Read L'École des Femmes by Molière Online


L’École des femmes est une comédie en cinq actes et en vers.La comédie de Molière L'École des femmes est considéré par les critiques pour être parmi ses plus beaux travaux. L'histoire d'un homme qui est tellement obsédé par l'infidélité féminine qu'il projette d'épouser sa jeune pupille naïve, qu'il a formé pour être la femme parfaite, est un exemple classique du style comL’École des femmes est une comédie en cinq actes et en vers.La comédie de Molière L'École des femmes est considéré par les critiques pour être parmi ses plus beaux travaux. L'histoire d'un homme qui est tellement obsédé par l'infidélité féminine qu'il projette d'épouser sa jeune pupille naïve, qu'il a formé pour être la femme parfaite, est un exemple classique du style comique de Molière.Ce livre est une oeuvre du domaine public éditée au format numérique par Norph-Nop. L’achat de l’édition Kindle inclut le téléchargement via un réseau sans fil sur votre liseuse et vos applications de lecture Kindle...

Title : L'École des Femmes
Author :
Rating :
ISBN : 9782011691774
Format Type : Paperback
Number of Pages : 269 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

L'École des Femmes Reviews

  • Kalliope
    2018-11-12 20:44

    What is Comedy? What makes us laugh in theatre? A great deal has been written about this and this review could not do the concept justice. But reading and watching recently a performance of Molière’s L’École des Femmes raised the matter in front of my eyes.In this play, which as most of Molière’s plays, belongs to the subgenre of a comedy of manners, there are many of the elements that one would expect in funny plays. There are stock characters –following the tradition of the Commedia dell’Arte; there is a great deal of “double entendre”, often through parallel dialogues on the stage and which Marcel Proust could not fail to notice; there is a critique to popularly unpopular professions, such as notaries and other representatives of the law; the plot revolves around the universally farcical figure of the cuckold or “cocu”; there are surprising and magic solutions to tangled up problems that will draw out a smile; there is a bit of slapstick and “coups de bâton” in a purely guignol tradition. All these elements are in the text and the staging can supplement them with mimicry, ridiculous clothing, and doll-like movements. As was the tradition in seventeenth century French drama, the play is written in Alexandrines and follows the three Aristotelian units of plot, time and place --athough in this play the time unit is as flexible as Dali’s clock. It also follows the more French concepts of “vraisemblance” and "bienséance" (which would have banned Shakespeare) as even the he guignolian coups have to happen off the stage.This is, and was from its first performance in 1662 onwards, one of the most successful plays by Molière (Jean-Baptiste Poquelin, 1622-1673). At its première it already pleased the King, Louis XIV, gaining his support which later became crucial. L’Ecole des Femmes followed L’Ecole des Maris by one year, and it continued the very popular themes of cheated husbands and of the education of women. It was also successful because it was controversial, highly controversial in fact. And this was easily the best thing for its ticket-office. Apart from some “sous-entendres” or “equivoques” which at the time seemed to border obscenity too closely (and therefore violating the “bienséance” rule) the play also raised debates on the role and education of women at a time when women were very actively engaging in their literary and intellectual Salons (les Précieuses ridicules). A “querelle” ensued for which the best ghostly protection came from the royal benefactor. Molière replied to the criticisms with another play, La Critique de l’Ecole des Femmes in which a woman and a muse discuss the previous play. Within a few months from the first staging, the two plays were subsequently performed together.The performance.I had read this play years ago, but I reread it recently because I was going to attend, two weeks ago, to a performance at the Comédie Française. The theatre founded by Louis XIV, the ghostly patron of significant presence, in 1680.The mise-en-scène on the 3rd of July at the Comédie Française was by Jacques Lassalle and the two main actors were the formidable Thierry Hancisse (Arnolphe) and the angelical Adeline d’Hermy (Agnès).I extract no joy in summarizing the story of a novel or play in my reviews, although I am interested in plot dynamics. In this text, the main character, Arnolphe, begins with great confidence on himself and on his aims, but gradually loses control of the situation he himself has created and falls prey in his own net. This turn around constitutes part of the comic (or the tragic?), and follows the tradition of the “Burlador burlado”, a stock figure which originated in the “Don Juan” from early seventeenth century Spanish drama (Tirso de Molina’s “El Burlador de Sevilla”). A superficial reading therefore could take us along a well trodden path of plot and charcter development.With Lasalle’s interpretation--accompanied by a flawless rendition of the two actors, however, the easy understanding of the play was turned upside down for me. The Arnolphe I saw turned through the long monologues into the tragic figure of a man who desperately loses his love precisely during the process in which this love captivates him more and more. His obsession in controlling a woman, to the point that he is willing to marry someone ugly and stupid, becomes his undoing precisely because the chosen lady is neither dumb nor hideous. The actor looked exhausted after wrenching out so much anguish out of his text.But if the above distressing Arnolphe could be extracted from Molière’s text (and he himself was its first actor), we see in Lasalle’s Agnès not just the one that Molière concocted, who rebelled against the string of the puritanical moral laws and who was willing to take risks in order to reject her unsuitable suitor, but one who will also show disdain at her silly and weak beau when he proved not to have her courage.A memorable play.A memorable performance.

  • Fionnuala
    2018-12-10 20:53

    We love Molière for his flair and wit And laugh out loud while the rest just sit. I saw L’Ecole des Femmes performed at the Comédie-Française in Paris two weeks ago in the company of a little group of women friends. It was a hugely enjoyable experience for many reasons but mainly because we found the play so funny, laughing more frequently than the other patrons of the theatre who seemed to be a very sober lot indeed. It helped that we’d all looked over the play recently - I had read half of it, hoping to keep a little of the suspense intact - and so we were able to follow the dialogue easily and knew where the funny bits were. But I think we laughed as much at the wonderfully dramatic performances of the actors as at the lines themselves. All the performers were engaging but the actor who played the main character, Arnolphe, and who is on stage practically the entire time, was superb. Objectively viewed, the character of Arnolphe lurches between ridiculously comic and morally reprehensible but the actor who played him managed to engage our sympathy for his predicament in spite of our better judgement. I finished reading the play today and was surprised to see that the ending of the original was slightly different to the staged version. I had applauded Molière’s foresight and wisdom in granting the main female character, Agnès, a say in her own destiny in the final scene of the play. However, I was a little previous with my applause. It would seem that the director, Jacques Lassalle created a slightly more nuanced ending while the original ending is more in keeping with the times: Agnès’s destiny is decided entirely by the men in her family. Molière did give Agnès some great lines though, words which shine with perfect simplicity and truth but which are subtly clever as well. Horace: J’en suis assez pressé par ma flame amoreuseAgnes: Quand je ne vous vois point, je ne suis point joyeuseHorace: Hors de votre présence, on me voit triste aussiAgnes: Hélas! s’il était vrai, vous resteriez iciAgnès learns some harsh lessons at the Ecole des Femmes but she manages to turn them to her advantage more often than not. For a character created in 1662, she sometimes sounds surprisingly modern. Bravo, Molière.

  • ·Karen·
    2018-11-17 17:42

    After reading this, it comes as a surprise that people in 17th century France did not conduct all their business in alexandrine rhyming couplets, it all seems to come so natural, like.Molière, je t'adore.(All rights reserved: this is one of my own photos from a recent trek round Paris. Truly a trek, on foot. In silly shoes. I am still paying the price.)

  • Cemre
    2018-12-11 16:48

    Beni okurken Moliere kadar güldüren bir oyun yazarı yok sanırım. Bu kitabını da yüzümde gülümseme ile okudum. Kadınlar konusunda bazı yargılarını kabul etmem elbette mümkün değil; ancak dönem itibariyle anlayabiliyorum diyelim. Yine de dediğim gibi çok eğlendim. Yakın bir zamanda sahnede de bir Moliere oyununa denk gelebilmem dileğiyle!

  • ˗ˏˋ alison ˎˊ˗ ‪
    2018-11-27 01:01

    Ratig: 3,5 stars“Sois-je du ciel écrasé, si je mens.”I had to read this book for french class, and here's what I thought about it:1) The story was so good and what I liked most of all was those misunderstandings that made the story so complicated and complex. The plot twist at the end was kind of fun to read! Not what I expected at all.2) The main reason why I gave it 3,5 stars was because it was so hard to read. I could not read it all relaxed in bed, no I had to read it in front of my computer with a dictionary website open, which I didn't really like to do.3) The subject of the book is interesting, because it is about how the man sees the woman in the 17th century in France. Like Arnolphe said a few times: the woman is inferior to the man. She can not look at him in the eyes, she has to marry a man without having to agree, but on the other hand we have Horace, who thinks that the woman can surely decide who she wants to marry with. Really interesting to read as women now are (perhaps not 100%) equal to men.

  • Ana Rînceanu
    2018-11-22 23:54

    This rhyming play with wicked humor explores the double dealings and double standards of Arnolphe, an insecure man who contrives to show the world how to rig an infallible alliance by marrying his young ward, Agnès. Arnolphe is obsessed with the fear of being made a cuckold so he has raised Agnès for 13 years in hopes to mold her to his liking. Enter young Horace and what could go wrong?! **wink**wink**

  • Hala Alzaghal
    2018-12-12 19:03

    Four years in studying French and the French culture, yet I still cannot understand how they possibly can make such meaningless and boring books and plays. And even movies. Moliere, I feel, had something he wanted to say but did not know how to say it. Or had nothing at all on his mind, so he made his thoughts up as he wrote. It is such a shame that writers in his time were more worried about the sound, the cohesion, and the public acceptance of their works more than the reason for writing something. His work is like a mute song; you can hear the melody but it cannot say anything for the life of it.

  • Leslie
    2018-12-13 18:49

    4.5* for this full cast recording using Richard Wilbur's translation.This is the 4th play in the digital audiobook of "The Molière Collection" - the plays just keep getting better! However, unless you are a big Molière fan (as I am), these plays should not be listened to too close together as they have enough similarities that it could strike a listener as repetitive.

  • Ben
    2018-11-14 17:48

    As I read this play I couldn't help but draw comparisons between it and Shakespeare's The Taming of the Shrew. Despite the fact that Molière has been translated, I felt that his humour transcended not only the limits of translation, but that it also transcended the limits of time and space more successfully than Shakespeare. I know that some argue that Katherina's final monologue is intended to be ironic, but I have difficulty reading it as such; it seems to be promoting a certain misogynism, and it has (allegedly) always been problematic for audiences. I do not have such difficulties with finding the irony in Molière's The School for Wives. Though so many of the "Maxims for Marriage" that Agnès recites in this work (given to her by Arnolphe, under whose care she has been since the age of four) are very similar to the points raised by Shakespeare's Katherina, it is clear from the beginning of this play that Arnolphe, who has been trying to raise Agnès into an obedient and ignorant wife, is a complete fool. Mostly when we laugh in the play it is at Arnolphe's expense, for we recognize in him a frustrated and paranoid man who is not taken serious by his friends, his ward or even his servants (the latter who argue over who will open the door for him until he threatens them with starvation). He is a man who lacks respect and is forced to resort to brute force and threats to maintain even any semblance of authority (which he so hungers for). And yet, despite all of his scheming, Arnolphe is unable to make Agnès the submissive little bride of his desire. He tells Agnès that it is a sin to have relations outside of marriage so that he can make her a respectable woman by making her his wife, but she instead uses his advice to plan a marriage to Horace, the young man with whom she has fallen in love in Arnolphe's absence. Arnolphe, no matter how desperately he tries, is unable to stop the fates from intervening and cementing the love of Horace and Agnès. This is a humorous and entertaining play to read today, almost four centuries later; it is one of those works that I would love to see staged -- though I recognize fully that this either could grow my appreciation for the work or that it could leave me unfulfilled if it failed to live up to my expectations, the vision of the play that blossomed in my mind as the dialogue unfolded. A shopkeeper at one of my favorite bookstores once said to me, "I don't know how anyone can read plays (I was purchasing some Brecht at the time). Just go see it!" I explained to him then that so many classic plays just aren't staged very often. But more than this, as with reading a novel, I feel that there is something with using one's imagination when reading a play. As with a film adaptation of a novel, a play that is staged may fall short of the vision that we develop in our minds when we read it. And so not only because certain works are infrequently staged, but because reading a play offers a different creative experience than viewing it in a theatre (not to mention we may lose certain things when they unfold at a different pace or in a different way), I enjoy reading plays, and so far I am finding particular delight in the plays of Molière, which I will continue to explore throughout this year.

  • Mina Soare
    2018-12-08 23:55

    Dear Goodreaders, as you well know from the number of ratings and editions, this play is popular - statistically likely to please. Reasons, the play has significant Molièreness: unexpected turns and twists of situations, colloquial, fluent language and plays on assumptions of the public. There is minor character development, enough to express a few themes, and a little character twist, to make things interesting. It is also long, hence the missing star, and harder to enjoy that The Misanthrope, possibly because it appeals to a different age. Be the values as they may be. This one brings to mind both Pygmalion and the story of the eponymous sculptor, naturally. And naturally, it is always with a bit of hate that I retrace the literary steps to the ancient Greeks - because they were great and now they are dead. I imagine it's the same feeling when one's parents stop being omnipotent. Regardless, I think that Arnolphe being made as if atypical in his society was a good marketing decision, to make sure the public would keep an emotional distance and wouldn't immediately reject him upon finding resemblances. What he says, in a slightly exaggerated fashion, is not at all uncommon. Is he the first to pluck his future wife from a convent, same as one would a fetching pumpkin from a farm? On Agnès' marriage, (view spoiler)[ she should be allowed to marry, regardless of George Bernard Shaw's choice for his Eliza. Both women offer ample justification for their choices. The way it's done here feels forced and redundant, nonetheless. (hide spoiler)] It's still legal, patriarchal authority that settled the situation, rather than, I don't know, intrepidity or good ol' fashioned elopement.As a tangential discovery, the public seems to have moved from liking or disliking a theme, as much as agrees and disagrees with the themes. Really! I finish the thing, go to Wikipedia to be told whether this was a good play or not, and read that it is really one of Moliére's most popular plays because of Agnès, but often receives criticism from the feminists because of the ending. What sort of circumlocution is that?!

  • Nuria
    2018-11-30 20:39

    <> Escribe Molière en el prólogo de "las preciosas ridículas" hablando sobre su método de hacer teatro. Una vez más me queda demostrada su genialidad en esta pequeña sátira social de un solo acto en la que ataca el preciosismo y la estupidez de las señoritas de provincias que se emborrachan de deseos de superfluidad y vida pomposa en París. La crítica es muy interesante y, tras leer unas cuantas piezas del autor sorprende que no es la primera vez que ataca este tema. Vamos, que al parecer, y a pesar de estar en pleno contacto con la corte (quizás fue por eso) Molière le tenía bastante manía al asunto. Más paradójico es todavía que esas limpias sátiras le hicieran simpatizar con el rey. Me siguen sorprendiendo también dos cosas de su teatro que, una vez más tras las lecturas, corroboro: la unidad de lugar se mantiene rígida en sus obras, ya que no busca el cambio de espacio y el ritmo vertiginoso y bien trazado de la acción dramática.

  • Anna
    2018-12-11 16:44

    Ještě pár stránek před koncem jsem chtěla dát pět hvězd. Bylo to vtipné, krásně napsané (veršování je obdivuhodné) a tematicky zajímavé (postavení žen ve společnosti). Ovšem když jsem si na posledních stránách přečetla, že hlavní hrdinka je vlastně něčí dlouho ztracenou dcerou, a proto si může vzít milovaného a ne svého pěstouna, dost mě to zklamalo. "Votre sexe n´est là que pour la dépendance,Du côté de la barbe est la toute-puissance.Bien qu´on soit deux moitié de la société,Ces deux moitié pourtant n´ont point d´égalité"

  • Mathieu
    2018-12-02 19:50

    Une pièce d' un modernisme osé pour son époque. Un appel à l' éducation de la femme, à une époque encore très imprégnée du patriarcat crétino-catholique, cela a dû être accueilli plutôt fraîchement.Molière prouve ici son goût pour la provocation, et sa grande ouverture d' esprit.

  • Kikoi
    2018-11-27 00:02

    رابع مسرحية أقرأها لمولييربأسلوب مُختلف نوعاً ماآ، كأن الحوارات عبارة عن قصائد،أو هي قصائد بحد ذاتها، جذبتني هذه الطريقة كيثراًغير أن المفردات صعبة و تحتاج لتركيز لفهم المُحتوىو كعادة الكاتب يترك المفاجأة حتى آخر لحظة، ليرتفع الستار عن الغموضو هذه الطريقة أحبها كثيراً في مسرحيات موليير ^^

  • Pauline
    2018-12-10 00:01

    Far From being my favourite play by Molière, but it was funny enough and I liked it after all. The story deals with the place of woman in a house and what she should know or ignore. The main character, Arnolphe has a very precise idea on the question...

  • Voldemort
    2018-11-28 16:39

    Lacked in ideas and originality. Characters weren't entertaining. Mostly enjoyed it because the translation was a "tour de force" and the language obviously a masterpiece

  • Rosa Ramôa
    2018-11-14 22:49

    "Se vós me reduzis ao desespero, advirto-vos de que uma mulher em tal estado é capaz de tudo".

  • Mehdi Jemaa
    2018-12-01 00:48

    je suis tout simplement tomber éperdument amoureux du théâtre grâce a cette pièce comment ai je pu passer tant d'années sans avoir essayer une seule fois la lecture d'une pièce quelle gâchis.

  • Marilyn
    2018-11-29 21:36

    Arnolphe who now wishes to be known as Monsieur de la Souche has kept in ward Agnes secluded in a convent school and now in a home he owns. He has attempted to keep her uneducated and quite controlled so that he may marry her and be certain she will do as he demands. His maxims for wives include: he has taken her for his bed alone, she needs no fine attire, let not her daub her face, let her be veiled whenever she leaves the house, let her not admit anyone to the house, to refuse all gifts from other men, she needs to do no writing of letters, social gatherings are not allowed, decline to play at gambling, and not to go on gay excursions. Despite his attempts, she falls in love with Horace, the son of Oronte who is Arnolphe's friend. How will it end? Enter Enrique!This translation by Richard Wilbur does maintain the rhymed couplets of the original French and that he was able to do so is impressive.

  • Samhain
    2018-11-23 23:49

    Too bad the ending's a bit abrupt. Otherwise, this is one of Molière's best work and I'm ashamed it took me ─ a huge fan of his ─ so long to finally read this play. The story, and the message it delivers, are still very accurate in our modern days, and my edition even had a bunch of pages about Boko Haram (aka the people who think girls/women shouldn't get an education). It's a bit scary to think this play still resonates with our times, but it proves Molière's talent for observing people, their behaviors, and their views/feelings. Although I admit it wasn't an easy one, even for a French person used to reading old plays, this is a must read.

  • Abdulaziz Al-Mannai
    2018-11-13 20:46

    ثاني مسرحية أقرأها لموليير، رائعة. هناك سر في بساطة نصوص المسرحيات -بشكلٍ عام-، لا تجده في الروايات، أُحِبه!

  • Amanda Alexandre
    2018-11-17 20:41

    Mysoginistic guy wants a spineless bride, then suffers the consequences.

  • Buse Arslan
    2018-12-03 20:01

    Okurken gayet eğlendim. Kadınların aptallığı ve zekiliği arasındaki çizgiyi, aldatma ve iyi eş konusunu işleyen güzel bir komedyaydı.

  • Ali
    2018-12-13 19:01

    مکتب همسران 1662 که در آن مردی قصد دارد با دختری کم سن و سال ازدواج کند، ابتدا به دلیل سنت ستیزی مولیر، مورد اعتراض قرار گرفت. آرنولفه که 42 سال دارد، آگنس 4 ساله را به دیری سپرده تا دختر را آموزش دهند و حالا که به 17 سالگی رسیده، او را به خانه آورده تا با او ازدواج کند، به این خیال که اگنس بخاطر قدردانی از او، به این ازدواج تن خواهد داد. اما هوراس پسر آورونته دوست آرنولفه، با دیدن اگنس عاشق او می شود و آگنس هم او را دوست دارد. پس از یک سری ماجراهای کمیک، آرنولفه خیال می کند اگنس به ازدواج با او راضی شده و اگنس هم تصور می کند که آرنولفه به ازدواج او با هوراس رضایت داده. وقتی حقیقت روشن می شود، آرنولفه دختر را از دیدار هوراس محروم می کند. هوراس که می پندارد نام پدر آگنس، مسیو "دو لا سوشه" است، نزد آرنولفه از لاشوسه شکایت می برد و بدین ترتیب، رسوایی دیگری بار می آید. اما اورونته اعلام می کند که فرزندش هوراس قصد ازدواج با دختری به نام انریکه دارد و این عروسی سر می گیرد، در حالی که انریکه کسی جز اگنس نیست.ژان باپتیست پوکولین، معروف به مولیر (1673-1622) کمدی نویس قرن هفده فرانسه، ابتدا تحت تاثیر "کمدی دلآرته" بود. کم کم به کمدی فارس روی آورد و بسیاری از آثار مشهورش از این نوع است. از اثار نمایشی مولیر از دوران مشروطه تا دهه های اول قرن حاضر شمسی، بارها نمایش نامه هایی به فارسی اقتباس و اجرا شده است. مشهورترین آثارش، ابتدا با همان اسم؛ "تارتوف"، "میزانتروپ"، "بورژوا ژانتیوم"، و سپس با نام های فارسی نظیر "مریض خیالی"، "خسیس" و "تارتوف ریاکار" به فارسی بازنویسی شده اند. پس از مشروطیت ترجمه ی آثار مولیر معمول شد و تقریبن تمامی کمدی های مشهورش به فارسی ترجمه شدند. از آنجا که این نمایش نامه ها کمدی و به زبان فرانسه بوده، ظاهرن اولین نمایش نامه هایی ست که به فارسی ترجمه شده چرا که اولین محصلین ایرانی معمولن به کشورهای فرانسه زبان نظیر فرانسه، بلژیک و سوئیس اعزام می شدند و زبان فرانسه تا پیش از کودتای 1332، در مدارس و دانشگاه ها تدریس می شد. ظاهرن اولین اثر مولیر که به فارسی برگردانده شده، "میزانتروپ" است و میرزاحبیب اصفهانی آن را ترجمه کرده، بعد هم محمد حسن خان اعتمادالسلطنه "طبیب اجباری" را به فارسی برگردانده. یکی دیگر از علل محبوبیت مولیر در ایران، هزل و هجو ریاکاری مذهبی و دسیسه های اصحاب کلیسا و دربار و اشراف، در این نمایش نامه هاست. نوشته اند که مولیر روز و شب می نوشت و از آنجا که خود کارگردان و اغلب بازیگر نمایش نامه هایش هم بود، کار شبانه روزی سلامتی اش را بخطر انداخت و در پنجاه سالگی درگذشت. حتی مرگش روی صحنه اتفاق افتاد. او که سل ریوی داشت، هنگام اجرای مریض خیالی، روی صحنه به سرفه افتاد و با وجودی که نمایش را به آخر رساند، افتاد، و ساعاتی بعد درگذشت.

  • Abeer (Starfall Reader)
    2018-11-21 23:35

    A reviving and refreshing comedy by Moliére,Let me be frank, I wasn't encouraged when I started this "oeuvre", even though I have a good history with other books of Moliére, like "Le Malade Imaginaire", but maybe it was because our french teacher is the one who ordered us to read this book (I believe that books we study in High school leave really a bad memory) But this certainly wasn't the case!And since starting, I couldn't help but think what a genius Moliére is!What is comedy? Comedy doesn't have the sole mission of making us laugh, Comedy is here to instruct us, and this is what Moliére was trying to do, and he did it beautifully !What is tragedy?We all must've felt some pity for ou Seigneur Arnolphe who was dumped by his beloved Agnés! Do we consider Arnolphe a tragedy hero? Certainly not!Because Moliére knows how to make us forget the tragedy by the sense of comedy!Moliére was born a comedian, even if he tries to write a tragedy, he will probably end up making the audience laugh their hearts out! This is why we love Moliére, this is why he's unique, and this is why "L'école des femmes" was a great success!Bravo Moliére, and let the curtains fall!

  • Anne Claire
    2018-12-12 19:01

    De conception traditionnelle, cette collection a le m��rite d'aborder l'��uvre int��grale sous des angles diversifi��s. Outre le r��sum�� d��taill�� des diff��rentes parties et les commentaires compos��s qui le compl��tent, chaque ouvrage propose une synth��se litt��raire assez riche : il y est question de l'auteur, des personnages, de la gen��se et de l'architecture de l'��uvre mais aussi de ses particularit��s stylistiques, des r��seaux d'intertextualit�� et des interpr��tations possibles. Par ailleurs, les documents situ��s en annexe offrent �� l'��l��ve la possibilit�� de se rep��rer rapidement dans l'��uvre : le lexique, l'index th��matique et les citations retenues lui permettent de traiter ais��ment les sujets de dissertation et d'entretien oral. C'est donc une premi��re approche qui a pour but de familiariser le lecteur avec l'��uvre en question. Elle lui en donne une vision synth��tique et lui sugg��re des pistes de lecture pour l'analyse. �� l'inverse, la bibliographie finale invite �� enrichir ses connaissances au moyen d'��tudes plus approfondies. --Claire Mazurel

  • Paleomichi
    2018-12-13 00:46

    È un libro bellissimo sotto tanti punti di vista.Il curatore, Jean Serroy, è molto bravo. Il saggio introduttivo, anche se un po' lungo, permette di inquadrare perfettamente l'autore nel periodo e nelle visioni sociali dell'epoca. Mi è anche piaciuto il modo in cui è stato trattato il rapporto fra l'opera di Molière e la sua storia personale.Quest'opera è stata pubblicata pochissimi mesi dopo il matrimonio dell'autore, suggerendo un nesso fra l'evento e l'ossessione del tradimento del protagonista. La coincidenza è sicuramente interessante, ma il curatore tratta il problema in modo secondo me molto equilibrato. Senza scadere nel gossip e nel romanticismo facile analizza il tema anche nelle opere precedenti, e conclude che secondo lui il matrimonio non è stata la causa scatenante dell'interesse verso le corna, anche se probabilmente ha stimolato la riflessione sul parlo più in dettaglio sul mio blog:

  • Amy
    2018-11-20 17:51

    Part farce, part romance, part psychological study a la Othello. There's some amount of goofiness about this play, but there is also a real truth here about how love and sex can can lead us to some pretty dark places. I think I would have liked this play more without the comedic elements. It was almost as if Molière desperately wanted to pen a tragedy with this play, but he didn't quite trust himself, or perhaps his audience, enough to really commit to that urge. If that was his secret desire, I wish he would have given himself over to it. I think that if he had this play would have been much bolder than the muted, restrained thing that it turned out to be.

  • ليلى
    2018-11-14 17:01

    Arnolphe, un "macho" qui a une peur extrême du cocuage, reçoit la confidence (innocente) du jeune Horace, l'amant de la femme qu'il voulait épouser "Agnès" .. il essaye de les séparer mais leur amour finit par triompher. Arnolphe: "Bien qu'on soit deux moitiés de la société,Ces deux moitiés pourtant n'ont point d'égalité;L'une est moitié suprême et l'autre subalterne,L'une en tout est soumise à l'autre qui gouverne" ..Horace: "Il le faut avouer, l'amour est un grand maîtreCe qu'on ne fut jamais, il nous enseigne à l'êtreEt souvent de nos moeurs l'absolu changementDevient, par ses leçons, l'ouvrage d'un momentDe la nature, en nous, il force les obstacles,Et ses effets soudains ont de l'air des miracles"

  • Fadwa Dhif
    2018-11-29 00:52

    I read this play for a French Lit. class and enjoyed Moliere's sense of humor. I laughed out loud as I watched everyone's plans go horribly awry. A great classic social commentary. It centers around one man's obsessive fear of cuckoldry (when a man's wife cheats on him), and the extremes to which he goes to avoid this. He practically emprisons a girl/young woman so that she can be raised properly and will make a faithful and obedient wife when she finally matures. The only problem for me was that it has a lot of references and vocabulary which are out of date and hard for a non-(native)French speaker to understand.