French literary figures, including 惭辞濒颈猫谤别 and Jean de la Fontaine, gathered at Auteuil, a favorite place.
People know and consider 惭辞濒颈猫谤别, stage of Jean-Baptiste Poquelin, also an actor of the greatest masters in western literature. People best know l'Ecole des femmes (The School for Wives), l'Avare ou l'脡cole du mensonge (The Miser), and le Malade imaginaire (The Imaginary Invalid) among dramas of 惭辞濒颈猫谤别.
From a prosperous family, 惭辞濒颈猫谤别 studied at the Jesuit Clermont college (now lyc茅e Louis-le-Grand) and well suited to begin a life in the theater. While 13 years as an itinerant actor helped to polish his abilities, he also began to combine the more refined elements with ccommedia dell'arte.
Through the patronage of the brother of Louis XIV and a few aristocrats, 惭辞濒颈猫谤别 procured a command performance before the king at the Louvre. 惭辞濒颈猫谤别 performed a classic of [authore:Pierre Corneille] and le Docteur amoureux (The Doctor in Love), a farce of his own; people granted him the use of Salle du Petit-Bourbon, a spacious room, appointed for theater at the Louvre. Later, people granted the use of the Palais-Royal to 惭辞濒颈猫谤别. In both locations, he found success among the Parisians with les Pr茅cieuses ridicules (The Affected Ladies), l'脡cole des maris</i> (<i>The School for Husbands</i>), and <i>[book:l'脡cole des femmes (The School for Wives). This royal favor brought a pension and the title "Troupe du Roi" (the troupe of the king). 惭辞濒颈猫谤别 continued as the official author of court entertainments.
惭辞濒颈猫谤别 received the adulation of the court and Parisians, but from moralists and the Church, his satires attracted criticisms. From the Church, his attack on religious hypocrisy roundly received condemnations, while people banned performance of Don Juan. From the stage, hard work of 惭辞濒颈猫谤别 in so many theatrical capacities began to take its toll on his health and forced him to take a break before 1667.
From pulmonary tuberculosis, 惭辞濒颈猫谤别 suffered. In 1673 during his final production of le Malade imaginaire (The Imaginary Invalid), a coughing fit and a haemorrhage seized him as Argan, the hypochondriac. He finished the performance but collapsed again quickly and died a few hours later. In time in Paris, 惭辞濒颈猫谤别 completely reformed.
The Miser is a five-act comedy in prose by the French playwright 惭辞濒颈猫谤别. It was first performed on September 9, 1668, in the theatre of the Palais-Royal in Paris.
The aging but vital Harpagon is hoarding every centime he can get his hands on, making sure that his two children, the virginal Elise and the dandy Cleante, live under his iron will.
To complicate matters, Elise has fallen in love with the handsome Valere, who masquerades as a servant in the household, despite his noble birth, and, worse yet, Cleante and Harpagon are both smitten with the same woman, the beautiful, if somewhat dim, Marianne.
Meanwhile, scheming servants and assorted hustlers angle for Harpagon's incredible wealth, much of which is now buried and protected by snarling Dobermans. The delirious plot spirals to a wildly comic finish, filled with all the masterful plot twists and outrageous revelations one would expect from one of 惭辞濒颈猫谤别's finest plays.
[Read in Spanish] -- [Rese帽a en espa帽ol m谩s abajo]
I strongly want to believe that I didn't like this because I wrongly chose the edition I read. I want to believe it was not well written and that's it. It has been always said that 惭辞濒颈猫谤别 was a great writer and I have no doubt about it, but I was not happy with this play. The miser father's story that doesn't want to get rid of his money for anything in this world, the family dispute and hate for the love of a woman and even the excess of dialogues make that I score it with no more than 2 stars. I would like to write a longer comment about this play, but I don't know what else I can add. Anyway, maybe I will appreciate it more with time.
Quiero creer firmemente que la culpa de que no me haya gustado mucho esta obra es que eleg铆 mal la edici贸n; no estaba bien escrito y ya. Siempre se habla mucho de 惭辞濒颈猫谤别 que fue un gran escritor y no lo dudo, pero esta obra me dej贸 con gusto a muy poco. La historia del padre avaro que no quiere dejar su dinero por nada del mundo, la disputa y el odio familiar por el amor de una mujer y hasta la misma exageraci贸n en los di谩logos hacen que le ponga no m谩s de 2 estrellas.
Me gustar铆a escribir un comentario m谩s largo acerca de esta obra, pero no s茅 que m谩s puedo agregar. En fin, quiz谩s le tome m谩s aprecio con el tiempo.
W sumie 艣mieszne to by艂o. Typ nie karmi艂 koni, bo stwierdza艂 偶e skoro konie stoj膮 w stajni to nie s膮 g艂odne. Potem jaki艣 w膮tek jak z ukrytej prawdy, gdzie jego g贸wiaki oskar偶aj膮 go o to, 偶e zniszczy艂 im 偶ycie i 偶e jest chujowym ojcem i 偶e ojebal ich na pieni膮dze.
Polecam przeczyta膰, jak kto艣 nie ma co zrobi膰 ze swoim 偶yciem
nie spodziewa艂am si臋 czego艣 tak przyjemnego i zabawnego po lekturze szkolnej. ca艂o艣膰 przeczyta艂am w jakie艣 2 godziny i j臋zyk nie by艂 wcale ci臋偶ki mimo, 偶e ta sztuka pochodzi z XVII wieku, plot twist na ko艅cu 10/10<3
Perfect rendering at the Com茅die Fran莽aise in stark contrast to the equally compelling Tartuffe. To laugh out loud, go and see L'Avare, and to fend off nightmares of power-hungry manipulators, see Tartuffe. Together they show the span of the excellent theatre in the still beating artistic heart of Paris!
"What use will money be to us if it comes only when we are too old to enjoy it?"
This is my second encounter with 惭辞濒颈猫谤别's brilliant work, and I, similarly to before, found it to be very entertaining.
惭辞濒颈猫谤别 attention to irony, exaggeration, humour, and also to darker matters are what shape his comedies and make them truly great.
I strongly recommend anyone, who is only beginning to read plays and has struggle understanding and enjoying their structure, to read this one.
I laughed out loud at times, because of the witty dialogue and the hilarity of some particular events. The humor was fantastic, and this is coming from a person, who rarely ever laughs while reading.
However, it also brought to mind many more serious themes, the most obvious one being miserliness, in other words, greed and the consequences of it.
Whilst, at times the way it was presented was downright hilarious - there were moments when it really did create a sense of disgust and weariness.
An impressive insight into the lives of families at the time it was written, and the paranoia, isolation and madness such greed can cause.
the miser a French comedy by 惭辞濒颈猫谤别 .... Harpagon the protagonist, who spends most of his time guarding his money and searching for ways to reduce or avoid paying household expenses. At the end of the play, he is more concerned with his money than he is with the welfare of his children. Cl茅ante Son of Harpagon. He loves Marianne, the young woman he saved from drowning and to his bad luck his father wishes to marry,脡lise Daughter of Harpagon and beloved of Val猫re. Against her wishes, Harpagon hopes to marry her to a wealthy man whom he choose.....
Harpagon is unable to see in himself the shortcomings for which he blames others. Harpagon criticizes Jacques for always thinking of money. Harpagon, of course, is the one who is obsessed with money.
HARPAGON. Tell me, can you give us a good supper? JACQUES. Yes, if you give me plenty of money. HARPAGON. The deuce! Always money! I think they have nothing else to say except money, money, money! Always that same word in their mouth, money! They always speak of money! It's their pillow companion, money!
Tiyatro oyunlar谋 b枚yledir i艧te. 陌zlemeden okudu臒unda hep bir taraf谋 eksik kal谋r. Ama baz谋lar谋 yinede 莽ok g眉zeldir. 陌艧te "Cimri" o baz谋lar谋ndan biri. k谋sac谋k kitap boyunca hep bir g眉l眉mseme oluyor insan谋n surat谋nda. Ger莽ekte 莽ok e臒lenceli.
Se trata de una obra teatral que nos muestra al prototipo de hombre deshonesto y miserable, que seguramente ser谩 el precursor en el g茅nero.
A este Harpag贸n luego le sucedieron Mr. Scrooge y otros tantos protagonistas literarios, cinematogr谩ficos听y de ficci贸n igual de despreciables.
Tal como Maese Santiago lo califica en la obra: 鈥�(鈥�) siempre se os designa bajo los nombres de avaro, ro帽oso, ruin y usurero.鈥�
La obra finalmente se transforma en una comedia de enredo con un fuerte toque moralizante. Me gustar铆a disfrutar esta comedia en las tablas, creo que debe ganar enteros.
Ovo je ponajvi拧e komad o 啪eljama. 膶ini se na prvi pogled da je lanac motivacije slo啪en ali proziran 鈥� zna se ko koga 啪eli i za拧to. Me膽utim 鈥� 拧ta je iza 啪别濒箩别? Da li su 啪别濒箩别 likova samo odbrambeni mehanizmi 鈥� zamene za nekakve prave, nedosti啪ne 啪别濒箩别? Tvrdi膷luk se ti膷e uvek ne膷ega 拧to nadilazi samo gomilanje para, kao 拧to opsesivno-kompulsivno pona拧anje je te啪nja ka postizanju ne konkretnog, nego zami拧ljenog, apstraktnog, umiruju膰eg reda. A tek ljubav! Odnosno, ono 拧to nazivamo ljubavlju. 膶esto mi 啪elimo da volimo vi拧e nego 拧to zaista volimo. Ponekad su i spoljnje okolnosti presudne 鈥� druga osoba postoji kao alat za ostvarivanja 啪elja koje se ne ti膷u nje. 鈥濾olimo鈥� da bismo do拧li do dru拧tvenog polo啪aja, novca, sigurnosti, da bismo nadomestili nedostaju膰e, da bismo ostvarili neke tu膽e 啪别濒箩别. A ponekad nasednemo na marketing. Frosina je, tako, prava u膷iteljica dramaturgije spletki, marketinga 啪elja. A Molijer istovremeno zabavlja i 膷ini 膷oveka politi膷ki i psiholo拧ki pismenijim.
U nekom mogu膰em mra膷nom 膷itanju, ovde nema sre膰nog kraja. Iako se 膷ini da na kraju sve pr拧ti od anagnorisisa 鈥� presudnih prepoznavanja 鈥� da je svako dobio ono 拧to je zaslu啪io, mo啪da su svi, zapravo, oma拧ili. 沤elje su skliznule, a Harpagonova finansijska paranoja postaje utemeljenija od aktivnosti drugih likova, jednako fiktivna kao i 啪别濒箩别 drugih likova. Dok se svi raduju budu膰im ven膷anjima, Harpagon se raduje svojoj kutiji 鈥� brlogu para kao kontejneru 啪elja. (A 拧ta je zapravo motivaciono utemeljenje svakog pojedina膷nog lika, to je do re啪ije.)
Ne se膰am se da je Molijer bio ovako sliven i zabavan.
Ina膷e, po拧to sam knjigu 膷itao i u prevozu, na jednoj ina膷e pustoj stanici gde je stovari拧te, pri拧ao mi je jedan 膷ovek u pomalo isflekanom radnom kombinezonu. Rekao mi je da mnogo voli Molijera i da se obradovao 拧to je video da ga 膷ita. I ja sam se obradovao. Mala drama!
P. S. Tvrdice su neuni拧tive u svetskoj kulturi 鈥� od Aulularije, preko Skupa, Harpagona, Kir Janje, Dikensovog Skrud啪a, sve do Baje Patka i Kebe Krabe. (A po拧to sam bio spomenuo Harpagonovu kutiju i prirodu 啪别濒箩别, ne mogu da se ne setim magi膷nog kofera iz Petpara膷kih pri膷a.)
Romanian review: M-am temut c膬 umorul acestei piese va fi pierdut, undeva, prin negura timpului 葯i voi citi o poveste extrem de 卯nvechit膬 care 卯葯i p膬streaz膬 valoarea 卯n ce prive葯te istoria teatrului 葯i nimic mai mult. Din fericire, temerile mele nu au fost justificate. Chiar dac膬 exist膬 dragostea la prima vedere, specific膬 epocii, 葯i clasicele coinciden葲e incredibile de la sf芒r葯it care permit personajelor s膬 卯葯i 卯ncheie povestea 卯ntr-un mod fericit, piesa lui 惭辞濒颈猫谤别 este 卯n continuare incredibil de amuzant膬. Dac膬 majoritatea personajelor sunt u葯or de uitat 葯i nu au acel ceva care le face s膬 treac膬 testul timpului, Harpagon va r膬m芒ne pentru totdeauna tipul avarului鈥� cel mai ilustru zg芒rie-br芒nz膬 din istorie, care reu葯e葯te s膬 le dea clas膬 p芒n膬 葯i lui Ebenezer Scrooge sau Hagi Tudose 卯n ce prive葯te zg芒rcenia. Absurdul scenelor 葯i al dialogurilor atinge un punct 卯n care este pur 葯i simplu imposibil s膬 nu r芒zi zgomotos. Nu regret sub nicio form膬 c膬 am citit piesa lui 惭辞濒颈猫谤别 葯i 卯mi pot imagina c膬 jucat膬 pe scen膬 are un farmec cu totul aparte. Sper s膬 am ocazia s膬 o v膬d c芒ndva la teatru. Oricum, cele c芒teva elemente 卯nvechite trag pu葲in 卯n jos piesa, deci nota corect膬 ar fi 3.5 stele. Cu toate acestea, comicul de situa葲ie a fost suficient de reu葯it pentru a rotunji 卯n sus, la patru stele.
English review: I was afraid that the humor in this play would have been lost somewhere in the mists of time, leaving me with an extremely outdated story whose value lies solely in its importance to theater history and nothing more. Fortunately, my fears were unfounded. Even though it includes love at first sight, typical of the era, and the classic incredible coincidences at the end that allow the characters to wrap up their story happily, 惭辞濒颈猫谤别鈥檚 play remains incredibly funny. While most of the characters are forgettable and lack the timeless quality that makes them endure, Harpagon will forever stand as the archetype of the miser鈥攖he most illustrious penny-pincher in history, outclassing even Ebenezer Scrooge in stinginess. The absurdity of the scenes and dialogues reaches a point where it鈥檚 simply impossible not to laugh out loud. I have no regrets about reading 惭辞濒颈猫谤别鈥檚 play, and I can only imagine that performed on stage, it must have a unique charm. I hope I鈥檒l get the chance to see it in the theater someday. That said, a few outdated elements hold the play back slightly, so the fair rating would be 3.5 stars. However, the situational comedy was strong enough to round it up to four stars.
Kitabin ismindende anlasilabilecegi gibi cimrilik huyunu son raddesine vardirmis biri ve kucuk k眉莽眉k olaylarla renklendirilmis izlemesinin cok keyifli olacagi bir eser.
En cok guldugum yer baban谋n oglunun agzindan itirafi kopardigi yer oldu. En acinasi buldugum yer babasi oldugunu bilmeden tefeciden borc almasi o臒lu oldugunu bilmeden soymaya calismasiydi.
Based on Plautus, this is one of five Moliere comedies I read in my rudimentary French (but good Latin) in grad school after one defeat or another. My paper at a post-doc at Harvard with Marge Garber compared Shakespeare and his Plautine sources. I've always considered the Bard best as a comedic writer, though one must concede Moliere his equal there. "L'Avare" is fairly late in Moliere's career, unlike Shakespeare's early uses of Plautus (here, "Aulularia"), and scandalously, in prose. A Duke disapproved, but Boileau laughed, said to be the only one. Hence, earliest reviews dissed. In Aulularia, Lyconides confesses to a crime, "istuc facinus quod tuom sollicitat animum, id ego feci et fateor"(IV.x.734, Clarendon), exactly as in L'Avare, V.iii.
As for my defeats increasing my appreciation: My major defeat was a high-status, mentally failing prof who did NOT read grad student papers. Because a fellow student flattered him, quoted his Norton intro's back to him at his Ph.D. orals, the prof got him a fairly good job --at Princeton. That fellow wrote embarassingly poorly, so he made a better career... as college and university president. As a whole, Moliere's plays cheered me so much I didn't care what happened in the grad classes. I left--for years. Got my first job where 1400 people had interviewed for 3 positions: we were on national news, more applicants to teach than to go to college (1100?), Berkshire Community College, Pittsfield, MA in 1971. Was I better than the other 800 English apllicants? I was hired because of the way I pronounced "tromBONE." The Chairman had always heard, "TROMbone," but my Neapolitan music teacher (who played an Amati bass, and tuba) A. Bevivino, called it "tromBONE(AH)."