I. Explain
in English or give definitions of and find contextual synonyms for the
following words and phrases:
Complacency
- a feeling of satisfaction
with yourself or with a situation, so that you do not think any change is
necessary (usually disapproving) - smugness
filthy - very dirty – muddy
supercilious
– displaying arrogant
pride, scorn, or indifference – contemptuous
military
bearing – is how a soldier conducts himself on
duty. It encompasses his level of
professionalism when dealing with others and his
approach to military situations - carriage
stupendous
– аmazingly large or great – immense
staggered –
to overwhelm with emotion
or astonishment – bewilder
natural homage
– special honor or respect
shown or expressed publicly and accepted as one's due – natural respect
entanglement
– involvemen – intricacy
concubinage
– cohabitation of a man and
woman without legal or formal marriage – cohabitation
languorous
– lacking spirit or
liveliness – impassive
flippant
rejoinder – frivolous answer – frivolous
answer
to risk
smth – to
expose to a chance of loss – run the venture
II. Search
for the allusions in the text. Define their type (literary, artistic,
historical and others) and functions; explain their meaning.
Sarah Siddons (artistic allusion) was a Welsh actress, the best-known tragedienne of
the 18th century. She was most famous for her portrayal of the Shakespearean character, Lady
Macbeth, a character she made her own, and for famously fainting at the
sight of the Elgin Marbles in London. She is considered to be the
best Lady Macbeth in the history of the world theatre. At that time (the 18th century)
she was the star of the English theatre, that’s why acquaintance with her
was a great honor.
Jean-Marc
Nattier (artistic allusion) was a French painter. He is noted for his
portraits of the ladies of King Louis XV's court in classical mythological
attire. He subsequently revived the genre of the allegorical portrait, in which
a living person is depicted as a Greco-Roman goddess or other mythological
figure. I think, the author mentioned the painter’s name not without a reason,
because Nattier’s female portraits, painted in light colors, always decorated a
model. Maybe he was mentioned to emphasize lightness and elegance of the main
character.
John Philip
Kemble (artistic allusion) was an English actor. His elder
sister Sarah Siddons achieved fame with him on the stage of the Theatre
Royal, Drury Lane. He was rather popular due to his tall and imposing person, noble countenance,
and solemn and grave demeanor, that were uniquely adapted for the Roman characters in Shakespeare's plays.
That’s why his performance made an impression more on hearing and look, than the soul, and that’s why it was rather exciting, than shocking.
Sir Thomas
Lawrence (artistic allusion) was a leading English portrait painter and
president of the Royal Academy. One of his works was Satan summoning his legions, a giant canvas to illustrate lines
from John Milton's Paradise
Lost. The boxer John Jackson posed for the naked body of
Satan; the face is that of Sarah Siddons' brother, John Philip
Kemble. The portraitist was mentioned to emphasize the lightness, tenderness, and feminity of the main character.
Benoît-Constant
Coquelin (artistic allusion), known as “Coquelin
the Eldest", was a French actor. He was one of the greatest
theatrical figures of the age, so therefore, the main character possessed all the qualities
necessary for a successful actress.
William
Shakespeare (literary allusion) was an English poet, playwright and
actor, widely regarded as the greatest writer in the English language and
the world's pre-eminent dramatist. He is often called England's national
poet and the "Bard of Avon". So no
wonder that time his plays are performed more
often than those of any other playwright.
Sir Francis
Robert Benson – (historical allusion) was a British actor-manager. He founded
his own company in 1883 and produced all but two of Shakespeare's plays. From the
first he devoted himself largely to the production of Shakespeare's
plays.
Charles
John Kean (artistic allusion) was born at Waterford, Ireland, the son of
the actor Edmund Kean. Plump of figure, facially
expressionless, and vocally nasal, Charles Kean was not well endowed to enter
the profession in which he was bound to be compared—unfavourably—with his
father. Nevertheless, despite or because of the family name, Charles Kean had
early opportunities to play Shakespearian leads in London: Romeo (1829),
Richard III (1830), Iago (1833) to his father's Othello, Othello and Hamlet
(both 1838); in addition to which he undertook engagements in the provinces and
America. Charles Kean's Shakespeare performances were criticized for
‘clap-trap effects’, misplaced emphases and unceasing—but pointless—locomotion.
Sarah
Bernhardt (artistic allusion) was a French stage and early film
actress, and was referred to as "the most famous actress the world has
ever known." She developed a reputation as a serious dramatic actress,
earning the nickname "The Divine Sarah." The actress' mention suggests that Julia had all inclinations and
skills (in our case, her voice - a little hoarse) to become a successful
actress.
Mounet-Sully (artistic
allusion) was a French actor, was born at Bergerac. His birth
name was Jean-Sully Mounet: "Mounet-Sully" was a stage name. His
striking presence and voice and the passionate vigor of his acting made an
immediate impression, which resulted in his election as sociétaire in
1874. He became one of the mainstays of the Comédie Française, and
distinguished himself in a great variety of tragic and romantic parts. The main character's aunt was sure that Julia possessed all the qualities
necessary for a successful actress.
III. Using direct and
indirect evidence from the text give character sketches of Julia Lambert and
Michael Gosselyn.
Julia Lambert was a forty-six year old beautiful
woman with an indiarubber face, large, very dark brown and starry eyes, warm,
delightful and ready smile. Her nose was slightly thick, but it was just a small
point, because she was sweetheart. And not a wrinkle marred the smoothness of
her skin, and there was a melting look in her fine eyes. She was a woman with a
lovely figure, she was fairly tall for, and had long legs. Julia was always
beautifully dressed, she had her clothes made in Paris, both for the stage and
for private life. Being a born actress, she made a reputation of the best
actress of England. Partly it was due to her nature (she was a woman of
character), as Julia had a warmth, a force of character, and a bubbling vitality,
very sweet and womanly (she lowered her eyelids for a second and then raising
them gazed at him for a little with that soft expression that people described
as her velvet look). Moreover, she could play not only on stage, but in life: she
talked very differently to herself and to other people: she could be very
vulgar and very polite; when she talked to herself her language was racy; with
her brilliance, her roguishness, her sense of comedy she was perfect. Besides, it
was no effort to her, it was as instinctive as brushing away a fly that was
buzzing round her, to suggest now a faintly amused, friendly tenderness.
However, the woman never took risks, as she took care never to do anything but
what she could do.
Julia Lambert was born in Jersey, where her father, a native
of that island, practised as a veterinary surgeon. Her mother's sister was
married to a Frenchman, a coal merchant, who lived at St. Malo, and Julia had
been sent to live with her while she attended classes at the local lycee. She learnt to speak French like a
Frenchwoman. Her aunt taught her everything (how to play), so in the Royal
Academy of Dramatic Art the young woman won every prize that was open to her,
and when she was finished with the school her good French got her almost
immediately a small part in London as a French maid. But it wasn’t enough, as
the woman knew his own worth and know what it's capable of.
Michael Gosselyn was a man of fifty-two, but for his
age he had a very good figure. The man became very popular not due to his
acting skills, but his beauty. When Michael was young, he had a great mass of
curling chestnut hair, with a wonderful skin and large deep blue eyes, a
straight nose and small ears, he had been the best-looking actor on the English
stage. The only thing that slightly spoiled him was the thinness of his mouth.
He was just six foot tall and he had a gallant bearing. Now his chestnut hair
was very grey, and he wore it much shorter; his face had broadened and was a
good deal lined; his skin no longer had the soft bloom of a peach and his
colour was high. But with his splendid eyes and his fine figure he was still a
very handsome man. Since his five years at the war he had adopted a
military bearing, but the man didn’t become a soldier like his father. Moreover,
he took his beauty for granted, but at the same time he understood that beauty was not eternal, that’s why he was anxious for success to earn money and create
his own troupe.
Michael was a pedant, stern, and meticulously thorough in
fulfilling all the formal requirements. The man adored his wife, Julia, her
skills and ability to play on stage. When he was young his playing was poor,
though he grew popular with the company. The man was good-humoured and kindly;
he would take any amount of trouble to do anyone a service. However, Michael didn’t
like spending money, neither he never gave on credit.
Julia loved him at first sight. But despite her beauty and
seduction, he was a cold lover. He was easy enough in ordinary dialogue, when
it came to making protestations of passion something seemed to hold him back.
IV. Give a
summary of the first two chapters.
Having come
to her husband, Julia noticed a young man, sitting in another room. He
was a young accountant hired by her husband to restore order in the account of
the theatre. The couple then decided to give a spot of lunch to the man, what
was the most significant event for him to talk to Julia Lambert. He saw the
play with her participation three times, and was glad to see it again behind
the scenes. Moreover, to make him happy Julia gave her photo to the man, and
while looking over the photos, she recollected their past. When she came to Langton’s
troupe, Michael had already worked there, and grew popular with the company.
Julia’s aunt, a former actress, gave her first acting lessons, due to which she
entered the Royal Academy of dramatic art.
The woman knew French, that’s why she was engaged to play an Austrian
waitress. Later, being on tour in a melodrama, she met Jimmie Langton.
