to marry her daughter to a man who would be her equal and would not look down on the bourgeois relatives. The younger generation - Jourdain's daughter Lucille and her fiancé Cleont - are people of a new type. Lucille has received a good upbringing, she loves Cleont for his virtues. Cleon is noble, but not by origin, but by character and moral properties: honest, truthful, loving, he can be useful to society and the state.
Who are those whom Jourdain wants to imitate? Count Dorant and Marquise Dorimena are people of noble birth, they have refined manners, captivating politeness. But the count is a poor adventurer, a swindler, ready for any meanness for the sake of money, even pandering. Dorimena, together with Dorant, robs Jourdain. The conclusion to which Molière brings the viewer is obvious: let Jourdain be ignorant and simple, let him be ridiculous, selfish, but he is an honest man, and there is nothing to despise him for. In moral terms, Jourdain, gullible and naive in his dreams, is higher than aristocrats. So the comedy-ballet, the original purpose of which was to entertain the king in his castle of Chambord, where he went hunting, became, under the pen of Molière, a satirical, social work.
In the work of Molière, there are several themes that he repeatedly addressed, developing and deepening them. Among them are the theme of hypocrisy (“Tartuffe”, “Don Juan”, “Misanthrope”, “The Imaginary Sick”, etc.), the theme of the tradesman in the nobility (“School of Wives”, “George Danden”, “The tradesman in the nobility” ), the theme of family, marriage, upbringing, education. The first comedy on this subject, as we remember, was "The Ridiculous Pretenders", it was continued in the "School of Husbands" and "School of Wives", and completed in the comedy "Learned Women" (1672), which ridicules the outward passion for science and philosophy in Parisian salons of the second half of the 17th century. Moliere shows how a secular literary salon turns into a "scientific academy", where vanity and pedantry are valued, where they try to cover up the vulgarity and barrenness of the mind with claims for the correctness and elegance of the language (II, 6, 7; III, 2).
A superficial fascination with the philosophy of Plato or the mechanics of Descartes prevents women from fulfilling their immediate basic duties of wife, mother, mistress of the house. Molière saw this as a social danger. He laughs at the behavior of his pseudo-scientific heroines - Filamintha, Belize, Armande. But he admires Henrietta, a woman of a clear sober mind and by no means ignorant. Of course, Moliere does not ridicule here science and philosophy, but a fruitless game in them, which is detrimental to a practical, sound outlook on life.
The last work of Moliere, constantly reminding us of his tragic personal fate, was the comedy The Imaginary Sick (1673), in which the mortally ill Moliere played the main role. Like earlier comedies (“Love the Healer”, 1665; “The Unwilling Doctor”, 1666), “The Imaginary Sick” is a mockery of modern doctors, their quackery, complete ignorance, as well as their victim - Argan. Medicine in those days was based not on the experimental study of nature, but on scholastic speculations based on authorities that were no longer believed. But, on the other hand, Argan, a maniac who likes to see himself sick, is an egoist, a petty tyrant. He is opposed by the selfishness of his second wife, Belina, a hypocritical and mercenary woman. In this comedy of characters and manners, the fear of death is depicted, which completely paralyzed Argan. Blindly believing ignorant doctors, Argan easily succumbs to deception - he is a stupid, deceived husband; but he is also a tough, angry, unfair person, a cruel father. Moliere showed here, as in other comedies, a deviation from the generally accepted norms of behavior that destroys the individual.
The playwright died after the fourth performance of the play, he felt ill on stage and barely finished the play. On the same night, February 17, 1673, Molière passed away. The burial of Moliere, who died without church repentance and did not renounce the "shameful" profession of an actor, turned into a public scandal. The Parisian archbishop, who did not forgive Molière for Tartuffe, did not allow the great writer to be buried according to the accepted church rite. It took the intervention of the king. The funeral took place late in the evening, without proper ceremonies, outside the cemetery fence, where obscure vagabonds and suicides were usually buried. However, behind the coffin of Moliere, along with relatives, friends, colleagues, there was a large crowd of ordinary people, whose opinion Moliere listened to so subtly.
No wonder Boileau, who highly appreciated the work of Moliere, accused his friend of being "too popular." The folk character of Molière's comedies, which manifested itself both in their content and in their form, was based primarily on the folk traditions of the farce. Moliere followed these traditions in his literary and acting work, maintaining a passion for the democratic theater all his life. The nationality of Molière's work is also evidenced by his folk characters. These are, first of all, the servants: Mascaril, Sganarelle, Sozy, Scapin, Dorina, Nicole, Toinette. It was in their images that Moliere expressed the characteristic features of the national French character: cheerfulness, sociability, friendliness, wit, dexterity, prowess, common sense.
In addition, in his comedies, Molière depicted peasants and peasant life with genuine sympathy (recall the scenes in the village in The Unwilling Doctor or Don Juan). The language of Molière's comedies also testifies to their true nationality: it often contains folklore material - proverbs, sayings, beliefs, folk songs that attracted Molière with spontaneity, simplicity, sincerity ("Misanthrope", "Philiston in the nobility"). Molière boldly used dialectisms, folk patois (dialect), various vernaculars, turns that were incorrect from the point of view of strict grammar. Wits, folk humor give Molière's comedies a unique charm.
Describing the work of Molière, researchers often argue that in his works he "went beyond the limits of classicism." In this case, they usually refer to deviations from the formal rules of classicist poetics (for example, in Don Juan or some comedies of a farcical type). One cannot agree with this. The rules for constructing comedy were not interpreted as strictly as the rules for tragedy, and allowed for wider variation. Molière is the most significant and most characteristic comedian of classicism. Sharing the principles of classicism as an artistic system, Moliere made genuine discoveries in the field of comedy. He demanded to faithfully reflect reality, preferring to go from direct observation of life phenomena to the creation of typical characters. These characters under the playwright's pen acquire social certainty; many of his observations therefore turned out to be prophetic: such, for example, is the depiction of the peculiarities of bourgeois psychology.
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