Bøger af Moliere

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book "" The Imaginary Invalid; Le Malade Imaginaire "", has been considered important throughout the human history, and so that this work is never forgotten we have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies and hence the text is clear and readable.

In this delightful comedy about the French aristocracy, told with Molière's signature wit, the atmosphere is frivolous, the morals are loose, the egos are larger than life and everyone is looking for love. Constance Congdon's verse version of this intelligent satire is both provocative and funny. "Love is all bad sonnets, big fluffy beds and silly preening in the first half of THE MISANTHROPE... Then the gloves come off...and the characters are fighting for their lives. Molière's 1666 comedy about yearning for truth and love in a world of self-serving hypocrites never falls out of fashion... The play is recast here in a tonic new verse version by Constance Congdon... This is a world...where words do all the damage. Playwright Congdon (TALES OF THE LOST FORMICANS) has done an exemplary job of making that language count. Her rhymes are not as elegant as those in Richard Wilbur's standard verse translation, and that's the point. There's a lean angularity in her lines, a flashing sense of purpose." Steven Winn, San Francisco Chronicle

Harpagon thinks that his children are costing him too much money and must be married off. He has found an old man who won't demand a dowry for his daughter, Elise, and a rich widow for his son, Cleante. Unfortunately Elise is already in love with Harpagon's servant, and his son is in love with the penniless Mariane, whom Harpagon has already decided to take as his own wife. While seeking rest from daily care, I learned that Monsieur Molière, The darling of the muses nine, Whose blessings flow on him like wine, Is now presenting on the stage yes, he's the idol of the age A Miser who diverts us all; And not a little bit. His thrall Encompasses; his scope is vast; He makes us laugh from first to last. He speaks in prose and not in verse; But the effect is none the worse. His prose is so theatrical; Its essence is dramatical. This Miser, then, whose praise one sings, Is prodigal in comic things. What's more, the acting's excellent. Your time could not be better spent. -Charles Robinet, Letters in Verse, Paris, 15 September 1668

With a calloused and lustful heart, Don Juan indulges his sexual appetites with boundless enthusiasm. Heedless of warnings both earthly and otherwise, history's most notorious romantic devil rushes headlong toward retribution in Molière's sparkling comedy. "Richard Nelson's supple translation accommodates this transposition comfortably, without infidelity to the original." Julius Novick, The Village Voice "Richard Nelson's translation...seems an improvement on previous drab, very English, English versions." James Lardner, The Washington Post

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Les Oeuvres, Volume 1; Les Oeuvres; Molière Molière Tourneisen, 1760

Orgon est l'archétype du personnage de cour tombé sous la coupe de Tartuffe, un hypocrite et un faux dévot. Il est, ainsi que sa mère, Madame Pernelle, la dupe de Tartuffe. Ce dernier réussit à le manipuler en singeant la dévotion et il est même parvenu à devenir son directeur de conscience. Il se voit proposer d'épouser la fille de son bienfaiteur, alors même qu'il tente de séduire Elmire, la seconde femme d'Orgon, plus jeune que son mari.

Alceste hait l'humanité tout entière, en dénonçant l'hypocrisie, la couardise et la compromission. Mais il aime Célimène, jeune veuve coquette et médisante. Il est aimé d'Arsinoé, la prude, et d'Éliante, la sincère.

Dom Juan a séduit Elvire, avant de l'abandonner pour de nouvelles conquêtes. Elvire le poursuit et le menace de la malédiction céleste. Dom Juan s'en moque et compte sur son fidèle Sganarelle pour l'aider à enlever une jeune fille en mer. À la suite d'un naufrage, ils sont rejetés par la mer sur la côte, où deux paysans les tirent d'affaire. Fidèle à lui-même, Dom Juan décide de séduire la fiancée de l'un de ses sauveurs, tout en promettant le mariage à une autre paysanne, Mathurine.

Bourgeois d'origine modeste mais fier d'être devenu riche, M. Jourdain entend acquérir les manières des gens de qualité. Il décide de commander un nouvel habit plus conforme à sa nouvelle condition et se lance dans l'apprentissage des armes, de la danse, de la musique et de la philosophie, autant de choses qui lui paraissent indispensables à sa condition de gentilhomme.Il courtise Dorimène, une marquise veuve, amenée sous son toit par son amant, un comte autoritaire, qui entend bien profiter de la naïveté de M. Jourdain et de Dorimène.

Deux jeunes gens, La Grange et Du Croisy, sortent de chez Gorgibus, un bourgeois de province récemment arrivé à Paris. Ils sont très mécontents de l'accueil méprisant que leur ont réservé Magdelon et Cathos, respectivement fille et nièce du vieillard. La Grange explique à son ami la manière dont il entend se venger des trop fières jeunes filles : en leur faisant rencontrer Mascarille, son valet, « un extravagant qui s'est mis dans la tête de vouloir faire l'homme de condition ».

L'intrigue se passe à Paris. Harpagon est bourgeois, riche et avare. Il a deux enfants : Élise qui est amoureuse de Valère, un fils de noble napolitain au service de son père en qualité d'intendant, et Cléante qui souhaite épouser Mariane, une jeune femme vivant chez sa mère sans fortune. Il ne supporte pas que l'avarice de son père contrarie ses projets amoureux.

Jean-Baptiste Poquelin, known popularly by his stage name Molière, is regarded as one of the masters of French comedic drama. When Molière began acting in Paris there were two well-established theatrical companies, those of the Hôtel de Bourgogne and the Marais. Joining these theatrical companies would have been impossible for a new member of the acting profession like Molière and thus he performed with traveling troupes of actors in the French provinces. It was during this period that Molière would refine his skills as both an actor and a writer. Eventually his reputation would increase allowing him to return to Paris where he gained the patronage of Philippe I, Duke of Orléans, the brother of the King of France, Louis XIV. This collection of Molière's plays includes some of his most notable compositions. In "The Misanthrope", a comedy of errors which satirizes the hypocrisies of French aristocratic society, the author draws upon his bourgeoisie upbringing in 17th century France. "Tartuffe" is the story of Orgon, the head of his family, who has fallen under the influence of Tartuffe, an imposter who pretends to be pious and to speak with divine authority. These plays along with "The School for Wives", "The School for Wives Criticized", and "The Impromptu at Versailles" exhibit the dramatist at his comedic best. This edition is printed on premium acid-free paper and includes an introduction by Henry Carrington Lancaster.

Louis Jouvet, le grand comédien, s'amusait à répéter que l'Avare de Molière était un merveilleux vaudeville. Il est ainsi plus près de la vérité que ceux qui cherchent à dramatiser la pièce. S'il est vrai que certaines scènes opposant Harpagan et son fils paraissent frôler un tragique balzacien, elles ne donnent cette impression qu'à la reflexion ; dans le feu de l'action on n'y voit que de l'humour. Le génie de Molière est d'être arrivé à nous faire rire franchement avec un personnage qui n'est pas drôle en lui même. L'avare est une comédie d'action. L'action de l'Avare c'est la montée des espoirs du vieillard sordide et amoureux, c'est l'alternance des éléments favorables et des obstacles qu'il rencontre, c'est sa volonté de plus en lus ferme de s'assurer en même temps la possession de Marianne et l'accroissement de ses revenus, sans jamais sacrifier l'un à l'autre, c'est l'identification qu'il arrive à faie entre ces deux possessions de sorte que la perte de sa cassette signifie la fin de son amour, et que la cassette retrouvée le console de l'amour perdu. La pièce demeure ce qu'elle est : une unité comique.

Molière, l'Avare, IV, 7 - Harpagon : "Au voleur ! au voleur !". Le Misanthrope, I, 1 - Alceste : "Non, je ne puiss souffrir cette lache méthode...". I, 1 - Alceste : "Non, elle est générale, et je hais tous les hommes...". Beaumarchais, le Barbier de Séville, IV, 8 - Basile : "La calomnie, Monsieur !". Racine, Les Plaideurs, I, 1 - Petit Jean : "La foi, sur l'avenir bien fou qui se fiera....". Edmond Rostand, Cyrano de Bergerac, I, 4 - Cyrano : "Ah ! Non ! C'est un peu court, jeune homme !". II, 8 - Cyrano : "Et que faudrait-il faire ?".