The formation of the genre of high comedy in the works of J.B. Moliere

Composition

In the mid-1660s, Moliere created his best comedies, in which he criticized the vices of the clergy, nobility and bourgeoisie. The first of them was “Tartuffe, or the Deceiver” (edition 1664, G667 and 1669). The play shows the time of the grandiose court holiday “The Amusement of the Enchanted Island,” which took place in May 1664 in Versailles. However, the play upset the holiday. A real conspiracy arose against Moliere, led by Queen Mother Anne of Austria. Moliere was accused of insulting religion and the church, demanding punishment for this. Performances of the play were stopped.

Moliere made an attempt to stage the play in a new edition. In the first edition of 1664, Tartuffe was the clergyman of the Parisian bourgeois Orgon, into whose house this rogue enters, pretending to be a saint; he does not yet have a daughter - the priest Tartuffe could not marry her. Tartuffe deftly gets out of a difficult situation, despite the accusations of his son Orgon, who fell in love with him while courting his stepmother Elmira. The triumph of Tartuffe unequivocally testified to the danger of hypocrisy.

In the second edition (1667; like the first, it has not reached us) Moliere expanded the play, added two more acts to the existing three, where he depicted the connections of the hypocrite Tartuffe with the court, the court and the police, Tartuffe was called Panyulf and turned into a secular a man who intends to marry Orgon's daughter Marianne. The comedy, called “The Deceiver,” ended with the exposure of Pasholf and the glorification of the king. In the latest edition that has come down to us (1669), the hypocrite was again called Tartuffe, and the whole play was called “Tartuffe, or the Deceiver.”

The king knew about Moliere's play and approved his plan. Fighting for “Tartuffe,” Moliere, in his first “Petition” to the king, defended comedy, defended himself from accusations of godlessness, and spoke about the social role of the satirical writer. The king did not lift the ban on the play, but did not listen to the advice of the rabid saints “to burn not only the book, but also its author, a demon, an atheist and a libertine, who wrote a devilish play full of abomination, in which he mocks the church and religion, the sacred functions” (“The Greatest King of the World,” pamphlet by Sorbonne doctor Pierre Roullet, 1664).

Tartuffe is not the embodiment of hypocrisy as a universal human vice, it is a socially generalized type. It is not for nothing that he is not alone in the comedy: his servant Laurent, the bailiff, and the old woman, Orgon’s mother Madame Pernel, are hypocritical. They all cover up their unsightly actions with pious speeches and vigilantly monitor the behavior of others. He settled well in Orgon's house, where the owner not only satisfies his slightest whims, but is also ready to give him his daughter Marianne, a rich heiress, as his wife. Orgon confides all secrets to him, including entrusting him with the storage of the treasured box with incriminating documents. Tartuffe succeeds because he is a subtle psychologist; playing on the fear of the gullible Orgon, he forces the latter to reveal any secrets to him. Tartuffe covers up his insidious plans with religious arguments. He is well aware of his strength, and therefore does not restrain his vicious desires. He does not love Marianne, she is only an advantageous bride for him, he is carried away by the beautiful Elmira, whom Tartuffe is trying to seduce. His casuistic reasoning that betrayal is not a sin if no one knows about it outrages Elmira. Damis, Orgon's son, a witness to the secret meeting, wants to expose the scoundrel, but he, having taken a pose of self-flagellation and repentance for supposedly imperfect sins, again makes Orgon his defender. When, after the second date, Tartuffe falls into a trap and Orgon kicks him out of the house, he begins to take revenge, fully revealing his vicious, corrupt and selfish nature.

But Molière not only exposes hypocrisy. In Tartuffe, he poses an important question: why did Orgon allow himself to be so deceived? This already middle-aged man, clearly not stupid, with a strong disposition and strong will, succumbed to the widespread fashion for piety. Orgon believed in Tartuffe’s piety and “holiness” and sees him as his spiritual mentor. However, he becomes a pawn in the hands of Tartuffe, who shamelessly declares that Orgon would rather believe him “than his own eyes.” The reason for this is the inertia of Orgon’s consciousness, brought up in submission to authority. This inertia does not give him the opportunity to critically comprehend the phenomena of life and evaluate the People around him.

Later, this theme attracted the attention of playwrights in Italy and France, who developed it as a legend about an unrepentant sinner, devoid of national and everyday characteristics. Moliere treated this well-known theme in a completely original way, abandoning the religious and moral interpretation of the image of the main character. His Don Juai is an ordinary socialite, and the events that happen to him are determined by the properties of his nature, everyday traditions, and social relationships. Moliere's Don Juan, whom his servant Sganarelle defines from the very beginning of the play as “the greatest of all villains that the earth has ever bore, a monster, a dog, a devil, a Turk, a heretic” (I, /), is a young daredevil, a rake, who does not see any barriers to the manifestation of his vicious personality: he lives by the principle “everything is allowed.” In creating his Don Juan, Moliere denounced not debauchery in general, but the immorality inherent in the French aristocrat of the 17th century. Moliere knew this breed of people well and therefore depicted his hero very reliably.

Composition

In the mid-1660s, Moliere created his best comedies, in which he criticized the vices of the clergy, nobility and bourgeoisie. The first of them was “Tartuffe, or the Deceiver” (edition 1664, 1667 and 1669). The play was to be shown during the grandiose court festival “The Amusements of the Enchanted Island”, which took place in May 1664 at Versailles. However, the play upset the holiday. A real conspiracy arose against Moliere, led by Queen Mother Anne of Austria. Moliere was accused of insulting religion and the church, demanding punishment for this. Performances of the play were stopped.

Moliere made an attempt to stage the play in a new edition. In the first edition of 1664, Tartuffe was a clergyman. The wealthy Parisian bourgeois Orgon, into whose house this rogue plays the saint, enters, does not yet have a daughter - the priest Tartuffe could not marry her. Tartuffe deftly gets out of a difficult situation, despite the accusations of his son Orgon, who caught him courting his stepmother Elmira. The triumph of Tartuffe unequivocally testified to the danger of hypocrisy.

In the second edition (1667; like the first, it has not reached us) Moliere expanded the play, added two more acts to the existing three, where he depicted the connections of the hypocrite Tartuffe with the court, the court and the police. Tartuffe was named Panjulf and turned into a socialite, intending to marry Orgon's daughter Marianne. The comedy, called “The Deceiver,” ended with the exposure of Panyulf and the glorification of the king. In the latest edition that has come down to us (1669), the hypocrite was again called Tartuffe, and the entire play was called “Tartuffe, or the Deceiver.”

The king knew about Moliere's play and approved his plan. Fighting for “Tartuffe,” Moliere, in his first “Petition” to the king, defended comedy, defended himself from accusations of godlessness, and spoke about the social role of the satirical writer. The king did not lift the ban on the play, but did not listen to the advice of rabid saints “to burn not only the book, but also its author, a demon, an atheist and a libertine, who wrote a devilish play full of abomination, in which he mocks the church and religion, the sacred functions” (“The Greatest King of the World,” pamphlet by Sorbonne doctor Pierre Roullet, 1664).

Permission to stage the play in its second edition was given by the king orally, in a hurry, upon leaving for the army. Immediately after the premiere, the comedy was again banned by the President of Parliament (the highest judicial institution), Lamoignon, and the Parisian Archbishop Perefix issued a message in which he forbade all parishioners and clergy from “presenting, reading or listening to a dangerous play” under pain of excommunication. Moliere sent the second “Petition” to the king’s headquarters, in which he stated that he would stop writing completely if the king did not come to his defense. The king promised to sort it out. Meanwhile, the comedy is read in private homes, distributed in manuscript, and performed in private home performances (for example, in the palace of the Prince of Condé in Chantilly). In 1666, the Queen Mother died and this gave Louis XIV the opportunity to promise Moliere quick permission to stage it. The year 1668 arrived, the year of the so-called “ecclesiastical peace” between orthodox Catholicism and Jansenism, which promoted a certain tolerance in religious matters. It was then that the production of Tartuffe was allowed. On February 9, 1669, the performance of the play was a huge success.

What caused such violent attacks on Tartuffe? Moliere had long been attracted to the theme of hypocrisy, which he observed everywhere in public life. In this comedy, Moliere turned to the most common type of hypocrisy at that time - religious - and wrote it based on his observations of the activities of a secret religious society - the “Society of the Holy Sacrament”, which was patronized by Anne of Austria and of which both Lamoignon and Perefix were members. and the princes of the church, and the nobles, and the bourgeoisie. The king did not give sanction to the open activities of this ramified organization, which had existed for more than 30 years; the activities of the society were surrounded by the greatest mystery. Acting under the motto “Suppress all evil, promote all good,” members of the society set their main task to fight freethinking and godlessness. Having access to private homes, they essentially performed the functions of a secret police, conducting covert surveillance of those they suspected, collecting facts supposedly proving their guilt, and on this basis handing over alleged criminals to the authorities. Members of the society preached severity and asceticism in morals, had a negative attitude towards all kinds of secular entertainment and theater, and pursued a passion for fashion. Moliere observed how members of the “Society of the Holy Sacrament” insinuatingly and skillfully infiltrated other people’s families, how they subjugated people, completely taking possession of their conscience and their will. This suggested the plot of the play, and Tartuffe’s character was formed from typical traits inherent in members of the “Society of the Holy Gifts.”

Like them, Tartuffe is associated with the court, with the police, and is patronized at court. He hides his true appearance, posing as an impoverished nobleman looking for food on the church porch. He penetrates into Orgon’s family because in this house, after the owner’s marriage to young Elmira, instead of the former piety, free morals, fun reign, and critical speeches are heard. In addition, Orgon's friend Argas, a political exile, participant in the Parliamentary Fronde (1649), left him incriminating documents, which are stored in a box. Such a family could well seem suspicious to the “Society”, and surveillance was established on such families.

Tartuffe is not the embodiment of hypocrisy as a universal human vice, it is a socially generalized type. It is not for nothing that he is not at all alone in the comedy: his servant Laurent, the bailiff Loyal, and the old woman - Orgon's mother Madame Pernel - are hypocritical. They all cover up their unsightly actions with pious speeches and vigilantly monitor the behavior of others. Tartuffe’s characteristic appearance is created by his imaginary holiness and humility: “He prayed near me in church every day, // Kneeling in an outburst of piety. // He attracted everyone's attention" (I, 6). Tartuffe is not without external attractiveness; he has courteous, insinuating manners, which hide prudence, energy, an ambitious thirst for power, and the ability to take revenge. He settled well in Orgon's house, where the owner not only satisfies his slightest whims, but is also ready to give him his daughter Marianne, a rich heiress, as his wife. Orgon confides all secrets to him, including entrusting him with the storage of the treasured box with incriminating documents. Tartuffe succeeds because he is a subtle psychologist; playing on the fear of the gullible Orgon, he forces the latter to reveal any secrets to him. Tartuffe covers up his insidious plans with religious arguments. He is well aware of his strength, and therefore does not restrain his vicious desires. He does not love Marianne, she is only an advantageous bride for him, he is carried away by the beautiful Elmira, whom Tartuffe is trying to seduce. His casuistic reasoning that betrayal is not a sin if no one knows about it outrages Elmira. Damis, the son of Orgon, a witness to the secret meeting, wants to expose the scoundrel, but he, having adopted a pose of self-flagellation and repentance for supposedly imperfect sins, again makes Orgon his defender. When, after the second date, Tartuffe falls into a trap and Orgon kicks him out of the house, he begins to take revenge, fully revealing his vicious, corrupt and selfish nature.

But Molière not only exposes hypocrisy. In Tartuffe, he poses an important question: why did Orgon allow himself to be so deceived? This already middle-aged man, clearly not stupid, with a strong disposition and strong will, succumbed to the widespread fashion for piety. Orgon believed in Tartuffe’s piety and “holiness” and sees him as his spiritual mentor. However, he becomes a pawn in the hands of Tartuffe, who shamelessly declares that Orgon would rather believe him “than his own eyes” (IV, 5). The reason for this is the inertia of Orgon’s consciousness, brought up in submission to authority. This inertia does not give him the opportunity to critically comprehend the phenomena of life and evaluate the people around him. If Orgon nevertheless gains a sensible view of the world after Tartuffe is exposed, then his mother, the old woman Pernelle, a stupidly pious supporter of inert patriarchal views, never saw Tartuffe’s true face.

The younger generation, represented in the comedy, which immediately discerned Tartuffe’s true face, is united by the maid Dorina, who has long and faithfully served in Orgon’s house and enjoys love and respect here. Her wisdom, common sense, and insight help to find the most suitable means to combat the cunning rogue.

The comedy Tartuffe had great social significance. In it, Moliere depicted not private family relationships, but the most harmful social vice - hypocrisy. In the Preface to Tartuffe, an important theoretical document, Moliere explains the meaning of his play. He affirms the social purpose of comedy, states that “the task of comedy is to castigate vices, and there should be no exceptions here. From a state point of view, the vice of hypocrisy is one of the most dangerous in its consequences. The theater has the ability to counteract vice.” It was hypocrisy, according to Moliere’s definition, the main state vice of France of his time, that became the object of his satire. In a comedy that evokes laughter and fear, Moliere painted a profound picture of what was happening in France. Hypocrites like Tartuffe, despots, informers and avengers, dominate the country with impunity and commit genuine atrocities; lawlessness and violence are the results of their activities. Moliere painted a picture that should have alerted those who ruled the country. And although the ideal king at the end of the play acts justly (which was explained by Moliere’s naive faith in a just and reasonable monarch), the social situation outlined by Moliere seems threatening.
Moliere the artist, when creating Tartuffe, used a wide variety of means: here you can find elements of farce (Orgon hides under the table), comedy of intrigue (the story of the box with documents), comedy of manners (scenes in the house of a rich bourgeois), comedy of characters (dependence of development actions from the character of the hero). At the same time, Moliere's work is a typically classicist comedy. All the “rules” are strictly observed in it: it is designed not only to entertain, but also to instruct the viewer. In the “Preface” to “Tartuffe” it is said: “You can’t catch people’s attention better than by depicting their shortcomings. They listen to reproaches indifferently, but cannot bear ridicule. Comedy reproaches people for their shortcomings in pleasant teachings.”

During the years of struggle for Tartuffe, Moliere created his most significant satirical and oppositional comedies.

He considered himself an actor, not a playwright.

He wrote the play “The Misanthrope” and the French Academy, which could not stand him, was so delighted that they offered him to become an academician and receive the title of immortal. But this is conditional. That he will stop going on stage as an actor. Moliere refused. After his death, the academicians erected a monument to him and wrote in Latin: his glory is boundless for the fullness of our glory we lack him.

Moliere highly valued Corneille's plays. I thought that tragedy should be staged in the theater. And he considered himself a tragic actor. he was a very educated man. Graduated from Clermont College. He translated Lucretius from Latin. He was not a buffoon. By outward appearances, he was not a comic actor. he really had all the qualities of a tragic actor - a hero. Only his breathing was weak. It wasn't enough for a full stanza. He took theater seriously.

Moliere borrowed all the plots and they were not the main ones for him. It is impossible to base the plot on its dramaturgy. The main thing there is the interaction of characters, not the plot.

He wrote “Don Juan” at the request of the actors in 3 months. That's why it is written in prose. There was no time to rhyme it. When you read Moliere, you need to understand what role Moliere himself played. Because he played the main role. He wrote all the roles for the actors, taking into account their individual characteristics. When he joined the troupe Lagrange , who kept the famous register. He began to write heroic roles for him and a Don Juan role for him. It is difficult to stage Molière, because when writing the play he took into account the psychophysiological capabilities of the actors in his troupe. This is tough material. His actors were golden. He quarreled with Racine over an actress (Marquise Teresa Duparc), whom Racine lured to him with the promise of writing the role of Andromache for her.

Moliere is the creator of high comedy.

High comedy - comedy without a positive hero(School for Wives, Tartuffe, Don Juan, The Miser, The Misanthrope). There is no need to look for positive heroes from him there.

A tradesman among the nobility is not a high comedy.

But he also has farces.

High comedy addresses the mechanisms that give rise to vices in humans.

Main character - Orgone (played by Molière)

Tartuffe appears in act 3.

Everyone argues about it and the viewer must take some point of view.

Orgon is not an idiot, but why did he bring Tartuffe into the house and trust him so much? Orgon is not young (about 50), and his second wife Elmira is almost the same age as his children. He must solve the problem of the soul for himself. How to combine spiritual and social life with a young wife. For the 17th century, this was the main reason why the play was closed. But the king did not close this play. All of Moliere's appeals to the king were due to the fact that he did not know the true reason why the play was closed. And they closed it because of Anna, the Austrian mother of the king. And the king could not influence the mother’s decision.

She died in 69, and in 70 the play was immediately performed. What was the problem? In the question of what is grace and what is a secular person. Argon meets Tartuffe in a noble dress in the church, who brings him holy water. Orgon had a great desire to find a person who would combine these two qualities and it seemed to him that Tartuffe such a person. He takes him into the house and seems to go crazy. Everything in the house went upside down. Moliere turns to a precise psychological mechanism. When a person wants to be ideal, he tries to bring the ideal closer to himself physically. He begins not to break himself, but to bring the ideal closer to himself.

Tartuffe doesn't deceive anyone anywhere. He behaves simply arrogantly. Everyone understands. What is he an idiot except Madame Pernelle and Orgon . Dorina - housemaid Mariana is not a positive hero in this play. He behaves impudently. Mocking Argon. Cleant - Brother Elmira , brother-in-law of Orgon

Orgon gives Tartuffe everything. He wants to get as close to his idol as possible. Don't make yourself an idol. This is about psychological unfreedom. Super Christian play.

If a person lives by some idea, then no force can convince him. Orgon gives his daughter in marriage. He curses his son and throws him out of the house. Gives away his property. He gave someone else's box to a friend. Elmira was the only one who could dissuade him. And not in word, but in deed.

In order to perform this play at the Molière Theater they used a fringed tablecloth and a royal decree. the actor's existence there redeemed everything. How accurate is the theater?

The scene of revelation when Orgon is under the table. Lasts a long time. And when he gets out, he experiences a catastrophe. This is a sign of high comedy. The hero of high comedy experiences a real tragedy. He's here now. Like Othello, who realized that he had strangled Desdemona in vain. And when the main character suffers, the viewer laughs furiously. This is a paradoxical move. In every play Moliere has such a scene.

The more you suffer Harpagon in The Miser (the role of Molière) whose box is stolen, the funnier it is for the viewer. He shouts - police! Arrest me! Cut off my hand! Why are you laughing? He says to the viewer. Maybe you stole my wallet? He asks the nobles sitting on the stage. The gallery laughs. Or maybe there is a thief among you? He turns to the gallery. And the audience laughs more and more. And when they’ve already laughed it off. After some time they should understand. That Harpagon is them.

Textbooks write nonsense about Tartuffe regarding the ending. When a guard comes with the king’s decree, they write that Moliere couldn’t stand it and made concessions to the king in order to get the play through... it’s not true!

In France, the king is the pinnacle of the spiritual world. This is the embodiment of reason and ideas. Through his efforts, Orgon plunged nightmare and destruction into the life of his family. And if you end up with Orgon being kicked out of the house, then what is that play about? About the fact that he's just a fool and that's all. But this is not a subject for conversation. There is no ending. A guard with a decree appears as a certain function (a god on a machine), a certain force that is able to restore order in Orgon’s house. He is forgiven, his house and box are returned to him, and the tartuffe goes to prison. You can put your house in order, but you can’t put your head in order. Maybe he will bring a new Tartuffe into the house?.. and we understand that the play reveals the psychological mechanism of inventing an ideal, getting closer to this ideal, in the absence of the opportunity for this person to really change. The man is funny. As soon as a person begins to look for support in some idea, he turns into Orgone. This play is not going well for us.

In France, since the 17th century, there was a secret conspiratorial society (the society of secret communion or the society of the holy gifts), headed by Anna of Austria, which served as the morality police. it was the third political force in the state. Cardinal Richelieu knew and fought against this society and this was the basis of their conflict with the queen.

At this time, the Jesuit order began to actively operate. Who know how to combine secular and spiritual life. Salon abbots appear (Aramis is like that). They made religion attractive to the secular population. And the same Jesuits infiltrated homes and took possession of property. Because an order for something had to exist. And the play Tartuffe was written at the personal request of the king. In Molière's troupe there was a farceur actor who played farces by Grovenet du Parc (?). and the first edition was a farce. It ended with Tartuffe taking everything away and driving Orgon out. Tartuffe was played for the opening of Versailles. And in the middle of Act 1, the queen stood up and left, as soon as it became clear who Tartuffe was. the play was closed. Although she walked freely in manuscripts and was played in private houses. But Molière’s troupe could not do this. Nucius arrived from Rome and Moliere asked him why he was forbidden to play it? He said, I don’t understand. Normal play. Here in Italy they write worse. Then the performer of the role of Tartuffe dies and Moliere rewrites the play. Tartuffe becomes a nobleman with a more complex character. The play is changing before our eyes. Then the war with the Netherlands began, the king leaves there and Moliere writes an appeal to the chairman of the Parisian parliament, not knowing that this is the right hand of Anne of Austria in this order. and the play is of course banned again

The Jansenists and the Jesuits started a dispute about grace. As a result, the king reconciled them all and they played the play Tartuffe. The Jansenists thought that Tartuffe was a Jesuit. And the Jesuits say that he is a Jansenist.

About Moliere: 1622-1673, France. Born into the family of a court upholsterer and decorator, he received an excellent education. He knew ancient languages, ancient literature, history, philosophy, etc. From there I gained convictions about the freedom of the human person. He could have been a scientist, a lawyer, or followed in his father’s footsteps, but he became an actor (and that was a shame). He played at the Brilliant Theater, despite his talent for comic roles, almost the entire troupe staged tragedies. Two years later the theater disbanded and they became a traveling theater. Moliere looked at people, at life, at characters, realized that they were better comedians than tragedians, and began to write comedies. In Paris they were received with delight, Louis 14 left the court theater to them to be torn to pieces, and then they got their own - the Palais Royal. There he staged faxes and comedies on topical topics, ridiculed the vices of society, sometimes individuals, and, naturally, made enemies. However, he was favored by the king and became his favorite. Louis even became the godson of his first-born son in order to ward off rumors and gossip from his marriage. And still, people liked the plays, and even I liked them)

The playwright died after the fourth performance of The Imaginary Invalid; he felt ill on stage and barely finished the performance. That same night Moliere died. 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 Archbishop of Paris, who did not forgive Moliere for Tartuffe, did not allow the great writer to be buried according to the accepted church rite. It took the king's intervention. The funeral took place late in the evening, without observing proper ceremonies, outside the fence of the cemetery, where unknown vagabonds and suicides were usually buried. However, behind Moliere’s coffin, along with his family, friends, and colleagues, was a large crowd of ordinary people, to whose opinion Moliere listened so subtly.

In classicism, the rules for constructing comedy were not interpreted as strictly as the rules of tragedy, and allowed for wider variation. Sharing the principles of classicism as an artistic system, Moliere made genuine discoveries in the field of comedy. He demanded a truthful representation of reality, preferring to move from direct observation of life phenomena to the creation of typical characters. These characters, under the playwright's pen, acquire social definition; Many of his observations therefore turned out to be prophetic: such, for example, is the depiction of the peculiarities of bourgeois psychology. Satire in Moliere's comedies always contained a social meaning. The comedian did not paint portraits or record secondary phenomena of reality. He created comedies that depicted the life and customs of modern society, but for Moliere it was essentially a form of expression of social protest, a demand for social justice. His worldview was based on experimental knowledge, concrete observations of life, which he preferred to abstract speculation. In his views on morality, Moliere was convinced that only following natural laws is the key to rational and moral human behavior. But he wrote comedies, which means his attention was drawn to violations of the norms of human nature, deviations from natural instincts in the name of far-fetched values. In his comedies, two types of “fools” are depicted: those who do not know their nature and its laws (Moliere tries to teach and sober up such people), and those who deliberately cripple their own or someone else’s nature (he considers such people dangerous and requiring isolation) . According to the playwright, if a person's nature is perverted, he becomes a moral monster; False, false ideals underlie false, perverted morality. Moliere demanded genuine moral rigor, reasonable restrictions on the individual; Personal freedom for him is not blind adherence to the call of nature, but the ability to subordinate one’s nature to the demands of reason. Therefore, his positive heroes are reasonable and sensible.

Moliere wrote comedies two types; they differed in content, intrigue, comic nature, and structure. Domestic comedies , short, written in prose, the plot is reminiscent of headlights. And, in fact, « high comedy» .

1. Dedicated to important social issues (not just to ridicule manners as in “Funny Primroses,” but to expose the vices of society).

2. In five acts.

3. In verse.

4. Full compliance with the classic trinity (place, time, action)

5. Comic: comic character, intellectual comic.

6. No conventions.

7. The character of the heroes is revealed by external and internal factors. External factors - events, situations, actions. Internal - spiritual experiences.

8. Standard roles. Young heroes are usually lovers ; their servants (usually cunning, accomplices of their masters); eccentric hero (a clown, a character full of comic contradictions); hero-sage , or reasoner .

For example: Tartuffe, Misanthrope, Tradesman among the Nobility, Don Juan, in general, everything that needed to be read. These comedies contain elements of farce and comedy of intrigue and comedy of manners, but in fact these are comedies of classicism. Moliere himself described the meaning of their social content as follows: “You can’t penetrate people better than by depicting their shortcomings. People listen to reproaches indifferently, but cannot bear ridicule... Comedy saves people from their vices.” Don Juan Before him, everything was made into a Christian edifying play, but he went a different route. The play is full of social and everyday concreteness (see the point “no conventions”). The main character is not an abstract rake or the embodiment of universal debauchery, but a representative of a certain type of French nobles. He is a typical, concrete person, not a symbol. Creating your own Don Juan, Moliere denounced not debauchery in general, but the immorality inherent in the French aristocrat of the 17th century. There are a lot of details from real life, but I think you will find this in the corresponding ticket. Tartuffe- is not the embodiment of hypocrisy as a universal human vice, it is a socially generalized type. It is not for nothing that he is not at all alone in the comedy: his servant Laurent, the bailiff Loyal, and the old woman - Orgon's mother Madame Pernel - are hypocritical. They all cover up their unsightly actions with pious speeches and vigilantly monitor the behavior of others.

Misanthrope was even recognized by the strict Boileau as a truly “high comedy.” In it, Moliere showed the injustice of the social system, moral decline, the rebellion of a strong, noble personality against social evil. It contrasts two philosophies, two worldviews (Alceste and Flint are opposites). It is devoid of any theatrical effects, dialogue here completely replaces action, and the comedy of characters is the comedy of situations. “The Misanthrope” was created during the serious trials that befell Moliere. This, perhaps, explains its content - deep and sad. The comedy of this essentially tragic play is connected precisely with the character of the main character, who is endowed with weaknesses. Alceste is hot-tempered, lacks a sense of proportion and tact, he lectures insignificant people, idealizes the unworthy woman Celimene, loves her, forgives her everything, suffers, but hopes that he can revive the good qualities she has lost. But he is mistaken, he does not see that she already belongs to the environment that he rejects. Alceste is an expression of Moliere’s ideal, in some ways a reasoner, conveying the author’s opinion to the public.

About Tradesman in the nobility(it’s not on the tickets, but it’s on the list):

Depicting people of the third estate, the bourgeois, Moliere divides them into three groups: those who were characterized by patriarchy, inertia, and conservatism; people of a new type, with a sense of self-esteem and, finally, those who imitate the nobility, which has a detrimental effect on their psyche. Among these latter is the main character of “The Bourgeois in the Nobility,” Mr. Jourdain.

This is a man completely captured by one dream - to become a nobleman. The opportunity to get closer to noble people is happiness for him, all his ambition lies in achieving similarities with them, his whole life is the desire to imitate them. The thought of nobility takes possession of him completely; in this mental blindness, he loses all correct understanding of the world. He acts without reasoning, to his own detriment. He reaches the point of spiritual depravity 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. The rudeness, bad manners, ignorance, vulgarity of language and manners of Mr. Jourdain comically contrast with his claims to noble grace and gloss. But Jourdain evokes laughter, not disgust, because, unlike other similar upstarts, he worships 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 philistinism. She is a sensible, practical woman with self-esteem. She tries 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 at the expense of 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 her bourgeois relatives. The younger generation - Jourdain's daughter Lucille and her fiancé Cleont - are people of a new type. Lucille received a good upbringing; she loves Cleontes for his virtues. Cleont is noble, but not by origin, but by character and moral qualities: 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 and captivating politeness. But the count is a poor adventurer, a swindler, ready for any meanness, even pimping, for the sake of money. Dorimena, together with Dorant, robs Jourdain. The conclusion to which Moliere leads the viewer is obvious: even though Jourdain is ignorant and simple-minded, even though he is ridiculous and selfish, he is an honest man, and there is nothing to despise him for. Morally, trusting and naive in his dreams, Jourdain is higher than the aristocrats. So the comedy-ballet, the original purpose of which was to entertain the king in his Chambord castle, where he went hunting, became, under the pen of Molière, a satirical, social work.

22. "Misanthrope"

Brief recap:

1 ACTION. In the capital city of Paris live two friends, Alceste and Philinte. From the very beginning of the play, Alceste burns with indignation because Philinte warmly greeted and sang praises to the man he had just seen, even whose name he remembers with difficulty. Filint assures that all relationships are built on politeness, because it’s like an advance - he said kindness - you get kindness in return, it’s nice. Alceste claims that such “friendship” is worthless, that he despises the human race for its deceit, hypocrisy, and depravity; Alceste does not want to tell a lie if he does not like a person - he is ready to say so, but he will not lie and servile for the sake of his career or money. He is even ready to lose a trial in which he, the right one, is suing a man who achieved his fortune in the most disgusting ways, but to whom, however, everyone is welcome and no one will say a bad word. Alceste rejects Philinte’s advice to bribe the judges - and he considers his possible loss an occasion to tell the world about the corruption of people and the depravity of the world. However, Philinte notices that Alceste, despising the entire human race and wanting to escape from the city, does not attribute his hatred to Celimene, a flirtatious and hypocritical beauty - although Elianta, Celimene’s cousin, would be a much more suitable wife for his sincere and direct nature. But Alceste believes that Celimene is beautiful and pure, although covered with a touch of vice, but with his pure love he hopes to cleanse his beloved from the dirt of the world.

The friends are joined by Oroante, who expresses an ardent desire to become Alceste’s friend, to which he tries to politely refuse, saying that he is unworthy of such an honor. Oroant demands Alceste to say his opinion regarding the sonnet that came into his head, after which he reads the verses. Oroantes's poems are trashy, pompous, cliched, and Alceste, after much asking Oroantes to be sincere, replies that he supposedly said to one of my poet acquaintances that graphomania must be restrained within oneself, that modern poetry is an order of magnitude worse than ancient French songs (and sings such a song twice) that the nonsense of professional authors can still be tolerated, but when an amateur not only writes, but also rushes to read out his rhymes to everyone - this is no longer which gate? Oroant, however, takes everything personally and leaves offended. Philint hints to Alceste that with his sincerity he has made himself another enemy.

2 ACTION. Alceste tells his beloved, Celimene, about his feelings, but he is dissatisfied with the fact that Celimene shows her favor to all her fans. He wants to be alone in her heart and not share it with anyone. Selimene reports that she is surprised by this new way of complimenting her beloved - grumbling and swearing. Alceste speaks of his fiery love and wants to talk seriously with Celimene. But Celimene’s servant, Basque, speaks of people who have come to visit, and to refuse them means making dangerous enemies. Alceste does not want to listen to the lying chatter of the world and slander, but remains. The guests take turns asking Celimena’s opinion about their mutual acquaintances, and in each of the absent ones, Celimena notes some features worthy of an evil laugh. Alceste is indignant at how the guests, with flattery and approval, force his beloved to slander. Everyone notices that this is not so, and it’s really somehow wrong to reproach your loved one. The guests gradually leave, and Alceste is taken to court by a gendarme.

3 ACTION. Clitander and Acast, two of the guests, contenders for Celimene’s hand, agree that the one of them who will continue the harassment will receive confirmation of her affection from the girl. With Selimene appearing, they start talking about Arsinoe, a mutual friend who does not have as many fans as Selimene, and therefore sanctimoniously preaches abstinence from vices; Moreover, Arsinoe is in love with Alceste, who does not share her feelings, having given his heart to Celimene, and for this Arsinoe hates her.

Arsinoe, who has arrived on a visit, is greeted joyfully by everyone, and the two marquises leave, leaving the ladies alone. They exchange pleasantries, after which Arsinoe talks about gossip that allegedly casts doubt on Celimene’s chastity. She responds by talking about other gossip - about Arsinoe’s hypocrisy. Alceste appears and interrupts the conversation, Selimene leaves to write an important letter, and Arsinoe remains with her lover. She takes him to her home in order to show him a letter allegedly compromising Celimene’s devotion to Alceste.

4 ACTION. Philinte tells Eliante about how Alceste refused to recognize Oroante's poems as worthy, criticizing the sonnet in accordance with his usual sincerity. He was reconciled with difficulty with the poet, and Elianta notes that she likes Alceste’s character and would be glad to become his wife. Philinte admits that Elianta can count on him as a groom if Celimene marries Alceste. Alceste appears with a letter, raging with jealousy. After trying to cool his anger, Philinte and Eliante leave him with Celimene. She swears that she loves Alceste, and the letter was simply misinterpreted by him, and, most likely, this letter is not to the gentleman at all, but to the lady - which removes its outrageousness. Alceste, refusing to listen to Celimene, finally admits that love makes him forget about the letter and he himself wants to justify his beloved. Dubois, Alceste's servant, insists that his master is in big trouble, that he is facing the conclusion that his good friend told Alceste to hide and wrote him a letter, which Dubois forgot in the hall, but will bring. Selimene hurries Alceste to find out what’s the matter.

5 ACTION. Alceste was sentenced to pay a huge sum in a case that was lost, which Alceste talked about with Philint at the beginning of the play. But Alcest does not want to appeal the decision - he is now firmly convinced of the depravity and wrongness of people, he wants to leave what happened as a reason to declare to the world his hatred of the human race. In addition, the same scoundrel who won the case against him attributes to Alceste the “vile little book” he published - and the “poet” Orontes, offended by Alceste, takes part in this. Alceste hides in the depths of the stage, and Orontes, who appears, begins to demand recognition from Celimene of her love for him. Alceste comes out and begins, together with Orontes, to demand a final decision from the girl - so that she admits her preference for one of them. Selimene is embarrassed and does not want to talk openly about her feelings, but the men insist. The marquises who came, Elianta, Philint, Arsinoe, read aloud Celimene’s letter to one of the marquises, in which she hints at reciprocity, slandering all the other acquaintances present on the stage, except Elianta and Philint. Everyone, having heard the “witness” about themselves, is offended and leaves the stage, and only the remaining Alceste says that he is not angry with his beloved, and is ready to forgive her everything if she agrees to leave the city with him and live married in a quiet corner. Celimene speaks with hostility about escaping from the world at such a young age, and after she twice repeated her judgment about this idea, Alceste exclaims that he no longer wants to remain in this society and promises to forget about Celimene’s love.

“The Misanthrope” belongs to the “high comedies” of Molière, who moved from sitcoms with elements of folk theater (farce, low vocabulary, etc.), although not completely (in “Tartuffe,” for example, elements of farce are preserved - for example, Orgon hides under table to see the meeting of his wife and Tartuffe, who is harassing her), to intellectual comedy. Moliere's high comedies are comedies of character, and in them the course of action and dramatic conflict arise and develop due to the characteristics of the characters of the main characters - and the characters of the main characters of “high comedies” have exaggerated features that cause conflict among themselves among the characters between them and society.

So, following “Don Juan” in 1666, Moliere wrote and staged “The Misanthrope”, and this comedy is the highest reflection of “high comedy” - it is completely devoid of theatrical effects, and action and drama are created only by dialogues and clashes of characters. In “The Misanthrope” all three unities are observed, and in general, this is one of Moliere’s “most classicist” comedies (in comparison with the same “Don Juan”, in which the rules of classicism are freely violated).

The main character is Alceste (misanthrope - “not loving people”), sincere and direct (this is his characteristic feature), despising society for lies and hypocrisy, despairing of fighting it (he does not want to win a court case with a bribe), dreaming of flight into solitude - which is what happens at the end of the work. The second main character is Philinte, a friend of Alceste, who, like Alceste, is aware of the essence of deceit, selfishness, and greed in human society, but adapts to it in order to survive in human society. He also tries to explain to Alceste that the “irregularities” he sees are reflections of small mistakes in human nature, which should be treated with condescension. However, Alceste does not want to hide his attitude towards people, does not want to go against his nature, he serves at the court, where in order to rise, it is not feats before the fatherland that are needed, but immoral activity, which, nevertheless, does not cause any censure by society.

This is how the opposition between the eccentric hero (Alceste) and the sage hero (Philint) arises. Philinte, based on his understanding of the situation, compromises, while Alceste does not want to forgive the “weakness of human nature.” Although Philinte tries as much as possible to restrain Alcest’s impulses that escape the boundaries of social custom and make them less dangerous for himself, Alcest, the rebel hero, openly expresses his protest against the social ugliness that he encounters everywhere. However, his behavior is perceived either as “noble heroism” or as eccentricity.

Alceste, in connection with the rules of classicism, is not completely ideal - and the comic effect of the “sad comedy”, as “The Misanthrope” is called, is born due to the weaknesses of Alceste - his strong and jealous love, forgiving Celimene’s shortcomings, his ardor and intemperance with his tongue when form of vices. However, this also makes him more sympathetic and lively - in accordance with the basic poetics of classicism.

23. "Tartuffe"

Brief retelling from briefley.ru:

Madame Pernelle protects Tartuffe from the household. At the invitation of the owner, a certain Mr. Tartuffe settled in the house of the venerable Orgon. Orgon doted on him, considering him an incomparable example of righteousness and wisdom: Tartuffe’s speeches were extremely sublime, his teachings - thanks to which Orgon learned that the world is a big cesspool, and now he would not blink an eye, burying his wife, children and other loved ones - extremely useful, piety aroused admiration; and how selflessly Tartuffe cherished the morality of Orgon’s family... Of all the household members, Orgon’s admiration for the newly-minted righteous man was shared, however, only by his mother, Madame Pernelle. At the beginning, Madame Pernelle says that the only good person in this house is Tartuffe. Dorina, Mariana's maid, in her opinion, is a loud rude person, Elmira, Orgon's wife, is wasteful, her brother Cleanthes is a freethinker, Orgon's children Damis is a fool and Mariana is a modest girl, but in a quiet pool! But they all see in Tartuffe who he really was - a hypocritical saint, cleverly taking advantage of Orgon’s delusion in his simple earthly interests: eating deliciously and sleeping softly, having a reliable roof over his head and some other benefits.

Orgon's family was completely disgusted with Tartuffe's moral teachings; with his worries about decency, he drove almost all his friends away from home. But as soon as someone spoke badly about this zealot of piety, Madame Pernelle created stormy scenes, and Orgon simply remained deaf to any speeches that were not imbued with admiration for Tartuffe. When Orgon returned from a short absence and demanded from the maid Dorina a report on the news at home, the news of his wife’s illness left him completely indifferent, while the story of how Tartuffe happened to overeat at dinner, then sleep until noon, and drink too much wine at breakfast, filled Orgon with compassion for the poor fellow; “Oh, poor thing!” - he says about Tartuffe, while Dorina is talking about how bad his wife was.

Orgon's daughter, Mariana, is in love with a noble young man named Valer, and her brother Damis is in love with Valer's sister. Orgon seems to have already given his consent to the marriage of Mariana and Valera, but for some reason he keeps postponing the wedding. Damis, concerned about his own fate - his marriage to Valera's sister was supposed to follow Mariana's wedding - asked Cleanthe to find out from Orgon the reason for the delay. Orgon answered questions so evasively and incomprehensibly that Cleanthes suspected that he had decided to somehow dispose of his daughter’s future.

Exactly how Orgon sees Mariana’s future became clear when he told his daughter that Tartuffe’s perfections needed reward, and that reward would be his marriage to her, Mariana. The girl was stunned, but did not dare contradict her father. Dorina had to stand up for her: the maid tried to explain to Orgon that marrying Mariana to Tartuffe - a beggar, a low-spirited freak - would mean becoming the subject of ridicule of the whole city, and in addition, would push her daughter onto the path of sin, for no matter how virtuous the girl was, she would not It's simply impossible to cuckold a hubby like Tartuffe. Dorina spoke very passionately and convincingly, but despite this, Orgon remained adamant in his determination to become related to Tartuffe.

Mariana was ready to submit to her father's will - this is what her daughter's duty told her to do. Dorina tried to overcome her obedience, dictated by natural timidity and respect for her father, and she almost succeeded in doing so, unfolding before Mariana vivid pictures of the marital happiness prepared for him and Tartuffe.

But when Valer asked Mariana if she was going to submit to Orgon’s will, the girl replied that she didn’t know. But this is only to “flirt”; she sincerely loves Valera. In a fit of despair, Valer advised her to do as her father commanded, while he himself would find himself a bride who would not betray his word; Mariana replied that she would only be happy about this, and as a result, the lovers almost parted forever, but then Dorina arrived in time, who had already been swayed by these lovers with their “concessions” and “omissions.” She convinced young people of the need to fight for their happiness. But they just need to act not directly, but in a roundabout way, to stall for time - the bride is either sick, or sees bad signs, and then something will certainly work out, because everyone - Elmira, and Cleanthes, and Damis - is against Orgon’s absurd plan,

Damis, even too determined, was going to properly rein in Tartuffe so that he would forget about marrying Mariana. Dorina tried to cool his ardor, to convince him that more could be achieved with cunning than with threats, but she was not able to completely convince him of this.

Suspecting that Tartuffe was not indifferent to Orgon's wife, Dorina asked Elmira to talk to him and find out what he himself thought about marriage with Mariana. When Dorina told Tartuffe that the lady wanted to talk with him face to face, the saintly man perked up. At first, scattering heavy compliments in front of Elmira, he did not let her open her mouth, but when she finally asked a question about Mariana, Tartuffe began to assure her that his heart was captivated by another. To Elmira’s bewilderment - how is it that a man of holy life is suddenly seized by carnal passion? - her admirer answered with fervor that yes, he is pious, but at the same time he is also a man, saying that the heart is not flint... Immediately, without mincing words, Tartuffe invited Elmira to indulge in the delights of love. In response, Elmira asked how, in Tartuffe’s opinion, her husband would behave when he heard about his vile harassment. But Tartuffe says that sin is not a sin as long as no one knows about it. Elmira offers a deal: Orgon will not find out anything, Tartuffe, for his part, will try to get Mariana to marry Valere as soon as possible.

Damis ruined everything. He overheard the conversation and, indignant, rushed to his father. But, as one would expect, Orgon believed not his son, but Tartuffe, who this time outdid himself in hypocritical self-abasement. T. accuses himself of all mortal sins and says that he won’t even make excuses. In anger, he ordered Damis to get out of sight and announced that today Tartuffe would marry Mariana. As a dowry, Orgon gave his entire fortune to his future son-in-law.

Cleante tried for the last time to talk humanly with Tartuffe and convince him to reconcile with Damis, give up his unjustly acquired property and Mariana - after all, it is not appropriate for a Christian to use a quarrel between father and son for his own enrichment, much less condemn a girl to lifelong torment. But Tartuffe, a noble rhetorician, had an excuse for everything.

Mariana begged her father not to give her to Tartuffe - let him take the dowry, and she would rather go to a monastery. But Orgon, who had learned something from his favorite, without blinking an eye, convinced the poor thing of the soul-saving life with a husband who only causes disgust - after all, mortification of the flesh is only useful. Finally, Elmira could not stand it - since her husband does not believe the words of his loved ones, he should see with his own eyes the baseness of Tartuffe. Convinced that he had to make sure of just the opposite - of the high morality of the righteous man - Orgon agreed to crawl under the table and from there eavesdrop on the conversation that Elmira and Tartuffe would have in private.

Tartuffe immediately fell for Elmira’s feigned speeches that she allegedly had a strong feeling for him, but at the same time showed a certain prudence: before refusing to marry Mariana, he wanted to receive from her stepmother, so to speak, a tangible guarantee of tender feelings. As for the violation of the commandment, which will be associated with the delivery of this pledge, then, as Tartuffe assured Elmira, he has his own ways of dealing with heaven.

What Orgon heard from under the table was enough for his blind faith in the holiness of Tartuffe to finally collapse. He ordered the scoundrel to get away immediately, he tried to make excuses, but now it was useless. Then Tartuffe changed his tone and, before proudly leaving, promised to brutally get even with Orgon.

Tartuffe’s threat was not unfounded: firstly, Orgon had already managed to issue a deed of gift for his house, which from today belonged to Tartuffe; secondly, he entrusted the vile villain with a casket with papers incriminating Argas, his friend, who was forced to leave the country for political reasons.

It was necessary to urgently look for some way out. Damis volunteered to beat Tartuffe and discourage him from doing harm, but Cleanthe stopped the young man - he argued that more could be achieved with the mind than with fists. Orgon's family had not yet come up with anything when the bailiff, Mr. Loyal, showed up on the doorstep of the house. He brought an order to vacate M. Tartuffe's house by tomorrow morning. At this point, not only Damis’s hands began to itch, but also Dorina’s and even Orgon himself.

As it turned out, Tartuffe did not fail to use the second opportunity he had to ruin the life of his recent benefactor: Valère, trying to save Mariana’s family, warns them with the news that the scoundrel has handed over a chest of papers to the king, and now Orgon faces arrest for aiding the rebel. Orgon decided to escape before it was too late, but the guards got ahead of him: the officer who entered announced that he was under arrest.

Tartuffe also came to Orgon's house with the royal officer. The family, including Madame Pernel, who had finally seen the light, began to unanimously shame the hypocritical villain, listing all his sins. Tom soon got tired of this, and he turned to the officer with a request to protect his person from vile attacks, but in response, to his great - and everyone's - amazement, he heard that he was arrested.

As the officer explained, in fact he did not come for Orgon, but in order to see how Tartuffe reaches the end in his shamelessness. The wise king, an enemy of lies and a stronghold of justice, from the very beginning had suspicions about the identity of the informer and turned out to be right, as always - under the name of Tartuffe was hiding a scoundrel and a swindler, on whose account a great many dark deeds were hiding. With his authority, the sovereign canceled the deed of gift for the house and forgave Orgon for indirectly aiding his rebellious brother.

Tartuffe was carried to prison in disgrace, but Orgon had no choice but to praise the wisdom and generosity of the monarch, and then bless the union of Valera and Mariana: “there is no better example,

What is Valera's true love and devotion?

2 groups of Moliere comedies:

1) domestic comedies, their comedy is a comedy of situations (“Funny primps”, “Reluctant Doctor”, etc.).

2) "high comedies" They should be written mostly in verse and consist of five acts. Comicism is comedy of character, intellectual comedy (“Tartuffe, or the Deceiver”,“Don Juan”, “Misanthrope”, etc.).

History of creation :

1st edition 1664(did not reach us) Only three acts. Tartuffe is a spiritual figure. Mariana is completely absent. Tartuffe deftly gets out of it when Orgon's son catches him with Elmira (stepmother). The triumph of Tartuffe unequivocally testified to the danger of hypocrisy.

The play was to be shown during the court festival “The Amusements of the Enchanted Island,” which took place in May 1664 at Versailles. However, she upset the holiday. A real conspiracy arose against Moliere, led by Queen Mother Anne of Austria. Moliere was accused of insulting religion and the church, demanding punishment for this. Performances of the play were stopped.

2nd edition 1667. (didn't arrive either)

He added two more acts (there were 5), where he depicted the connections of the hypocrite Tartuffe with the court, the court and the police. Tartuffe was named Panjulf and turned into a socialite, intending to marry Orgon's daughter Marianne. The comedy was called "Deceiver" ended with the exposure of Panyulf and the glorification of the king.

3rd edition 1669. (has reached us) the hypocrite was again called Tartuffe, and the whole play was “Tartuffe, or the Deceiver.”

“Tartuffe” caused a furious showdown between the church, the king and Moliere:

1. The idea of a comedy king * By the way, Louis XIV generally loved Moliere*approved. After the presentation of the play, M. sent the first “Petition” to the king, defended himself from accusations of atheism and spoke about the social role of the satirical writer. The king did not lift the ban, but did not listen to the advice of rabid saints “to burn not only the book, but also its author, a demon, an atheist and a libertine, who wrote a devilish play full of abomination, in which he mocks the church and religion, at sacred functions.” .

2. The king gave permission to stage the play in its 2nd edition orally, in a hurry, upon leaving for the army. Immediately after the premiere, the comedy was again banned by the President of Parliament. Archbishop of Paris Refix prohibited all parishioners and clergymen ania "present, read or listen to a dangerous play" under penalty of excommunication . Moliere sent the king a second “Petition”, in which he stated that he would stop writing completely if the king did not come to his defense. The king promised to sort it out.

3. It’s clear that, despite all the prohibitions, everyone reads the book: in private homes, distributes it in manuscript, and performs it in closed home performances. The Queen Mother died in 1666* the one who was all indignant*, and Louis XIV quickly promised Moliere quick permission to stage it.

1668 year - the year of “church peace” between orthodox Catholicism and Jansenism => tolerance in religious matters. Tartuffe is permitted. February 9, 1669 the performance was a huge success.

Shlyakova Oksana Vasilievna
Job title: teacher of Russian language and literature
Educational institution: MBOU secondary school No. 1
Locality: village Orlovsky, Rostov region
Name of material: methodological development
Subject: Literature lesson in 9th grade "J.B. Moliere "Tartuffe". The skill and innovation of Moliere. The topicality and relevance of comedy."
Publication date: 20.02.2016
Chapter: secondary education

Literature lesson notes (9th grade)

Lesson topic
:
J.B. Moliere "Tartuffe". Molière's mastery and innovation. Topicality and

relevance of comedy.

Purpose of the lesson
: creation of a figurative-emotional pedagogical situation in a literature lesson to achieve the following goals: educational - to introduce the content of the comedy J-B. Moliere's “Tartuffe”, to determine what constitutes the skill of Moliere the comedian, what traditions of classicism the author adheres to, and also what his innovation consists of. educational - to create conditions for self-development and self-realization of students in the process of cooperation in groups, to instill a desire to join world culture, to bring to consciousness the idea that culture does not exist without traditions. developmental - to develop the ability to analyze literary works, independently formulate and cogently present one’s point of view.
Lesson type
: lesson in learning new material
Equipment
: texts of J.B. Molière’s comedy “Tartuffe”, multimedia installation for demonstrating slides on the topic of the lesson and student presentations, illustrations for the work.
Lesson content
I.
Organizational, motivational stages
:
1.Greeting.

2.Creation of a figurative-emotional pedagogical situation
(during the entire lesson). The board shows slides depicting scenes from theatrical productions, accompanied by classical music.
3.Teacher's word
France...Mid 17th century...The plays of Jean Baptiste Moliere are performed on the theater stage with stunning success. His comedies are so popular that the King of France himself, Louis XIV, invites the Moliere Theater to show his art at court and becomes a devoted admirer of the work of this talented playwright. Moliere is a unique genius in the history of world culture. He was a man of the theater in the full sense of the word. Moliere was the creator and director of the best acting troupe of his era, its leading actor and one of the best comic actors in the entire history of the theater, director, innovator and reformer of the theater. However, today he is perceived primarily as a talented playwright.
4. Goal setting
Today in the lesson we will try to find out what is the skill and innovation of Moliere the playwright using the example of his famous comedy “Tartuffe” and think about whether his comedy can be considered relevant and topical today. Write down in your notebooks the topic of the lesson “J.B. Moliere "Tartuffe". Molière's mastery and innovation. Topicality and relevance of comedy."
II.Work on new material.

1. Presentation of an individual student project “Creativity of J.B. Molière”
I think you will be interested, first of all, to learn some facts from the biography and work of Jean Baptiste Moliere. Tanya Zvonareva will tell us about this, who, having received an individual task, prepared a presentation. Slide demonstration accompanied by a student's story. Students record in notebooks the main stages of the playwright’s work.
- Thank you, Tatyana. Your work deserves an “excellent” rating. I would just like to add something:
2. Teacher's word
. Moliere is the stage name of Jean Baptiste Poquelin, the son of a wealthy Parisian bourgeois who received an excellent classical education. He was seized by a passion for theater early on, and he organized his first troupe at the age of 21. It was the 4th theater in Paris, but soon went bankrupt. Moliere leaves Paris for 12 long years for the life of a traveling actor. To replenish the repertoire of his troupe, Moliere begins to write plays. Moliere is a born comedian; all the plays that came from his pen belong to the genre of comedy: entertaining comedies, sitcoms, comedies of manners, comedies-ballets, “high” - classic comedies. An example of “high” comedy can be “Tartuffe, or the Deceiver,” which you read for today’s lesson. This comedy was the hardest for Moliere and at the same time brought him the greatest success during his lifetime.
3.Work on the work

A)
- Let's remember
comedy content
. Briefly convey
plot…
- Of course, while reading a comedy you. Each in their own way imagined its characters, scenes from the play.
b)
Try now to pick from the text
words that fit these scenes.

Vocabulary work
- Which
vices
is the author making fun of it? (hypocrisy and hypocrisy)
Hypocrisy
- behavior that covers up insincerity and maliciousness with feigned sincerity and virtue.
Hypocrisy
- behavior typical of hypocrites. A prude is a hypocrite hiding behind virtue and piety.
G) -
How about this comedy?
great people responded
: A.S. Pushkin: “The immortal “Tartuffe” is the fruit of the strongest tension of comic genius... High comedy is not based solely on laughter, but on the development of characters - and, quite often, it comes close to tragedy.” V.G. Belinsky: “...The creator of Tartuffe cannot be forgotten! Add to this the poetic richness of the spoken language..., remember that many expressions and poems from comedy have turned into proverbs, - and you will understand the grateful enthusiasm of the French for Moliere!..” - Do you agree with these statements? - Let's try to prove their validity by working in groups. Now we will discuss what issues each group will consider, and then you will choose the group in which you think the work will be interesting for you. Please note that A.S. Pushkin calls comedy “high” and even compares it with tragedy. Is there a contradiction in this statement?
e) Preparatory stage: updating the knowledge necessary for answers.
Let's speculate. So, the comedy was written in the mid-17th century. What literary movement was dominant in Europe at this time? (classicism) Remember the main features of this artistic method...
Classicism
– a literary movement, the main property of which is adherence to a certain system of rules, mandatory for each author; turning to antiquity as a classic and ideal model. Main features of classicism 1. Cult of reason; the work is intended to instruct the viewer or reader. 2. Strict hierarchy of genres. High Low tragedy Social life and historical events are depicted; act heroes, generals, monarchs comedy Depicts the everyday life of ordinary people ode fable epic satire 3. Human characters are depicted straightforwardly, only one character trait is emphasized, positive and negative heroes are contrasted. 4. The work contains a hero-reasoner, a character who pronounces a moral lesson for the viewer; the author himself speaks through the mouth of the reasoner.. 5. The classicist rule of three unities: the unity of time, place and action. A play usually has 5 acts. - So,
task to the first group: “Consider the comedy “Tartuffe” from the point of view of compliance

or non-compliance with these rules of classicism"
(questions are displayed on the board)
- A.S. Pushkin, using words
"high comedy" most likely meant innovation

Moliere in the comedy genre.

-What is innovation in literature?
? (continuation of tradition, going beyond its scope). - The task is not easy
, to the second group: “Why A.S. Pushkin calls the play “Tartuffe”

"high comedy"? What was Moliere’s innovation as a comedian?”
You can look for the answer to this question in the preface that Moliere wrote to his comedy. - And finally,
task to the third group: “Find expressions in the text of the comedy “Tartuffe”,

which can be considered aphorisms"
-What is an “aphorism”? (short expressive saying)
f) Work in groups. 3rd group – at the computer
. Answers to questions and tasks...
1 group. “Consider the comedy “Tartuffe” from the point of view of conformity or inconsistency

these rules of classicism"
The comedy “Tartuffe” corresponds to the rules of classicism, because: Comedy is a low genre that contains colloquial speech. For example, in this comedy, common vocabulary is often found: “Fool”, “not a family, but a madhouse.” “Tartuffe” consists of five acts, all actions take place in one day in one place, in Orgon’s house - all this is a characteristic feature of classicism. The theme of the comedy is the life of ordinary people, not heroes and kings. The hero of Tartuffe is the bourgeois Orgon and his family. The purpose of comedy is to make fun of the shortcomings that prevent a person from being perfect. This comedy ridicules such vices as hypocrisy and hypocrisy. The characters are not complex; one feature is emphasized in Tartuffe - hypocrisy. Cleante calls Tartuffe a “slippery snake”; he comes out of any situation “scary”, taking on the appearance of a saint and ranting about the will of God. His hypocrisy is the source of his profit. Thanks to false sermons, he subjugated the good-natured and trusting Orgon to his will. Whatever position Tartuffe finds himself in, he behaves only like a hypocrite. Confessing his love to Elmira, he is not averse to marrying Marianne; He prays to God in church, attracting everyone's attention: Sometimes lamentations suddenly flew out of his mouth, Then he raised his hands to heaven in tears, And then he lay down for a long time, kissing the ashes. And is this true humility if “he later brought repentance to heaven for giving it away without a feeling of compassion.” Only one quality is emphasized in the hero - this is also a feature of classicism. Moliere's comedy "Tartuffe" is a typical classic work.
2nd group. “Why does A.S. Pushkin call the play “Tartuffe” “high comedy”? What

was the innovation of Molière the comedian?”
A.S. Pushkin calls Molière’s comedy “high,” because by exposing the deceiver Tartuffe, it is clear that the author is exposing the hypocrisy and hypocrisy of not just one person, but social vices, vices that have afflicted society. It is not for nothing that Tartuffe is not alone in the comedy: his servant Laurent, the bailiff Loyal, and the old woman - Orgon's mother, Madame Pernelle - are hypocritical. They all cover up their actions with pious speeches and vigilantly monitor the behavior of others. And it even becomes a little sad when you realize how many such people there can be around. Teacher's addition to the answer of the 2nd group: - Indeed, Moliere complies with the laws of classicism, as the 1st group proved, but, as you know, the schemes are not applicable to great works. The playwright, observing the traditions of classicism, takes comedy (low genre) to another level. The guys very subtly noticed that comedy causes not only laughter, but also sad feelings. This is where Moliere's innovation lies - in his work, comedy ceased to be a genre designed to make the audience laugh; he introduced ideological content and social relevance to comedy.
Moliere himself, reflecting on his innovation in the comedy genre, wrote: (highlight on the board): “I find that it is much easier to talk about high feelings, to fight fortune in poetry, to blame fate, to curse the gods, than to take a closer look at the funny features in a person and show the vices of society on stage in a way that is entertaining... When you portray ordinary people, you have to write from life. Portraits should be similar, and if people of your time are not recognized in them, then you have not achieved your goal... Making decent people laugh is not an easy task...” Moliere, thus raising comedy to the level of tragedy, says that the task of a comedian is more difficult than the task of the author tragedies.
Group 3 “Find expressions in the text of the comedy “Tartuffe” that can be considered

aphorisms"

G) Heuristic questions
- You already know that Moliere was a wonderful actor, in each of his plays there was a role that he played himself, and the character of this character is always the most ambiguous in the play. This is also Moliere's innovation.
- Who do you think he played in the comedy “Tartuffe”?
(In Tartuffe he played Orgon)
-Why?
(This particular image is not so much comical as tragic. After all, Tartuffe was able to completely subjugate the will of the owner of the house, Orgon, an adult, successful in business, a man, the father of a family, who is ready to break with everyone who dares to tell him the truth about Tartuffe, even expels from his son's house.)
- Why did Orgon allow himself to be deceived like that?
(He believed in the piety and “holiness” of Tartuffe, sees in him his spiritual mentor, because Tartuffe is a subtle psychologist, he prevents the attempts of Orgon’s relatives to expose him. The reason is the inertia of Orgon’s consciousness, brought up in submission to authorities. Orgon in the spiritual sense, lack of self-sufficiency. He lacks his own inner content, which he tries to compensate for with faith in the goodness and infallibility of Tartuffe. Without gullible orgones, there are no deceiving Tartuffes.)
- Do you think the comedy “Tartuffe” can be considered relevant and topical?

of interest today? Why?
- Indeed, many of you liked the comedy and some guys expressed a desire to try their hand at acting. (Students show a skit).
III. Assessment.Result
(For the presentation of “Moliere TV”, for the poster, for work in groups - the most active students, giving reasoned, complete answers). Lesson summary: - What did you like about the lesson? -What is Moliere’s skill as a comedian? His innovation?
Homework:
write a petition to the king asking for permission to stage a comedy (on behalf of some nobleman of the 17th century)