Introduction The word medieval is often loosely used to cover the whole period from the end of the Dark ages (i.e. 9 th Century) to the beginning of the Renaissance (about the 16 th Century). It’s easy to get the impression that throughout this period European society, more or less, remained organized upon the “feudal system”. The genuinely feudal organization already began to break up almost everywhere by the 11 th century to yield to a more centralized type of government under the increased power of the crown. By the middle of the 12 th century, the whole face of the society has been transformed — there is a new learning, new literature, a new convention of behavior between men and women, new manners, new costumes, new interest, new developments in church, castle, camp, and court. (Dickson, Seventeenth-Century News) Main body Thus we see, 17 th century France, ruled by Louis XIV, was a ‘period of transition’ in many ways. During this time the idea of ‘land’ as wealth was disappearing steadily and the landlords belonging to the aristocratic class were no longer getting profits from their lands; instead, trade or business was gaining more importance by emerging as a source of more money. Therefore a new social class, founded on money and not on heritage, emerged as a culmination of these socio-economical and political changes; they were known as the bourgeoisie. Though the idea of ‘nobility’ in social classes was declining, economically potent groups still got respect and the newly emerged bourgeoisie continued to imitate them. In the backdrop of these historical transitions, a further turning-point in the world of literature came when Moliere’s company, having established a precarious foothold in Paris, secured an invitation to perform before the young king, Louis XIV. The king was amused and the way to patronage and success was opened. (Le Bourgeois Gentilhomme, Wikipedia) The company had already come under the protection of the king’s brother; they now established themselves in the hall of the Petit-Bourbon which they shared with the Italian company of the great farcical actor Fiorelli, the creator of Scaramouche; but in the war of the theatres, Moliere proved well able to look after himself. Moliere’s success was surpassed and consolidated because his plays used to talk of the town. “Le Bourgeois Gentilhomme” (Molière, Project Gutenberg) showed a new range of comic invention, a growing sureness of touch and, at the same time, a tendency to cut deeper than the conventional surface of things and provoke reactions other than laughter which was to make Moliere one of the most prolific figures of his time. The play “Le Bourgeois Gentilhomme” remains a source of delight, a commentary on life which men still find valid, an expression of the comic spirit which has not lost its piquancy. Delight one puts first because Moliere did so himself. First and last he was a man of the theatre to whom the touchstone of success was the pleasure of the audience. No doubt, like the Dancing Master in “Le Bourgeois Gentilhomme” , he preferred discerning applause; but he was at pains to make clear that he respected all sections of his audiences. Thus sing Comedy, Music, and Ballet in “Le Bourgeois Gentilhomme” and one can not doubt that for Moliere this expressed essential values. The desire of Mr. Jourdain, the would-be-gentleman, is not a simple urge of the surface, not a product of high spirits, wit, or buffoonery; though all these have their place in his character. We laugh at Mr. Jourdain but the character also shares a feeling of compassion. Mr. Jourdain reveals his own views of life by implication, not b