THEATRE by W. S. Maugham (Chapters 1-2)

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 18^th 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.