Buchara state university m. Bakoeva, E. Muratova, M. Ochilova english literature


 3 1), “ Flow ering W ilderness” (1 932)



Download 4,09 Mb.
Pdf ko'rish
bet111/132
Sana26.02.2022
Hajmi4,09 Mb.
#472032
1   ...   107   108   109   110   111   112   113   114   ...   132
Bog'liq
M Bakoeva English Literature 2010

9 3
1), “ Flow ering W ilderness” (1
932), 
“O ver the River” (1
933).
In the first trilogy, which was written in the most m ature period 
o fh is literary activity, Galsworthy describes the com m ercial world 
o f the Forsytes, and in particular, the m ain character, Soam es 
Forsyte, “the m an o f property” . The first part o f “ The Forsyte 
Saga” (“The Man o f Property”) attains the highest point o f social 
criticism . The central characters o f the novel are the Forsytes o f 
the first generation and the m em bers o f their fam ilies. T hey are 
shareholders and rich ow ners o f apartm ent houses in the best 
parts o f London. T heir sole aim in life is accum ulation o f w ealth. 
Their views on life are based fundamentally on a sense o f prop^^ty.
T he m ost typical representative o f the second generation oi 
the Forsytes is Jam es’ son, Soames, whom old Jolyon called the 
man o f property. In his nature, views, habits and aspiration he 
perfectly incarnated all the features o f Forsytism . He is firm ly 
convinced that property alone is the stable basis o f life. His human 
re la tio n s and feelin g s are also su b o rc in a te d to the sen se o f
property. Hav ing m arried Irene, Soam es experiences the greatest 
pleasure and satisfaction at the thought i:hat she is his property.
T he main idea that runs through the novel is the conflict o f 
the Forsytes w ith A rt and Beauty. Irene personifies B eauty and 
th e y o u n g a rc h ite c t, B o sin n e y w h o fa lls in love w ith her, 
im personates Ari. The conflict betw een B osinney and Soam es 
arose in connection with the building o f a house at Robin Hill.
In the second part o f “The Forsyte Saga” (“ In C hancery”) the 
action refers to the end o f the 19th century and the beginning o f 
the-20th century.
In the concluding part o f “The Forsyte Saga” (“To L et” ) the 
action takes place after the First World War.


T he Forsyte novels are highly valued for the truthful portrayal 
o f the social and personal life. The cycle is considered to be the 
peak o f the au th o r’s realism .
In his later w orks, “A M odern C om edy” and “T he E nd o f the 
C hapter”, w ritten after the World W ar I, G alsw orthy’s criticism
becom es less sharp. The old generation o f the Forsytes does not 
seem so bad to the author as com pared to the new one. D uring 
his progress through six novels and four interludes Soam es be­
com es alm ost a positive character, in spite o f the a u th o r’s critical 
attitude tow ards him at the beginning o f the Saga.
G alsw orth y’s hum anitarian concerns also led him to w rite 
plays about the social problem s o f h is tim e. From 1909 he p ro ­
duced in turn plays and novels. His plays deal with burning prob­
lem s o f life. T he au th o r d esc rib es the hard life o f w o rk ers 
( ’’Strife” ), attacks the cruel regime in English prisons ( ” J u stice” ), 
expresses his indignation tow ards w ars ( ’’The M o b” ), rejects 
the colonial policy o f G reat B ritain (“T he Forest”), and presents 
som e other aspects o f evils and injustice. G alsw orthy’s p lays were 
very popular. B ut it is not his dram atic works, but his novels and 
“T he Forsyte Saga” in particular, th at m ade him one o f the g reat­
est figures in w orld literature.
Questions and Tasks
1. Wrhy is H erbert G eorge Wells called the great English w riter 
w ho looked into the future?
2. W'hat is the contribution o f Wells to w orld literature?
3. W hat was W ells’ attitude tow ards scientific progress?
4. W hat are the c h ie f characteristics o f G alsw orthy’s w orks?
5. W hy do w e call “T he Forsyte Saga” a social novel?
6. C om m ent on the title o f the novel “The Man o f P roperty” .
7. W hat is the difference betw een the novels w ritten by 
H erbert Wells and John G alsw orthy?


UNIT 9
TWENTIETH CENTURY ENGLISH LITERATURE 
(1915-2000)
1. The Twenties of the Twentieth century.
T he 1920s w ere not a tranquil period for B ritain. M assive 
unem ploym ent w as created by the return o f hundreds o f thou­
sands o f veterans to civilian life. English literature changed in 
both form and subject m atter betw een the end o f W orld W ar I in 
1918 and the beginning o f W'orld W ar II in 1939. The terrible 
d estru ctian o f World W ar I left many people with the feeling that 
society w as falling apart.
T he 20lh century English literature is rem arkable for a great 
diversity o f artistic values and artistic m ethods. Follow ing the 
rapid int roduction o f new m odes o f thought in natural science, 
sociology and psychology, it has naturally reacted to absorb and 
transform this m aterial into literary com m unication. Fundam en­
tal political, social and econom ic changes in the w orld and, par­
ticularly, in G reat Britain deeply affected the creative w riting o f 
the new century. T he w orks o f such w riters as H.F. W ells, Ber­
nard Shaw, John Galsworthy, Arnold Bennet, Joseph Conrad, E.M. 
Forster, K atherine M ansfield show ed an earnest desire to express 
the feelings arid thoughts o fth e B ritish people. It was the basis o f 
their approach to literature. T h at’s w hy their w orks becam e a 
new investm ent in the heritage o f English realism and stim ulated 
its fu rth e r d ev e lo p m e n t. In the sh o rt-sto ry g en re th e art o f 
K atherine M ansfield is a significant contribution to the traditions 
o f English realism .
2. English Literature in the 1930s and 1940s
A new generation o f realist w riters, am ong them R ichard 
A ldington, John Boynton Priestley and A rchibald Joseph Cronin 
appeared on the literary scene betw een 1930 and W orld War II.
T he w orld econom ic depression th at began in the late 1920s 
had catastrophic effects in highly industrialized and heavily popu­
lated B ritain. In tw o years exports and im ports declined 35 per­
cent, and unem ploym ent reached three million. T he Second World 
War, w hich began in Septem ber, 1939, w ith H itler’s invasion o f


Poland, w as disastrous for Britain and her allies. During 1939 
and 1940 N azi G erm any m astered Europe. O nly Britain under 
the leadership o f W inston C hurchill rem ained to oppose Hitler. 
B ut B ritons heroically withstood the bom bardm ent o f their cit­
ies. With the entry o f th e L nited States into the war, and the fa il­
ure o f the G en n an invasion o f the Soviet U nion, the tide began to 
turn. A lthough B ritain and her allies w ere eventually victorious, 
the postw ar years w ere extrem ely hard. T he country was nearly 
bankrupt, and recovery wa s slow. O f the new poets w riting dur­
ing this period, the m ost im portant and influential w as W.H. 
Auden. D uring the 1930s, which he characterized as a “ low, d is­
honest decade,” A uden w as the acknow ledged leader o f a circle 
o f w riters w ho aligned them selves w ith the political left and at­
tem pted to expose the social and econom ic ills o f their country. 
A lthough they considered them selves the creators o f a new po ­
etic tradition, the influence o f H opkins, Yeats, and Eliot on these 
young w riters is great. Especially, it m ay be observed in th eir use 
o f precise and suggestive images, ironic understatem ent, and plain 
speech.
William Butler Yeats
(1865-1939)
W illiam B utler Yeats is considered by m any critics to be the 
greatest poet w riting in English in the 20th century. He provides a


bridge from ihe V ictorian Age into the tw entieth century. His 
early R om antic w ork, produced before the century turned, gradu­
ally becam e m ore realistic.
W. E.. Y eats, an Irish p o et an d d ra m a tis t, w as b o rn in 
Sandym ount, Ireland. His father w as a painter. Yeats attended 
school in D ublin. B eginning as an art student, he soon gave up 
art fo r literature. A t tw enty-one, he published his first w ork 
■‘M osada”, a dram a w ritten in verse. D uring the 1890s and 1900s 
he published m any volum es o f poem s, w hich w ere sym bolic in 
m anner, draw ing his im agery from Irish myth and folklore. T he 
m ost im portant collections o f that period were: “ The W andering 
o f O isin” (1891), “T he Wind A m ong the R eeds” (1899), “The 
R ose” (1903), "G reen H elm et and O ther Poem s” (1912).
For centuries Ireland had been an English colony, its econom y 
exploited and its native culture suppressed. Yeats’ early poem s 
and his book on Irish folk tales, “T he C eltic Tw ilight” (1893), 
w ere in sart political acts.
W.B. Yeats contributed a great deal to the Irish national th e­
atre. W riting for the stage im pressed Yeats with the im portance 
o f p re cise, sp are language. His b est know n plays are “T he 
C ountess C athleen” (1892), “D eirdre” (1907). The latter derived 
from C eltic m ythology.
During the 1920s Yeats becam e m ore prom inent in both policy 
and literature. H e becam e a senator in the Irish Free State in 1922 
and in 1923 received the N oble Prize for Literature. In 1925 Yeats 
published his m ajor philosophical and historical prose w ork “ A 
V ision” .
W hile many poets produced their finest work during their early 
years, Yeats w as one o f those rare poets w ho created their great­
est poem s after the age o f fifty. He began his poetic career as a 
R om antic and finished it as a poet o f the m odem world. His early 
w ork was strongly influenced by Blake and Shelley, by the French 
Symbol sts, and Irish m ythology. T hese early poem s w ere often 
sim ple, rom antic, m usical, and dream like. In the m iddle o f h i s
career, his pee try becam e less dream like and m ore realistic. His 
tone becam e m ore conver sational and his im agery more econom i­
cal. In the last stages o f h is poetic career, his interest in historical 
cycles becam e dom inant. Thus, the evolution o f Yeats art never


ceased. The poems written w hen he was an old man (“T he Tower”, 
1928, “T he W inding Stair”, 1920) are the m ost audacious.
Below, you will read one o f W illiam B utler Y eats’ poem s. It is 
believed that Yeats w rote this poem for M ajor R obert Gregory, 
the son o f h is friend Lady A ugusta Gregory. M ajor G regory, an 
artist and aviator, was killed in action over Italy during W orld 
W ar I w hile flying for E ngland’s Royal Flying C orps.
An Irishman Foresees His Death 
I know that I shall m eet m y fate 
Som ew here am ong th e clouds above;
T hose th at 1 fight I do not hate,
T hose that I guard I do not lo v e;1 
M y country is K iltarten2 C ross,
M y countrym en K iltarten ’s poor,
N o likely end could bring them loss 
O r leave them happier than before.
N o r law, nor duty bade me fight,
N o r public men, nor cheering crow ds,
A lonely im pulse c f delight 
D rove to this tum ult in the clouds;
I balanced all, brought all to m y m ind,
T he years to com e seem ed w aste o f breath,
A w aste o f breath the years behind 
In balance with this life, this death.
“Modernist” Poetry and Prose
T he achievem ent o f m odern B ritish literature lies in the de­
v e lo p m e n t o f th e sh o rt sto ry (K a th e rin e M a n s fie ld ), n ew
m ovem ents in poetry (T.S. Eliot), exciting experim ents in fiction 
(Ja m e s J o y c e ), and d ra m a w o rth y o f the n a tio n th a t b re d
Shakespeare.
1 . T hose th a t I g u a rd I do not love: In the World War 1 Ireland was 
technically neutral and wa;; going on struggle for independence from England. 
But many Irish volunteered to fight on the English side.
2 . K ilta rte n : a village near 
the 
estate o f the Gregory famiiy.


M odern literature is characterized by great differences from 
the past in both form and content. N ew rhythm s, especially in 
free verse, w ere invented.
The developm ent o f psychology brought psychological realism 
into literature: w riters attem pted to show not only w hat their 
c h a ra c te rs th o u g h t b u t ho w th ey th o u g h t. T h e stre a m -o f- 
consciousness technique, and various m odifications o f it, created 
a new attitude tow ard w riting and reading.
T he subject m atter o f literature changed too. With the shocks 
o f the w ars, technological advances, and greater social freedom , 
w riters realized that they could and should w rite about anything. 
N o sub ject w as too d ignified or und ig n ified , too fa m iliar or 
rem ote, to appear in a m odern poem or novel.
The revolution in poetry had its cou nterpart in fiction. The 
novelists o f th e eighteenth and nineteenth centuries had w ritten 
w ithin a defined social context to an audien ce that shared sim ilar 
values and beiiefs. M odernist w riters perceived hum an beings as 
living in private w orlds and th ere fo re took as th e ir ta sk the 
illum ination o f individual experience. N ovelists like Jam es Joyce 
and Virginia W oolf attem pted to reproduce the authentic character 
o f hum an subjectivity, the so-called 
stream of consciousness
Following World War 1, w riters such asT .S . Eliot, W.H. Auden, 
D ylan Thom as and their follow ers brought about a revolution in 
poetic taste and practice. Like the painters influenced by cubism 
and abstract expressionism o r com posers influenced by the atonal 
w orks o f Stravinsky, Schoenberg, and Bartok, “m odernist” poets 
developed new techniques to express their vision o f the postw ar 
world. W hile some o f them are difficult, m odern poetry as a whole 
em ploys the language o f com m on speech to provide rich insights 
into the people and events o f m odem life.
Intellectua I com plexity, allusiveness and intricacy o f form are 
characteristics o f m odern poetry. W hen you read these w orks you 
com e across lines from foreign languages or allusions you d o n ’t 
recognize. For exam ple, som e o f E liots poem s, such as “The 
Flallow M en” have epigraphs th at need to be interpreted and 
applied to the poem. W.H. Auden, in his elegy “In Memory o f W.B.


Yeats”, presum es know ledge o f the life o f Yeats and political 
events o f the 1930s. In such cases the footnotes help y ou by 
providing such inform ation.
M odern poets usually use language that is fresh, exact, and 
innovative. In “Fern H ill”, for exam ple, D ylan T hom as, regects 
cliche, and w rites “once below a tim e” instead o f “once upon a 
tim e” and “All the m oon long” instead o f “All the night long” .
M odern poetry is m usical, sensual, and surprising. It also 
highly varied in subject matter. M odern poets have exercised the 
freedom to w rite about any subject they please. To com pensate 
for the limitations o f syllabic rhyme, they have resorted to frequent 
use o f consonantal, assonantal, and half-rhym es. M odern poets 
have sought above all to create poetry that will be appreciated 
for its form and m usic as w ell as m eaning.
P oet, c ritic , and d ra m a tis t, T.S. E lio t, w a s th e le a d in g
spokesm an for the m odernist poetry that em erged in the 1920s. 
T h is p o e try is c h a r a c te r iz e d by in te lle c tu a l c o m p le x ity , 
allusiveness, precise use o f im ages, and pessim ism.
James Joyce 
(1882-1941)
Jam es Joyce is regarded to be the m ost original and influential 
w riter o f the tw entieth century. Irishm an by birth, he ex ercised a


considerable influence upon m odern English and A m erican lit­
erature.
He w as bom in Dublin, the eldest o f a fam ily o f ten children. 
His father w as a civil servant, continually in financial difficulties. 
For several years Joyce attended C longow es Wood College, be­
fore his fam ily’s increasing poverty m ade that impossible. He later 
attended U niversity C ollege, Dublin, w here he was a brilliant 
scholar, accom plished in Latin, French, Italian and Norwegian.
W hile he w as still ari undergraduate he began w riting lyrical 
poem s, w hich w ere collected in “C ham ber M usic” (1907). Upon 
graduation from the U niversity in 1902, Joyce lived for a tim e in 
Paris w here h e contributed book review s to Dublin new spapers. 
A fter a b rie f return to Dublin for his m o th er’s burial, he moved 
to the continent w ith N o ra B arnacle to spend the rest o fh is life in 
Paris, Trieste, Rom e and Zurich.
In 1909 and 1912, Joyce m ade his last tw o trips to Ireland to 
a rra n g e th e p u b lic a tio n o f a c o lle c tio n o f fifte e n sto rie s
“D ubliners”, the dom inant mood o f w hich w as realistic. T he work 
was published only in 1914. Joyce said th at his purpose in w riting 
the sh o rt sto ries co llected in “ D u b lin ers” w as to produce “a 
chapter o fth e m oral history o f my country and I chose D ublin for 
the scene because the city seemed to me the center o f paralysis” . 
He w anted lo give “the Irish people ... one good look a t them ­
s e lv e s in m y n ic e ly p o lish e d lo o k in g g la s s ” . T he s ty le o f
“ D ubliners” m arks a sharp break with the fiction o f the nineteenth 
century. Joyce located the center o f the action in the m inds o fh is
characters;. Incident and plot are subordinated to psychological 
revelation. Each w ord has, as well as detail, a calculated pur­
pose, and the m eaning o f the story is presented as an e p ip h a n y - 
a m om ent o f heightened aw areness that can occur as a result o f a 
trivial encounter, object, or event. F or exam ple, in “A raby”, one 
o f “ Dubliners"’ short stories, epiphany occurs in the final para­
graph and runs as follow ing “G azing up into the darkness I saw 
m y self as a creature driven and derided by vanity; and m y eyes 
burned with anguish and anger.”
In 1916 his partly autobiographical novel “A Portrait o f the 
A rtist as a Y oung M an” and in 1922 his m ost fam ous novel


“ Ulysses” w ere published. Ulysses” is a dazzling original attempt 
to tell the story o f group o f D ubliners 
011
a single day and at the 
sam e tim e present a sym bolic view o f hum an history. Seven hun­
dred pages o f the novel relate o f one day in the life o f tw o 
D ubliners w ho are not acquainted. L eopold B loom , an advertis­
ing agent, anc1 Stephen D edalus, a poet and teacher, ram ble in the 
streets o f Dublin; the paths o f these tw o m en cross and re-cross 
through the day and finally they m eet only for a leave-taking. 
The book is built on parallel from H om er’s Odyssey, i.e. each 
chapter revives an incident from H om er’s epic and each character 
has a H om eric prototype.
In “ U lysses”, rendering the w orkings o fh is character’s minds, 
Joyce introduced the so-called stream o f consciousness technique 
recording th e flow o f their thoughts and sensations with all the 
com plex associations attached to them . The rem aining seventeen 
years o fh is life Joyce worked on his next novel “Finnegans Wake” 
(1 9 3 9 ). T h e b o o k c a rrie d th e s ty lis tic e x p e rim e n ta tio n o f
“U lysses” further.
Virginia Woolf 
(1882-1941)
V irginia W oolf w as bom in a large and talented family. H er 
father, Sir L eslie Stephen, w as a distinguished literary critic and 
historian. She w as educated at hom e by h er father. A fter his


death she moved to London with h er brother and sister. T heir 
hom es in the Bloom sbury district, near the British M useum , be­
cam e the m eeting places o f the so-called “ B loom sbury G roup” , a 
fam ous group o f intellectuals. One o f the m em bers o f the group 
w as the w riter Leonard Woolf, whom! she m arried in 1912. In 
1917 they founded the Hogarth Press, w hich published her books 
as well as those o f a num ber o f other im portant m odern w riters, 
like T.S. Eliot and E.M. Forster.
Virginia W oolf began her w riting career as a literary critic. 
She used her review s and essays to prom ote her opinions about 
w hat fiction should be. She thought that w riters could get close 
to real life only by basing their w ork on their own feelings. In 
1915 she began to put her theories into practice in her first novel 
“ The Voyage O ut” . T his novel reveals signs o f its autho r’s search 
and experience to find new forms o f expression. During the 1920s 
her w ork becam e increasingly experim ental. Her stories and 
sketches “ M onday or Tuesday” (1921) show her developing • 
impressionistic style and bringing some o f the techniques o f lyrical 
poetry into prose. In novels like “ Mrs. D allow ay” (1925), “To 
the L ighthouse” (1927), and “The W aves” (1931), she rebels 
against the social fiction o f the prew ar period with its em phasis 
on detailed descriptions o f character and setting. Instead she at­
tem pted to ex p ress the tim e le ss in n e r co n sc io u sn e ss o f her 
characters. Influenced by Jam es Jo y ce’s ‘ U lysses” she used the 
techniques o f “ stream o f consciousness” and “ inner m onologue” 
m oving from one ch a rac te r to a n o th e r to v ariety o f m ental 
responses to th e sam e event.
T h u s, W o o l f s w o rk w as a d e lib e ra te a tte m p t to b reak 
conventions o f fiction. She saw life not in neatly arranged series 
o f m ajor events, but in a process people lived every day. T h at’s 
w h y h e r f ic tio n a v o id s p lo t a n d in s te a d d e a ls w ith th e
consciousness o f characters and reveals th e essence o f their lives.
The outbreak o f World War II was a shattering event for Woolf. 
N evertheless, she m anaged to com plete a brief, enigm atic final 
novel “ B etw een the A cts” (1941). The book is about the eternal


England, the beautiful threatened civilization w hich she had 
alw ays loved. On M arch 28, 1941 V irginia W oolf, acutely d e­
pressed by the constant G erm an bom bing o f England, com m itted 
suicide (drow ned herself).
Katherine Mansfield 
(1888 - 1923)
K atherine M ansfield, the daughter o f a w ealthy bunker, was 
bom in N ew Zealand and educated in London at Q ueen’s College. 
A talented cellist, she studied m usic at the Royal A cadem y o f
M usic, bu t later realized that her true calling w as w riting, not 
m usic. In 1911, through a chance m eeting in Germ any, she be­
cam e friend to the well known literary critic and editor John 
M iddleton Murry. T hey w ere m arried in 1918. By th e end o f the 
war, she had becom e an invalid, m oving from clim ate to clim ate 
for relief from incurable tuberculosis. She died in France on Janu­
ary 9,1923, at the age o f thirty four.
She began to w rite at an early age. H er contribution to 
English literature mainly makes the form o f short stories. Katherine 
M ansfield’s first stories and sketches were published in the peri­
odical “T he N ew Age”, to which she became a regular contributor. 
H er first story “Prelude” written in 1918 m ade her fam ous. Her 
second book, the collection o f stories “Bliss and O ther Stories”


was published in 1921. H er third collection “The G arden Party 
and O ther Stories” appeared a year later. K atherine M an sfie ld ’s 
style w as often com pared to that o f Chekhov. Like him she w rote 
stories, w hich depended m ore on atm osphere, character, and 
nuances o f language than on plot. T he stories o f K atherine 
M ansfield are not tales o f action, nor have they com plicated 
plots. She describes human conduct in quite ordinary situations. 
Yet, they are expressive o f a vast range. M any o fh e r stories cen­
ter on children and on old people in isolated circum stances and 
are deeply affecting in their sym pathetic portrayal o f the lonely, 
the rejected, and the victim ized.
For exam ple, in her short story “T he D oll’s H ouse” the au­
thor show s how the snobbery o f the adults has intruded into the 
world o f children and has made them selfish and cruel. The Kelvey 
girls are isolated from the other schoolgirls, because they are 
poor and their father is in prison. T he girls o f the story (Em m ie 
C ole, Isabel Burnell, Lena Logan, Jessie M ay) exhibit a high 
degree o f class consciousness and snobbery. The isolation o f the 
Kelveys is described in the follow ing way: “M any o fth e children, 
including the B urnells, w ere not allow ed even to speak to them. 
They w alked past the Kelveys with their heads in the air, and as 
they set the fashion in all m atters o f behavior, the Kelveys w ere 
shunned by everybody. Even the teacher had a special voice for 
them , and a special smile for the other children when Lil Kelvey 
cam e up to her w ith a bunch o f dreadfully com m on-looking flow ­
ers.” From all the girls only the Kelveys w ere not allow ed to see 
the m arvelous d o ll’s house, which was presented to the Burnell 
children. “O nly the little Kelveys m oved away forgotten; there 
w as nothing m ore for them to hear.” The story is very short but it 
provokes a deep feeling o f sym pathy in th e hearts o f readers. The 
social cruelty to which the K elveys are subjected by the children 
and adults around is represented skillfull)'.
K atherine M ansfield regarded C hekhov as her literary teacher. 
In collaboration with K otelansky she translated C hekhov’s dia­
ries and letters into English. Once she called h erself “the English 
C hekhov” . But differing from Chekhov, K atherine M ansfield de­


clares that life m ust be taken as it is. She does not see any necessity 
to change it.
Her w riting is objective, but the reader can easily feel her 
sym pathies and antipathies. She is very sensitive to class d istin c­
tions, and her sym pathy is alw ays on the side o f the poor. A ny 
kind o f selfishness and pretence on the part o f the rich people is 
treated with ironic objectivity. H er short story “A Cup o f Tea” is 
an exam ple o f it.
“A Cup of Tea”
The principal character o f the story is R osem ary Fell. The 
author characterizes her in the follow ing way:
“R osem ary Fell was not exactly beautiful. N o, you co u ld n ’t 
have called her beautiful. Pretty? Well, if you took her to pieces... 
But w hy be so cruel as to take anyone to pieces? She was young, 
brilliant, extrem ely m odem , exquisitely w ell dressed, am azingly 
well read in the new est o f the new books, and her parties w ere 
the m ost delicious m ixtures o f the really im portant people...
R osem ary had been m arried two years. She had a duck o f a 
boy. N o, not Peter-M ichael. And her husband absolutely adored 
her. They w ere rich, really rich, not ju s t com fortably well off...”
Thus, R osem ary is so rich, that can buy anything, and can go 
anyw here she w ants. O nce, returning hom e after shopping, she 
meets a girl. In contrast to Rosem aiy, the girl is absolutely poor 
and helpless. She has nothing even to eat:
“... a young girl, thin, dark, shadow y - w here had she com e 
from? - w as standing at R osem ary’s elbow and a voice like a 
sigh, alm ost like a sob, breathed: “ M adam , may I speak to you a 
m om ent?”
“Speak to m e?” R osem aiy turned. She saw a little: battered 
creature with enorm ous eyes, som eone quite young, no older than 
herself, w ho clutched at her coat-collar with reddened hands, and 
shivered as though she had ju st com e out o f the water.
“M -m adam ,” stam m ered the voice. “W ould you lei m e have 
the price o f a cup o f tea?”


“ A cup o f tea?” T here w as som ething sim ple, sincere in that 
voice; it w a sn ’t in the least the voice o f a beggar. “T hen have you 
no m oney at all?” asked Rosemary.
“N one, m adam ,” cam e the answer.
“ H ow extraordinary!” R osem ary peered through the dusk and 
the girl gazed back at her. H ow m ore than extraordinary! And 
suddenly it seem ed to R osem ary such an adventure. It was like 
som ething out o f a novel by Dostoyevsky, this m eeting in the 
dusk. S upposing she took the girl hom e? S upposing she did do 
one o f w hat would happen? It would be thrilling. A nd she heard 
h erself saying afterw ards to the am azem ent o f h e r friends: “ I sim ­
ply took her hom e with m e,” as she stepped forw ard and said to 
that dim person beside her: “C om e hom e to tea w ith m e.”
Rosem ary brings the poor girl home to let her have a cup o f tea 
there. But after a remark m ade by her husband that the girl is pretty, 
R osem ary’s helpfulness disappears. Her sym pathy to the poor girl 
is showy, superficial, not real. She wants to help the poor thing 
only because she wants to boast o f her generous gestures.
W illia m S o m e rse t M a u g h a m
(1874 - 1965)
Н К Ш Ш Ш Ш й
W illiam Som erset M augham is one o f the best know n English 
w rite rs o f th e 2 0 lh century. H e w as no t only a n o v e list o f 
considerable rank, but also one o fth e most successful dram atists


and short story w riters. His first novel “L iza o f L am beth” cam e 
out in 1897, and he w ent on producing books 

Download 4,09 Mb.

Do'stlaringiz bilan baham:
1   ...   107   108   109   110   111   112   113   114   ...   132




Ma'lumotlar bazasi mualliflik huquqi bilan himoyalangan ©hozir.org 2024
ma'muriyatiga murojaat qiling

kiriting | ro'yxatdan o'tish
    Bosh sahifa
юртда тантана
Боғда битган
Бугун юртда
Эшитганлар жилманглар
Эшитмадим деманглар
битган бодомлар
Yangiariq tumani
qitish marakazi
Raqamli texnologiyalar
ilishida muhokamadan
tasdiqqa tavsiya
tavsiya etilgan
iqtisodiyot kafedrasi
steiermarkischen landesregierung
asarlaringizni yuboring
o'zingizning asarlaringizni
Iltimos faqat
faqat o'zingizning
steierm rkischen
landesregierung fachabteilung
rkischen landesregierung
hamshira loyihasi
loyihasi mavsum
faolyatining oqibatlari
asosiy adabiyotlar
fakulteti ahborot
ahborot havfsizligi
havfsizligi kafedrasi
fanidan bo’yicha
fakulteti iqtisodiyot
boshqaruv fakulteti
chiqarishda boshqaruv
ishlab chiqarishda
iqtisodiyot fakultet
multiservis tarmoqlari
fanidan asosiy
Uzbek fanidan
mavzulari potok
asosidagi multiservis
'aliyyil a'ziym
billahil 'aliyyil
illaa billahil
quvvata illaa
falah' deganida
Kompyuter savodxonligi
bo’yicha mustaqil
'alal falah'
Hayya 'alal
'alas soloh
Hayya 'alas
mavsum boyicha


yuklab olish