When Louis XIV asked
In Pualo, who is the most
Wonderful writer of the century,
He replied: “Moliere.”
There is no monument on his grave. A cast-iron plate, lying on the spot where a comediographer and an actor was buried beneath four feet of consecrated ground, collapsed from time to time. There is no plaque on the house where he was born, because time did not spare the house itself. Only on one of the old squares of Paris there is a monument-fountain, as if Moliere’s voice and laughter do not cease forever, as if again he is in the center of the crowd, in the center of attention, even his death turned into an episode of the main role of the “Imaginary patient”. And still there is a comedy theater, whose repertoire
Probably, this is the best monument to Jean-Baptiste Moliere – as if the continuation of his “Brilliant Theater”.
What is unusual about the comedies of Moliere? Why is almost four centuries of laughter in the hall where “The Bourgeois in the Nobility” goes?
The comic character of Jourdain’s claims to the noble title is emphasized by the absurd costume, the ballet buffoonery, the fitting of a new dress, the dedication ceremony in “mamamusha”, and the lessons of fencing and dancing.
Here is the simplest comic effect – the great “discovery” of Mr. Jourdain at the lesson of philosophy: he, it turns out, speaks prose!
Here during the short act of a tailor with his assistants extort money from Jourdain, raising his title:
“We all like one, let’s drink to the health of Your Grace.
-Your Grace? Wow-ho! Wait, wait. It’s me – your Grace! If it comes to “Highness,”
Here is a good contrast: in words about to pay debts, even counting them, Count Dorant asks to add to this another two hundred pistoles to round off the amount that he promises to return in the very near future. All, except Mr. Jourdain himself, understand that he can not see this money as his ears, but the simple-hearted Jourdain again falls for the bait: the noble earl mentions him “in the royal bedchamber!” How can I not give money!
And as the last chord, again with a mention of money, Mrs. Jourdain’s remarks sound: “He will suck you out from the end.”
The effect of “mirroring the situation” is perfectly used. Cleonte complains to Koviel on the cunning of his beloved Lucille, and Coviel, like an echo, accuses Nicole of all sorts of sins: “After so many tears I shed at her feet!” exclaimed Cleonte. “So many buckets of water that I dragged for her from the well!” – Said Coviel. “How fervently I loved her-I loved him until I was completely oblivious!” sobbed Cleonte. “How hot it was for me, when I fumbled for it with a spit, – it’s hot until exhaustion!” exclaimed Coviel.
Contrary to the laws of classicism, Moliere’s heroes can not be unequivocally called positive or negative: they, like living people, have advantages and disadvantages. Ludicrous in his quest to get the title of nobleman, Jourdain wants to become a worthy representative of the upper class as well, at least, trying to do it, and the holder of common sense, Mrs. Jourdan, has become stupefied in her ignorance and denies education as such.
And on top of everything – a real joke, when Cleonte, dressed as the son of the Turkish sultan, asks for Lucile’s hands. Here and “simultaneous translation from Turkish,” carried out by Covier, and instant “insight” Lucille, when she turns from an obstinate, faithful to her lover, turns into an obedient daughter.
The play ends with a firework comic: dedication to “mamamushi”, gibberish questions and answers, standing on all fours Jourdain with a huge book on his back, finally, beating with sticks.
It is really a theater that keeps the viewer in constant tension, cleansing and curing with laughter. The theater, which was the soul and the meaning of the life of the great Moliere.