THEATRE by W. S. Maugham (Chapters 28-29)

I. Answer the following questions:

1. What seemed the most scaring for Julia in the talk with her son on the first day of his arrival?

That was his suggestion that if she went into an empty room and someone suddenly opened the door there would be nobody there.

2. How did Julia prepare for the play?

Julia did not deliberately create the character she was going to act by observation; she had a knack of getting into the shoes of the woman she had to portray so that she thought with her mind and felt with her senses. Her intuition suggested to her a hundred small touches that afterwards amazed people by their verisimilitude.

3. How did she act at the dress-rehearsal? Why?

Julia spared herself. She had no intention of giving all she had to give till the first night. It was enough if her performance was adequate.

4. What advice did Julia give Michael about Avice Crichton? Why did she need it? Was that carefully planned?

Michael wanted to give her a contract, while his wife said it would be better to wait for the first night. “You can never really tell how a performance is going to pan out till you've got an audience”. It was planned to take revenge for her.

5. Who did Julia talk to about her conversation with Roger? Why? What did she need to get from the conversation?

Julia talked to Charles about her conversation with Roger, as she expected him to be more sympathetic.

6. Describe the state Julia was in before a first night? Compare her attitude towards first-night acting with the bygone years?

In bygone years she had been intolerably nervous before a first night. She had felt slightly sick all day and as the hours passed got into such a state that she almost thought she would have to leave the stage. But by now she had acquired a certain nonchalance. Throughout the early part of the day she felt only happy and mildly excited; it was not till late in the afternoon that she began to feel ill at ease. She grew silent and wanted to be left alone. She also grew irritable. Her hands and feet got cold and by the time she reached the theatre they were like lumps of ice. But still the apprehension that filled her was not unpleasant.

7. Who did she meet while wandering the streets of London at noon, 6 hours before the first night? Where did they go?

Julia met Tom, who offered her to have tea with him.

8. What thoughts accompanied Julia when she visited Tom's place?

The love that had consumed her then, the jealousy she had stifled, the ecstasy of surrender, it had no more reality than one of the innumerable parts she had played in the past. She relished her indifference.

9. Why did Julia change her attitude to Tom? What phrase does Julia pronounce to herself at the end of chapter 28? Comment on it.

Julia understood that she no longer cared two straws for him she.

“Love isn't worth all the fuss they make about it”. I think, sometimes people too dramatize whole speaking and thinking about love in the momets (and with people) where it’s impossible, where it doesn’t exist.

10. Was the first night a success for Julia? For Avice? Why?

The first night was success for Julia, as she deliberately killed Avice’s performance.

11. What was Tom's attitude towards Avice's acting? How does the scene in Julia's dressing-room characterize him?

Tom thought Alice’s acting was rotten. I think it means that he wanted to be only with people who could only introduce him to the high society, who he could use for his purposes.

12. Why do you think Julia refused to supper with Tom that night?

Julia refused to supper with Tom that night, as that was the end with him and Avice.

13. How did Julia spend that night? Was it typical of her? Why did she prefer this?

That night Julia wanted to be alone and enjoy herself. But it wasn’t typical for her. The woman understood that she would never have another moment like this in her life, and she wasn’t going to share it with anyone.

14. What was peculiar about Julia's appearance and order at the Berkeley? Do you feel that night was somehow significant to her? Why?

When Julia had got her face clean she left it. She neither painted her lips nor rouged her cheeks. She put on again the brown coat and skirt in which she had come to the theatre and the same hat.  Thus her simple disguise was evidently adequate, for when she came into the little room at the Berkeley of which she was peculiarly fond, the head waiter did not immediately know her.

15. How does she reflect about the day passed? Does she feel satisfied? Why? Prove your point of view.

It was wonderful to think that he meant no more to her than a stage-hand. It gave one a grand feeling of confidence to be heart-whole.

16. Describe the place in a restaurant where Julia was having supper? What was special about it? Why had she chosen to be seated there?

The room in which she sat was connected by three archways with the big dining-room where they supped and danced; amid the crowd doubtless were a certain number who had been to the play. How surprised they would be if they knew that the quiet little woman in the corner of the adjoining room, her face half hidden by a felt hat, was Julia Lambert. It gave her a pleasant sense of independence to sit there unknown and unnoticed. They were acting a play for her and she was the audience.

17. What conclusion did Julia come to while sitting at the Berkeley and "throwing prudence to the winds?"

“People are our raw material. We are the meaning of their lives. We take their silly little emotions and turn them into art, out of them we create beauty, and their significance is that they form the audience we must have to fulfil ourselves. They are the instruments on which we play, and what is an instrument without somebody to play on it?”

THEATRE by W. S. Maugham (Chapters 25-27)

III. Answer the following questions:

1. Why was Julia doubtful about her beauty and sex appeal the night after her adventure with Charles?

Julia was doubtful about her beauty and sex appeal, as Charles guarded against temptation, he didn’t desire her.

2. How did she put her looks to the test? Why did she need it?

That afternoon, when she had had her sleep, she got up, made up a little more than usual, and without calling Evie put on a dress that was neither plain nor obviously expensive and a red straw hat with a wide brim. The woman made it as she needed to know that she was still attractive and had her sex appeal, and  wanted to be accosted by a man.

3. Describe Julia's feelings when she had caught a young man's eye in the street? Rely on the lines starting with, "Suddenly her heart gave an exultant leap..." (Ch.25) and use your stylistic and linguistic knowledge while commenting.

Suddenly her heart gave an exultant leap. She had caught a young man's eye and she was sure that there was a gleam in it. She shot him a glance and then modestly lowered her eyes. He fell back and she was conscious that he was following her. It was all right. She stopped to look into a shop window and he stopped too. She knew how to behave now. She was excited and pleased; it was a weight off her mind. Her heart began to beat wildly.

4. Did the date meet Julia's expectations? What were the man's real intentions towards having a cup of tea with Julia?

The date didn’t meet Julia's expectations, as she thought his request to give him her autograph was an excuse for speaking to her. When they'd had tea he'd probably suggest going to the pictures. However, in the café the woman got to know that the man really wanted to get her autograph for his young lady.

5. The young man didn't seem to be very polite and well-bred. Prove it using the text and comment on the techniques the author employs to create a desirable effect upon the reader.

There was a sort of impudence in his manner that Julia did not much like, but then, as she sensibly reflected, you could hardly expect the modesty of the violet in a young man who picked you up in the Edgware Road. (Before we go any further let's 'ave this autograph, eh? Do it now, that's my motto. Let me bring my young lady to see you in your dressing-room one day. Just shake 'ands with her, see? It would mean a rare lot to her. Why, she'd go on talking about it the rest of her life.)

6. After the stroll, what thoughts occurred to Julia when she got back home and started reflecting over herself? Rely on the lines starting with, "When she got home she went upstairs to her room..." (Ch.25) and use your stylistic and linguistic knowledge while commenting.

Having come, the woman began speaking to herself, asking rhetorical questions, what shows her emotionality and acting skills as if she was on stage at that moment: Old, old, old. There are no two ways about it; I'm entirely devoid of sex appeal. You wouldn't believe it, would you? You'd say it was preposterous. What other explanation is there? I walk from one end of the Edgware Road to the other and God knows I'd dressed the part perfectly, and not a man pays the smallest attention to me except a bloody little shop-assistant who wants my autograph for his young lady. It's absurd. A lot of sexless bastards. I don't know what's coming to the English. The British Empire! (The last words she said with a scorn that would have withered a whole front bench of cabinet ministers.) It's ridiculous to suppose that I could have got to my position if I hadn't got sex appeal. What do people come to see an actress for? Because they want to go to bed with her. Do you mean to tell me that I could fill a theatre for three months with a rotten play if I hadn't got sex appeal? What is sex appeal anyway?

7. Why did Julia begin to do an imitation of Lydia Mayne? What affect did this acting have on her? How does that characterize Julia as professional and personality?

If Julia didn’t have sex appeal, then she could act it. It was a cruel caricature that Julia gave. It was quite ruthless. It amused her so much that she burst out laughing. All that showed what a great actress the woman was, as she could act evering. But at the same time it proved the fact that Julia always acted, the whole life was theatre for her.

8. What was the name of the play Michael was putting on?

Michael was putting on Nowadays.

9. How did Julia feel before the rehearsals?

The first rehearsal still made her almost sick with excitement. It was the beginning of a new adventure. She did not feel like a leading lady then, she felt as gay and eager as if she were a girl playing her first small part. But at the same time she had a delicious sense of her own powers. Once more she had the chance to exercise them.

10. The play Michael was staging was a modern version of The Second Mrs. Tanqueray by Arthur Pinero (1855-1934), an English playwright. What changes did Michael introduce to the original?

Some of the old characters were introduced, and Aubrey Tanqueray, now a very old man, appeared in the second act. He was now a retired brigadier-general who played golf and deplored the decline of the British Empire.

11. Why did Michael need Julia's advice about Avice's acting?

Avice's cold, matter-of-fact prettiness had been exactly what he had thought would be so telling in the circumstances. But after half a dozen rehearsals he began to think that that was all she had to give.

12. What motifs did Julia have to praise the mediocre Avice Crichton and keep her in the cast?

She knew her well enough to be sure that if she were dismissed she would tell Tom that it was because Julia was jealous of her. He loved her and would believe anything she said. He might even think that Julia had put this affront on her in revenge for his desertion.

13. What pains did Julia take to make herself look nice to meet Roger? How does that characterize her as an actress and a mother?

Though he was her own son she did not feel quite at home with him.

14. What did Michael ask Julia to discuss with Roger?

That time Roger was going to Cambridge so soon he ought to make up his mind what he wanted to do. Thinking that Julia had more tact than he, and more influence with the boy, he had urged her to put before him the advantages of the Foreign Office and the brilliant possibilities of the Bar.

15. How did Julia react on Roger's reflection about his future? What did they eventually talk about?

Julia had a feeling of acute discomfort.

16. During their conversation, Julia notices some new traits in her son's character and behavior. What are they?

He seemed a trifle apathetic; he had none of her sparkling vitality. He listened with his slow, quiet smile; but she had an uneasy feeling that he did not think it quite so funny as she did. She sighed in her heart. Poor lamb, he could have no sense of humour.

17. Roger sounds reproachful to Julia. What doesn't he approve of? Do you agree with him?

They had done everything they could for Roger. Unfortunately for him they had taken away his belief in everything. The young man now thought that everything what his mother did was just her acting, pretence.

18. What were Julia's arguments to support her point of view about acting?

She said: “If an actress felt the emotions she represented she'd tear herself to pieces”.

19. How did their talk end?

Their talk ended with conversation about Tom and Julia. The scene was intolerable. But later they heard a car drive up. That was Michael.

20. What was the thing Roger said that bothered Julia most?

Julia had a sickening fear that Roger knew that Tom had been her lover. It was impossible, it was only her guilty conscience that made her think so; at Taplow there had been nothing; it was incredible that any of the horrid gossip had reached his ears; and yet there was something in his expression that made her certain that he knew. She was ashamed.

THEATRE by W. S. Maugham (Chapters 22-24)

I. Give Russian equivalents of the following words and phrases:
to make a clean breast of sth – чистосердечно признаться в чем-то, to tear sb limb from limb — перетирать кому-то кости, to give sb a peep at your feet of clay — обнаруживать перед кем-то свое слабое мето, a sleeping-draught — снотворное, to and fro — ворочаться, curtain calls — выход на поклон, pull oneself together — взять себя в руки, magnanimous — благородный, to cramp one's style — мешать кому-то, contrition — раскаяние, a succinct account of sth — краткое изложение чего-то, a bereavement — тяжелая утрата, an austere and snug little town — суровый и уютный город, to adhere to sth — сдерживать/выполнять что-то.

VII. Answer the questions:

1. Why couldn't Julie take her troubles to Charles or Dolly as usual?
Charles would give her all the sympathy she needed, but it would be a terrible blow to him, after all he had loved her to distraction for twenty years, and it would be cruel to tell him that she had given to a very ordinary young man what he would gladly have sacrificed ten years of his life for. At the same time, Dolly would be delighted if she confided in her. But the woman was so shrewd, she would never get away with the lie that julia had chucked him.
2. How different was Charles's circle from that of Tom's?
Charles spoke of politics, of art, of books; and peace entered into her soul. Tom had been an obsession and she saw now that it had been hurtful
3. Was Michael right when criticizing Julie's acting?
Yes, Michael was right, as for actors theatre is the only reality, while she had let her emotion run away with her; she had been feeling, not acting.
4. How did Julie react to her husband's criticism?
At first Michael's words infuriated, as she thought she had never acted better in her life, as felt every word of the play. But later the woman understood what had happened: he had let her emotion run away with her; she had been feeling, not acting
5. How did the breakup with Tom influence Julie's attitude to Michael and Charles?
Her heart was filled with a great love for Michael.
6. Why did Julie decide to spend the summer with her mother and aunt?
Julia was tired out; she felt low and miserable and felt all empty inside. The only thing was to go away. And after Julia had made up her mind to that she was glad. The prospect of getting away from the misery that tormented her at once made it easier to bear.

7. What kind of lifestyle did Aunt Carrie and Mrs Lambert have?
Aunt Carrie and Mrs Lambert lived a quiet and familiar for them life: they went to Mass every morning and to High Mass on Sundays. Otherwise they seldom went out. When they did it was to pay a ceremonious call on some old lady who had had a bereavement in the family or one of whose grandchildren was become engaged. They read their papers, and their magazine, did a great deal of sewing for charitable purposes, played dominoes and listened to the radio that Julia had given them. Indeed a great part of their lives was devoted to avoiding draughts.
8. How did the old ladies treat Julie? How did they feel about her occupation?
The old women made a fuss of Julia, not because she was a great actress, but because she was in poor health and needed rest. Moreover,to them Julia's celebrity was an embarrassment rather than an asset.
9. How did Julie imagine Charles's love for her?
Charles had been wonderful to her during the first two weeks of her bereavement, she did not know what she would have done without him. He had always been at her beck and call* His conversation, by taking her into a different world, had soothed her nerves. Her soul had been muddied, and in his distinction of spirit she had washed herself clean.
10. When in Paris, what did Julie mean when saying, "I feel like a queen returning from an exile?"
For Julia it was a treat to get back to luxury. She returned to usual for her society: so gay, so civilized and so expensive, it was grand to see once more well-dressed women, decently made-up, and tanned men in dinner-jackets.
11. How did Julie slip out from the awkward situation with Charles?
Again in that situation Julia acted: she continued the gesture. Counting so that she should not go too fast, she drew her hands towards one another, till she could clasp them, and then throwing back her head, raised them, very slowly, to one side of her neck. The attitude she reached was as lovely as the other, and it was the attitude that suggested to her what she had to say.
12. How did Julie explain to herself the fact that her amorous advances had been declined by Charles?
When a woman's amorous advances are declined by a man she is apt to draw one of two conclusions; one is that he is homosexual and the other is that he is impotent.

THEATRE by W. S. Maugham (Chapters 19-21)

I. Give Russian equivalents of the following words and phrases:
an understudy – дублерша, perfidy – измена, wanton temperament – буйный темперамент, to cut the date – отменить встречу, an American conjurer – американский фокусник, to make a stab at acting in America – если ты хочешь завоевать Америку, off the nail – распродажа по сниженным ценам, you're twenty-two if you're a day – добрых двадцать два, the R.A.D.A. - Королевская академия драматического искусства, in point of fact – на самом деле, insipid – преснятина, hard as nails – выносливый, for toffee – абсолютно, be a sport – будь человеком, to beat about the bush – ходить вокруг да около, to give the air – выставить за дверь, to put one's foot down – воспротивиться чему-то.

IV. Answer the questions:
1. Under what circumstances did Roger get acquainted with Joan Denver? What kind of favour did he ask of Julie?
While they were in Taplow, Tom and Roger went on to some place after the show and had supper. There they met two girls, the name of one of whom was Joan Denver, who was on the stage. She asked Roger if he couldn't get her an understudy in Julia's next play.
2. Why did Julie feel she had lost Roger?
Her life had always been so full and so exciting that she had never had the time to busy herself much with Roger. She got in a state, of course, when he had whooping-cough or measles, but he was for the most part in robust health, and then he occupied a pleasant place in the background of her consciousness. But she had always felt that he was there to be attended to when she was inclined and she had often thought it would be nice when he was old enough really to share her interests.
3. How did Tom react to Julie's plans to take her play to New York?
He was glad to get to know about that. He thougt Julia couldn't lose and she might make a packet. Besides, if she wanted to make a stab at America she couldn't have a better vehicle. He even said that he would miss her like hell, but I think he wasn't sincere.
4. What kind of new acquaintances and connections did Tom make through Julie?
Tom made friends with Julia's grander friends and persons who were glad to take advantage of his technical knowledge. But later the young man began to get invitations from people whom Julia didn't know.
5. How did Julie receive Joan Denver?
Julia could in the twinkling of an eye leap from her part into private life, but now without an effort she continued to play the imperious, aloof, stately and well-bred woman of the play. Her cordial smile was the smile of a queen; her graciousness kept you at a respectful distance.
6. How did Michael hear about Avice Crichton?
Michael heard about Avice Crichton through Tom, who knew the girl.
7. Why does Maugham describe Julie's appearance at the Sunday night show as "beautifully timed?"
I think there were two reasons. Firstly, Julia thought it wouldn't a disaster if they (with Tom) miss the first few minutes. And secondly, as an actress the woman always appeared only after the ring.
8. What impression did Avice Crichton and her acting produce on Julie?
Avice Crichton was very pretty, no one could deny that, with lovely golden hair, fine blue eyes and a little straight nose. The fact was that Julia didn't like such a type of girls. Moreover, after the play the woman mane a conclusion that the girl couldn't act for toffee
9. Why did it irk Tom to have to come back with Julie after the Sunday night show?
The woman thought that someone was giving a supper party to which Avice Crichton was going and Tom wanted to be there.
10. What kind of relationship did Tom and Avice have?
The young man was in love with Avice, though he didn't want to confess about it to Julia.

THEATRE by W. S. Maugham (Chapters 15-18)

I. Give Russian equivalents of the following words and phrases:

condescending letter – снисходительное письмо, pearl studs – жемчужные запонки, peevish – раздраженный, make head or tail of it – ничего не понимать, fatuous irony – глупая ирония, to get back on sb – отделаться от кого-то, song and dance – скандал, постоянные объяснения, to spend a lot on green fees – тратиться на аренду поля для гольфа, despicable – презренный, to give sb a treat – доставить удовольствие кому-то, to wheedle sb into – впутывать кого-то во что-то, prudishness – ханжество, to take liberties with sb – быть непозволительно фамильярным с кем-то, to grudge sb – завидовать, conspicuous – очевидный, to take the rough with the smooth – стойко переносить превратности судьбы, to have a joke up your sleeve – держать шутку наготове, to mortify sb – усмирять, укрощать кого-то, disconcerted – смущенный.

II. Explain the following metaphors. Who do they refer to?

It won't hurt him to discover that I'm not all milk and honey. – This metaphor refers to Julia. It was the moment when she wanted to hurt Tom’s feelings and reminded him to leave the maid tips, leaving the money in the envelope, but then the woman had a fear now that she had gone too far. Thus this metaphor describes Julia’s feelings in one of the most important moments in her life: it describes her love to the young man.

I'm not the woman to desert a sinking ship. – This metaphor refers to Dolly de Vries, who used it while speaking to Michael about his wife, Julia, and how her love affairs with Tom could adversely affect her career and her position in the society. During that conversation Michael suggested buying Dolly’s share out, as he thought the woman could suffer from Julia’s broken reputation. The man didn’t mind admitting that if his wife got herself unpleasantly talked about it might have some effect on the takings. He was her husband and he had to put up with it. But Dolly was in a different position altogether.

III. Give a character sketch of Dolly de Vries. Pay special attention to the description of hr appearance: "Dolly de Vries was now a woman of sixty. …and a slight cockney accent revealed itself." Dwell on her relationship with Michael and Julia. How did she feel about Tom?

Dolly de Vries was now a woman of sixty. She was very fat, and her face, with its large nose and heavy red lips, seemed larger than life. There was a slightly masculine touch in her black satin dress, but she wore a double string of pearls round her neck, a diamond brooch at her waist and another in her hat. Her short hair was dyed a rich copper. Her lips and her finger-nails were bright red. Her voice was loud and deep, but when she got excited the words were apt to tumble over one another and a slight cockney accent revealed itself.

She was a very rich admirer of Julia Lambert and at the same time her faithful companion throughout the actress’s life. We came to the conclusion (from Julia’s words and the old woman’s actions) that Dolly loved Julia and the last fell in love with the young man Tom, was jealous of her. The old woman didn’t like Tom, she even gave necessary inquiries and learned that he, in turn, had love affairs with an incompetent debutante Evis Crichton. Even after all these years Dolly was a little frightened of Julia, as there was something about her that prevented you from taking liberties with her. The woman at last came to the conclusion that Michael had to speak to his wife. She had never liked Michael, but after all he was Julia's husband and it was her duty to tell him at least enough to make him put a stop to whatever was going on.

IV. Speak on Julia's reputation and talent. Do you agree that no one expects an actress to be a pattern of propriety?

Being a really great actress of her time, Julia didn’t find any difficulty for her to think over every detail, every scene of her life, not only on the stage: the way she was dressed, the way she turned her head and what she sayed. The woman was not aware that she deliberately observed people, but when she came to study a new part vague recollections surged up in her from she knew not where, and she found that she knew things about the character she was to represent that she had had no inkling of. It helped her to think of someone she knew or even someone she had seen in the street or at a party; she combined with this recollection her own personality, and thus built up a character founded on fact but enriched with her experience, her knowledge of technique and her amazing magnetism. People thought that she only acted during the two or three hours she was on the stage; they did not know that the character she was playing dwelt in the back of her mind all day long, when she was talking to others with all the appearance of attention, or in whatever business she was engaged.

V. Answer the questions:

1. Why did Julia offer Tom the money for servants' tips? Do you think she made the right decision?

While they were in Taplow the young Tom didn’t notice Julia as his lover, what hurt her, and for what she decided to take revenge on him. Her revenge was refined: knowing how to hurt his feelings, she reminded him to leave the maid tips, leaving the money in the envelope. If the woman wanted to hurt the man, she succeeded, but I don’t think it was a right decision, as that money were the most humiliating thing the man could receive.

2. Did Julia manage to induce Tom to see her again after that?

Yes, Julia managed to induce Tom to see her again saying that they had been too much to one another to part like that.

3. Did Dolly believe that Julia didn't have a lover? Why?

No, Dolly didn’t believe that Julia didn’t have a lover, as people were saying rather disagreeable things about her.

4. Whom did Dolly finally decide to talk to about Julia's cheating?

Even after all these years Dolly was a little frightened of Julia, as there was something about her that prevented you from taking liberties with her. The woman at last came to the conclusion that Michael had to speak to his wife. She had never liked Michael, but after all he was Julia's husband and it was her duty to tell him at least enough to make him put a stop to whatever was going on.

5. Why did Dolly not confess to Michael that she suspected Julia of having a love affair?

Dolly had no proof; she only had an intuition that she could not mistrust; she wanted to say yes, but she controlled it. The woman couldn’t give Julia away. Her husband might go and tell her and Julia would never speak to her again. He might have Julia watched and catch her out. No one could tell what might happen if she told the truth.

6. Why did Michael suggest buying Dolly's share out?

Michael suggested buying Dolly’s share out, as he thought the woman could suffer from Julia’s broken reputation. The man didn’t mind admitting that if his wife got herself unpleasantly talked about it might have some effect on the takings. He was her husband and he had to put up with it. But Dolly was in a different position altogether.

7. What was the reason for Dolly's desperate jealousy?

When Dolly got into her magnificent and very expensive car and drove back to Montagu Square she could not hold back the heavy, painful tears that filled her eyes. She felt old, lonely, unhappy, and desperately jealous, because there was somebody else who loved and wanted to help Julia, her husband Michael.

8. How did Dolly try to convince Julia that Tom was not very discreet?

Dolly knew that Tom’s father bought him a share in the firm and he became a junior partner. Then it seems a little strange that on that the young man should be able to have a flat, dress the way he does and take people to night clubs, as if his father bought him a partnership he wasn’t making him an allowance as well.

9. Why couldn't Julia fall asleep after the lunch with Dolly?

I think there were two reasons, as firstly, one or two of Dolly's remarks had been somewhat of a shock to Julia. It was disconcerting that gossip had so nearly reached the truth.  And secondly, the strange thing was that when she looked into her heart it was not Julia Lambert the woman who resented the affront, she didn't care for herself, it was the affront to Julia Lambert the actress that stung her. She had often felt that her talent, genius the critics called it, but that was a very grand word, her gift, if you like, was not really herself, not even part of her, but something outside that used her, Julia Lambert the woman, in order to express itself.

VI. Summarize the events of chapters 15-18.

While they were in Taplow the young Tom didn’t notice Julia as his lover, what hurt her, and for what she decided to take revenge on him. Her revenge was refined: knowing how to hurt his feelings, she reminded him to leave the maid tips, leaving the money in the envelope. The next day Tom returned all her presents, as the woman managed to hurt him. But Julia didn’t think that the young man would broke her up because of that, that’s why she decided to put on an act, saying that they had been too much to one another to part like that, and in the end she loved him. Thus after a little conversation Tom remained with her. Julia even bought him a flat, that was near to her, furnished it. Several times a week together they appeared in restaurants and night clubs, that’s why gossip had so nearly reached the truth about them. Julia got to know about that from Michael, who knew that from possessed with jealousy Dolly de Vries. Julia tried to find out from Dolly, who gossiped about her, and during the conversation knew that Tom promised some Evis Crichton the role in the play. Since that moment the woman understand that the young man didn’t love her, for him she was just a woman, from whom he could build the ropes.

THEATRE by W. S. Maugham (Chapter 14)

I. Find in the text the following words and phrases and translate them into Russian:

on one excuse and another – то под одним предлогом, то под другим, to confess to oneself – признаться самому себе, that was all to the good – тем лучше, shrewd – проницательный, vanity – тщеславие, to have an affair with sb. – роман с кем-то, sallow – болезненный, to feel compassion for sb. – чувствовать сострадание к кому-то, eminent persons – выдающийся человек, to lay no claims on sb. – не претендовать ни на кого, to use all her arts of cajolery – призывать все свое искусство обольщения, stale food – несвежая пища, to overcome one's scruples – преодолеть сомнения, to have no inclination – не быть склонным (не иметь склонности), a man of the world – светский человек, she was modest about herself – она была скромного о себе мнения, a smack in the face – прямо в лицо (как пощечина), sulkily – надувшись, Julia's heart was wrung – сердце Джулии сжалось, chivalrous courtesy – рыцарская учтивость, a vile disposition – ужасный нрав, alacrity – готовность, wistful – мечтательный, to act with great naturalness – изображать с большой естественностью, to make a scene – устроить сцену, she was in a black rage – ее душила черная ярость, she'd get even with him – она с ним сквитается, to rack one's brains – биться над задачей.

II. Answer the following questions:

1. Was Julia really in love with Tom Fennell? And he?

Julia loved Tom, she felt a strange compassion for him. Though he laughed when Julia said a funny thing he never said one himself. She found his dullness restful. However, the woman knew that Tom was’t in love with her. To have an affair with her flattered his vanity.

2. How old was Tom? What did he do? Why was he a success with women?

Tom was twenty-two, he was five years elder Julia’s son. Nevertheless, he was a highly-sexed young man and enjoyed sexual exercise. From hints, from stories that she had dragged out of him, she discovered that since he was seventeen he had had a great many women. He loved the act rather than the person. He looked upon it as the greatest lark in the world. And she could understand why he had so much success. There was something appealing in his slightness, his body was just skin and bone, that was why his clothes sat on him so well, and something charming in his clean freshness. His shyness and his effrontery combined to make him irresistible. It was strangely flattering for a woman to be treated as a little bit of fluff* that you just tumbled on to a bed.

3. How can you characterize Roger? Where was he educated? What were his relations like with his parents? Did he know what he wanted to be? Did he want to go on the stage?

Roger was seventeen. He was a nice-looking boy, with reddish hair and blue eyes, but that was the best you could say of him. He had neither his mother's vivacity and changing expression nor his father's beauty of feature. Julia was somewhat disappointed in him. As a child when she had been so constantly photographed with him he was lovely. He was rather stolid and he had a serious look. His only good features were his teeth and his hair, while his figure was rather lumpy. Roger led his own life. Thus once he told Julia that he desired to leave Eton at Christmas, he thought he had got everything out of it that he could, and he wanted to go to Vienna for a few months and learn German before going up to Cambridge. And speaking about his future, the young man didn’t know what he wanted to be (though his mother worried about it, as she thought he would be a priest), but he definitely didn’t want to go on the stage.

4. How did Tom and Roger get on together?

Once the family decided to spend their weekend in Taplow, where Michael had taken a house, and Julia invited Tom just to be near him. And there Tom became close friends with her seventeen year old son, Roger, as they spent all their time together

5. Was Julia as successful in the movies as in the theatre? Did she envy the film-stars?

she had not the world-wide notoriety of the film-stars; she had tried her luck on the pictures, but had achieved no success; her face on the stage so mobile and expressive for some reason lost on the screen, and after one trial she had with Michael's approval refused to accept any of the offers that were from time to time made her. She had got a good deal of useful publicity out of her dignified attitude. But Julia did not envy the film-stars; they came and went; she stayed. When it was possible she went to see the performance of actresses who played leading parts on the London stage. She was generous in her praise of them and her praise was sincere.

6. Describe in detail how Julia managed to play different characters on the stage. What thrilled her? Why did she sometimes fell like God?

Julia was not aware that she deliberately observed people, but when she came to study a new part vague recollections surged up in her from she knew not where, and she found that she knew things about the character she was to represent that she had had no inkling of. It helped her to think of someone she knew or even someone she had seen in the street or at a party; she combined with this recollection her own personality, and thus built up a character founded on fact but enriched with her experience, her knowledge of technique and her amazing magnetism. People thought that she only acted during the two or three hours she was on the stage; they did not know that the character she was playing dwelt in the back of her mind all day long, when she was talking to others with all the appearance of attention, or in whatever business she was engaged.

7. How did Julia revenge herself on Tom?

The young man didn’t notice Julia as his lover, what hurt her, and for what she decided to take revenge on him. Her revenge was refined: knowing how to hurt his feelings, she reminded him to leave the maid tips, leaving the money in the envelope.

III. Make up a list of words and phrases describing Tom Fennell. Comment on the repetition of "a young man" in the text. First "he was a blushing young man" for Julia. Did her attitude change when she was better aquainted with him? Prove it by giving examples from the text.

Tom was sweet with his blue charmingly boyish eyes and pale brown hair; he had a white skin and rather a high colour; his lips were soft and there was a perfume of youth about him which was really rather delightful. He was pleasant and unassuming, very well-dressed, and with a fresh, clean look that was engaging. Tom seemed a nice little thing, a useful escort for Julia when Michael was busy, but perfectly insignificant. Moreover, the young man was proud to be Julia’s lover, as it gave him confidence in himself.

I think the author used the repetition of the phrase “a young man” to emphasize the disparity in age between Julia and Tom, as his attention was flattering and their love was so passionate that Julia found herself looking and feeling 20 years younger.

At first Julia, not opening her fillings, tried to attach Tom to her giving him expensive gifts, paying his debts, and leading him into the high life. “She felt a strange compassion for him. He had the high spirits of youth, and she lapped them up as a kitten laps up milk. But he was not amusing. Though he laughed when Julia said a funny thing he never said one himself. She did not mind. She found his dullness restful”. (This quote is the evidence of Julia’s passion and love to Tom. However, after the time they spent in Taplow, her attitude towards him changed, as he didn’t notice her and spent all his time with Roger, Julia’s son. After that “she’d get even with him. Yes, and she knew how she could do it. She knew where he was most sensitive and how she could most cruelly wound him. That would get him on the raw. She felt a faint sensation of relief as she turned the scheme over in her mind”.

IV. Find in the text epithets and similes which characterize Julia and Michael and say what effect the author achieves by using them.

The author uses such epithets as: (to describe Julia) white frock that suited the sunny riverside and her, and a large-brimmed red straw hat whose colour threw a warm glow on her face; very pretty and young – within a company of Tom Julia felt herself much younger; awfully fagged – by means of that epithet the author told us that even her son noticed how tired she was, as the woman just got tired with pretending; the popular favourite, the best-dressed woman in London – to show that Julia just pretended to be such a woman, it wasn’t her real substance; a maiden aunt – in such a way Julia felt herself having understood that Tom didn’t need her; by means of this simile the author showed us her disappointment and at the same time despair.

                                                      (to describe Michael): friendly way – this epithet emphasized on Michael’s kindness; damned middle-aged, an old man – within a society of two young men (his son and Tom) the man was old as he felt, and he didn’t care about that at all;  she read his mind like an open book – by means of this simile the author gave us to understand that Julia didn’t expect something more from her husband than his kindness and indulgence, she knew him terrifically.

V. What stylistic device did Maugham employ at large to characterize Julia? Illustrate your answer with the examples from the text. Comment on the lexicon used by Julia. To what stylistic layer of the vocabulary does it belong? How does it characterize Julia?

Maugham employed such stylistic devices to characterize Julia as

- metaphors (like poor lamb, poor little thing, silly little fool, sweet little thing) with the men that were objects of pity for her. For example she used poor lamb, silly little fool, sweet little thing, while thinking about Tom, who was in low water and didn’t want her to play his debts, and whom she thought to be a snob; while speaking about Michael. So all these metaphors are employed to convey the woman’s feelings to men: sympathy, passion, love and pity.

- epithets (like very pretty and young; awfully fagged; the popular favourite, the best-dressed woman in London)  within a company of Tom Julia felt herself much younger, as she used to pretend and spent all her force making herself be polite. But that was very notably.

Moreover, Julia, being in such a depressed and tense state, used abusive language (idiots, damn). I think the author used such a device to show how mentally and physically the woman was tired, but she knew what she wanted (it seems to me not always), recollected herself and continued pretending.

VI. Give a summary of chapter 14. (in written form)

After several meetings with Tom, Julia found herself totally enamored with him. Without opening her fillings, she tried to attach the young man to her giving him expensive gifts and paying his debts (as he was in low water), and leading him into the high life (as he was a snob). Julia felt a strange compassion for him. He had the high spirits of youth, but he was not amusing. Though he laughed when Julia said a funny thing he never said one himself. She found his dullness restful. That’s why Julia decided to invite Tom to the weekend to Taplow, where Michael had taken a house. However, the woman didn’t suppose the idea that Tom became close friends with her seventeen year son, Roger, as they spent all their time together. Thus the young man didn’t notice Julia as his lover, what hurt her, and for what she decided to take revenge on him. Her revenge was refined: knowing how to hurt his feelings, she reminded him to leave the maid tips, leaving the money in the envelope.

THEATRE by W. S. Maugham (Chapters 11-13)

I. Find the following words and phrases in the text and translate them into Russian:

a profound contempt – глубочайшее презрение, to have first nights – премьеры, to be exemplary – примерный, a pattern of conjugal fidelity – образец супружеской верности, to separate - разлучать, be ingenuous – искренний (прямой), to cry almost at will – вызвать слезы по собственному желанию, common sense – здравый смысл, to elope with sb. – сбежать с кем-то, preposterous – абсурдный, curtain calls – выход на поклон, prudish – строгий, in for a penny in for a pound – назвался груздем – полезай в кузов, this was all a put-up job – подстроить что-то специально, indecent – неприличный, in a flash – в мгновение ока, to take liberties with sb. – быть чересчур фамильярным с кем-то, a matinee – дневной спектакль, amiably – любезно, дружелюбно, well-chosen words – меткие слова, to have no sequel – продолжения не будет, to erase the episode from her memory – вспоминать, pleasant reveries sauntered through her mind – приятные полумечты-полувоспоминания неторопливо проходили у нее в уме, hectic flush – лихорадочный румянец, to see in the flesh – увидеть в живую, to hurt one's pride – задеть чью-то гордость, to have an inkling – заподозрить что-то, to pawn – гарантировать, ручаться.

II. Answer the following questions:

1. How did Julia and Lord Tamerly get acquainted? Was Julia his mistress? What did Julia owe to Charles Tamerly?

It was Lady Charles who had first brought Julia and Charles together. They happened, all three, to be lunching at Dolly de Vries's when Julia, a young actress, had made her first great success in London.

Many people in that particular set were convinced that Julia was Charles Tamerley's mistress. It was an affair that was supposed to have been going on so long that it had acquired respectability, and tolerant hostesses when they were asked to the same house for a week-end gave them adjoining rooms. The only foundation for it was that Charles had been madly in love with her for twenty years.

2. Describe Julia's acting when Lord Tamerly declared his love to her. How can you prove that it was only make-believe?

Julia knew that Lord Tamerly had fallen in love with her some time before he knew it himself. She found it rather comic. From her standpoint he was a middle-aged man, and she thought of him as a nice old thing, she didn’t love him.

Some time later Charles gave her a portrait of Clairon, as a parting present. And that moment Julia did a disgraceful thing. She sat down and for a minute looked silently at the miniature. Timing it perfectly, she raised her eyes till they met Charles's. She could cry almost at will, it was one of her most telling accomplishments (that’s why her reaction was just make-believe), and now without a sound, without a sob, the tears poured down her cheeks.

3. Why do you think Julia agreed to have tea with the young man? What was his name? Did Julia know it or not?

Julia wrote a thank you note to the young man, because she was naturally polite and, besides, it was a principle with her to answer all fan letters. That was how she kept in touch with her public. But she didn’t know his name.

4. Was the young man as shy as he seemed to be?

The young man seemed shy, much shyer than he had seemed over the telephone. But he only seemed to be so, as later the woman was a bit confused by his actions: one moment he put his arm round her waist and kissed her full on the lips, and that time the young man wasn’t so shy.

6. What feelings did Julia experience after the date with the young man? How did she act after that? How old was Julia at that time? What's your opinion of Julia's behaviour?

Julia found herself totally enamored with a young man. Despite the difference in their ages, his attention was flattering and their love was so passionate that Julia found herself looking and feeling 20 years younger (though that time she was fourty). Everyone in the theatre noticed how she had changed, and how she acted with such a passion and emotions. But I don’t appreciate the woman’s behavior, because I think the woman shouldn’t get out of line. But as she was an actress and used to such attention, then it seemed a bit usual to her, I think.

7. Describe the episode of Julia's adventure on the train to Cannes. What was Julia's attitude towards this accident? Give quotations from the text and comment on them. What do you think of this adventure?

That time Julia had been acting for a long time without a rest and she badly needed one. That’s why her husband sent her to Cannes, where Dolly had rented a house for the season. The problem was that she had not been able to get a sleeper. And only one man, the Spaniard, gave his compartment to her, in place of one night with her. The next day after Julia’s coming, she was to meet their hosts at one of the bars on the Croisette to have cocktails. There suddenly her heart gave a great jump, for there was the Spaniard walking towards her, with a woman on one side of him clinging to his arm and on the other a little girl whose hand he held. In a flash Julia understood that he was just as little anxious to see her as she was to see him. At first the woman felt very angry about his actions, but as time passed Julia's indignation was mitigated, and she had often thought of the adventure since with a good deal of pleasure. After all it had been fun.

8. When did Julia see Tom Fennell again? Under what circumstances?

Several days later while Julia was lying in bed reading a play, they rang through from the basement to ask if she would speak to Mr. Fennell. She didn’t remember that name, but later she got to know that it was that young man. He wanted to see her again, and Julia tried to refuse him, but couldn’t and agreed to meet with Tom in her dressing-room.

9. What do you think attracted Julia to Tom? How old was he?

I think, his youth attracted Julia to Tom (that time he was twenty-four): his lips were soft and there was a perfume of youth about him which was really rather delightful; blue eyes were so charmingly boyish; there was charm in his clean freshness; he had the high spirits of youth but he wasn’t amusing.

10. Why do you think Tom was interested in grand people?

In the evenings, when the two attended receptions, people recognized Julia, and she was conscious that Tom enjoyed the reflected glory of their glances. The young man didn’t waste his time, as he wanted to be known within the society, as he was able to save people money. It can be said that the man used Julia for his reasons.

11. Do you approve or disapprove of Julia's love affair with Tom Fennell?

I disapprove of Julia’s love affair with Tom, as I think the woman shouldn’t get out of line. But as she was an actress and used to such attention, then it seemed a bit usual to her, I think.

III. Make up a list of words and phrases which the author uses to show Julia's attitude towards Tom Fennell. Comment on their semantics and stylistic value.

Thus the matter was that there was no love between Julia and Michael, as after the war everything that had attracted her to him, at that time annoyed her. And then Julia found herself totally enamored with a young man, Tom. Despite the difference in their ages, his attention was flattering and their love was so passionate that Julia found herself looking and feeling 20 years younger (the author makes hints about it using the young man: his blue eyes were so charmingly boyish).

To make the reader see Julia’s attitude towards Tom, Maugham used the following techniques:

Julia used metaphors (like poor lamb, a sweet little thing, a silly little thing, a simple fool). So these metaphors are employed to convey the woman’s feelings to the man: sympathy and pity (at the beginning of their relationships). Besides, the author uses a great number of epithets, while describing the young man: a pleasant voice, sweet with his blue eyes and pale brown hair (such a color – blue – usually symbolizes beauty and happiness that she associates with the white, middle-class world); he had a white skin and rather a high colour; looked incredibly clean; his lips were soft and there was a perfume of youth about him which was really rather delightful. Moreover, Julia understood that he could just use her to become more successful within the higher society: he was proud to be Julia’s lover, it gave him confidence in himself.

IV. The author uses a number of theatrical allusions. Find them in the text and say what you know about them. (Consult the Oxford Guide to British and American Culture or any other culture dictionary).

- Ellen Terry was an English actress who became one of the most popular stage performers in both Great Britain and North America. For 24 years (1878–1902) she worked as the leading lady of Sir Henry Irving in one of the most famous partnerships in the theatre. In the 1890s she began her famous “paper courtship” with George Bernard Shaw, one of the most brilliant correspondences in the history of English letter writing.

- Marcel Proust was a French novelist, author of À la recherche du temps perdu (In Search of Lost Time), a seven-volume novel based on Proust’s life told psychologically and allegorically.

- Paul Cézanne was a French painter, one of the greatest of the Post-Impressionists, whose works and ideas were influential in the aesthetic development of many 20th-century artists and art movements, especially Cubism. Cézanne’s art, misunderstood and discredited by the public during most of his life, grew out of Impressionism and eventually challenged all the conventional values of painting in the 19th century because of his insistence on personal expression and on the integrity of the painting itself, regardless of subject matter.

- Mlle Clairon was a leading actress of the Comédie-Française who created many parts in the plays of Voltaire, Jean-François Marmontel, Bernard-Joseph Saurin, and others.

- George Farquhar was an Irish playwright of real comic power who wrote for the English stage at the beginning of the 18th century. He stood out from his contemporaries for originality of dialogue and a stage sense that doubtless stemmed from his experience as an actor.

- Oliver Goldsmith was an Anglo-Irish essayist, poet, novelist, dramatist, and eccentric, made famous by such works as the series of essays The Citizen of the World, or, Letters from a Chinese Philosopher (1762), the poem The Deserted Village (1770), the novel The Vicar of Wakefield (1766), and the play She Stoops to Conquer (1773).

- Madame de Récamier was a French hostess of great charm and wit whose salon attracted most of the important political and literary figures of early 19th-century Paris.

V. In chapter 11 you can find the following phrase: "... like Venus rising from the waves." What is the source of this allusion? Comment on it and its stylistic effect.

It’s the name of one of Botticelli’s paintings “The Birth of Venus”. Perhaps the author used such a comparison (and allusion) to stress the main character’s – Julia – state of mind that moment, as with Tom she found herself looking and feeling 20 years younger.

The Birth of Venus is a 1486 painting by Sandro Botticelli. Botticelli was commissioned to paint the work by the Medici family of Florence, specifically Lorenzo di Pierfrancesco de' Medici under the influence of his cousin Lorenzo de' Medici, close friend to Botticelli. It depicts the goddess Venus, having emerged from the sea as a fully grown woman, arriving at the sea-shore (which is related to the Venus Anadyomene motif).

VI. Give a summary of chapters 11-13. (in written form)

That time the matter was that there was no love between Julia and Michael, as after the war everything that had attracted her to him, at that time annoyed her. And then Julia found herself totally enamored with a young man, Tom Fennell. Despite the difference in their ages, his attention was flattering and their love was so passionate that Julia found herself looking and feeling 20 years younger. After one of the plays the woman recollected the time when she had been acting for a long time without a rest and she badly needed one. That’s why her husband sent her to Cannes, where Dolly had rented a house for the season. The problem was that she had not been able to get a sleeper. And only one man, the Spaniard, gave his compartment to her, in place of one night with her. The next day after Julia’s coming, she was to meet their hosts at one of the bars on the Croisette to have cocktails. There suddenly her heart gave a great jump, for there was the Spaniard walking towards her, with a woman on one side of him clinging to his arm and on the other a little girl whose hand he held. In a flash Julia understood that he was just as little anxious to see her as she was to see him. It was an odd coincidence that she didn't know the name either of the young man who had that afternoon behaved in so unexpected a manner.