W.S. Maugham "Theatre"

Chapters 1 – 2

I. Explain in English or give definitions of and find contextual synonyms for the following words and phrases:

complacency - self-satisfaction especially when accompanied by unawareness of actual dangers or deficiencies; syn. satisfaction

 three times running - ongoing over a period of time; syn. functioning

 filthy - covered or smeared with filth; disgustingly dirty; syn. grubby

 supercilious - having or showing the proud and unpleasant attitude of people who think that they are better or more important than other people; syn. contemptuous

 military bearing – soldier’s level of professionalism when dealing with others and his approach to military situations; syn. carriage

 natural flamboyance - the quality or state of being flamboyant which is inborn; syn. flashiness

 stupendous - of amazing size or greatness; syn. tremendous

staggered – overwhelmed with emotion; syn. astounded

natural homage - Special honor or respect shown or expressed publicly; syn. honour

entanglement -  involvement in or as if in a tangle; syn. intricacy

 concubinage - persons not legally married; syn. lovers

 languorous - lacking spirit or liveliness; syn. impassive

 flippant rejoinder - frivolous answer; syn. frivolous answer

 to risk smth - to expose to a chance of loss; syn. run the venture

 a quick study - a person who is able to learn or adapt to something in a short time or on short notice; syn. receptivity.

II. Search for the allusions in the text. Define their type (literary, artistic, historical and others) and functions; explain their meaning.

1.      Benoît-Constant Coquelin (“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. - artistic allusion

2.      Charles John Kean 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—unfavorably—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. - artistic allusion

3.      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. The main character's aunt was sure that Julia possessed all the qualities necessary for a successful actress. - artistic allusion

4.      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. Maybe he was mentioned to emphasize lightness and elegance of the main character. - artistic allusion

5.      John Philip Kemble 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. - artistic allusion

6.      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." The actress' mention suggests that Julia had all inclinations and skills (in our case, her voice - a little hoarse) to become a successful actress. - artistic allusion

7.      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.  At that time (the 18th century) she was the star of the English theatre, that’s why acquaintance with her was a great honor. - artistic allusion

8.      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. - historical allusion

9.      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. - artistic allusion

10.  William Shakespeare 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. - literary allusion

III. Using direct and indirect evidence from the text give character sketches of Julia Lambert and Michael Gosselyn

Julia Lambert is the main character of Maugham’s novel “Theatre”. She is an independent woman, in whom the sense of humor, the ability to judge people and to understand the circumstances are combined with being an adventurer. She is a beautiful woman, more or less a careful mother, a rather good wife and a brilliant actress. In fact Julia is a sensitive idealistic nature and is always searching for perfection in herself and in others.

Julia’s actions and relations with people are fully determined by her profession of an actress. The author gives direct characteristics to Julia: “She was born an actress and it was an understood thing for as long as she could remember that she was to go on a stage.” The acting was Julia’s everything. Julia had been sent to live with her mother’s sister who was married to a Frenchman, a coal merchant, who lived at St.Malo, while she attended classes at the local lycee. She learnt to speak French like a Frenchwoman. That fact played a definite role in making as an actress.

A retired actress Jane Taitbout gave Julia her first lessons. She taught her all the arts that she had herself learnt at the Conservatoire and she talked to her of Reichenberg who had played ingénues till she was seventy, of Sarah Bernhardt and her golden voice, of Mounet-Sully and his majesty, and of Coquelin the greatest actor of them all. She recited to her the great tirades of Corneilly and Racine as she had learned to say them at the Francaise and taught her to say them I the same way. Jane Taitbout must always have been a very stagy actress, but she taught Julia to articulate with extreme distinctness, she taught her not to be afraid of her own voice, and she made deliberate that wonderful sense of timing which Julia had by instinct and which afterwards was one of her greatest gifts. When Julia was sixteen and went to the Royal Academy of Dramatic Art in Gower Street she knew already much that they could teach her there. She 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. It looked for a while as though her knowledge of French would specialize her in parts needing a foreign accent, for after this she was engaged to play an Austrian waitress.

Michael Gosselyn is a 52 year old husband of Julia Lambert. 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 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. 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 had he ever given on credit.

IV. Give a summary of the first two chapters.

Julia Lambert, a woman of breathtaking talent whose looks have stood by her forty-six, is beautiful, rich and famous; she plays in her own theatre; her marriage is considered ideal; she has son. In her husband’s theater she sees Thomas Fennel, a young accountant, employed by her husband to establish order in counting books of the theatre. Michael, Julia’s husband, introduces him to his famous wife. The poor accountant is embarrassed, turns pale, and it is very pleasant for Julia to make happy the young man, she presents him her photo. Looking through old photos, Julia recalls her life. She was born in Jersey. Her father was a veterinary. Her Aunt, former actress, gave her the first lessons of actor's skill. At sixteen she entered the Royal academy of the dramatics, but only Jimmie Langton made a real actress of her.