Before describing the summary of “The Bourgeois in the Nobility,” let's remember the history of the creation of the work. In November 1669, a Turkish delegation solemnly arrived in Paris. Louis XIV, not sparing to lose face, gave them a magnificent reception. However, neither the sparkle of diamonds, nor the iridescent shine of expensive fabrics, nor the abundance of gold and silver made the slightest impression on the ambassadors. The king, naturally, was annoyed by this, but his anger increased a hundredfold when it turned out that the head of the delegation was not an ambassador at all, but an ordinary swindler. The indignant monarch ordered Moliere, who was in his good standing, a ballet in which the fictitious delegation would be ridiculed. “It will be done, Your Highness,” Moliere respectfully answers. “The tradesman in the nobility,” however, did not arise immediately - in ten days the “Turkish Ceremony” was created, demonstrated to the royal court. Convinced of the success of the play, a month later the writer transferred it to the stage of the Palais Royal Theatre. In total, 42 performances were performed during Moliere's lifetime.
“A tradesman among the nobility”: a summary
The plot of the comedy is quite simple: a naive and narrow-minded tradesman - Mr. Jourdain - is passionately in love with the sophisticated aristocrat Marquise Dorimena. In an effort to achieve the love of a noble lady, Mr. Jourdain tries to resemble a representative of the noble class, but due to his natural stupidity, he fails. Wanting to become a nobleman, the hero refuses Cleonte, a contender for the hand of his daughter Lucille, and tries to marry the girl off to the son of the Turkish Sultan. The intrigue lies in the fact that the role of the noble husband is played by the same Clemont in disguise. Describing the summary of “The Bourgeois in the Nobility,” it should be noted that the plot of the play is simplified, which is generally not typical of Moliere’s works. This is explained by the fact that the comedy was written to order, with a strictly defined purpose - to shower the Turks with ridicule.
Analysis
Most researchers emphasize that “The Bourgeois” is not the first play by Moliere in which he allows himself to be ironic about the noble class. Already in his early works, the writer relies on folklore and introduces elements of folk humor into the action. In addition, do not forget about the excellent education received at Clermont College. All this allows Moliere to create truly sharp and talented satire. Outlining the summary of “The Bourgeois in the Nobility,” I would like to emphasize that in this work the author’s merciless ridicule is directed in two directions at once: Jourdain himself is not at all so bad - he is naive, trusting, and generally benevolent. However, his obsessive desire to penetrate a class alien to him, according to Moliere, is worthy of severe condemnation. No better than a newly minted nobleman are his teachers: hired to teach the owner music, dancing and manners, they are the embodiment of rudeness, baseness and vulgarity.
Character system
The summary of “The Bourgeois in the Nobility” includes a description of the central characters of the play. In addition to Jourdain and his family, representatives of the common people take part in the action: cunning tailors who extract money from the owner, a cheerful and witty maid Nicole. In addition, the adventurer Dorant plays an important role, pretending to help Jourdain and establishing relations with the Marchioness behind his back.
The comedy "The Bourgeois in the Nobility" was written by Moliere at the request of Louis XIV. The background to 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 reserve, did not express any admiration for what they saw | splendor. Moreover, the Turkish ambassador said that his master’s horse had more precious stones than the king of France.
The offended king wanted to see a spectacle on the theater stage in which Turkish ceremonies would be ridiculed. This was the external point to the creation of the play. Initially, Moliere came up with the scene of initiation into the rank of “mamamushi”, approved by the king, from which the entire plot of the comedy later grew. However, subsequently, the talented playwright changed the original plan and the comedy, ceasing to be a satire on Turkish customs, became a satire on the modern morals of the nobility and the ignorance of the petty bourgeois. At the center of the comedy is the narrow-minded and vain tradesman Jourdain, who at all costs wants to become a nobleman. He, like thousands of bourgeois like him, is trying to assimilate noble manners, language and morals, to get closer to those from whom his noble origin separated him.
The nobility, which was experiencing economic and moral decline at that time, still retained the authority that had developed over many centuries. The nobles remained masters of the situation in the state, having neither the moral right nor the material capabilities to do so. They could boast of their glorious ancestors, secular manners, closeness to the reigning person, but nothing more: in reality, over time, their place should have been taken by representatives of the bourgeoisie.
In the comedy, the nobility is represented by two characters: Count Dorant and the Marchioness of Dorimena. Count Dorant has a noble origin, refined manners, and captivating appearance. But at the same time, he is a poor adventurer, a swindler, ready for any meanness, even pimping, for the sake of money. He calls Mr. Jourdain a dear friend. He is ready to praise his manners, his appearance: “You look impeccable in this suit. We don’t have a single young man at our court who is as complex as you.” Dorant “admits” that he had an unusually strong desire to see Jourdain, moreover, he put in a word about him in the royal bedchamber. Then, having bribed him with rude flattery, the count kindly inquires about the size of his debt, and then shamelessly asks for another loan. Acting like a subtle psychologist, Dorant says that many people would gladly lend him money, “... but you are my best friend,” he tells Jourdain, “and I was afraid that I would offend you if I asked someone else.” . This conversation takes place in front of Jourdain’s wife, so the true reasons that gave rise to the friendship between the nobleman and the tradesman are not revealed 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 demeanor, in addition to everything, he was also inflamed with an “unearthly passion” for the most lovely marquise and, following the advice of the count pimp , tried to attract her attention with gifts. However, the count himself is in love with Dorimena, and, being strapped for money, uses Jourdain’s means and capabilities, as well as his stupidity and gullibility, with only one goal - to achieve the favor of the marquise himself.
Depicting the bourgeoisie, 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-respect, and, finally, those who imitate the nobility.
The first group in the comedy includes Jourdain's wife, a true representative of the nobility. She is a sensible, practical woman with self-esteem. She is trying with all her might to resist her husband’s mania, his inappropriate claims: “You are obsessed with all these fads, hubby. And this began for you from the moment you decided to associate with important gentlemen.” All 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: “That’s it, drive your teachers in the neck with all their gibberish.” Although Madame Jourdain did not take fencing lessons, she boldly fends off Count Dorant's sophisticated remarks and questions. “Where is your dear daughter? “Somehow you can’t see her,” the count panders. Madame Jourdain, not inclined to succumb to captivating flattery, replies: “My respected 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 his parents and for their children to be ashamed to call me grandmother.” In this human desire for a wife, Mr. Jourdain sees the pettiness of the soul. “You should vegetate in insignificance forever,” he reproaches her.
The opportunity to get closer to noble people is happiness for him, all his ambition pushes him to achieve similarities 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 loses even the correct idea of the world, reaches spiritual baseness and begins to be ashamed of his parents. At the same time, Mr. Jourdain acts and argues to his own detriment. He is fooled by everyone he pleases: teachers, tailors and apprentices, Count Dorant, Cleont and his servant Koviel. The rudeness, bad manners, ignorance, vulgarity of language and manners of Mr. Jourdain contrast with his claims to noble grace and gloss. So, for example, after a philosophy lesson, without waiting for a suit from the tailor, Jourdain desperately screams:
* “May the fever torment him, this robber tailor! Damn that tailor! Damn him, this tailor!
Although just a few minutes before, Mr. Jourdain wrote a letter full of love to the marquise: “Beautiful marquise! Your beautiful eyes promise me death from love.” Despite all this, Jourdain evokes genuine laughter rather than disgust. Unlike other bourgeois upstarts, he worships 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 received a good upbringing; she loves Cleontes 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 have already told you that there is no force that would force me to marry anyone.” anyone other than Cleont." Cleont is noble not by origin, but by character, he is honest, truthful, loving. He claims that being ashamed of your parents, pretending to be someone other than who you really are, is a sign of spiritual baseness. Cleont is sure that only a person’s spiritual nobility and his reasonable behavior in society are true. In his opinion, any deception casts a shadow on a person.
The image of Cleont embodied the ideal of classicism: only one who in his behavior was guided by the requirements of reason and proceeded from what was considered good could be a truly noble person. The fact that in the finale of the comedy Jourdain fell for the trick of the reasonable Cleont and his resourceful servant Koviel was supposed to indicate the superiority of reason: Jourdain agreed to his daughter’s marriage. Justice has prevailed.
1. Moliere and the traditions of classicism.
2. The background to the creation of the comedy “A Bourgeois in the Nobility.”
3. The image of the main character of the comedy.
4. Other comedy characters.
I know this kind of pompous asses:
Empty as a drum, and so many loud words!
They are slaves of names. Just make up a name for yourself
And any of them is ready to crawl in front of you.
O. Khayyam
Moliere is a writer of the 17th century. In art and literature at that time, the principles of classicism dominated, among which the most important were: adherence to the “three unities” - time, place and action - as well as the strict division of literary genres into “high” and “low”. In accordance with this, the speech of heroes of works of “high” genres, for example, tragedy, is very different from each other from the speech of heroes of comedy, which was considered a “low” genre. The characters in literary works of the era of classicism are not yet multifaceted characters, but the embodiment of some pronounced quality, positive or negative. According to the ideas of the classicists, the depiction of human vices was intended to expose and correct them.
Moliere, of course, was a son of his century and organically adopted some ideas of classicism; however, many of his works can be regarded as a step towards realism. Why? The fact is that in Moliere's comedies there is often a mixture of genres. Another innovation that the playwright introduced was comedy-ballet - it is to this genre that “The Bourgeois in the Nobility” belongs.
It is interesting to note that this comedy was created by Molière on the order of the French king Louis XIV, angry at the careless remark of the Turkish ambassador. He dared to declare that the horse of his master, the Turkish Sultan, was decorated richer and more elegantly than that of the King of France. The Sun King, as Louis XIV was nicknamed, first placed the daring Turk under arrest, and then completely expelled him beyond the borders of his possessions. Wanting to expose the Turks to ridicule, the king commissioned Moliere to play a play with this plot.
The playwright carried out the orders of his king; however, Moliere went much further. The amusing dance of mummers portraying Turks and Jourdain’s ridiculous dedication to mamamushi is a funny scene that, of course, should have caused laughter among the king and his entourage. But Moliere chose human vanity as the main object for irony. In addition, the playwright shows in his comedy the ever-increasing power of capital, which over time will push the nobility into the background. But this is still somewhere in the distance, but for now the rich bourgeois Jourdain desperately dreams of being considered a nobleman. And whatever he would do, just to be noble! “I would allow two fingers on my hand to be cut off, if only I could be born a count or a marquis,” sighs Jourdain. However, such a transformation, naturally, is unlikely to take place. But Jourdain, with the tenacity of a successful businessman, rushes towards his goal - to enter the society of nobles. For this he does not feel sorry for any money. He constantly supplies Count Dorant with money, who, out of self-interest, indulges Jourdain’s eccentricities. The cunning count praises him, and he, already in seventh heaven, does not notice that he actually looks funny. But his family vying with each other keeps telling him about it! In fact: Jourdain is no longer a youth, since he has an adult daughter, and yet this venerable father of the family hires people who would teach him all the intricacies of court manners. Of course, there is nothing wrong with a thirst for knowledge, however, wanting to be elegant and irresistible, Jourdain looks funnier and funnier. Bowing to the Marquise Dorimena, Jourdain tries at all costs to do it the way the dance teacher taught him, so he asks the amazed lady to step back - otherwise he will not be able to make the third bow.
Vanity drowns out the voice of common sense in Jourdain; Moreover, he does not want to listen to those who are trying to bring him back to reality. He feels uncomfortable in tight stockings and tight shoes, and his family laughs at his new suit. But since the tailor and the count say that it is so fashionable at court, Jourdain willingly endures the inconvenience and brushes aside the ridicule of his wife and maid.
But Jourdain’s grotesque vanity reaches its highest point after the clownish initiation into mamamushi. He seriously imagines that he has been given the title of nobility and is now a Turkish nobleman. But it is obvious that Jourdain was not always so divorced from reality and trusting of everyone who flattered him. If this person did not have such qualities as prudence, ingenuity, and practicality, it is unlikely that he would have been able to get rich by engaging in trade. But vanity has so blinded the clever merchant that he becomes a laughing stock for those around him and an easy prey for flatterers who use him for their own selfish purposes.
However, the satire of Moliere's comedy is directed not only against arrogant bourgeois who are ready to acquire a noble title for money. Nobleman Dorant also does not look very attractive. Taking advantage of the eccentricity of his tradesman friend, the count not only constantly borrows money from him, all the time promising to repay the debt very soon. Noticing Jourdain's far-fetched passion for the Marquise Dorimena (for the respectable tradesman, her main charm is that she is a noble lady), the count offers his friend his help. Not a very honest move, given the fact that Dorant himself wants to earn Dorimena’s favor and marry her; Moreover, the count, on his own behalf, presents the marquise with a diamond, which Jourdain asked him to give her as a gift. The same goes for the dinner and ballet given in honor of the Marquise Jourdain. Through the efforts of the Count, the Marquis believes that he arranged all this himself. Of course, she likes Dorant and is worried that he spends so much on her, so she agrees to marry him. Meanwhile, the count not only did not spend anything from his own pocket, but also constantly borrows money from Jourdain. It must be admitted that the count knows how to gain the trust of people and deftly use it for his own purposes, but there is no smell of nobility, which was once customary to ascribe to nobles.
Jourdain's teachers are also depicted satirically. Everyone strives to assure others that what they are doing is the most necessary thing, and everything else is nonsense. In glorifying their craft, teachers reach the point of absurdity: “Without dancing, a person would not be able to do anything”; “All strife, all wars on earth arise solely from ignorance of music.” And it ends with the learned men - the dance teacher, the music teacher and the fencing teacher - starting a rough squabble. When a philosophy teacher intervenes in their dispute and declares that only philosophy brings the light of wisdom, and their studies “are not worthy of the honor of being called ... arts,” the indignant disputants unite and attack him with their fists. It is interesting to note that teachers, like Jourdain, are also driven by vanity. Just as Jourdain wants to rise above the people of his class and look down on them, so each of the teachers wants to be considered the best by his colleagues at work.
The literary process of the 17th century was characterized by the direction of classicism, which reflected the features of ancient literature. Moliere's play "The Bourgeois in the Nobility" is a kind of standard of the literary movement of this period.
Characteristics of Jourdain's image
The main character of the play “A Bourgeois in the Nobility,” Jourdain, became a kind of mirror in which the author reflected all the shortcomings and vices of society. Jourdain is a fairly elderly merchant, who once had an irresistible desire to become part of an aristocratic society.
The main character began to completely rebuild his life and old habits in order to resemble a nobleman as much as possible. He hires a teacher and learns to dance, like secular gentlemen, arranges his apartment according to the example of fashionable salons, dresses in clothes made from expensive materials ordered abroad, and looks for a groom with a noble pedigree for his daughter.
But this does not help Jourdain to join the coveted society, since all his actions on the way to achieving his goal only cause ridicule from others. After all, what could be more amusing than an uneducated merchant imagining himself as a nobleman?
Close people use him for personal purposes: his daughter and wife demand new expensive outfits in order to match the future aristocrat. In order to marry off her daughter to her loved one, Jourdain’s wife puts on a real performance for her husband.
A low-income groom is dressed up as a Turkish sultan, whom, according to the script, the daughter is supposed to marry. Jourdain has become so accustomed to the role of an aristocrat that he does not see in the Sultan the poor guy Clement, who asked for the hand of his child a month ago.
Playing along with the upper class in everything, Jourdain is nothing more, nothing less than an unsuccessful caricature of it. Probably, his image would have caused ridicule of more than one generation of readers if not for the epiphany that Jourdain had at the end of the play.
He realized that all his life he had been striving for something more sublime than everyday vanity, and chose the wrong path, wanting to inherit the nobility. Jourdain realized that he had actually lived prosaically his entire life, while his soul longed for lyricism.
At this moment, the main character becomes truly sorry. However, this feeling is replaced by joy for him - he finally saw the light and looked at the world with a completely different look.
The meaning of the story
In the play “The Bourgeois in the Nobility”, in addition to people who want to be considered equal to high-ranking society, the aristocracy itself is ridiculed, along with its meaningless and empty laws of life.
Jourdain's play at nobility is actually a demonstration performance for the upper class, because sometimes they themselves, with their fictitious rules of good manners and bad taste in some things, look just as comical as the main character of the play.
Molière's comedy "The Tradesman among the Nobility" was written in 1670. The work was created within the framework of the literary movement of realism. In the comedy “The Bourgeois in the Nobility,” the author ridicules the typical bourgeois, the ignorant Mr. Jourdain, who tried to join the “upper class,” but he could only clumsily imitate the life of the nobility.
If you need to quickly understand what Moliere’s story is about, we recommend reading the summary of “The Bourgeois in the Nobility” by action on our website. This material will also allow you to quickly prepare for a world literature lesson. The play “The Tradesman in the Nobility” is included in the 8th grade school curriculum.
Main characters
Mister Jourdain- a tradesman who wanted to be a nobleman. Those around him laughed at him, but played along with him for their own benefit.
Madame Jourdain- wife of Mr. Jourdain; did not share his desire to become a nobleman.
Cleont – a young man in love with Lucille.
Koviel- servant of Cleonte.
Dorant- a count, an acquaintance of Jourdain, who constantly borrowed money from the tradesman. In love with Dorimena.
Other characters
Lucille- daughter of Mr. and Mrs. Jourdain, in love with Cleonte.
Nicole- maid Lucille.
Dorimena– marquise; Jourdain tried to gain her favor through Dorant.
Teachers of dance, music, fencing, philosophy, who were hired by Jourdain.
Act one
Phenomenon 1
Paris. Mr. Jourdain's house. The music teacher and dance teacher prepare for the evening's performance and discuss that although Jourdain has no understanding of art, "money straightens the crookedness of his judgment, his common sense is in his wallet."
Phenomenon 2
Jourdain boasts to his teachers about his new robe, and they flatter him in everything.
To the tradesman the sound of the violin seems mournful. Teachers note that Jourdain should study the arts, since “all the strife, all the wars on earth,” “all the misadventures with which history is full” come from ignorance of music and the inability to dance.
Act two
Phenomenon 1
Jourdain orders that the ballet be ready in the evening, as the person for whom he is arranging all this will arrive. The music teacher, anticipating good pay, advises the tradesman to give concerts on Wednesdays and Thursdays, as all noble gentlemen do.
Phenomena 2-3
A visiting fencing teacher teaches a tradesman, explaining that “the whole secret of fencing is to<…>inflict blows on the enemy" and "not receive them yourself." The fencing teacher expresses the idea that dancing and music are useless sciences. An argument begins between the teachers.
Phenomena 4-5
Jourdain asks the visiting philosophy teacher to reconcile the quarrels. Referring to Seneca's treatise on anger, the philosopher tries to calm them down, but he himself gets involved in an argument, which develops into a fight.
Phenomenon 6
Philosophy lesson. The teacher offers to teach Jourdain the wisdom of philosophy: logic, ethics and physics, but they do not arouse interest in the tradesman. Jourdain asks to teach him spelling. The teacher tells him that there are vowels and consonants.
Jourdain asks the philosopher to help him write a love note, but in the end they settle on the tradesman’s original version: “Beautiful marquise, your beautiful eyes promise me death from love.” Suddenly the tradesman learns that he has expressed himself in prose all his life.
Apparitions 7-8
The tailor brings Jourdain a new suit. The tradesman notices that the suit is made from the same fabric as the clothes at the tailor, and the pattern (flowers) is located upside down. The tailor reassures him with what is so fashionable in high society.
Apparitions 9-10
Dancing around Jourdain, the apprentices put a new suit on him. They call the tradesman “Your Grace”, “Your Excellency”, “Your Grace”, for which they receive a generous payment.
Act three
Phenomena 1-3
Seeing Jourdain's new outfit, Nicole can't help but laugh. Madame Jourdain is outraged by the appearance of her husband, who “dressed up as a jester,” and everyone is laughing at him anyway. Jourdain decides to show off his knowledge to his wife and Nicole, but nothing surprises the women. Moreover, while fencing with a man, the maid easily stabs him several times.
Phenomena 4-5
Dorant praises Jourdain’s new suit and mentions that he spoke about it “in the royal bedchamber,” which pleases the tradesman’s vanity.
Dorant asks Jourdain for “two hundred more pistoles” to round up the amount of his significant debt. The indignant Madame Jourdain calls her husband a “cash cow” and Dorant a “rascal.”
Phenomena 6
Dorant reports that he persuaded the marquise to come to the tradesman today, giving her a diamond - a gift from Jourdain. Nicole accidentally overhears part of the men’s conversation and learns that the tradesman is sending his wife to visit his sister in the evening so that nothing “embarrasses” them.
Apparitions 7-11
Mrs. Jourdain is sure that her husband is “hitting on someone.” A woman wants to marry her daughter to Cleont, who is in love with her. Nicole is delighted with her mistress's decision, since she likes the servant Cleonte.
Madame Jourdain advises Cleonte to ask Mr. Jourdain for her daughter's hand in marriage today.
Phenomenon 12
Cleontes asks Monsieur Jourdain for Lucille's hand in marriage. The tradesman is only interested in whether his future son-in-law is a nobleman. Cleont, not wanting to deceive, admits that he is not one. Jourdain refuses because he wants his daughter to be a marquise.
Apparitions 13-14
Koviel calms the upset Cleont - the servant has figured out how to “twist our simpleton around his finger.”
Apparitions 15-18
Dorimena did not want to meet Dorant at her or his home, so she agreed to dine at Jourdain’s. The count gave all the tradesman's gifts to the marquise in his own name.
Apparitions 19-20
Meeting the marquise, Jourdain bows absurdly, which greatly amuses the woman. Dorant warns the tradesman not to mention the diamond given to Dorimen, as this is discourteous in secular society.
Act four
Phenomenon 1
Dorimena is surprised that a “luxurious feast” was arranged for her. Jourdain, drawing attention to the diamond on the marquise’s hand, calls it “a mere trifle,” believing that the woman knows that it is a gift from him.
Phenomena 2-4
Suddenly Madame Jourdain appears. The woman is outraged that after sending his wife away, her husband is throwing a “feast” for another lady. Dorant tries to justify himself, explaining that he organized the dinner. Madame Jourdain does not believe this. The upset marquise leaves, and Dorant goes after her.
Phenomena 5-8
Coviel, in disguise, poses as an old friend of Jourdain's father. Koviel says that the tradesman’s father was not a merchant, but a nobleman. However, the main purpose of his visit is to report that the son of the Turkish Sultan has long been in love with Jourdain’s daughter and wants to marry her. Soon, Cleont, disguised as a Turk, joins them and, through the translator Koviel, announces his intentions.
Koviel asks Dorant to play along with them.
Apparitions 9-13
Turkish ceremony. The mufti and his retinue, the dervishes and the Turks sing and dance as they initiate Jourdain, dressed in Turkish clothes, into a Turk. The Mufti places the Koran on the tradesman's back and calls upon Mohammed.
Act five
Phenomenon 1
Jourdain explains to his wife that he has now become a mamamushi. A woman decides that her husband has gone crazy.
Phenomena 2-3
Dorant persuades Dorimena to stay to support Cleont’s idea of a masquerade and watch the ballet arranged for her.
Apparitions 4-7
Lucille at first refuses to marry, but, recognizing the Turk as Cleonte, she agrees.
Madame Jourdain was also against the marriage, but when Koviel quietly explained to her that what was happening was only a masquerade, she ordered to send for a notary.
Dorant announces that he and the marquise have also decided to get married. Jourdain thinks that the count said this as a diversion. The joyful tradesman gives Nicole to the “interpreter” Koviel, and his “wife to anyone.” Koviel is surprised that “you won’t find another such madman in the whole world!” .
"The comedy ends in ballet".
Conclusion
Molière's comedy "The Bourgeois in the Nobility" is one of the most famous dramatic works. The play was staged by more than twenty leading theaters and was filmed four times. Attracting with the brightness of the characters described and subtle humor, the brilliant work remains interesting for modern readers.
Comedy test
After reading the summary, don't forget to take the test:
Retelling rating
Average rating: 4. Total ratings received: 2019.
