I. Explain
in English or give definitions of and find contextual synonyms for the
following words and phrases:
Complacency
- self-satisfaction orsmug satisfaction with an existing situation, condition
- smugness
three times
running – smth happen three times - functioning
filthy - disgustingly or completely dirty-
grubby
supercilious
- displaying arrogant pride, scorn, or indifference - contemptuous
military
bearing – level of professionalism when dealing with others and his
approach to military situations - carriage
stupendous – of amazing size or greatness - tremendous
staggered- overwhelm
with emotion or astonishment – bewilder
natural homage
- special honor or respect shown or expressed publicly and accepted as one's
due – respect
entanglement - involvemen – intricacy
concubinage
- a man and woman without legal or formal marriage – cohabitation
languorous
- lacking spirit or liveliness – impassive
lippant
rejoinder - frivolous answer – frivolous answer
to risk smth - to expose to a chance of loss – run the
venture
a quick study - a person who is able to learn or adapt to
something - receptivity.
II. Search
for the allusions in the text. Define their type (literary, artistic,
historical and others) and functions; explain their meaning.
Literary allusions:
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.
Artistic allusions:
Sarah Siddons
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. In the 18thcentury she was the
star of the English theatre, that’s why acquaintance with her was a great honor.
Jean-Marc Nattier 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.
John Philip Kemble was an English actor. 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
Sir Thomas Lawrence 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 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.
Sarah Bernhardt 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”.
Mounet-Sully 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.
Historical Allusions:
Sir Francis Robert Benson 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.
III. Using
direct and indirect evidence from the text give character sketches of Julia
Lambert and Michael Gosselyn. Follow the plan:
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.
Michael Gosselyn - He still had at fifty-two a very
good figure. As a young man, with 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. It was his obvious beauty that had engaged him to go on the
stage rather than to become a soldier like his father. 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, so that if you had not known who he was (which was scarcely possible,
for in one way and another his photograph was always appearing in the
illustrated papers) you might have taken him for an officer of high rank. He
boasted that his weight had not changed since he was twenty, and for years, wet
or fine, he had got up every morning at eight to put on shorts and a sweater
and have a run round Regent's Park.
IV. Give a
summary of the first two chapters.
The famous and beautiful actress Julia Lambert and
her husband Michael Gosselyn invited his young accountant
to dinner because the man’s greatest desire was to talk to Julia. He loved her
performance in the play which he had seen three times. The young man not only
come to their house but received a photo of Julia from her. While she was looking
at the different photos she remembered her life and the beginning of her
career. At sixteen she entered the Royal academy because she was
well-prepared by her aunt. Once she met Jimmie Langton who offered her
to work with him.
