The protagonist of "The tradesman in the nobility" Mr. Jourdain. Mister Jourdain is the protagonist of the comedy J

In 1670 he wrote Molière's comedy-ballet The Tradesman in the Nobility. A brief 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 strongly 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. Deviating from the samples of the classics of literature of that time, he, in the person of Jourdain, ridiculed the huge stratum of wealthy bourgeois who inhabited the cities, who rushed to 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

Moliere wrote "The Tradesman in the Nobility" for Louis XIV, the French king, who was greatly stung by the remark of the Turkish ambassador 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 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 his life, but did not have the opportunity to comprehend science, the tradesman realized the misery of his own life and decided to provide 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 evokes positive feedback from the reader. "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 respect the noble rank and prefers to marry her daughter to a simple person 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 person is ready to praise his 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 as a subtle psychologist at the same time, 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 general terms, the topic of interest to us is disclosed. "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. Discovering the features of works of art is always interesting.

Jourdain

Jourdain (fr. Jourdain) - the hero of Moliere's comedy "The bourgeois in the nobility" (Le bourgeois gentilhomme - letters, translation - "Bourgeois nobleman", 1670). Mr. J. is one of the most amusing characters of the great comedian. The actors of the play, the readers and the spectators make fun of him equally. Indeed, what could be more absurd for others than an elderly merchant, suddenly obsessed with secular manners and frantically striving to resemble an aristocrat. The thirst for a “change of fate” is so strong in Zh. that, overcoming natural non-musicality and clumsiness, he learns the intricate “pas” of fashionable dances, brandishes a sword, an indispensable attribute of the nobility, and, under the guidance of numerous teachers, comprehends the methods of seducing demanding representatives of secular society. Once again, in Molière's comedy, everything revolves around the game. Zh. can not wait to get used to the role of an inveterate courtier, and those around him, with a few exceptions, “play along” with the hero, pursuing their very mercantile goals. Even Ms. Jourdain, who resists her husband's costly follies, and her laughing maid eventually understand that it is enough to direct J.'s "game" in the right direction so that no one suffers from it. So, at the end of the play, with the help of disguised household members, the daughter of Zh. marries her beloved, whom the adamant father read exclusively for a nobleman. And Zh. himself, as a result of the cunning plan of the daughter's fiancé, becomes "mamamushi" and "an entourage of the Turkish Sultan." This quasi-Turkish word-monster is the best way to express the monstrous tastelessness and inorganicness of the claims of the newly-minted nobleman. It was composed specifically for J. by mischievous and enterprising fellows, Cleont and Coviel, who decided at all costs to marry the daughter and maid of a crazy bourgeois. The “Turkish ceremony”, designed to “initiate” Zh. into the nobility, is the culmination of the comedy and the “apotheosis” of the hero, who felt like a real “Muslim aristocrat” during the parody ballet extravaganza. The image of Zh., however, is more complicated than it might seem. Its social background, which is relevant for the era, does not prevent us from seeing in comedy a continuation of Molière's serious reflections on the play space of human existence, on the functions of the game that fills the life of society, on the various forms of play behavior and on the "costs" of human play activity. This time, the subject of the study was the game design of the cast train de vie (way of life). The clumsy bourgeois J., trying on the etiquette standards of the nobility, turns out to be a kind of mirror in the play, reflecting both the idealless, devoid of creative spirit, bourgeois way of life, and the excessively ornamented, cutesy style of aristocratic behavior. The space of the comedy-ballet, in which everyday scenes, singing numbers and dance involuntary divertissements side by side, is an expression of the genre originality of "The Tradesman in the Nobility". At the same time, pantomime, vocal and choreographic pictures framing the action, turn out to be a materialization of J.'s dreams of an aristocratic life in the form of a continuous ball of sophistication and gallantry. Zh.'s thematic complex includes not only the motive of groundless social claims. Creating for himself an illusory world of "high taste" and grace, Mr. Zh. is intoxicated not only with a new "made of Indian fabric" dressing gown, wig and suit with "flowers heads up". The key and most famous phrase of Molière's tradesman sounds like this: "... I had no idea that I had been speaking prose for more than forty years." The discovery made by Zh., reveals, of course, his illiteracy. But an uneducated, absurd, ill-mannered merchant, in contrast to his surroundings, is able to suddenly see the squalor of a life lived, devoid of a glimpse of poetry, mired in gross material interests. Thus, another theme of J. becomes a touching and sympathetic craving for a world of other values, which, however, was revealed by Moliere in a parodic vein. In this sense, Zh. opens a series of images of the bourgeois, seeking the spiritual sophistication of noble life, images, among which are Flaubert's Madame Bovary and Chekhov's Lopakhin. Mr. Zh. has at least three roles in the play. He acts as an actor trying out a winning role, as a toy of those around him who use his mania, and as a catalyst for the playful activity of young comedy characters. At the end of the play, the hero gets what he is looking for (after all, his goal has always been visibility); all participants and witnesses of the "Turkish ceremony" are satisfied. "The Philistine in the Nobility" is also a play about illusions, about the illusory nature and relativity of many human institutions, such as, for example, caste "rules of good manners" and "accepted" forms of life in society. And also about the fact that the game is the last, and perhaps the only way to give creative energy to human existence, to make the thickness of inert matter part in order to soar in the magical spaces of a dream. The image of Mr. J., a merchant living in a prosaic reality, but looking for poetry, confused and happy, a bourgeois and a nobleman, is one of the brightest manifestations of the insurmountable duality of being and one of the unconditional Moliere masterpieces. It is not surprising that comedy motifs became the basis of M. A. Bulgakov "Crazy Jourdain", written in 1932 for the Studio Theater under the direction of Yu.A. Zavadsky. The first performance of the comedy "The Philistine in the Nobility" took place at the castle of Chambord on October 14, 1670. Then in the same year J. in the theater of the Palais Royal played himself Molière. Among the outstanding performers of the role of J. Coquelin Sr. (1903). In Russia, life was played by: M.S. Shchepkin (1825), P. M. Sadovsky (1844), V. I. Zhivokini (1864).

Lit.: M. Gutwirth. Moliere ou 1'invention comique. La metamorphose des themes, la creation des types. Paris, 1966; see also lit. to the articles "Tartuffe", "Skalen".

Composition

The comedy "The Philistine in the Nobility" was written by Molière commissioned by Louis XIV. The prehistory of its creation is as follows. When the Turkish embassy arrived in Paris in 1699, the king received it with fabulous luxury. However, the Turks, with their Muslim restraint, did not express any admiration for what they saw | magnificence. Moreover, the Turkish ambassador declared that there were more precious stones on his master's horse than on the king of France.

The offended king wanted to see a spectacle on the stage in which Turkish ceremonies would be ridiculed. Such was the external point to the creation of the play. Initially, Moliere came up with the scene of initiation approved by the king into the dignity of "mamamushi", from which the whole plot of the comedy later grew. However, later, the talented playwright changed the original idea and the comedy, ceasing to be a satire on Turkish customs, became a satire on the modern customs of the nobility and the ignorance of the petty bourgeois. In the center of the comedy is the limited and conceited tradesman Jourdain, who at all costs wants to become a nobleman. He, like thousands of bourgeois like him, is trying to learn noble manners, language and customs, to get closer to those from whom his noble origin separated him.

The nobility, which at that time was experiencing an economic and moral decline, still retained the authority that had developed over many centuries. The nobles remained the masters of the position in the state, having neither the moral right nor the material possibilities. They could boast of their glorious ancestors, secular manners, closeness to the reigning person, but nothing more: in reality, representatives of the bourgeoisie should have taken their place over time.

In the comedy, the nobility is represented by two characters: Count Dorant and Marquis Dorimena. Count Dorant is of noble birth, refined manners, captivating appearance. But at the same time, he is a poor adventurer, a swindler, ready for any meanness, even pandering, for the sake of money. He calls M. Jourdain a kind friend. He is ready to praise his manners, his appearance: “Your appearance in this suit is impeccable. We do not have a single young man at court who would be as complex as you. Dorant "confesses" that he had an unusually strong desire to see Jourdain, moreover, put in a word about him in the royal bedchamber. Then, having bribed with rude flattery, the count kindly inquires about the amount of his debt, and then shamelessly asks for more loans. Acting like a subtle psychologist, Dorant says that a lot of people would gladly lend him, "... but you are my best friend," he tells Jourdain, "and I was afraid that I would offend you if I asked anyone else" . This conversation takes place in front of Jourdain's wife, so the true reasons that gave rise to the friendship of a nobleman and a tradesman are not disclosed here. Alone with Jourdain, Dorant reports that the Marquise reacted favorably to his gift, and then it turns out that Jourdain not only strives to be like a nobleman in his manners and manners, in addition to everything, he is inflamed with an "unearthly passion" for the most charming marquise and, following the advice of the count-procurer tried to get her attention with gifts. However, the count himself is in love with Dorimena, and, being short of money, uses the means and opportunities of Jourdain, as well as his stupidity and gullibility, with only one goal - to achieve the favor of the marquise himself.

Depicting the bourgeois, Moliere divides them into three groups: those who were characterized by patriarchy, inertia, conservatism; people of a new type, possessing a sense of their own dignity, and, finally, those who imitate the nobility.

The first group in the comedy is Jourdain's wife, a true representative of the nobility. She is a sensible, practical woman with self-respect. She is trying with all her might to resist the mania of her husband, his inappropriate claims: “You are crazy about all these quirks, hubby. And it started with you from the time you took it into your head to hang out with important gentlemen. All the efforts of Madame Jourdain are aimed at clearing the house of uninvited guests who live at the expense of her husband and use his gullibility and vanity for their own purposes: "Here's what, drive your teachers in the neck with all their gibberish." Although Madame Jourdain has not taken fencing lessons, she boldly retorts Count Dorant's refined remarks and questions. “Where is your dear daughter? Something she is not visible, ”the count pleases. Madame Jourdain, not inclined to succumb to captivating flattery, replies: "My esteemed daughter is exactly where she is now."

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 her bourgeois relatives:

* “Don't expect anything good from an unequal marriage. I don’t want my son-in-law to reproach my daughter with her parents and that their children be ashamed to call me grandmother.” In this human desire for a wife, Mr. Jourdain sees the pettiness of the soul. “You would have to vegetate in insignificance for a century,” he reproaches her.

The opportunity to approach noble people is happiness for him, all his ambition pushes him to achieve similarity with them, his whole life is a desire to imitate them. The thought of the nobility takes possession of him completely, and in his mental blindness he even loses the correct idea of ​​the world, reaches mental baseness and begins to be ashamed of his parents. At the same time, Monsieur Jourdain acts and argues to his own detriment. He is fooled by everyone who wants to: teachers, tailors and apprentices, Count Dorant, Cleont and his servant Coviel. The rudeness, bad manners, ignorance, vulgarity of the language and manners of Mr. Jourdain contrast with his claims to noble elegance and gloss. So, for example, after a philosophy lesson, without waiting for a suit from a tailor, Jourdain desperately yells:

* “May he be tormented by a fever, this robber tailor! Damn him, this tailor! Plague take him, this tailor!”

Although just a few minutes before that, Monsieur Jourdain wrote a letter full of love to the Marquise: “Beautiful Marquise! Your beautiful eyes promise me death from love. Despite all this, Jourdain causes sincere laughter, not disgust. Unlike other upstart bourgeois, he bows to the nobility disinterestedly, out of ignorance, as a kind of dream of beauty.

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. Therefore, not knowing about the idea of ​​​​her lover and his servant, she is sincerely indignant and resists her father’s attempt to marry her to the son of the Turkish Sultan: “No, father, I already told you that there is no such force that would force me to marry someone | anything but Cleont. Cleont is noble not by origin, but by character, he is honest, truthful, loving. He claims that being ashamed of your parents, impersonating something other than who you really are, is a sign of spiritual baseness. Cleon is sure that only the spiritual nobility of a person and his reasonable behavior in society are true. In his opinion, every deceit casts a shadow on a person.

The image of Cleont embodied the ideal of classicism: a truly noble person could only be one who, in his behavior, was guided by the requirements of reason, proceeded from what was considered to be good. The fact that in the finale of the comedy Jourdain fell for the trick of the intelligent Cleont and his resourceful servant Covel should have testified to the superiority of reason: Jourdain agreed to the marriage of his daughter. Justice has prevailed.

Other writings on this work

Mister Jourdain is the main character of the comedy. Moliere wrote the comedy "The Bourgeoisie in the Nobility" in 1670. The reason for its creation was the direct instruction of Louis XIV to ridicule Turkish ceremonies in comedy. However, Moliere went beyond the royal order and created an excellent thing, turned with its edge against the social diseases of modern France. He turned to the problem that was relevant at that time: the impoverishment of aristocrats and the penetration of wealthy bourgeois into their environment, seeking to buy a title of nobility for big money. As we know, Moliere always followed the principle of "correcting people by entertaining them." So the great satirist tried in his work to ridicule Mr. Jourdain, who is ready to sacrifice everything in order to become his man in aristocratic circles. But Jourdain could not be a nobleman either by origin or upbringing.

From the first minute of our acquaintance with the heroes of the comedy, it becomes clear to us, the readers, that Molière directed all the power of his talent precisely to show the stupidity of Jourdain's undertaking, seeking to give his capital just for the coat of arms of the nobility. You can’t call his undertaking otherwise than insanity. The music teacher speaks about this, correctly noting the obsession of his master: "Mr. Jourdain, with his obsession with the nobility and secular manners, is just a treasure for us."

A wealthy tradesman does not limit himself to the desire to simply acquire a title of nobility and thereby become on a par with sewing. It is commendable that Jourdain wants to be reborn internally, to acquire all the qualities and signs of an aristocrat. That is why he does not spare money and hires teachers, hoping with their help to realize his dream. He is not ashamed to study "in old age". Jourdain, in his own way, understands that the beauty of education is not so much in its applied, practical usefulness, but in the opportunities for communication that open up: “I want to get smarter, so that I can talk about anything with decent people.”

But how ridiculous Jourdain is in some of his confessions regarding his training: “I had no idea that I had been speaking prose for more than forty years.” Innocent, childish joy, admiration for other people's knowledge, reverence for science in its own way, sincere contrition at one's ignorance - all this arouses sympathy.

Moliere shows that one of the main characteristics of the hero is vanity. Jourdain, to a certain extent, could be proud of many things: the obtained fortune, the ability to conduct business, a smart daughter, a mistress wife. Now, his connections with the nobles are ridiculous for those around him and do not at all correspond to the usual way of life of the bourgeois, but most importantly, they are unprofitable. Money leaves the house, the usual order of life is violated, ties with their circle are weakening.

Living in two worlds - real and fictional - Jourdain is deprived of the opportunity to act and feel naturally, which serves as an inexhaustible beginning of ridicule over him. The veil does not fall from Jourdain’s eyes until the last remarks of Covel: “Well, you won’t find another such madcap in the whole world!” He is very funny in his red velvet trousers, green doublet, in tight stockings with loose loops, in painfully tight shoes. Reading a comedy feels as uncomfortable as Jourdain. The playwright gives us the opportunity to understand what the hero cannot understand: nothing can replace culture and education, even a bright dress and the address “your grace”.

Jourdain's stupidity is the reason for his loss. Blinded by the brilliance of aristocratism, the merchant Jourdain lost a lot: Count Dorant defrauds him of money. The author punishes his hero - he remains fooled, not understanding the essence of what is happening. Depicting Jourdain in this way, Moliere declares his humanistic position: he rejects not only the path chosen by the hero, but also the very idea of ​​the dependence of a person's value on class affiliation.

Of course, we feel sorry for this bourgeois, but at the same time we want to warn our contemporaries by his example: you can’t buy intelligence for money, but you will lose it; it is not the appearance that adorns a person, but his inner rich world. Jourdain admitted defeat, And in this he was helped by the people to whom he is dear.

But the main conclusion that Molière makes is that those nobles whom Jourdain took as a model are not at all worthy of him, that aristocrats are rogues, thieves, idlers.

And in this Jourdain is morally superior to them, he is purer in his thoughts and way of life.

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