Le Bourgeois Gentilhomme

“My tailor told me the people of quality dress like this in the mornings.”

M. Jourdain is obsessed with becoming a “person of quality,” or a member of the upper class. Although he has financial resources, he has no idea what that means. Therefore, he asks the men he pays to teach him how to become such a person, and they exploit his foolishness. Of course, he is also obstinate and refuses to learn what they try to teach him. It is a pointless task to teach him to be a “person of quality” because he doesn’t have the intellectual capacity to learn philosophy or understand music and dance, and he does not possess the physical acumen to become a great dancer or fencer. However, M. Jourdain is incredibly gullible and believes all compliments.

“And if all men learned music, wouldn’t that be a means of bringing about harmony and of seeing universal peace in the world?”

In their campaigns for M. Jourdain’s money and patronage, the Masters are constantly trying to justify their offerings as necessary to a man who wishes to become a gentleman. The Music Master’s assertion that musical harmony

could translate into harmony between people is nonsensical. But much like his suggestion that a music pupil’s composition is just as good as a master’s, he knows that M. Jourdain accepts anything that is said with confidence. The wordplay makes this statement sound legitimate or profound, but it is really meaningless.

“When a man has committed a mistake in conduct, in family affairs, or in affairs of government of a state, or in the command of an army, do we not always say, ‘He took a bad step in such and such affair?’”

Like the Music Master’s argument about harmony, the Dance Master’s equation of a dance step with a logistical or tactical misstep is nonsense. But in order to convince M. Jourdain of his worth as a tutor and an artist, it is only necessary to make suggestions that sound compelling. They do not have to have meaning or substance to convince Jourdain.

“When we have characters that are to speak in music, it’s necessary, for believability, to make them pastoral. Singing has always been assigned to shepherds; and it is scarcely natural dialogue for princes or merchants to sing their passions.”

The Music Master’s comically-obvious lie illustrates M. Jourdain’s utter foolishness and ignorance. Baroque operas alone nearly exclusively concern gods and royalty. Limiting the scope of his musical plotlines means that he needs less creativity and effort to write for M. Jourdain. Either the Music Master withholds his best work from M. Jourdain, since Jourdain does not know the difference, or his musical talent is mostly fabricated. Either way, M. Jourdain eagerly believes all of the lies that his more cultured “teachers” tell him.

“What! Gentlemen, must you act this way? Haven’t you read the learned treatises that Seneca composed on anger? Is there anything more base and more shameful than this passion, which turns a man into a savage beast? And shouldn’t reason be the mistress of all our activities?”

The Philosophy Master is flexing his intellectual muscles, and ironically so, since he immediately joins the scuffle. He quickly sets aside “reason” as the “mistress of all our activities” in favor of money. The fight among the Masters is not about a battle for whose art battle to win M. Jourdain’s respect and more of his money. Of course, Seneca’s treaty on stoicism is about emotion. The Masters are not fighting because they are emotional, but because they want control of M. Jourdain’s artistic education, and therefore his money.

“It’s nothing. A philosopher knows how to take these things and I’ll compose a satire against them, in the style of Juvenal, which will fix them nicely.”

The Master Philosopher’s threat to satirize his fellow Masters sheds light on just how silly their fighting must be. They are men of art and education, not men who risk their bodies through physical altercations. Additionally, M. Jourdain’s specific concern about the Master Philosopher indicates that he probably lost the fight, which is unsurprising since his idea of revenge is an intellectual mockery.

“I have every desire in the world to be educated, and I’m furious that my father and mother did not make me study all the sciences when I was young.”

M. Jourdain tells the Master Philosopher that he longs to learn “everything [he] can” (31). He blames his parents for not forcing him to study, although the mastery of philosophy requires initiative, and no amount of forced study would have placed him on the level of the Master Philosopher. This comment also brings up the questions of M. Jourdain’s parentage, which has not been addressed. As someone with huge financial resources who seems to have no clue how to become the type of person who grew up with financial privilege, it seems as if his wealth might be newfound.

“Those words are too ugly. This logic doesn’t suit me at all. Let’s learn something else that’s prettier.”

M. Jourdain cannot grasp the three operations of the mind: “the first is to conceive well by means of the universals; the second is to judge well by means of the categories; and the third is to draw well a conclusion by means of figures” (32). Ironically, he wants to replace the lesson about a deep understanding of the universe with something empty and aesthetically-pleasing. Much like his inability to evaluate the art of the Master Dancer and Music Master, he does not comprehend the purpose of studying philosophy.

“No, let’s leave that. I’m as choleric as all the devils and there’s no morality that sticks, I want to be as full of anger as I want whenever I like.”

Although M. Jourdain claims to want to know everything and to become a gentleman, he also demonstrates that he has no desire to change himself. He also misunderstands the study of philosophy as if understanding morality will force him to give up his anger. The fact that “there’s no morality that sticks” speaks to his obstinance. When he requests the Philosophy Master to teach him spelling instead of philosophy, he shows that he does not understand how learning works, and that it is not commendable to learn things one already knows.

“You are a fool, husband, with all your fantasies, and this has come to you since you took a notion to associate with the nobility.”

Mme. Jourdain is suggesting that her husband’s foolishness and social aspirations do not come into being with his wealth, but rather when he begins spending time with members of the upper class. This implies that he has the opportunity to rub elbows with the nobility, but that it isn’t enough for him. He simply does not fit in. It also insinuates that the members of the nobility are encouraging his pursuit, which certainly benefits those who are on the receiving end of his spending.

“He scratches him where it itches.”

Mme. Jourdain recognizes that the men around her husband are only taking advantage of him. While he takes all compliments as truth, she sees that they are simply flattering him to get to his money. M. Jourdain’s greatest insecurities are in his inability to blend in with those who he views as his betters. Although his suit is undoubtedly ridiculous, his “friends” will soothe his ego for the sake of financial gain. The count, who has borrowed large amounts of money from M. Jourdain, knows exactly what to say to him to make him bend to his will.

“There are no expenditures I would not make if by that means I might find the road to her heart. A woman of quality has ravishing charms for me and it’s an honor I would purchase at any price.”

M. Jourdain’s obsession with the marchioness hinges on the phrase “woman of quality.” His wife simply cannot measure up because she, like him, was born to the bourgeois class. He also seems to believe that spending money is the key to reaching Dorimène’s heart. As she demonstrates when she orders Doranté to stop spending money on her, this is not the case. In fact, as a member of the upper class, she is likely unimpressed by shows of wealth. Thus, she is not concerned with the size of the diamond or the richness of the meal.

“How easily we are manipulated by these blasted minxes!”

While Cléonte asserts that love makes you easy to persuade, Covielle notes that the two of them were manipulated by their respective women. This is the joke, of course: that Covielle is savvier than Cléonte. Nicole and Lucile certainly manipulated the men who were refusing to listen to their reason for ignoring them. Rather than begging the men to take them back, the women turned the conversation around by refusing to tell them so that the men would beg to know. Covielle only gives in to Nicole because Cléonte forgives Lucile.

“I find all imposture undignified for an honest man, and that there is cowardice in disguising what Heaven made us at birth; to present ourselves to the eyes of the world with a stolen title; to wish to give a false impression. I was born of parents who, without a doubt, held honorable positions. I have six years of service in the army, and I find myself established well enough to maintain a tolerable rank in the world; but despite all that I certainly have no wish to give myself a name to which others in my place might believe they could pretend, and I will tell you frankly that I am not a gentleman.”

Despite the silliness with which Cléonte allows himself to be manipulated by Lucile, his response to M. Jourdain’s question about whether or not he is a gentleman shows gallantry and dignity. Since M. Jourdain shows social climbing to be an undignified pursuit, Cléonte’s rejection of social ambition is admirable. Furthermore, he shows himself to be a contributing member of society, having served in the army and become a well-regarded person. His description of what it means to be a gentleman shows that the social hierarchy of nobility and bourgeoisie are ridiculous, and that men place too much importance on it.

“I laugh at their quality.”

Like Cléonte, Mme. Jourdain understands that nobility and quality are not equal. Under the presumption that Dorimène is present at dinner to steal her husband, she and Doranté, who is trying to drain M. Jourdain of his money, are not people of quality, whether they have titles or not. In this moment, M. Jourdain demonstrates that he places no value on his marriage, as he does not even attempt to lie about his intentions with the marchioness.

“I’m not concerned. These are my rights that I defend, and I’ll have all wives on my side.”

Mme. Jourdain refers not only to her own strength and power but the strength and power of women. She is not simply an entity to be controlled by her husband, even if her husband is wealthy. Although M. Jourdain threatens her with violence, she will not be pushed aside.

“Him, a tradesman! It’s pure slander, he never was one. All that he did was to be very obliging, very ready to help; and, since he was a connoisseur in cloth, he went all over to choose them, had them brought to his house, and gave them to his friends for money.”

In his ruse, Covielle knew exactly which lie would bring M. Jourdain on board to follow him blindly. Of course, this story is humorously ridiculous. He wasn’t a tradesman, he simply performed the act of trading for money. But M. Jourdain wishes to be a gentleman so desperately that he will ignore any common sense or experience that tells him otherwise. If his father had been nobility, his childhood would have been different. However, just as the tailor’s assistants knew to scratch where he itched, Covielle knows how to manipulate M. Jourdain by dangling the thing he wants most in the world in front of him.

“What an admirable language Turkish is!”

As Covielle teaches M. Jourdain words and phrases, he is most certainly speaking gibberish rather than Turkish. M. Jourdain’s admiration of “Turkish” is much like his marvel over the word “prose,” or his amazement as the Philosophy Master teaches him how to say letters that he undoubtedly already knew how to say. M. Jourdain frequently becomes enamored with what he perceives to be his own capacity for learning. He seems to believe that the most basic knowledge is profound, proving that he simply has no idea how little he knows.

“Ha, ha, ha! My faith, that was hilarious! What a dupe! If he had learned his role by heart, he could not have played it better.”

After his initial interaction with M. Jourdain while in disguise, Covielle points out how easy the man is to manipulate. All Covielle needed to do was call his father a gentleman, and M. Jourdain was ready to believe anything Covielle suggested. In the performance that Covielle and Cléonte are creating to trick M. Jourdain into letting his daughter marry Cléonte, M. Jourdain is so predictable that his responses could be memorized lines.

“Madame, we must try to help Cléonte’s plan by supporting his masquerade. He’s a very gallant man and deserves our help.”

Throughout the play, Doranté has been a manipulator and a grifter. If his mark, M. Jourdain, were not so villainous, Doranté might be the villain. But in this moment, he shows that he targets M. Jourdain not only because he is a rube, but also because M. Jourdain is not gallant and deserves to have others take advantage of him. M. Jourdain may have money, but Doranté respects Cléonte, despite the fact that neither of them possesses a title. This shows that M. Jourdain isn’t targeted simply because he has money and no title, but because he is a foolish man.

“I have decided to marry you right away. This is the truth of it, that all these sorts of things end with marriage, as you know.”

In this meta-theatrical joke, Dorimène is acknowledging that comedies of the period (and before) always end with the lovers getting married. Given her repeated protestations throughout the play, her sudden acquiescence is presented as a necessity of comic convention, rather than a believable plot development. In this, Molière is also poking fun at himself as a playwright, along with how formulaic theatrical comedies are.

“You see, Madame, that Monsieur Jourdain is not one of those men that good fortune blinds, and that he still knows, even in his glory, how to recognize his friends.”

Although Doranté says this to enforce the idea that M. Jourdain only pursues Dorimène as a friend, the statement is rife with irony. In truth, M. Jourdain has been entirely blinded by wealth. He has allowed his wealth to replace his sense of reason. And he truly has no idea who his friends are. Those who he believes are his friends, such as the count and other members of the nobility, mock him and use him for his money. Those he can trust, such as his wife and Cléonte, he turns away from.

“No, no, this is not a comedy, it’s a very serious matter, and as full of honor for you as possible. There is the husband I give you.”

This is yet another meta-theatrical joke, since the play is certainly a comedy. But it also illustrates the fact that M. Jourdain is the only character in the play who does not understand what is going on. While every other character laughs at his foolishness, M. Jourdain believes that everything he does is in all seriousness.