Sid the science kid funny
Sid the Science Kid: Pollination
None Sid investigates why there’s a picture of a bee on his honey cereal box. Sid can’t wait to eat his honey cereal but stops in his tracks when he sees a picture of a bee on his honey cereal box. Why is there a picture of a bee on a honey cereal box? When Sid learns that bees make honey, he grabs his magnifying glass to investigate. He discovers that bees go from flower to flower. Dad tells him they do that because the bees are “gathering nectar” by sucking sweet juice from the flowers. Then they turn that nectar into honey. Grab your magnifying glass and join Sid as he explores how honey is made and why we should say thank you to bees for all the work they do! show full description Show Short DescriptionScience
Enjoy our collection of fun science stories for kids. With favorites like Sid the Science Kid and Hayley Rides into Space, you're sure to find stories your child will love.
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Sid the Science Kid: Pollination
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Hey, you’re a scientist, like me! Come discover with Sid the Science Kid. “Sid! Woah! It’s time for breakfast!” “Ahh, I’m so hungry, Mom! I’m gonna have my favorite cereal—the kind with honey.
I love honey!” “Yep, you’re right! Honey is so good!” “Hey, Mom and Dad! Did you ever notice that the honey cereal box has pictures of bees on it? That’s funny! I wonder why they’re on there?” “I know why, Sid. Because the cereal has honey.” “And do you know where that honey comes from? We get it from our friends the bees. It’s the bees that make honey!” “This sounds like something I need to investigate!” “And don’t forget to take your magnifying glass so that you can observe the bees!” “Bees! Where are you?” “Where there are flowers, there are bees!” Oh, well maybe these flowers over here—There’s a bee! It looks like it’s sucking on the flower! “Yep. You got it, Sid. That is called ‘gathering nectar.’” “Hey, bee, come back! Don’t fly away!” “Oh, there it is!” “Oh! It’s landing on another flower!” “It’s gathering sweet juice from the flower.” “Ah, that’s incredible! Then the bees use that sweet juice to make honey for my cereal. Right, Dad?” “Yeah, and that juice is nectar.
” “Bye!” “Well, where’s the bee going now?” “Home. That’s its beehive.” “And that’s where the bees keep all the nectar that they’ve gathered.” “That’s right! You got it, Siddo. Bzzzzz! The bees are making the nectar into honey. They make the honey to feed all the bees in the hive during winter, and to feed breakfast to you, Sid!” “I’m gonna go tell my friends!” “Hi, scientists! I hear you made an interesting discovery today, Sid.” “This morning I learned that honey’s made by bees!” “Yay for bees!” “To do it, they use nectar. And nectar is the sweet juice they gather from inside flowers.” “That’s true, Sid. But bees also do something else that’s very useful for nature. To make seeds, a flower needs pollen.” “Oh, what’s pollen?” “Pollen is a powder the flower has inside. Sometimes the wind can blow the pollen from one flower to another, but that doesn’t always work out very well.” “’Cause the wind just blows everywhere?” “Exactly. So the bees are much better at bringing pollen from one flower to another.
When they gather nectar, pollen sticks to their back legs.” “Ooooh!” “And when they fly away, that pollen will stick to the next flower that they land on.” “Wait, Teacher Susie, does that mean if there weren’t any more bees, then there wouldn’t be any flowers in our garden?” “Well, if there weren’t as many bees, there would be fewer flowers and less fruit!” “From now on, I’m going to say thank you whenever I see a bee outside.” “Let’s celebrate by having some toast with honey!” “Yay!” “Let’s go!” “Flowers and bees work great together!” “Yeah!” Now I know why bees and flowers get along so well. It’s the pollen! Right, flowers? Ahh. Flowers give nectar to the bees, and the bees carry pollen to other flowers so that more flowers can grow and they can give us more yummy fruit. Next time you see a pretty flower, thank our friends the bees. See you later, scientists! Mm. Ahh!
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10 funny comics about scientists and science from different authors | Zinoink about comics and jokes
Hello dear friend!
Today we are talking about scientists and science in general . The second, of course, we will touch upon superficially, a couple of words and nothing more. I did this on purpose, because in order to talk about science in a superficial way, no article is enough. We will only spend an hour listing the names of all scientific branches and this without describing what each branch does. nine0005
Accordingly, scientists also are different . Each of them studies their industry and makes scientific discoveries in it. It is unlikely that a mathematician will be able to open any cell, and a biologist will be able to prove the theorem of the conditional Firm. But such cases are possible, these are scientists.
There are many jokes about scientists. Funny TV shows are made about them, funny books are written and, of course, comics are drawn. Where without it.
Below, especially for you, I have prepared 10 funny comics about scientists from authors from all over the world.
Well, dear friends, to knowledge! nine0005
Educational is a VKontakte public that jokes about scientists, developments of and scientific news in general. By the way, there is great news, a remedy for all diseases has been developed. True, you need to remove the cover.
Another comic from Obrazovach. Comics about science in Russia , which clearly shows that in our country this is a difficult area.
Let's draw a comic strip about what journalists often attribute discoveries to scientists even before they made them. You know, British scientists have developed everything from everything. And British scientists at this moment are sleeping at home and do not understand what is happening at all.
Martadello and a comic about the scientist who designed the time machine . As you can see, the consequences of this event are catastrophic. Do not joke with the timeline, otherwise the reality that you knew may not exist.
Another Martadello character is Doctor Posos .
nine0009 Funny doctor , who has a slightly different technology. And by saying a little, I'm downplaying the scale of events very much in order not to shock you.
Have you moved on from the previous comic? Amazing! Martadello and Dr. Posos have prepared a new story for you. If I ever get into the comic I wouldn't want , to have Dr. Posos as my doctor.
Zach Weinersmith and the comic about how differ from each other miscellaneous kinds scientists . For example, if you ask 4 different scientists who is the fastest person on Earth, you will get 4 different answers.
Chilik and a clear demonstration of how important science is in real life. The authorities do not let go to the matinee to his son? It's simple - design a hologram. Hologram is a sponsor of your child's happy childhood
Petri Disch and a comic book about a scientist and his assistant robot. In general, this author has all the comics about a scientist and his robot assistant, but I singled out this one.
I just love potatoes .
Wumo is one of my favorite authors lately. This is a comic about scientists who explore stars and planets. And today their choice fell on Jupiter .
Thank you for reading to the end! Write in the comments how do you feel about science? Put likes, and be sure to subscribe to the channel so as not to miss new articles.
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Illusory funny – Weekend – Kommersant
Molière is 400 years old, and this is a rare case of real authorial immortality. You can forget the plot of any of his plays, but not its hero. Tartuffe, Don Juan, Harpagon - these names have turned from their own into common nouns. Molière created figures-brands, characters-standards, each of which is a grotesque quintessence of one human property, one trait.
In the time that has passed since their birth, the person himself seems to have changed beyond recognition. But the heroes of Molière still live in the consciousness or in the subconscious of culture. Different epochs interpret them differently - but none has yet done without them. nine0005
Jean Auguste Dominique Ingres. Louis XIV Dining with Molière, 1857
Photo: Bibliotheque-Musee de la Comedie-Francaise, Paris
Jean Auguste Dominique Ingres. Louis XIV Dining with Molière, 1857
Photo: Bibliotheque-Musee de la Comedie-Francaise, Paris
Text: Olga Fedyanina
The theater has two faces, both fake. The face of tragedy with the corners of the mouth down and the face of comedy with the corners up are nothing more than masks, an illusion. They make you think that the tragic is sad and the comic is funny. It's a delusion. nine0005
Molière, who for the fourth century already personified comedy in the world theater, became a great comedian just when he stopped writing funny and about funny.
After all, the funny strongly depends on the place and time, and Moliere, as he became a great comedian, has remained so ever since, occupying a place in the imaginary theatrical pantheon somewhere not far from Shakespeare. The second, if you like, although in fact these places are not numbered. Occupying the third, fourth, fifth, hundredth can be discussed, but the first two are still out of competition. nine0005
Everything that actually secured Molière the right to this place was written in less than 20 years. If we count very honestly, then for nine: between 1664, when the very first version of Tartuffe appeared, and 1673, in which Molière died after the fourth performance of his last play, The Imaginary Sick.
This is only a dozen or so pieces, but six of them have not left the world's stages for a single day since then. Although the author himself, most likely, it seemed that he was referring only to his time, and sometimes even to only one person. In fact, it was so, but the whole point is what time to refer to.
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Grand Siecle, "The Great Century", is Molière's main collaborator and addressee. And yet - his main competitor and opponent. The "Great Age" is described in millions of details - in fact, he himself began to describe himself in diaries, letters, chronicles: perhaps the first century that took shorthand of itself. Not as a set of events, but as a set of events that have a connection, meaning and idea. The main idea of the "Great Century" is the gradually taking shape of the idea of the state, the national-administrative structure of power with a through system of obligations and subordination. This sounds trite today, but in the 17th century it was very new. More recently, the Thirty Years' War ended, during which it became clear that any principality and even individual cities can suddenly begin to behave as sovereign subjects. The signatories of the Peace of Westphalia did not count on the fact that hostilities would cease forever (the idea of eternal peace appeared only in the 19th century), but that they would become more transparent and orderly.
From this need arose the administrative-state architecture in which we more or less live to this day. nine0005
France - due to complex political and dynastic interests - its main creator and first example. To become a political reality from an idea, the state must formulate and demonstrate itself: the “Great Age” is the age of the Fronde, rebellions, conspiracies, secret and overt diplomacy, wars – but also the age of symbols and representation, the age of total theater. Its symbol is the long-lived monarch Louis XIV: the royal court becomes the main theater of the country, its most luxurious decorative backstage, accommodating all forms of what today would be called the performativity of power. And the king himself is the main director, actor and spectator of his reign. Every step he takes is public, only the number of people admitted varies depending on the occasion. There is no such manifestation of a royal being that would not be representative. (Whenever the art of the 20th and 21st centuries is accused of scandalousness and radicalism, it is worth asking if it does not simply repeat some practices of the “Great Age”.
French nobles paid tens of thousands of livres for the right to be present every day while the monarch is sitting on a chair-toilet—the Viennese actionists, with their public feces, could not even dream of such a commercial success.0005
Previous photo
Jean-Francois Garneret. "Louis XIV honors Molière", 1824
Photo: Bibliotheque-Musee de la Comedie-Francaise, Paris nine0005
Monnin.
Portrait of Molière, 1868
Photo: Michael Nicholson/Corbis/Getty Images nine0005
Next photo
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Jean-Francois Garneret. "Louis XIV honors Molière", 1824
Photo: Bibliotheque-Musee de la Comedie-Francaise, Paris nine0005
Monnin.
Portrait of Molière, 1868
Photo: Michael Nicholson/Corbis/Getty Images
But for the theater itself, this is not exactly a very advantageous position. What is the meaning of stage art if the authorities and the state stage themselves around the clock, if the royal court and all the princely and county courts are already “on the stage”? nine0005
The "Great Age" had no shortage of artistic geniuses: Racine, Corneille, Lully, Poussin - all of them would have done honor to any time and any country. And all of them are a natural part of the total theater of Louis XIV, its splendor and grandeur. Of course, it is absurd to reduce Racine or Corneille to the function of an artistic arrangement of French absolutism. But neither "Sid", nor "Phaedra" or "Andromache" contradict the pictorial solemnity of power.
Moliere strongly contradicts, at least at first glance. And it's not that his stories are born from human vices, and not from virtues - the comedy genre does not suggest otherwise. But most of them show that vice is actually an uncontrollably overgrown virtue. That monstrous deeds become possible with the participation and connivance of the most beautiful people. That the victory of the evil, base, lustful, greedy, stupid, or simply ridiculous is not a program failure, but the program itself. Moreover, this victory, this triumph in Molière is not shown fleetingly, not casually: they are painted in the most detailed, savage way in multi-page monologues and dialogues. The main characters of Molière, to put it simply, are monsters. And he examines this enormity of them under a magnifying glass, describing in a rational and logical language exactly how life gradually withers, collapses, and deteriorates around each such monster. nine0005
The age of total representation is also the age of systematization, shaking, cataloging, the age of standards and templates.
The world must be settled, ordered, numbered. In 1668, when Moliere wrote The Miser and once again rewrote Tartuffe, French scientists made the first attempt to create a universal standard of length - in its final form, the standard meter appeared after another 120 years (and since then, micron after micron has changed periodically ), but the very idea of its possibility and necessity is from Molière's, Ludovik's times. In a sense, Molière is doing the same thing during those nine major years of his comedian career. The figures written (and played) by him are even inappropriate to call characters or heroes - they are mad clots of one all-consuming idea, passion, trait. He creates a catalog, a collection of standards, universal units of measurement for hypocrisy, stupidity, vulgarity, selfishness. Moliere's standards cannot stop and are not able to hear the voice of reason, norms, law - until a higher power stops them. nine0005
The author never hides the artificiality of intervention of such force.
It was a warning to the "Great Age", its pathos of reorganization and representation, but partly also flattery to him - and to that, the main spectator, who sat above everyone else and could, according to the author, resolve any tangled conflict, restore justice, stop any evil.
Figures from Molière's laboratory, from his dramatic catalog turned out to be more tenacious than absolute monarchy, than classical theater, they generally turned out to be more theater and more art. nine0005
The standard of voluptuousness: Don Juan
1665
Maurice Sand. "Don Juan". Illustration from the complete works of Molière, 1868
Photo: Sand Maurice
Maurice Sand. "Don Juan". Illustration from the complete works of Moliere, 1868
Photo: Sand Maurice
Moliere uses a prototype already existing in literature: the lecherous Don Giovanni appears in medieval Spain, and first appears on stage in 1630 - as the hero of the play by Tirso de Molina, for which there are numerous revisions.
The plot always follows a recognizable "general line" - Don Juan, who is cursed by the women deceived by him, provokes the wrath of higher powers, sending him to the underworld. But Don Juan becomes a household name precisely after the appearance of Molière's play. nine0005
Molière's Don Giovanni is an unequivocally immoral hero, but not unambiguously negative, and this is understandable: the court of Louis XIV did not perceive male love as something reprehensible. It is not difficult to guess that they laughed, first of all, at female stupidity and gullibility. But Don Juan's relationship with women is only a grotesque expression of the fact that the hero neglects all divine and human laws, he "runs up" and is rude to the other world. That is, Don Juan in Molière is not so much a lecher as a libertine, and it is precisely for this that he pays with his life. nine0005
The motive of immensity, bravado will be inherited from Moliere's Don Juan by many characters of the next centuries, and the further, the more dissatisfaction will be in this bravado - both philistine morality and everyday depravity.
At the turn of the century, Carl Jung would turn "Don Juanism" into a psychoanalytic term, into a description of a certain nervous disorder - and Jung specifically emphasizes that this psychotype has a positive downside: fearlessness, willpower, perseverance. In the new time, the seductiveness, the sexuality of evil turns into a popular motif of pop culture - and traces of Don Juanism can be found in any bad guy of modern cinema. nine0005
heirs
The direct heirs of Moliere's Don Giovanni are the great heroes of Pushkin, Byron and Mozart. Indirect, but unconditional - the French libertines, the heroes of the Marquis de Sade, the Viscount de Valmont from "Dangerous Liaisons" by Choderlos de Laclos, Giacomo Casanova as a literary character and as a real figure. The sexual attraction of evil is personified by Wilde's Dorian Gray, and Ostap Bender by Ilf and Petrov is the victorious charm of immorality. Exemplary bad guys are Kurt Russell's hero exposed and punished by the women themselves in Quentin Tarantino's Death Proof and even the aged libertine Hannibal Lecter.
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Standard of honesty: "Misanthrope"
1666
L. Wolf. "Alceste". Illustration from the complete works of Molière, 1868
Photo: L.Wolff
L. Wolf. "Alceste". Illustration from the complete works of Molière, 1868
Photo: L.Wolff
One of the most difficult characters of Molière to embody in Brecht's style themes virtue as vice. Alceste is merciless to the people around him, he insists that everyone needs to tell the truth in the face, he is disgusted by any compromises. The hero's honesty is not only cruel, but also terribly verbose and tiring, he becomes a laughingstock and a burden to those around him - and escapes from a world that is not ready to endlessly listen to the truth about itself. nine0005
Oddly enough, with respect to misanthropy, art and reality since the time of Moliere are almost the same: honesty is considered a virtue, and hypocrisy is a vice, but as soon as the next Alceste appears, hypocrisy is immediately protected.
As in Don Juan, here, under one property of character, another is hidden: Alceste's honesty is the absence of mercy, condescension. Therefore, truth-seekers and truth-tellers in any situation turn out to be either provocateurs or simply tactless fools. nine0005
The only type of misanthropes in art that evokes unconditional sympathy and empathy are misanthropes by age, that is, very young, desperately beating against the corners of a hard and cruel adult world. But they are, so to speak, Alcestes temporary - a collision with the world either quickly kills them, or gradually re-educates them.
heirs:
Alexander Andreyevich Chatsky - the main Alceste of Russian literature and Russian theater, the direct heir to Moliere's prototype. Tactless truth-tellers - Dr. Lvov in "Ivanov" and Petya Trofimov in "The Cherry Orchard" by Chekhov. Truth-loving provocateur - Gregers Werle in Ibsen's "Wild Duck". Involuntarily, a maximalist, very Molière in essence and concentration, is Beranger in Ionesco's Rhinoceros, unable to agree to rhinoceros when everyone around has long been rhinoceros.
Meursault in Camus' The Outsider is Alceste on the contrary: his truth is anti-virtuous and makes others (rightly) feel like hypocrites. Teenage misanthropes are Salinger's Catcher in the Rye's Holden Caulfield and Tennessee Williams' Cat on a Hot Roof's Brick Pollit. nine0005
Stinginess benchmark: Stingy
1668
L. Wolf. "Harpagon". Illustration from the complete works of Molière, 1868
Photo: Sand Maurice
L. Wolf. "Harpagon". Illustration from the complete works of Molière, 1868
Photo: Sand Maurice
The merchant Harpagon is another reference Molière character with a backstory. The stingy old man Pantalone is already in the commedia dell'arte; stingy and Shakespeare's Shylock. The stinginess of the rich, unlike honesty, is reprehensible in the Christian world. And for the public of Molière, Harpagon is a character doubly negative and ridiculous: “The Great Age” was a century of great spending, not great savings, the art of beautifully emptying the treasury was highly valued.
From the point of view of Louis himself, whose reign was financially a smash and left huge public debts, Harpagon is getting what he deserves. And he becomes the ancestor of a long line of great misers of French literature, heroes of the bourgeois time, when money turns into the engine of plots and the arbiter of destinies. Pushkin, who wrote both his "Stone Guest" and his "The Miserly Knight", Moliere's Harpagon, as you know, did not appreciate it, because he is "stingy - and nothing more." nine0005
In fact, this "and only" is his strength - Molière is really not interested in psychological difficulties and vicissitudes. The popular interpretation, according to which Harpagon is stingy, because for a merchant in a feudal society, money is the only protection and support, a substitute for social status, is an invention of a later time. Harpagon is stingy for no reason, ontologically. His head is occupied only with profit, he is caricatured, but absolutely unstoppable in his distrust of any person, simply because this person breathes next to him for free.
He mentally calculates the potential cost of any sip of water, a polite word, a sympathetic sigh. It is precisely the fanatical wantonness and senselessness that makes Harpagon a universal character - he looks just as wild in Protestant cultures, in which the thrifty merchants, in principle, are respected. Some reassessment of stinginess, not caused by need or necessity, stinginess "out of principle", occurs only in modern times - and not so much in culture as in public space, in the space of the media. This is stinginess, which society values not as frugality, but as a sign of equality, the absence of class distinctions, one of the symbols of democracy: billionaires flying economy class and sending children to an ordinary city school, royals on bicycles - all these “good stingy”, of course, like Harpagon, the exact opposite of Louis and his "Great Age". nine0005
heirs of
The most direct heirs of Harpagon are the misers of Balzac, who even retain the capital letter "G" in their names: Goriot, Gobsek, Grande.
The main Russian Harpagon, who also became a household name, is Gogol's Plyushkin, maniacally experiencing the loss of any material value as part of the general collapse of the universe. The stingy in the latest art are more concerned not with material, but with emotional expense - they are sorry to waste their feelings even on their own lives. Such pathological stinginess, for example, literally eats up Bergman's "psychoharpagons": Borg (Viktor Sjöström) in Strawberry Field and Charlotte (Ingrid Bergman) in Autumn Sonata. nine0005
Standard of hypocrisy: Tartuffe
1664–1669
L. Wolf. "Tartuffe". Illustration from the complete works of Molière, 1868
Photo: L.Wolff
L. Wolf. "Tartuffe". Illustration from the complete works of Molière, 1868
Photo: L.Wolff
The plot of a hypocrite, worming his way into the confidence of an honest family man Orgon and almost leading to the death of his entire family, brought Molière himself many years of severe trouble and nearly cost his court career .
The vicissitudes of the scandal raised by the Catholic Church, offended in its best feelings (Tartuffe was a clergyman in the first version of the play, and religious hypocrisy, before which simple-hearted people are powerless, is the main tool of his blackmail), are described in detail in Bulgakov's "The Cabal of the Hypocrites" and "The Life of the Master de Moliere. Tartuffe is Moliere's most famous play, and the title character is the most perfect of his "reference" heroes, his name is not even a symbol and not a synonym for hypocrisy, but a kind of brand, like a copier is the second name of a copier. In addition to countless productions, revisions and interpretations, various echoes and motifs of Tartuffianism are found in the most unexpected places. In the 20th century, the features of Tartuffe and Molière's story whimsically grow into complex family plots and thematize the underlying masochism that even Orgon's household forced to turn a blind eye to the murderous meanness of the "alien".
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heirs
Two literal "remakes" of Moliere's hero in Russian literature - Foma Opiskin in Dostoevsky and Judas Golovlev in Saltykov-Shchedrin. The most charming Tartuffe is the bearded bum Michel Simon, who almost destroys the life of his savior in Jean Renoir's film "I'll Be Rescued from the Water." The ambiguous role of seducer and savior is simultaneously played by an unnamed guest in the movie "Theorem" - unlike Moliere, Pasolini did not regret the destruction of a happy family life too much. The female Tartuffe is the heroine of George Mankiewicz's All About Eve, but also partly Chekhov's Natasha in The Three Sisters. nine0005
Standard of parvenu: "The tradesman in the nobility"
1670
L. Wolf. "Monsieur Jourdain". Illustration from the complete works of Molière, 1868
Photo: L.Wolff
L. Wolf. "Monsieur Jourdain". Illustration from the complete works of Molière, 1868
Photo: L.
Wolff
Almost the only Moliere "monster" that one can regret with all his heart: Mr. Jourdain, trying to compensate for his lack of position in society and education, attracts scammers of all kinds, because he falls for any tinsel that is sold to him as a must-have in modern society. At the court of Louis XIV, it was easy to laugh at Mr. Jourdain - but only relatively safe: the "purses" of the "Sun King" were quite touchy. Jourdain will remain an unbeatable hero of any era, as long as classes, circles, privileges exist - that is, in the foreseeable future, forever. nine0005
The mockery of the hero is practically a direct mockery of those "higher spheres" into which he seeks to penetrate - it is obvious that the comic effect is caused not so much by the stupidity and lack of education of Jourdain as by the complete worthlessness of the goal set. The history of culture is filled to capacity with stories of tragic and comic parvenus, the more classy the society, the more of them.
In American culture, the topic of "new money" is so inevitable that it's not even worth opening the transfer. In Russian culture, the theme of the unfortunate upstart and the omnipresent temptation is transformed into endless variations on the theme “don’t get into your sleigh” and “we didn’t live well, there’s nothing to start” - from Gogol and Ostrovsky to Tolstoy and Dostoevsky. In Soviet classless art, the “dark” upstart has the advantage of a correct social origin over an intellectual in a hat and glasses, who, in turn, is proud of his (and his circle) rich spiritual world. The obvious flourishing, but also a lot of confusion, the theme of Jourdain in Russia experienced with the advent of the owners of the "new money" - in the complete absence of the owners of the old money. The "new Russians" in the literature and cinema of modern Russia remain a source of boundless fun - and much less often an object of sympathy. nine0005
heirs
In French literature, the direct heirs of Jourdain are Rastignac, Julien Sorel, and Maupassant's dear friend.
Eliza Doolittle in Pygmalion and Becky Sharp in Vanity Fair can be considered a kind of Jourdain. The most characteristic American tradesman in the nobility is Gatsby, the hero of Francis Scott Fitzgerald, and the Russian is Lopakhin from Anton Chekhov's The Cherry Orchard.
Standard of cowardice: "Imaginary sick"
1673
nine0006 L. Wolf. "Argan". Illustration from the complete works of Molière, 1868Photo: L.Wolff
L. Wolf. "Argan". Illustration from the complete works of Molière, 1868
Photo: L.Wolff
Molière's last play could have been hilarious if it had not been the last. Mr. Argan, who suspects all possible ailments in himself and deifies doctors, no matter what heresy they carry, is ready to marry his daughter to a rogue just because he has the coveted medical diploma, but in the end decides that it is easier to become a doctor himself - and the daughter let him marry the one he loves.
In general, a pretty creature, if not for hypochondria, which takes time and energy not only from the hero, but from everyone around him. nine0005
Everything would have been fine if the author and performer of the leading role had not died at the age of 51, a few hours after he had played this same Mr. Argan on the stage of his theater. And thus forever spoiled all his own jokes about the suspiciousness of the protagonist - what kind of suspiciousness is there if you yourself took and died. In fact, in The Imaginary Sick, they laugh not at suspiciousness, but at what it hides - the fear of death. Argan is cowardly in the first place - and the valiant "Great Age" laughs at this with all his heart. Thirty-five years before Argan, one of the main characters of the century, the knight Cid from Corneille's play of the same name, would say to himself that he puts "honor above passion, and passion above life." That is, life turns out to be the least that a noble person can sacrifice. Argan is ignoble and therefore cowardly.
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Cowardly suspiciousness as a bourgeois, low, comic property after Moliere wandered for a long time on the stages and pages of world culture, until the New Age came with its heightened interest in the human psyche. And here Mr. Argan very quickly turned from an imaginary patient into a real one - the boundary between physical and mental ailments is blurred, and the fact that it is quite possible to die not from an illness, but from the thought of it, becomes a common place. Molière's text, by the way, easily withstands such an interpretation, only the story loses almost all of its comedy. In the new millennium, the hypochondriac is not only unsuitable for comic heroes, but is generally not perceived as a deviation from the norm - no concern for one's body, one's health is considered exaggerated and is associated not with cowardice, but with responsibility, and the desire to avoid death is more not a vice, but the valor of modern man. nine0005
heirs of
Argan's direct relatives in the 20th century are Kafka's hypochondriacs (they obviously get this trait from the author himself): Gregor Samza, the hero of The Metamorphosis, endlessly immersed in the vicissitudes of his own organism, or the bedridden lawyer Gould from « Process".
