Resume L’avare De Moliere Par Scene
Resume L’avare De Moliere Par Scene – Harpagon the miser loves only his money; he only sees thieves around him, he suspects everyone of wanting to steal his money. His son and daughter talk to themselves: “I think,” he said, “that they are making signs to steal my purse.” He searches his son’s valet; After visiting his two hands, he asks about the others. He refuses his children the bare essentials, and his son, reduced to the lack of everything, becomes a gambler. Harpagon finds out about this and instead of accusing him of this vice, he advises him to invest the money won at high interest, he chose for his son Cléante and for his daughter Élise a rich widow of Lord Anselme, a mature man not older than fifty years , but noble, gentle, composed, wise and strong, rich. Her manager Valère, who secretly longs for Élise’s hand, raises some objections to her.
Harpagon is in no hurry to raise his children, save to marry himself to a poor young girl, whose beauty has charmed him, and who, for want of wealth, will bring to the household a thousand precious qualities, much frugality and thrift. He feels obligated to take her out to dinner, but it’s all about spending as little as possible. Harpagon tries to get along with his cook, who is also his driver, in a scene from the last comic.
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During the meal, Harpagon discovers that his son is in love with the same Marianne he wishes to marry. But suddenly a terrible misfortune comes that makes him forget all his plans. He realizes that someone has stolen his cassette, which he kept buried in his garden and which contained ten thousand kronor. His desperation is at its peak. He runs up without a hat and shouts: “Thief! Thief! to the murderer! to the murderer! Justice, I’m lost, I’m murdered! They cut my throat, they stole my money.”
Plaute Et Molière
Master Jacques, who has to complain about Intendant Valère, accuses him of this theft. This steward is none other than Élise’s lover in disguise, who tries to win Harpagon’s tenderness by indulging his maxims and applauding what he does. Valère thinks he is being denounced and, using the language of the miser, imagines that it is not his cassette but his daughter, which leads to pleasant misunderstandings. In the end it turns out that it was Harpagon’s children who made the precious bond disappear in order to force their father to abandon his plans. Lord Anselme, who is none other than the father of Valère and Marianne, renounces Élise in favor of his son, and the miser in turn renounces Marianne, agreeing to everything on condition that Anselme pays the expenses of these sweet marriages and that we him give back his dear cassette.
L’Avare’s comedy did not initially have the success it deserved because it was written in prose. At that time it was believed that a good comedy could only be written in verse.
Rousseau accused L’Avare of immorality: “It is certainly a great vice to be stingy and to borrow usury, but is it not a still greater vice for a son to steal from his father, to disrespect him with the most insulting reproaches.” make, and when that irritated father gives him his curse, only to reply with a sneer that he has nothing to do with his gifts? If the joke is excellent, is it less punishable? And the play in which the insolent son who made it is loved is it less a school of bad morals? M. Saint-Marc Girardin discussed Rousseau’s opinion. ‘Harpagon,’ he said, ‘amuses us not as a father, but as a miser; and if his son does not respect him, it is because at that moment the miser, the usurer and the old man in love, the three vices or the three ridiculous ones of Harpagon, hide and steal the worst. When the father forgets honor, the son forgets the respect he owes his father. Make no mistake, it is indeed a nice title as a family man. It’s almost a priesthood; but it is a title that obliges, and if it gives rights, it also imposes duties. I know very well that a son should never accuse his father even if he is guilty, but that is the commandment, unfortunately it is not the practice, except with virtuous sons. Now, at L’Avare, Molière had not the slightest intention of giving us Cléante for a virtuous son, whom we must approve at the expense of his father: he only wished to counter extravagance with avarice, for such are the sweet vices, the , the who differ most from each other can most effectively offend and punish one another.
[After Daniel Bonnefon. Famous Writers of France, or History of French Literature from the Origin of the Language to the 19th Century (7th ed.), 1895, Paris, Librairie Fischbacher.]
Resumé Detaillé Et Analyse De L’avare
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