Moliere (Jean-Baptiste Poquelin) A tradesman among the nobility. "a tradesman in the nobility Jean Baptiste Moliere a tradesman in

26.02.2021

It would seem, what else does the venerable bourgeois Mr. Jourdain need? Money, family, health - he has everything you could want. But no, Jourdain decided to become an aristocrat, to become like noble gentlemen. His mania caused a lot of inconvenience and unrest for the household, but it was beneficial to a host of tailors, hairdressers and teachers, who promised to use their art to make a brilliant noble gentleman out of Jourdain. So now two teachers - dance and music - together with their students were waiting for the owner of the house to appear. Jourdain invited them to decorate the dinner he was throwing in honor of a titled person with a cheerful and elegant performance.

Presenting himself before the musician and dancer, Jourdain first of all invited them to evaluate his exotic robe - the kind, according to his tailor, all the nobility wear in the morning - and the new liveries of his lackeys. Apparently, the size of the connoisseurs' future fees directly depended on the assessment of Jourdain's taste, which is why the reviews were enthusiastic.

The robe, however, caused some hesitation, since Jourdain could not decide for a long time how it would be more convenient for him to listen to music - with or without it. Having listened to the serenade, he found it a bit bland and, in turn, performed a lively street song, for which he again received praise and an invitation, in addition to other sciences, to also study music and dancing. Jourdain was convinced to accept this invitation by the teachers’ assurances that every noble gentleman would certainly learn both music and dancing.

A pastoral dialogue was prepared for the upcoming reception by the music teacher. Jourdain, in general, liked it: since you can’t do without these eternal shepherdesses and shepherdesses, okay, let them sing to themselves. Jourdain really liked the ballet presented by the dance teacher and his students.

Inspired by the success of the employer, the teachers decided to strike while the iron was hot: the musician advised Jourdain to organize weekly home concerts, as is done, according to him, in all aristocratic houses; the dance teacher immediately began to teach him the most exquisite of dances - the minuet.

Exercises in graceful body movements were interrupted by a fencing teacher, a teacher of science - the ability to deliver blows, but not receive them himself. The dance teacher and his fellow musician unanimously disagreed with the fencer's statement about the absolute priority of the ability to fight over their time-honored arts. The people got carried away, word for word - and a couple of minutes later a fight broke out between three teachers.

When the philosophy teacher arrived, Jourdain was delighted - who else but the philosopher should admonish the fighting. He willingly took up the task of reconciliation: he remembered Seneca, warned his opponents against anger that demeans human dignity, advised him to take up philosophy, this first of the sciences... Here he went too far. They began to beat him like the others.

The battered, but still uninjured philosophy teacher was finally able to begin his lesson. Since Jourdain refused to study both logic - the words there are too tricky - and ethics - why does he need the science to moderate passions, if it doesn’t matter, once he breaks up, nothing will stop him - the learned man began to initiate him into the secrets of spelling.

Practicing the pronunciation of vowel sounds, Jourdain rejoiced like a child, but when the first delight passed, he revealed a big secret to the philosophy teacher: he, Jourdain, is in love with a certain high-society lady, and he needs to write a note to this lady. For a philosopher this was a piece of cake - in prose or poetry. However, Jourdain asked him to do without this very prose and poetry. Did the respectable bourgeois know that here one of the most stunning discoveries in his life awaited him - it turns out that when he shouted to the maid: “Nicole, give me your shoes and nightcap,” the purest prose came from his lips, just think!

However, in the field of literature, Jourdain was still no stranger - no matter how hard the philosophy teacher tried, he was unable to improve the text composed by Jourdain: “Beautiful Marquise! Your beautiful eyes promise me death from love.”

The philosopher had to leave when Jourdain was informed about the tailor. He brought a new suit, made, naturally, according to the latest court fashion. The tailor's apprentices, while dancing, made a new one and, without interrupting the dance, dressed Jourdain in it. At the same time, his wallet suffered greatly: the apprentices did not skimp on flattering “Your Grace,” “Your Excellency,” and even “Your Lordship,” and the extremely touched Jourdain did not skimp on tips.

In a new suit, Jourdain intended to stroll through the streets of Paris, but his wife resolutely opposed his intention - half the city was already laughing at Jourdain. In general, in her opinion, it was time for him to come to his senses and leave his stupid quirks: why, one might ask, does Jourdain fencing if he does not intend to kill anyone? Why learn to dance when your legs are about to give out anyway?

Objecting to the woman’s senseless arguments, Jourdain tried to impress her and the maid with the fruits of his learning, but without much success: Nicole calmly pronounced the sound “u”, not even suspecting that at the same time she was stretching her lips and bringing the upper jaw closer to the lower one, and with a rapier she easily struck Jourdain received several injections, which he did not deflect, since the unenlightened maid did not inject according to the rules.

For all the nonsense that her husband indulged in, Madame Jourdain blamed the noble gentlemen who had recently begun to make friends with him. For the court dandies, Jourdain was an ordinary cash cow, and he, in turn, was confident that friendship with them would give him significant—what’s their name—pre-ro-ga-tives.

One of these high-society friends of Jourdain was Count Dorant. As soon as he entered the drawing room, this aristocrat paid several exquisite compliments to the new suit, and then briefly mentioned that this morning he had spoken about Jourdain in the royal bedchamber. Having prepared the ground in this manner, the count reminded him that he owed his friend fifteen thousand eight hundred livres, so there was a direct reason for him to lend him another two thousand two hundred - for good measure. In gratitude for this and subsequent loans, Dorant took on the role of intermediary in matters of the heart between Jourdain and the object of his worship - the Marchioness Dorimena, for whose sake the dinner with the performance was started.

Madame Jourdain, so as not to be disturbed, was sent to her sister for lunch that day. She knew nothing about her husband’s plan, but she herself was concerned about the fate of her daughter: Lucille seemed to reciprocate the tender feelings of a young man named Cleont, who, as a son-in-law, was very suitable for Madame Jourdain. At her request, Nicole, interested in the young lady’s marriage, since she herself was going to marry Cleont’s servant, Koviel, brought the young man. Madame Jourdain immediately sent him to her husband to ask for her daughter's hand in marriage.

However, Cleont did not meet Jourdain’s first and, in fact, only requirement for the applicant for Lucille’s hand - he was not a nobleman, while the father wanted to make his daughter, at worst, a marquise, or even a duchess. Having received a decisive refusal, Cleont became despondent, but Koviel believed that all was not lost. The faithful servant decided to play a joke with Jourdain, since he had actor friends and the appropriate costumes were at hand.

Meanwhile, the arrival of Count Dorant and Marchioness Dorimena was reported. The count brought the lady to dinner not at all out of a desire to please the owner of the house: he himself had been courting the widow marquise for a long time, but did not have the opportunity to see her either at her place or at his place - this could compromise Dorimena. In addition, he cleverly attributed all of Jourdain’s crazy spending on gifts and various entertainments for her to himself, which ultimately won a woman’s heart.

Having greatly amused the noble guests with an elaborate, awkward bow and the same welcoming speech, Jourdain invited them to a luxurious table.

The Marquise, not without pleasure, devoured exquisite dishes to the accompaniment of the exotic compliments of the eccentric bourgeois, when all the splendor was unexpectedly disrupted by the appearance of the angry Madame Jourdain. Now she understood why they wanted to send her to dinner with her sister - so that her hubby could calmly waste money with strangers. Jourdain and Dorant began to assure her that the dinner in honor of the Marquise was being given by the count, and he was paying for everything, but their assurances in no way moderated the ardor of the offended wife. After her husband, Madame Jourdain took on the guest, who should have been ashamed to bring discord into an honest family. The embarrassed and offended marquise got up from the table and left the hosts; Dorant followed her away.

Only the noble gentlemen had left when a new visitor was reported. It turned out to be Koviel in disguise, introducing himself as a friend of Mr. Jourdain’s father. The late father of the owner of the house was, according to him, not a merchant, as everyone around him said, but a real nobleman. Coviel’s calculation was justified: after such a statement, he could say anything without fear that Jourdain would doubt the veracity of his speeches.

Koviel told Jourdain that his good friend, the son of the Turkish Sultan, had arrived in Paris, madly in love with his, Jourdain’s, daughter. The Sultan's son wants to ask for Lucille's hand in marriage, and in order for his father-in-law to be worthy of his new relatives, he decided to initiate him into mamamushi, in our opinion - paladins. Jourdain was delighted.

The son of the Turkish Sultan was represented by Cleont in disguise. He spoke in terrible gibberish, which Koviel allegedly translated into French. The appointed muftis and dervishes arrived with the main Turk, who had a lot of fun during the initiation ceremony: it turned out to be very colorful, with Turkish music, songs and dances, as well as with the ritual beating of the initiate with sticks.

Dorant, privy to Koviel's plan, finally managed to persuade Dorimena to return, tempting her with the opportunity to enjoy a funny spectacle, and then also an excellent ballet. The count and marquise, with the most serious air, congratulated Jourdain on conferring a high title on him, and they were also impatient to hand over their daughter to the son of the Turkish Sultan as soon as possible. At first, Lucille did not want to marry the Turkish jester, but as soon as she recognized him as Cleonte in disguise, she immediately agreed, pretending that she was dutifully fulfilling her daughter’s duty. Madame Jourdain, in turn, sternly declared that the Turkish scarecrow could not see her daughter like his own ears. But as soon as Koviel whispered a few words in her ear, the mother changed her anger to mercy.

Jourdain solemnly joined the hands of the young man and the girl, giving a parental blessing for their marriage, and then they sent for a notary. Another couple, Dorant and Dorimena, decided to use the services of the same notary. While waiting for the representative of the law, everyone present had a wonderful time enjoying the ballet choreographed by the dance teacher.

Retold

Jean Baptiste Moliere

A tradesman among the nobility. Imaginary patient (collection)

Tradesman in the nobility

Comedy characters

MR JOURDAIN is a tradesman.

MADAME JOURDAIN is his wife.

LUCILLE is their daughter.

CLEONTE is a young man in love with Lucille.

DORIMENA Marquise.

DORANT Count, in love with Dorimena.

NICOLE is a maid in Mr. Jourdain's house.

KOVIEL servant of Cleont.

MUSIC TEACHER.

MUSIC TEACHER'S STUDENT.

DANCE TEACHER.

FENCING TEACHER.

PHILOSOPHY TEACHER.

MUSICIANS.

Tailor's Apprentice.

TWO LACKEYS.

THREE PAGES.

BALLET CHARACTERS

IN THE FIRST ACT

Singer. Two singers. Dancers.

IN THE SECOND ACT

Tailor's apprentices (dancing).

IN ACT THIRD

Cooks (dancing).

IN ACT FOUR

Mufti. Turks, Mufti's retinue (singing). Dervishes (singing). Turks (dancing).

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

Act one

The overture is performed by a variety of instruments; in the middle of the scene at the table, a MUSIC TEACHER'S STUDENT is composing a melody for a serenade ordered by Mr. Jourdain.

First appearance

A music teacher, a dance teacher, two singers, a singer, two violinists, four dancers.

MUSIC TEACHER (singers and musicians). Come here, to this hall; rest until he arrives.

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 to compose music for a serenade while our eccentric woke up.

DANCE TEACHER. Can I have a look?

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

DANCE TEACHER. Now you and I have things going over our heads.

MUSIC TEACHER. Still would! We found exactly the person we needed. Mr. Jourdain, with his obsession with the nobility and social manners, is just a treasure for us. If everyone became 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 explain to him.

MUSIC TEACHER. He doesn’t understand them well, but he pays well, and our arts need nothing more now than this.

DANCE TEACHER. I admit, I'm 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 - this, in my opinion, is 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 this, 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 way to reward someone is to put something in your hand. Frankly speaking, our master’s knowledge is not great, he judges everything crookedly and at random and applauds where he should not, but money straightens the crookedness of his judgments, his common sense is in his wallet, his praises are minted in the form of coins, so from this ignorant The tradesman, as you see, is of much more use to us than the 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 special inclination towards it.

MUSIC TEACHER. However, you calmly take money from our eccentric.

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

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

DANCE TEACHER. And here he is.

Second phenomenon

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

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

DANCE TEACHER. What? What trinket?

Mr. JOURDAIN. Well, this one... What do you call it? It's either a prologue or a dialogue with songs and dances.

DANCE TEACHER. ABOUT! ABOUT!

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

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

MUSIC TEACHER. We are entirely at your service.

Mr. JOURDAIN. I ask you both not to leave until they bring me my new suit: I want you to look at me.

DANCE TEACHER. As you wish.

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

MUSIC TEACHER. We have no doubt about this.

Mr. JOURDAIN. I made myself a robe from Indian fabric.

DANCE TEACHER. Great robe.

Mr. JOURDAIN. My tailor assures me that all the nobles wear such robes in the morning.

MUSIC TEACHER. It suits you amazingly.

Mr. JOURDAIN. Lackey! Hey, my two lackeys!

FIRST LACKEY. What do you order, sir?

Mr. JOURDAIN. I won't order anything. I just wanted to check how you obey me. How do you like their liveries?

DANCE TEACHER. Magnificent liveries.

Mr. JOURDAIN (opens his robe; underneath he has tight red velvet trousers and a green velvet camisole). And here is my home suit for morning exercises.

MUSIC TEACHER. Abyss of taste!

Mr. JOURDAIN. Lackey!

FIRST LOOKEY. Anything, sir?

Mr. JOURDAIN. Another lackey!

SECOND LOOKEY. Anything, sir?

Mr. JOURDAIN (takes off his robe). Hold it. (To the music teacher and dance teacher.) Well, am I good in this outfit?

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

Mr. JOURDAIN. Now let's get busy 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 abilities for such things.

Mr. JOURDAIN. It may very well be, but still you shouldn’t have entrusted this to a student. It remains to be seen whether you yourself are suitable for such a task, let alone a student.

MUSIC TEACHER. The word "student" should not confuse you, sir. Students of this kind understand music no less than great masters. In fact, you couldn’t imagine a more wonderful motive. Just listen.

Act one

First appearance

The music teacher invites singers and musicians to sit in the hall and relax until the owner arrives. The dance teacher offers the same to the dancers. The music teacher tells the dance teacher that Mister Jourdain, who is obsessed with the nobility, is just a treasure for them.

The dance teacher admits that he is offended “to submit his creation to the judgment of a fool” (he meant Mr. Jourdain). The music teacher does not agree with him and says that it is good when, in addition to the praise of enlightened people, a person of art also receives money.

Second phenomenon

Monsieur Jourdain enters in a dressing gown and nightcap. He asks those gathered to show him “either a prologue or a dialogue with songs and dances.” Jourdain explains his lateness by saying that he could not put on new tight silk stockings, because he now dresses the way nobles dress. He asks both teachers not to leave until they bring a new suit. Jourdain wants teachers to look at him in his new clothes.

Mr. Jourdain wore a robe made of Indian fabric because all the nobles wear such robe in the morning. Suddenly, interrupting the conversation, Jourdain calls two lackeys, but does not give them orders, explaining that he called them to check how they obey him.Jourdain is considering whether to listen to music in a dressing gown or without a dressing gown, then finally decides that it would be better in a dressing gown.

Jourdain listens to a lyrical song about love, interrupts the singing and says that the tune needs to be made more fun. As an example, he cites a banal song about a sheep.Having learned that noble gentlemen also study music, Jourdain decides that he himself needs it.The music teacher and dance teacher encourage Jourdain to master these arts, explaining that they are the most important in the world.The singer and two singers begin to perform a piece about love. Next, the dance teacher offers to watch a ballet.

Act two

First appearance

Mr. Jourdain says that the ballet, composed especially for him, could not have come at a better time, because a distinguished guest will come to him today.The music teacher advises Mr. Jourdain to give concerts on Wednesdays and Thursdays, as is done in all noble houses.Hearing that the nobles are giving concerts, Jourdain immediately agrees with the music teacher's proposal.Jourdain dances a minuet and asks to be taught how to bow to the Marquise. The dance teacher explains to Mr. Jourdain what a respectful bow should be.

Second phenomenon

The footman reports that the fencing teacher has arrived.Mister Jourdain asks the dance teacher and music teacher to stay to observe the lesson.

The third phenomenon

The fencing teacher begins the lesson. He explains to Mr. Jourdain that the main thing in the art of fencing is to deliver blows and not receive them. From this, the fencing teacher concludes that his art is superior to others, calling dancing and music useless sciences. The music teacher and dance teacher are outraged by this attitude.

A fencing teacher calls a music teacher a “musician,” a dance teacher a “dancer,” and in return he himself receives the nickname “fighter.” The dance teacher almost started a fight with the fencing teacher.Mr. Jourdain is trying to separate the quarrels.

The fourth phenomenon

The philosophy teacher enters. Mr. Jourdain asks him to reconcile the quarreling gentlemen teachers. The philosopher says that “the best response to bullying is restraint and patience.” Each tells the philosopher that his art is the most important, but the philosophy teacher declares that all three are impudent, because their arts cannot even compare with the most important science - philosophy.A fight between all four teachers begins.

Fifth appearance

Mr. Jourdain says that he is not going to separate the fighting, otherwise he will tear his new robe.

Appearance Six

The philosophy teacher returns and is ready to begin the lesson. Mr. Jourdain says that he is annoyed that everything turned out this way. Mr. Jourdain explains to the philosopher that he wants to learn everything, because he only knows how to read and write. The philosopher suggests starting your studies by mastering logic and explains its basic concepts.

Mr. Jourdain didn’t like the logic (“The words are too tricky. No, logic doesn’t suit me. Something more enticing would be better.”)Mr. Jourdain also refuses ethics, saying that he is too hot-tempered for this. Physics also does not attract Jourdain.In the end, Jourdain asks the philosophy teacher to study spelling with him, to which he gladly agrees. Jourdain, following the teacher, learns to pronounce sounds (vowels and consonants).

After interrupting the lesson, Mr. Jourdain asks the philosophy teacher to help him write a note to a noble lady with whom Mr. Jourdain is in love. Jourdain cannot explain whether he wants to write a note in prose or poetry, since he does not know the definitions of either one.In the note, Jourdain wants to write the following: “Beautiful marquise! Your beautiful eyes promise me death from love.”

The philosophy teacher offers options for declarations of love, but the stubborn Jourdain, who does not want to change the text of the note, does not like all of them. In the end, the philosophy teacher praises Jourdain's taste and says that this is exactly how a message to a woman should be written.Jourdain remains quite pleased with himself.

Seventh Appearance

Mr. Jourdain is nervous because he has not yet received a new suit and scolds the tailor.

The eighth phenomenon

The tailor brings a suit. Jourdain complains that the stockings sent by the tailor are too tight and the shoes are too tight.The tailor convinces Jourdain that this is the way it should be. He agrees.Mr. Jourdain asks the musicians to come in so that they can put on a new costume while they play.

Appearance Ninth

The apprentices dancing to the music dress Mister Jourdain. The apprentice asks Mr. Jourdain to give him some money so that they can drink to his health. At the same time, the apprentice called Jourdain “Your Grace.” Hearing this, Jourdain immediately gave money and decided that it was because of the new suit that he was given such a flattering name. The apprentice calls Jourdain “Your Excellency” in gratitude, and then “Your Grace.”For each of these requests, Jourdain gives the apprentices money, almost giving away everything he had with him.

Act three

First appearance

Mister Jourdain decided to walk around the city in a new suit, accompanied by lackeys (so that everyone could see that he has lackeys).

Second phenomenon

The maid Nicole comes in and doesn’t hold back and laughs at the sight of her master in a new suit. She says that Jourdain looks so funny that she can’t help but laugh. Mr. Jourdain threatened to slap her if she didn't stop laughing.Jourdain orders Nicole to clean the house before the guests arrive.

The third phenomenon

Madame Jourdain tells her husband that his clothes and behavior have long made everyone laugh. Nicole supports the owner, saying that it will be impossible to keep the house clean if so many people come here every day. Madame Jourdain and Nicole ask Mr. Jourdain why he needed fencing and dancing teachers at his age.Jourdain calls women ignorant, and his wife says that it would be better if he got his daughter married.

Mr. Jourdain boasts to his wife about his knowledge (he now knows that people speak in prose, and also knows how to pronounce the sound “u”).Nicole especially doesn't like the fencing teacher, who leaves a lot of dust.

Mr. Jourdain immediately demands to hand over the rapiers, hands one to Nicole and prepares to defend himself. Nicole easily stabbed Mr. Jourdain several times with her rapier.His wife says that all this nonsense with Jourdain began from the time he hung out with nobles, although he himself is a tradesman. Madame Jourdain explains to her husband that all these noble gentlemen are affectionate with him only because they borrow money, like the Count, for example, from Jourdain.

The graph appears.

The fourth phenomenon

Count Dorant greets Jourdain, calling him “dear friend.”The Count praises Jourdain's new suit and gives him a lot of compliments.Dorant says that he spoke about Jourdain in the royal bedchamber.The Count asks to calculate how much he owes Mr. Jourdain. He replies that the debt is fifteen thousand eight hundred livres. The Count asks to lend him another two hundred pistoles for an even sum, so that it turns out to be exactly eighteen thousand francs.His wife quietly calls Jourdain a “cash cow” and demands that he not lend money.Count Jourdain replies that it is an honor for him to lend money to the count, and goes to get the money.

Fifth appearance

The Count asks Madame Jourdain about her daughter and suggests visiting the court ballet and watching a comedy.

Appearance Six

Mister Jourdain gives Dorant two hundred louis. The Count informs Jourdain that the Marquise will soon come to dinner and attend the performance that Jourdain is organizing for her. The Marquise, according to Dorant, for a long time refused the diamond given by Jourdain, but eventually accepted the gift.Jourdain is grateful to the count for his sincere participation in his heartfelt affairs.Mr. Jourdain noticed that Nicole was eavesdropping on them, slapped her in the face and left with the count.

Seventh Appearance

Nicole told the hostess about everything she heard. Mrs. Jourdain says that she has long suspected that her hubby is hitting on someone. But then Madame Jourdain changes the topic of conversation. She says that Cleont is madly in love with her daughter, and it would be good if she could marry Lucille to him.Nicole is delighted because she is in love with the servant Cleontes.Madame Jourdain sends Nicole to Cleonte to ask Mr. Jourdain for Lucille's hand in marriage.

The eighth phenomenon

Nicole is about to tell Cleont the good news, but Cleont and his servant Koviel drive Nicole away without listening to her.

Appearance Ninth

Cleont was outraged that when he met Lucille, she walked by as if she had not noticed him. Koviel is offended by Nicole for this: she also passed by without noticing him.Cleont suspects that Lucille has been turned by Count Dorant, who often visits their house.Koviel criticizes Lucille: her eyes are small, her mouth is large, she is not tall, “she is deliberately careless in her speech and movements.”Cleont responds to all this that Lucille is charming, but promises himself to stop loving her and leave her.

The tenth phenomenon

Nicole told Lucille about how she was driven away.The girls meet Cleont and Koviel. Lucille asks why Cleont is so harsh with her. Nicole is interested in the same thing. Lucille herself explains why she avoided meeting with Cleont this morning.Both refuse to listen to the girls, but then, when they are about to leave, they themselves ask to tell what really happened during the morning meeting.Lucille explained that her old aunt, who was walking with them, was to blame for everything. The aunt is sure that if a man approached a woman, then he had already dishonored her in this way.Cleont and Koviel immediately forgave their lovers.

Appearance eleventh

Madame Jourdain greets Cleonte and says that now is a good opportunity to ask Lucille’s hand in marriage from her husband. Cleont is happy that he has such an opportunity.

Appearance Twelfth

Cleont turns to Mr. Jourdain with a request to marry Lucille to him. Mister Jourdain: “Before I give you an answer, sir, I will ask you to tell me whether you are a nobleman or not.” Cleont replies that words are cheap now, people often pretend to be nobles, but he will not do this. And although he is wealthy and has a good position in society, and his ancestors were respected people, he still has no right to consider himself a nobleman. Mr. Jourdain says that in this case he will not marry his daughter to him. Jourdain's wife is outraged by this answer, Cleont is amazed. It turns out that Jourdain wants his daughter to be a marquise.

Appearance thirteen

Madame Jourdain calms Cleonte down and tells her daughter that her father needs to set a condition: Lucille will not marry anyone but Cleonte.

Appearance fourteen

Servant Cleonta Koviel explains to the owner that Lucille’s father cannot be taken so seriously, because he is obsessed with the nobility. Koviel immediately comes up with some kind of idea, announcing to the owner that they will play one joke with Mr. Jourdain, after which he will marry Lucille to Cleonte.

Appearance fifteenth

Mister Jourdain tells himself that he would allow two fingers on his hand to be cut off if only he could be born a count or a marquis.

Appearance sixteen

The footman reports to Mr. Jourdain that the count has arrived with some lady.

Appearance seventeenth

The footman tells Count Dorant and Dorimena that Mr. Jourdain will now come out to them.

The Eighteenth Appearance

Dorimena doubts that it was worth coming to this house. Dorant tells Marquise Dorimena about his love for her, that since they cannot meet at his or her place to avoid publicity, then this house is the best refuge.

Dorimena admits that the Count's gifts are too expensive (Dorant made gifts on his own behalf, receiving them from Mr. Jourdain). The Marquise even says that Dorant is about to persuade her to marry him. The Count invites the Marquise to take this step now. Dorimena is embarrassed that the Count is spending too much on her.The owner of the house enters.

Appearance nineteen

Mr. Jourdain makes bows, as the dance teacher explained to him, but he came too close to the Marquise and asks her to step back a little so that he can make a third bow. Then Jourdain expressed admiration that such a beautiful marquise visited his house. At the end of his speech he became completely confused and was interrupted by Count Dorant.The Count quietly reminds Jourdain not to let it slip about the diamond given to Doriman.

The twentieth phenomenon

Everyone goes to the table.

Act four

First appearance

Dorimena tells Dorant that this is not a dinner, but a luxurious feast. Dorant replies that he ordered lunch himself, but still all these treats are not worthy of Dorimena.Mister Jourdain admires the marquise's hands out loud. Dorimena praises the diamond she has on her finger out loud. Count Dorant continually interrupts Mr. Jourdain when he tries to compliment Dorimene. The show begins.

Second phenomenon

Suddenly, Madame Jourdain appears, whom her husband sent to her sister because of Dorimena’s visit. Dorant tells Madame Jourdain that it is not her husband who is hosting the dinner. Lunch is given by the count, and Mr. Jourdain allegedly only provided his house for this.

Jourdain immediately confirms Dorant’s words to reassure his wife. Madame Jourdain, in response to all these explanations, shamed the marquise, saying that it was completely unbecoming for such an important lady as Dorimena to allow a married man to drag her along (she meant her husband Jourdain). Dorimena is outraged and offended by Dorant for bringing her to this house. The Marquise leaves, Dorant follows her.

The third phenomenon

Jourdain scolds his wife for driving such noble gentlemen out of his house. Madame Jourdain replies that she does not care about their nobility.

The fourth phenomenon

Mr. Jourdain laments the unsuccessful return of his wife.

Fifth appearance

The disguised servant Cleonta Koviel comes to Jourdain and introduces himself as a close friend of his late father. Koviel says that he knew Jourdain as a child. Then Koviel says that Jourdain’s father was a real nobleman, and agrees to testify to this in front of everyone.

Koviel informs Jourdain that the son of the Turkish Sultan is in love with Jourdain’s daughter and wants to marry her. Koviel comes up with ridiculous words on the fly, explaining to Jourdain that these are Turkish expressions. Jourdain tries to remember all these words.

The guest says that the son of the Turkish Sultan came to ask for Lucille’s hand in marriage and wants to initiate Jourdain into mamamushi (Koviel himself came up with the word, explaining that this means becoming a respectable nobleman). Jourdain agrees to everything.

Appearance Six

Cleont appears, dressed as a Turk, along with his pages. Cleont utters meaningless words, and Koviel translates them supposedly from Turkish. Jourdain believes everything and agrees to prepare for the mamamushi initiation ceremony.

Seventh Appearance

Koviel laughs at Jourdain's stupidity.

The eighth phenomenon

Koviel invites the visiting Count Dorant to take part in the comedy that he started with Mr. Jourdain in order to marry Cleont to Lucille. Dorant agrees.

Appearance Ninth

The Turkish ceremony begins with music and dancing.

The tenth phenomenon

Monsieur Jourdain appears with a shaved head, dressed as a Turk. The mufti, leading the ceremony in a broken language with mistakes that he makes on purpose, begins the initiation.

Appearance eleventh

The ceremony continues. In a strange language, disguised actors act out the mamamushi initiation. Jourdain believes everything.

Appearance Twelfth

The Turks sing and dance.

Appearance thirteen

During the ceremony, Mr. Jourdain is placed on his knees so that his hands touch the ground, and the Koran is placed on his back. The mufti, clowning and mocking, allegedly conducts the ceremony. In the end, Jourdain is declared a nobleman and given a saber. Then the dancing Turks, supposedly continuing the initiation ceremony, beat Jourdain with the flat of their sabers, then they beat him with sticks. Eventually everyone leaves.

Act five

First appearance

Madame Jourdain appears and shouts at her husband that for no reason at all he has dressed himself up as a fool. Jourdain replies that he is now a mamamushi, so everyone should be respectful to him. Jourdain repeats all the ridiculous words he heard at the ceremony. The wife decides that he has gone crazy.

Second phenomenon

Dorant asks the marquise to support Coviel's idea to marry Cleont to Lucille. Dorimena agrees to everything and says that she decided to immediately marry Dorant so that he would no longer spend money on her. Mr. Jourdain appears.

The third phenomenon

Dorant congratulates Jourdain on his initiation into mamamushi and the upcoming marriage of Lucille to the son of the Turkish Sultan. Dorimena joins in the congratulations. Cleont appears, disguised as a Turk.

The fourth phenomenon

Dorant congratulates Cleont on his upcoming marriage and, addressing him as the son of the Turkish Sultan, expresses his respect.

Fifth appearance

Jourdain asks Coviel to translate to Cleonte that in front of him is the count and the marquise, people from high society.

Appearance Six

Lucille appears. She asks her father why he looks so strange and what kind of comedy this is. Lucille initially refuses to marry, but then she recognizes Cleonte in disguise and immediately agrees.

Seventh Appearance

Madame Jourdain is outraged that her husband is planning to marry off his daughter to a jester. Jourdain explains that Lucille will become the wife of the Turkish Sultan. Madame Jourdain is against. Dorant and Dorimena are trying to persuade Madame Jourdain to agree to this marriage and report that Lucille herself agreed. Madame Jourdain says that if her daughter did this, she will strangle her with her own hands.

Lucille appears, but her mother does not want to talk to her.

The disguised Coviel asks Madame Jourdain to listen to him and, taking her aside, explains that the whole masquerade was invented in order to marry Lucille to Cleonte. Madame Jourdain immediately announces to her husband that she gives her consent to the marriage. They are going to send for a notary.

Count Dorant announces that he is marrying the Marquise Dorimene, so it is better to celebrate two weddings at once. Jourdain thinks that Dorant is saying all this as a diversion. It doesn’t even occur to Jourdain that the count is really getting married.

While waiting for the notary, Dorant offers to watch the ballet. Jourdain declares that he is marrying the maid Nicole to the translator (Coviel in disguise). Satisfied Koviel thanks Jourdain.

Current page: 1 (book has 10 pages total) [available reading passage: 3 pages]

Font:

100% +

Jean Baptiste Moliere
A tradesman among the nobility. Imaginary patient (collection)

© Lyubimov N., translation into Russian. Descendants, 2015

© Shchepkina-Kupernik T., translation into Russian. Descendants, 2015

© Edition in Russian, design. Eksmo Publishing House LLC, 2015

Tradesman in the nobility

Comedy characters

MR JOURDAIN is a tradesman.

MADAME JOURDAIN is his wife.

LUCILLE is their daughter.

CLEONTE is a young man in love with Lucille.

DORIMENA Marquise.

DORANT Count, in love with Dorimena.

NICOLE is a maid in Mr. Jourdain's house.

KOVIEL servant of Cleont.

MUSIC TEACHER.

MUSIC TEACHER'S STUDENT.

DANCE TEACHER.

FENCING TEACHER.

PHILOSOPHY TEACHER.

MUSICIANS.

Tailor's Apprentice.

TWO LACKEYS.

THREE PAGES.

BALLET CHARACTERS

IN THE FIRST ACT

Singer. Two singers. Dancers.

IN THE SECOND ACT

Tailor's apprentices (dancing).

IN ACT THIRD

Cooks (dancing).

IN ACT FOUR

Mufti. Turks, Mufti's retinue (singing). Dervishes (singing). Turks (dancing).

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

Act one

The overture is performed by a variety of instruments; in the middle of the scene at the table, a MUSIC TEACHER'S STUDENT is composing a melody for a serenade ordered by Mr. Jourdain.

First appearance

A music teacher, a dance teacher, two singers, a singer, two violinists, four dancers.

MUSIC TEACHER (singers and musicians). Come here, to this hall; rest until he arrives.

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 to compose music for a serenade while our eccentric woke up.

DANCE TEACHER. Can I have a look?

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

DANCE TEACHER. Now you and I have things going over our heads.

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

MUSIC TEACHER. He doesn’t understand them well, but he pays well, and our arts need nothing more now than this.

MUSIC TEACHER. However, you calmly take money from our eccentric.

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

DANCE TEACHER. And here he is.

Second phenomenon

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

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

DANCE TEACHER. What? What trinket?

Mr. JOURDAIN. Well, this one... What do you call it? It's either a prologue or a dialogue with songs and dances.

DANCE TEACHER. ABOUT! ABOUT!

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

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

MUSIC TEACHER. We are entirely at your service.

Mr. JOURDAIN. I ask you both not to leave until they bring me my new suit: I want you to look at me.

DANCE TEACHER. As you wish.

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

MUSIC TEACHER. We have no doubt about this.

Mr. JOURDAIN. I made myself a robe from Indian fabric.

DANCE TEACHER. Great robe.

Mr. JOURDAIN. My tailor assures me that all the nobles wear such robes in the morning.

MUSIC TEACHER. It suits you amazingly.

Mr. JOURDAIN. Lackey! Hey, my two lackeys!

FIRST LACKEY. What do you order, sir?

Mr. JOURDAIN. I won't order anything. I just wanted to check how you obey me. How do you like their liveries?

DANCE TEACHER. Magnificent liveries.

Mr. JOURDAIN (opens his robe; underneath he has tight red velvet trousers and a green velvet camisole). And here is my home suit for morning exercises.

MUSIC TEACHER. Abyss of taste!

Mr. JOURDAIN. Lackey!

FIRST LOOKEY. Anything, sir?

Mr. JOURDAIN. Another lackey!

SECOND LOOKEY. Anything, sir?

Mr. JOURDAIN (takes off his robe). Hold it. (To the music teacher and dance teacher.) Well, am I good in this outfit?

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

Mr. JOURDAIN. Now let's get busy with you.

Mr. JOURDAIN. It may very well be, but still you shouldn’t have entrusted this to a student. It remains to be seen whether you yourself are suitable for such a task, let alone a student.

MUSIC TEACHER. The word "student" should not confuse you, sir. Students of this kind understand music no less than great masters. In fact, you couldn’t imagine a more wonderful motive. Just listen.

Mr. JOURDAIN (to the lackeys). Give me a robe - it’s more convenient to listen... However, wait, perhaps it’s better without a robe. No, give me a robe, it will be better.

Iris! I'm languishing, suffering is destroying me,

Your stern gaze pierced me like a sharp sword.

When you torture someone who loves you so much,

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

Mr. JOURDAIN. 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 correspond to the words, sir.

Mr. JOURDAIN. I was recently taught a very nice song. Wait... now, now... How does it start?

DANCE TEACHER. Really, I don't know.

Mr. JOURDAIN. It also talks about a sheep.

DANCE TEACHER. About the sheep?

Mr. JOURDAIN. Yes Yes. Oh, here it is! (Sings.)

I thought Jeanette
And kind and beautiful,
I considered Jeanette to be a sheep, but oh!
She's cunning and dangerous
Like a lioness in virgin forests!

Isn't it a nice song?

MUSIC TEACHER. Still not nice!

DANCE TEACHER. And you sing it well.

Mr. JOURDAIN. But I didn’t study music.

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

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

Mr. JOURDAIN. What, noble gentlemen also study music?

MUSIC TEACHER. Of course, sir.

Mr. JOURDAIN. Well, I’ll start studying too. I just don’t know when: after all, in addition to a 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 dancing... Music and dancing are all 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. Without music, the state cannot exist.

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

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

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

Mr. JOURDAIN. How so?

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

Mr. JOURDAIN. Right.

MUSIC TEACHER. And if everyone studied music, wouldn’t it put people in a peaceful mood and contribute to the reign of universal peace on earth?

Mr. JOURDAIN. And that's true.

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

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

DANCE TEACHER. What else could cause a wrong step if not the inability to dance?

Mr. JOURDAIN. Yes, I agree with this too, you are both right.

DANCE TEACHER. We say all this so that you understand the advantages and benefits of dancing and music.

Mr. JOURDAIN. I understand now.

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

Mr. JOURDAIN. Anything.

MUSIC TEACHER. As I already told you, this is my long-standing attempt to express all the passions that music can convey.

Mr. JOURDAIN. Wonderful.

MUSIC TEACHER (to singers). Come here. (To Mr. Jourdain.) You have to imagine that they are dressed as shepherdesses.

Mr. JOURDAIN. And what are they always shepherdesses? Always the same!

DANCE TEACHER. When speaking to music, for greater verisimilitude one has to resort to pastoral music. From time immemorial, shepherds have been credited with a love of singing; on the other hand, it would be very unnatural if princes or commoners began to express their feelings in singing.

Mr. JOURDAIN. OK OK. Let's see.

MUSICAL DIALOGUE

A 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 pleasures of love.

FIRST SINGER

No, what’s dearest to us is that endless joy,

Which hearts

The lovers are drained.

There can be no bliss on earth without passion.

Whoever neglects love

That will never know happiness.

SECOND SINGER

Oh, who would not want love to taste power,

If only passion were not deceptive!

But, oh, what to do with evil fate?

There is not a single faithful shepherdess here,

And the unworthy sex, disgracing the white world,

Testifies to us that there is no longer any loyalty.

FIRST SINGER

Oh, trembling hearts!

O passion in the eyes!

SECOND SINGER

A complete lie!

FIRST SINGER

That moment is dear to me!

They are full of joy!

SECOND SINGER

I despise everyone!

FIRST SINGER

Oh, don’t be angry, forget your immeasurable anger!

We'll bring you in now

To a loving and faithful shepherdess.

SECOND SINGER

Alas! There are none worthy among you!

I'm going to the test, - Here's my love for you.

SECOND SINGER

Who will guarantee in advance,

Why not be deceived again?

He who is faithful, let him prove

Your heart's tender ardor.

SECOND SINGER

Let heaven punish the one who shamefully cheated.

ALL THREE TOGETHER

Above us, flaming,

The crown of love burns.

Merging of two hearts -

What could be cuter?

Mr. JOURDAIN. And it's all?

MUSIC TEACHER. All.

Mr. JOURDAIN. In my opinion, it was cleverly twisted. Here and there you come across some very interesting words.

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

Mr. JOURDAIN. Shepherds again?

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

BALLET
Four dancers, following the instructions of the dance teacher, make various movements and perform all kinds of steps.

Act two

First appearance

Mr. Jourdain, music teacher, dance teacher.

Mr. JOURDAIN. It’s really cool: the dancers are doing a great job.

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

Mr. JOURDAIN. I will need it today: the person in whose honor I am arranging all this should come to dinner with me.

DANCE TEACHER. All is ready.

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

Mr. JOURDAIN. Do noble gentlemen have concerts?

MUSIC TEACHER. Of course, sir.

Mr. JOURDAIN. Then I will start giving. And will it work out well?

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

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

MUSIC TEACHER. Leave everything to us.

Mr. JOURDAIN. Don't forget to send singers so that there is someone to sing during lunch.

MUSIC TEACHER. You will not lack anything.

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

MUSIC TEACHER. You will be pleased, especially with some of the minuets.

Mr. JOURDAIN. Ah, the minuet is my favorite dance! Look how I dance it. Come on, Mister Teacher!

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

Monsieur Jourdain takes his footman's hat and puts it on top of his cap. The dance teacher takes Mr. Jourdain by the hand and, singing 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, keep the beat. La-la-la, la-la. Don't bend your knees. La-la-la. Don't shrug your shoulders. La-la, la-la-la-la, la-la, la-la. Do not spread your arms. La-la-la, la-la. Head up. Keep your socks apart. La-la-la. The body is straight.

Mr. JOURDAIN. So how?

DANCE TEACHER. It couldn't be better.

Mr. JOURDAIN. By the way, teach me to bow to the Marquise - I will need it soon.

DANCE TEACHER. Bow to the marquise?

Mr. JOURDAIN. Yes. Her name is Dorimena.

DANCE TEACHER. Allow me your hand.

Mr. JOURDAIN. No need. Just show me, and I’ll remember.

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

Mr. JOURDAIN. Well, show me.

The dance teacher shows.

Second phenomenon

The same and the footman.

LACKEY. Sir! The fencing teacher has arrived.

Mr. JOURDAIN. Tell him to come in and start the lesson. (To the music teacher and dance teacher.) And look how it turns out for me.

The third phenomenon

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

FENCING TEACHER (takes two rapiers from the footman and gives one of them to Mr. Jourdain). I ask you, sir: bow. The body is straight. Light emphasis on the left thigh. You don't need to spread your legs like that. Both feet are on the same line. Hand at hip level. The end of the rapier is directly against the shoulder. There's no need to stretch your hand out like that. The left hand is at eye height. Left shoulder back. Head straight. The look is confident. Lunge. The body is motionless. Parry with a quart and leave in the same parade. One, two. Into position. Start again with confidence. Step back. When you lunge, you need the rapier to be carried forward, and your body to be protected from the blow as much as possible. One, two. I ask you: parry with a terce and retreat in the same parade. Lunge. The body is motionless. Lunge. Get into position. One, two. Start again. Step back. Defend yourself, sir, defend yourself! (With a cry: “Defend yourself!” - he stabs Mr. Jourdain several times.)

Mr. JOURDAIN. So how?

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 them yourself, and you will never receive them if, as I proved to you last time By means of a clear example, learn to move the enemy’s sword away from your body, and for this you only need a slight movement of the hand - towards or away from you.

Mr. JOURDAIN. Therefore, in this manner, every person, even not one of the brave ones, can surely kill another, but he himself will remain unharmed?

FENCING TEACHER. Certainly. Didn’t I clearly prove this to you?

Mr. JOURDAIN. They proved it.

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

DANCE TEACHER. But, but, Mr. Fence Master! Speak respectfully about dancing.

MUSIC TEACHER. Be kind, learn to respect the merits of music.

FENCING TEACHER. You are just funny! How can you put your sciences on the same level as mine?

MUSIC TEACHER. Just think, an important bird!

DANCE TEACHER. Put on a bib, stuffed animal!

FENCING TEACHER. Be careful, little dance, you won’t dance with me, but you, little musician, will sing with an angelic voice.

DANCE TEACHER. And I, Mr. Fight-Nishka, will teach you how to fight.

Mr. JOURDAIN (to the dance teacher). You're crazy! Start a quarrel with a man who knows all the ters and quarts like the back of his hand and can kill his opponent by direct example?

DANCE TEACHER. I didn’t give a damn about his clear example and all his ters and quarts!

Mr. JOURDAIN (to the dance teacher). Enough, they tell you!

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

Mr. JOURDAIN. Calm down, dear fencing master!

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

Mr. JOURDAIN. Calm down, dear dance master!

FENCING TEACHER. I just need to get to you...

Mr. JOURDAIN (to fencing teacher). Quiet!

DANCE TEACHER. I just need to reach you...

Mr. JOURDAIN (to the dance teacher). It will be for you!

FENCING TEACHER. I'll beat you up!

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

DANCE TEACHER. I'm going to blow you up so much...

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

MUSIC TEACHER. No, let me, we’ll teach him good manners.

Mr. JOURDAIN (to the music teacher). My God! Stop it!

The fourth phenomenon

The same goes for the philosophy teacher.

Mr. JOURDAIN. Ah, Mr. Philosopher! You came just in time with your philosophy. Somehow reconcile these gentlemen.

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

Mr. JOURDAIN. They quarreled over whose craft was better, they quarreled and almost came to blows.

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

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

PHILOSOPHY TEACHER. A sage is above any insult. The best response to bullying is restraint and patience.

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

PHILOSOPHY TEACHER. Is this a cause for concern? Because of vain fame and because of position in society, people should not enter into competition with each other: where we differ sharply from each other is in wisdom and virtue.

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

MUSIC TEACHER. And I stand on the fact that music has been revered in all centuries.

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

PHILOSOPHY TEACHER. Excuse me, what then is philosophy? All three of you are pretty impudent, as I see it: you dare to speak such insolence in my presence and without a twinge of conscience you call sciences activities that are not worthy of the honor of being called arts and which can only be equated with the pitiful crafts of street fighters, singers and dancers!

FENCING TEACHER. Be silent, canine philosopher!

MUSIC TEACHER. Shut up, you stupid pedant!

DANCE TEACHER. Be silent, learned cracker!

PHILOSOPHY TEACHER. Oh, you such creatures!.. (He rushes at them; they shower him with blows.)

Mr. JOURDAIN. Mister Philosopher!

PHILOSOPHY TEACHER. Scoundrels, scoundrels, impudent people!

Mr. JOURDAIN. Mister Philosopher!

FENCING TEACHER. Reptile! Cattle!

Mr. JOURDAIN. Gentlemen!

PHILOSOPHY TEACHER. Insolent people!

Mr. JOURDAIN. Mister Philosopher!

DANCE TEACHER. Donkey head!

Mr. JOURDAIN. Gentlemen!

PHILOSOPHY TEACHER. Scoundrels!

Mr. JOURDAIN. Mister Philosopher!

MUSIC TEACHER. Get the hell out, you impudent one!

Mr. JOURDAIN. Gentlemen!

PHILOSOPHY TEACHER. Swindlers, scoundrels, swindling beasts, crooks!

Mr. JOURDAIN. Mister Philosopher! Gentlemen! Mister Philosopher! Gentlemen! Mister Philosopher!

All the teachers leave, still fighting.

Moliere [with tables] Bordonov Georges

"PEOPLE IN THE NOBILITY"

In December 1669, the ambassador of the Turkish Sultan, Soliman Muta Harraka, arrived at the court of Louis XIV. They say that with arrogance he covers up his very modest position as a gardener in the seraglio. Louis XIV prepares for the reception with naive care. His outfit was “so studded with diamonds that it seemed to radiate a radiance.” The retinue is also dressed accordingly - all feathers, ribbons, buckles sparkling with stones, hilts, orders. And this ignorant Turk, when the curious began to question him, said that his master’s horse was more richly decorated than the king here. Such outrageous things cannot be left unanswered. Moreover, his Turkish Excellency, with his own stupidity, further aggravates his mistakes and makes his arrogance completely ridiculous and intolerable. Moliere correctly grasped the mood when, while organizing a holiday in Chambord, he decided to paint the Turkish scenes of “The Bourgeois in the Nobility.” Everyone really likes this idea. To help Moliere they assign a certain Chevalier d’Arvieu, “a traveler to the eastern countries.” Some consider him a Marseillean, others an Italian; His name is actually Arviu. This glorious fellow lived for twelve years at the court of the Sultan. In recent negotiations with the Turks, he was an interpreter. He entertains the Marquise de Montespan with stories about the customs of the Seraglio.

“His Majesty,” he writes in his memoirs, “ordered me to join Messrs. de Molière and de Lully to compose a play for the theater, into which something in the Turkish genre could be inserted. For this purpose, I went to the village of Auteuil, where Monsieur de Molière had a charming house. That's where we worked. I was entrusted with everything related to costumes. When the play was finished, I spent a week with Barayon, a master tailor, making sure that the dress and turbans were truly made in the Turkish style.”

A receipt kept in the National Archives confirms the words of the traveler from Marseille. She clarifies that Jean Barayon, a tailor, was paid 5,108 livres for sewing costumes for the performance of “The Bourgeois in the Nobility.” In total, this evening cost Louis XIV thousand fifty - decorations, costumes, wigs, transportation of props, fees for actors, dancers and musicians. But Madame's death has been mourned for a good four months now; It's time to take a break and have some fun. In such things you can completely rely on Moliere. He feels good in his country house, in the company of the kind Lully and the tireless adventurer-traveler. He easily, effortlessly composes a comedy about Mr. Jourdain and places its action in the familiar, cozy atmosphere of a bourgeois home.

Mister Jourdain became rich in the cloth trade; His father was also involved in this business. Madame Jourdain, his wife, a portly matron, is the daughter of a merchant. These are the same Parisian bourgeois as Moliere's ancestors were - one of those respectable families whose labor increased the income of France and whose sons reached high ranks, sometimes even becoming ministers, like Colbert. But, as in other Moliere plays - for example, in Tartuffe - the well-being of the family is threatened by the father's whim. Mister Jourdain is ashamed of his title; he imagines himself to be a nobleman and goes out of his way to learn good manners. In his blindness, he goes so far as to claim that his shopkeeper father also belonged to the nobility. Everything is already prepared in the first scene, and the viewer eagerly awaits the appearance of the tradesman in the nobility. The music teacher says to the dance teacher: “Mr. Jourdain, with his obsession with the nobility and social manners, is just a treasure for us. If everyone became like him, then your dances and my music would have nothing more to desire.”

The dance teacher still regrets that Mr. Jourdain is so poorly versed in the things he is taught. The music teacher cynically objects: “He doesn’t understand them well, but he pays well...”

And we learn that they were brought into the house by a certain “enlightened nobleman” - “enlightened”, but clearly penniless. But finally here is Mr. Jourdain, in full accordance with the description that we heard from the mouths of the minor characters. He addresses these two artists - at least those who consider themselves such - without ceremony: “Well, gentlemen? How are you doing? Will you show me today your trinket?»

He is in a robe and nightcap, but under the robe he has red velvet trousers and a green velvet camisole. He wants to give the teachers the pleasure of admiring his new suit, which they should bring now. From the very first minute, Jourdain is immensely funny from head to toe. He calls the lackeys just to show that he has them, and is not used to knowing how to talk to them. He is full of good will, but he does not have enough time because he wants to learn everything at once. In addition to the musician and dancer, he invited a fencing teacher and a philosophy teacher. The dance master and musician believe that a warrior and a philosopher are superfluous here. One says: “...If everyone studied music, wouldn’t it put people in a peaceful mood and contribute to the reign of universal peace on earth?”

Another picks up: “When a person does not act as he should, be it just the father of a family, or a statesman, or a military leader, they usually say about him that he took the wrong step, isn’t it?.. And what else could it be?” is the wrong step caused, if not by the inability to dance?

Jourdain agrees with all the arguments. When the musician offers him the composition of the orchestra, he approves of everything, only asks to add a sea trumpet to the usual instruments: “I love it very much, it is pleasant to the ear.”

It’s as if he’s deliberately piling one stupid thing on top of another. Clumsiness, gross ignorance, combined with absurd claims, make him a complete type of upstart, newly rich man. He involuntarily reminds one of those self-confident, arrogant knights of the black market who, without having time to leave their dairy or butcher shop, besiege art exhibitions, buy up supposedly luxurious publications, and humiliate the fingers of their wives and girlfriends with huge diamonds. With the difference that they evoke a gloomy, ominous laugh, while Mr. Jourdain is, in essence, a harmless man, an honest merchant, only with a slightly askew brain. To look like an aristocrat and make a favorable impression in society, he needs to learn to dance and bow gracefully. He masters the minuet and curtsies. Then the swordsman appears with a servant who carries rapiers. Behind him is a philosopher. All these outings serve as a pretext for ballets to Lully's music. Of course, the four teachers get into an argument about the relative merits of their subjects and start a fight. The philosophy teacher also gets involved in it. The battlefield remains behind him. Having caught his breath and adjusted his collar, he returns to his over-aged student. From him Mr. Jourdain learns what vowels and consonants are, how you need to move your lips and tongue to pronounce such and such a sound, and that if you don’t speak in poetry, then you speak in prose. Lord Jourdain admires these miracles, the existence of which he did not even suspect. The philosopher helps him compose a love note to a marquise with whom the kind fat man is in love. Unfortunately, this wonderful lesson is interrupted by the arrival of the tailor. What follows is a scene unsurpassed in its genre. It would be enough to change only a few words to create a completely modern sketch: “Tailor and Customer.” Are silk stockings very tight? They will still stretch too much. Are your shoes too tight? It only seems to Mr. Jourdain. Will the new suit fit him well?

"What a question! A painter will not draw with a brush the way I fitted it to your figure. I have one apprentice: in terms of trousers, he is simply a genius, and the other in terms of camisole is the beauty and pride of our time.”

Is it possible to resist such persistence? Not a single detail was missed in this scene. The presumptuous tailor cut out a suit for himself from the piece of fabric that he sold to Mr. Jourdain. The dressing ceremony begins, and the tailor's apprentices, realizing who they are dealing with, address Jourdain first as “Your Grace,” then “Your Excellency,” and then “Your Grace.” The generosity of the simpleton increases accordingly. Here is the occasion for another lovely ballet. The posthumous inventory of Moliere’s property preserved for us all the details of Mr. Jourdain’s costume: “A taffeta robe with pink and green stripes, red velvet trousers, a green velvet shirt, a nightcap... a green taffeta camisole trimmed with fake silver lace, a belt, green silk stockings, gloves and a hat decorated with pink and green feathers.”

In the fourth act, when Jourdain is promoted to "mamamushi", he also puts on a Turkish caftan, a turban and a saber. In the meantime, he wants to walk around the city in a new outfit. The maid Nicole doubles over with laughter. Madame Jourdain grumbles: “Is it true that he decided to make people laugh, since he dressed himself up as such a buffoon?”

Madame Jourdain's language is rich, and she is quite tired of her husband's whims and extravagance. What worries her most is that he is “crazy” about Dorant, an aristocrat who does not disdain the services, and especially the money, of Mr. Jourdain. But he, just as blindly, to the point of losing his mind, in love with “Mr. Count” as Orgon is with Tartuffe, does not want to hear anything:

“Be silent! Think first, and then let your tongue run free. Do you know, wife, that you don't know who you're talking about when you talk about him? You can’t imagine what a significant person this is: he is a real nobleman, he enters the palace, talks to the king himself, that’s how I talk to you. Isn’t it a great honor for me that such a high-ranking person constantly visits my house, calls me a dear friend and stands on an equal footing with me?”

By the way, Dorant himself appears. He allegedly came to return to Jourdain the money he had borrowed from him; in fact, to extract another two hundred pistoles from him - for a round sum. In vain Madame Jourdain whispers: “You are a cash cow for him,” her extravagant hubby goes after the money. He cannot refuse anything to the elegant courtier. Dorant, obviously not burdened with excessive scrupulosity, undertakes to mediate between Jourdain and the Marquise, with whom Jourdain is allegedly in love. Dorant handed her the diamond; it wasn't easy, but he takes such part in his friend's passion! Mr. Jourdain falls for everything the magnificent Dorant tells him. The Marquise will come to visit Mr. Jourdain; his dear friend had already arranged everything for this reception. But Nicole warns Madame Jourdain: “...the matter here is unclean: they are keeping something secret from you.”

Meanwhile, the Jourdains have a daughter, Lucille, who loves Cleonte, from a merchant family, not a noble one, like herself. The meeting and quarrel of lovers are written unusually vividly; this scene seems to belong already to the 18th century, to the pen of Marivaux or Beaumarchais. It ends with an eloquent remark: “Oh, Lucille, you only have to say one word - and the worries of my soul immediately subside! How easily we are convinced by those we love!”

Who is speaking? Cleont - or Moliere himself, in whom Armande’s momentary tenderness again awakened some kind of hope? Cleont asks for Lucille's hand in marriage from Mr. Jourdain, who is only interested in whether the young man is a nobleman: from now on, this is the only thing that matters to him. Cleont answers as Moliere, and, perhaps, every bourgeois in those days, could have answered in similar circumstances:

"Sir! Most would answer this question in the affirmative without hesitation. Words are cheap these days. People without a twinge of conscience assign themselves the title of nobility - this kind of theft, apparently, has become a custom. But I admit, I am more scrupulous about this. I believe that every deception casts a shadow on a decent person. To be ashamed of those from whom heaven destined you to be born, to shine in society with a fictitious title, to pretend to be something other than what you really are - this, in my opinion, is a sign of spiritual baseness. Of course, my ancestors held honorary positions, I myself served with honor for six years in the army, and my fortune is such that I hope to take not the last place in the world, but, with all that, I do not intend to assign myself the title of nobility, despite the fact that “that many in my place would consider themselves entitled to do this, and I will tell you straight: I am not a nobleman.”

Mr. Jourdain persists in his position. That would have been the end of the matter if the servant Koviel had not come up with the idea of playing along with the madness of this stubborn man: “We recently had a masquerade here, and for my idea this is exactly what I need: I’m thinking of using this to trick our simpleton. Of course, you will have to play a comedy, but with such a person you can do anything..."

"Masquerade" is an allusion to the embassy from the Turkish Sultan. Louis XIV must have really been amused by Coviel's idea!

Finally, the dreams of the tradesman in the nobility come true: he gets the opportunity to host the Marquise Dorimena and actually use his ability to bow. They sit down at the table. Dorant, who ordered lunch, asks to excuse the modesty of the meal. His gastronomic comments make your mouth water. In Moliere, people eat - something that does not happen very often among writers with their broad minds and narrow stomachs, and therefore deserves mention. Madame Jourdain, who suspected something was wrong, unexpectedly returns; she bursts into the feasting, completely enraged: “There’s nothing to say, I found something to do with the money: you’ll treat the ladies in my absence...”

Dorant and Dorimena also get it. But then the cunning Koviel appears, disguised as a Turk. He calls Mr. Jourdain a nobleman and even claims that he knew his father, a nobleman. Mr. Jourdain is amazed: “There are such idiots who claim that he was a merchant!”

Koviel’s answer is simply magnificent: “A merchant? Yes, this is an obvious slander, he was never a merchant. You see, he was an extremely courteous person, extremely helpful, and since he had a great understanding of fabrics, he constantly walked around the shops, chose which ones he liked, ordered them to be taken to his home, and then gave them to friends for money.” .

Koviel immediately announces that he was sent by the son of the Turkish Sultan, who wants to marry Lucille. And so that the future father-in-law would be worthy of him, he wants to promote Mr. Jourdain to “mamamushi” (which means “paladin”), the highest rank in eastern countries. The initiation ceremony is a burlesque ballet, a big comic performance; the comedy ends with a dance in which children, Spaniards, Italians, Harlequins and Scaramouches participate. Mr. Jourdain takes everything seriously.

“Well, you won’t find another such crazy person in the whole world!” - concludes Koviel.

Of course, to make everyone happy, Cleont (disguised as the son of the Turkish Sultan) marries Lucille, and Dorant marries the Marquise Dorimen.

“The Bourgeois in the Nobility” adds nothing to the string of Molière’s characters, with the exception of the too impenetrable, implausible stupidity of the protagonist. The lovers, Madame Jourdain, the maid - Moliere already had all this. Only the aristocrat, who cheats on the sly, adds a new note, but this is a background figure. In essence, the play is a farce, albeit a remarkably well done one. It is felt that Moliere took pleasure in bringing pleasure to the audience, and amused himself by amusing others. Nothing overshadows this comedy, every word here glows with joy. It is not surprising, therefore, that “The Bourgeois in the Nobility” is such a success not only in France, but also in America, and in the Soviet Union, and in other countries that it travels around the world so easily and cheerfully. Great actors played Mr. Jourdain - Ramu, Louis Seigner - after Moliere himself! There is a lot to admire here.

From the book Gorky author Basinsky Pavel Valerievich

Workshop or tradesman? To what class did Alyosha Peshkov belong? Almost all of his ancestors and relatives in the male line were guild. Or philistines? So, workshops or tradespeople? And why, although Gorky himself, not without pride, preferred to classify himself as a “guild member,” in the Brockhaus and

From the book by Moliere author Bordonov Georges

“THE PEOPLE IN THE NOBILITY” In December 1669, the ambassador of the Turkish Sultan, Soliman Muta Harraka, arrived at the court of Louis XIV. They say that with arrogance he covers up his very modest position as a gardener in the seraglio. Louis XIV prepares for the reception with naive care. His

From the book Political Testament [Principles of State Administration] author Richelieu Armand Jean du Plessis, Duc de

CHAPTER III, which deals with the nobility Section I, which proposes various ways to benefit the nobility and provide them with the opportunity to live with dignity Having told what, in my opinion, is absolutely necessary to do for the sake of revival