What does it mean to be a nobleman for Mr. Jourdain. The protagonist of "The tradesman in the nobility" Mr. Jourdain. New costume and failed attempts to impress
"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
Marchioness Dorimena - widow, represents 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.
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 grace 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”, “Imaginary Sick”, etc.
), the theme of the tradesman in the nobility ("School for Wives", "Georges Dandin", "The tradesman in the nobility"), the theme of family, marriage, education, 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 "Imaginary Sick" (1673), in which the mortally ill Moliere played leading 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 Molière expressed character traits 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 a truthful reflection of 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.
In 1670 he wrote Molière's comedy-ballet The Tradesman in the Nobility. Summary and characteristics of the main characters of the work are presented in this article. Let's start with a summary.
Jourdain decides to become a nobleman
One gentleman, an honorary bourgeois, it would seem, has everything you could wish for - money, health, family. However, he decided to become a noble lord. "What is the main character's name?" - you ask. Mr Jourdain. It is he, the main character of the work, who begins the pursuit of aristocracy. To do this, he hires teachers, tailors, who must make him a nobleman. At the same time, each of them wants to cheat Jourdain, saying exorbitant compliments to his education, talent and taste.
Jourdain's classes from the comedy "The tradesman in the nobility" (Molière)
A summary of his work is as follows. The author describes how Julien invites those present to evaluate his extravagant dressing gown. Of course, there is no limit to the admiration of teachers, because the amount of money received by him from him depends on what assessment to give to the taste of the owner. Everyone invites Jourdain to dance and play music - what noble gentlemen do. The dancer begins to teach the tradesman the minuet, and the musician insists on the need for weekly home concerts.
However, the graceful movements of the protagonist are interrupted by the fencing teacher. He says that it is his subject that is the science of sciences. The teachers, carried away by the argument, reached the point of assault. The philosophy teacher, who came up a little later, tried, at the request of Jourdain, to reconcile the fighting. However, as soon as he advised everyone to take up philosophy - the most important of the sciences, he himself became embroiled in a fight.
The philosopher, rather shabby, nevertheless proceeded to his lesson. However, the tradesman refused to deal with logic and ethics. Then the teacher began to talk about pronunciation, and this caused Jourdain's childish joy. His delight at the discovery of the fact that he spoke in prose was truly great. An attempt to improve the text of the note addressed to the lady of the heart failed. The bourgeois decided to leave his version, considering it the best.
New costume and failed attempts to impress
More important than all the sciences was the tailor who came, and the philosopher was forced to retire. Jourdain was given a new suit in the latest fashion. Generously spiced with flattery ("your grace"), he essentially emptied Jourdain's purse.
His sober-minded wife spoke out resolutely against her husband's walk through the Parisian streets, since he had already become a laughing stock in the city. The desire to impress the maid and wife with the fruits of training did not bring success. Nicole calmly said "u", and then, without any rules, pricked her master with a sword.
Visit of Count Dorant
We continue the retelling. "The tradesman in the nobility" is a work that further describes the visit of Count Dorant, Jourdain's new "friend". This is a liar and a squandered rogue. Going into the living room, the count noticed that he was talking in the royal chambers about the owner of the house. Dorant has already borrowed 15,800 livres from a gullible bourgeois and has now come to borrow another 2,000. In gratitude for this, he decides to arrange amorous affairs of his "friend" with the Marquise Dorimena, the woman for whom the dinner party is arranged.
Unsuccessful matchmaking and Covel's idea
The tradesman's wife is worried about the fate of her daughter. The fact is that the young man Cleont asks for the girl's hand, to whom Lucille reciprocates. Nicole (servant) leads the groom to Jourdain. He sees his daughter as either a duchess or a marquise, therefore he refuses the young man. Cleon is in despair, but Coviel, his nimble servant, who, by the way, claims to be Nicole's hand, volunteers to help his master. He conceives something that will lead the intractable tradesman to consent to marriage.
Marchioness Pleasing
Enter Dorant and Dorimene. The count brings the widowed marquise to Jourdain's house not at all to please the gullible tradesman. He has been chasing after her for a long time, and the insane spending of the insane Jourdain, which he attributes to himself, plays into his hands.
The marquise happily sits down at a luxurious table and eats gourmet dishes under the compliments of Jourdain, this strange man. The mistress of the house, who has appeared, destroys the magnificent atmosphere with her anger. Her husband assures her that it is the Count who is giving dinner. However, Madame Jourdain does not believe her husband. Offended by the accusations made by the mistress of the house against her, Dorimena, and Dorant with her, decide to leave the house.
Initiation into "mamamushi"
What then does Molière talk about in the comedy "The Philistine in the Nobility"? The summary will help you remember or learn about what happened after the departure of Dorimena and Dorant. There is a new guest in the house. This is Koviel in disguise. He talks about the fact that Jourdain's father was supposedly a real nobleman, and not a merchant. After this statement, he can safely hang noodles on the ears of the tradesman. Koviel tells that the son of the Turkish sultan came to the capital. Seeing Lucille, he is mad with love and certainly wants to marry this girl. However, before that, he longs to dedicate his future father-in-law to the "mamamushi" (Turkish nobleman).
Disguised Cleont acts as the son of the Turkish Sultan. He speaks in gibberish and Coviel translates it into French. This is accompanied by songs, dances, Turkish music. According to the ritual, the future "mamamushi" is beaten with sticks.
The final
What kind of ending did Moliere prepare for the reader of the work "The Bourgeois in the Nobility"? We will try to summarize it briefly, without missing the main point. Dorimena and Dorant return to the house. They seriously congratulate the tradesman on the high title he has received. The "nobleman" wants to quickly marry his daughter to the son of the Turkish Sultan. Recognizing the disguised lover as a jester-Turk, Lucille meekly agrees to fulfill the will of her father. Koviel whispers to Madame Jourdain to the heart of the matter, and after that she changes her anger to mercy. Father's blessing received. A messenger is sent for the notary. Dorimena and Dorant also decided to use his services. While waiting for the representative of the law required to register marriages, the guests watch a ballet choreographed by a dance teacher.
The requirements of the era and the innovation carried out by Jean-Baptiste Molière
"The tradesman in the nobility" is a work that was written in the 17th century. It was an era that demanded the observance of the trinity of action, place and time. They were strictly followed by the classical literature of the time. In addition, the genres were divided into "low" (comedy) and "high" (tragedies). Classical literature had to follow the following rule in depicting heroes: each of them fully illuminated one or another property of character (negative or positive), which was either ridiculed or elevated to virtue.
However, Molière, observing in general terms the requirements of the era, stepped into realism. Departing from the samples of the classics of literature of that time, in the person of Jourdain, he ridiculed the huge stratum of the wealthy bourgeois who inhabited the cities, who rushed into the upper classes of society. In order to emphasize how ridiculous and ridiculous these upstarts striving to sit in other people's sleighs are, the satirist created a comedy-ballet, a completely new genre. Like some other classics of literature (Pushkin, Gogol, etc.), he acts as an innovator of form.
An episode from the life of Louis XIV that became the basis of a comedy
Molière wrote "The Tradesman in the Nobility" for Louis XIV, french king, who was greatly stung by the Turkish ambassador's remark that the Sultan's horse was decorated much more elegantly and richer than the king's horse. Jourdain's mocking and stupid initiation into "mamamushi", the dances of dancers disguised as Turks - all this causes laughter at what vanity does to a person, what a fool it turns him into. It is especially ugly where one hopes for accumulated wealth. In fact, no capital will replace the nobility of the family and the born aristocracy from the first roles. This is what Moliere wanted to show ("The tradesman in the nobility"). The characters depicted by him serve to reveal this thought.
The image of Jourdain
On his vain desire to break out into the nobility, not only false teachers who assure the main character of his success in training, but also Dorant, a cunning and mercenary count, who borrowed solid sums from a tradesman, blinded by his desire, profit from him and does not intend to return them. Jourdain, who believes that he is obligated to have a lady of the heart, gives the Marquise Dorimene, through Dorant, a diamond. Dorimena believes that this is a gift from the count. And it is to the count that she attributes the ballet performance and the exquisite dinner.
This "philistine in the nobility" is especially ridiculous in uncomfortable, but supposedly supposed to be a nobleman's suits. The main characters laugh at him, but not only they: the maid, the teachers, and everyone around. The climax is the initiation into "mamamushi", played out by Covel, Jourdain's servant, who disguised himself as a Turk. The newly minted "mamamushi" in joy cannot refuse the "son of the Turkish Sultan". He agrees to the marriage of his daughter, as well as the marriage of the servants.
The merchant, prudent and energetic, dexterous and clever, seemed to have lost all these qualities when he decided to get himself a nobility. We involuntarily feel sorry for him when he has to fend off ridicule and he explains that he is striving for the title for the sake of his daughter. Practically uneducated, who worked a lot in life, but did not have the opportunity to comprehend science, the tradesman realized the squalor own life and decided to secure a better future for his daughter. This effort, however, did not bring good either to her or to Jourdain himself. The girl was almost separated from her lover. Vanity is a bad helper in the desire to improve one's position in society.
Jourdain's wife
Jourdain's wife always calls the reader positive feedback. "The tradesman in the nobility" is a work in which a true representative of the nobility is depicted in her face. This is a practical, sensible woman with self-esteem. With all her strength, she tries to resist the mania of her husband. All her actions are aimed at driving out uninvited guests who live off Jourdain and use his vanity and gullibility for their own purposes. Unlike her husband, she does not have respect for the title of nobility and prefers to marry her daughter to common man, who would not look down on her bourgeois relatives.
Nobility in comedy
The nobility in the comedy is represented by two characters: Marquise Dorimena and Count Dorant. The latter has a captivating appearance, refined manners, noble origin. However, at the same time, he is a swindler, a poor adventurer, ready for any meanness for the sake of money, not excluding pandering. He calls Monsieur Jourdain a kind friend. This man is ready to praise him appearance, manners. Dorant "confesses" that he really wanted to see Jourdain. Then, having bribed him with crude flattery, he asks for a loan of more money. Acting like a subtle psychologist, Dorant notes that many people would gladly lend him, but he was afraid to offend Jourdain by asking someone else. This conversation is heard by the tradesman's wife, so the true reasons that gave rise to the strange friendship between Jourdain and Dorant are not revealed here. Alone with the tradesman, the count reports that the marquise reacted favorably to his gift. It immediately becomes clear that Jourdain is trying to be like a nobleman not only by his manners and manners, but also by his "passion" for the Marquise, trying to attract her attention with gifts. However, the count is also in love with Dorimena and uses Jourdain's means, his gullibility and stupidity in order to win the favor of the marquise.
So in in general terms topic of interest to us. "The tradesman in the nobility" is a work that can be analyzed in more detail. Based on the information provided and the original comedy, you can do it yourself. Discover features works of art always interesting.
Comedy is not an easy genre. Jean-Baptiste Poquelin, better known under the pseudonym Moliere, is considered the creator of classic comedy. His works are witty and full of philosophical ideas. In his comedy The Tradesman in the Nobility, he took up one of the most relevant themes of the 17th century - the attempt of the petty bourgeoisie to infiltrate the world of the aristocracy. For the sake of obtaining titles, they were ready to pay a lot of money, buy lands and positions, master the manners of the nobility, and most importantly make secular friends.
The protagonist comedies - the usual tradesman Mr. Jourdain, who has everything necessary for happiness, except for the title of a nobleman. Despite the fact that he is not a nobleman either by origin or upbringing, he strives to become a true aristocrat by all means. For the sake of his crazy dream, he is ready to spend fortunes, hire teachers of logic, dance, music, fencing, tailors, hairdressers and other employees to make another person out of him. He himself is rude and uneducated by nature, so it is not easy for teachers to teach him secular manners. However, in words they promise him any transformations.
Jourdain, without a moment's hesitation, pays all this army of scammers and firmly believes that this will help in the realization of his dream. In turn, the tailor deceives him. He sews ridiculous outfits for him, calling them secular, while Jourdain himself has no idea what they actually wear in society. From the leftover materials, he sews clothes for himself. Many of Jourdain's employees are paid only for praising his new robe or cap, listening to his incompetent folk song, and obsequiously calling him "Your Grace" or something else. Count Dorant, although of aristocratic blood, is not rich. He only befriends Jourdain for money and frequently borrows money from him.
Mister Jourdain is the protagonist of Moliere's play "". He is rich but not famous. His father is a simple merchant. Jourdain hides his origin and tries with all his might to pose as a nobleman in order to get a pass into high society.
He believes that everything is decided by money. And if they are, you can buy absolutely everything, from knowledge to positions and titles. Jourdain invites teachers to his house to comprehend the basics of science and learn the rules of behavior in a secular society. The scenes of teaching an overage student are comical: the bourgeois is ignorant and does not know the most elementary things. This, of course, is also a kind of stone in the garden of education of that time.
Jourdain is stupid and simple, but he is ready for anything to achieve his goal. And therefore he is easily deceived by those who are greedy for money. The bourgeois is greedy for flattery. It is easy to bribe him with good, respectful treatment. In fact, everyone, from teachers to tailors, is only interested in Jourdain's tight wallet. He himself does not command even a modicum of respect from them.
A bourgeois without family or tribe is pitiful and ridiculous in his insane, almost insane striving to become an aristocrat. The author shows how vice and passionate striving oust all good thoughts and principles from a person. Jourdain is so fascinated by his crazy idea that it fills him completely. inner world and outer life.
Actually, he's not that stupid. He managed not only to save, but also to increase the capital left by his father. He notices the tailor's fraud and Dorant's deceit. True, he hides that he sees and understands everything in order to be able to communicate with an aristocratic society. Jourdain himself is well versed in music, preferring folk motives rather than salon songs.
In teachers, he also reveals a bluff: they give truths that are long dead, which in no way can affect the development of human nature, his inclinations and abilities. But the desire to become a nobleman is stronger than all arguments and common sense: Jourdain's inner makings fade before his conceited passion.
Above the bourgeois in the play laugh all and sundry. True, someone openly, and someone secretly. The wife is frank in her ridicule and torment. The servants, Coviel and Nicole, seeing Jourdain in secular attire, cannot help laughing loudly. But this does not affect his path to achieving the goal in any way, he definitely will not turn off it. Although over time this desire becomes not just comical, but dangerous. And first of all for the Jourdain family: he deceives his wife, insults her, is cruel and tyrannical in his treatment of servants, wants to marry his daughter to the Marquis, not caring that she is already in love with another person.
In the play, Jourdain is an uneducated and rude bourgeois, but in reality he is not devoid of good nature and sincerity, and is sometimes touching and naive, like a child. It is as if he discovers the world for the first time at forty years old, and this causes a smile, not contempt.
