PADOTA C r.JIArOJIOM (9): bring

B TeKcTe MhI BC'Tpenum: rrperoio2Kemrn:

He was brought up (= educated, trained) to believe in the "Divine Right of Kings".

It was the hour that brought the man. He was brought to trial in London.

OcttoBHoe 3Haqem-1e rnarona bring - «IIpMHOCMTh». Ha- rrpMMep:

Bring me your book.

Jack will bring along some colour photographs.

0,ri:HaKO cy:rn;ecTByeT MH02KeCTBO OTTeHKOB 3Toro 3Haqe­ HIDL BoT HeKOTOpbie M3 HMX:

What brings you (= why have you come) here today?

That remark brought his guilt home to him (= made him realise it).

His work has brought him fame and riches.

What brought about (= caused) the failure of the business?

The sight of that heather brings back (= reminds, calls to mind) the happy days we spent in Scotland.

The jury brought in (= gave) a verdict of "not guilty". His illness was brought on (= caused) by poor feeling.

The publishers are going to bring out (= publish) a new

edition of that book.

 

Y nP A >K HE HHSI

I. CJioBapmrn pa6oTa. IlpH,11,yMailTe npeAJIOBCeHHH co CJIOBaMu:

thread, pattern, history (what is the difference between history and story?), struggle, supreme (use also supremacy), reduce (what is the opposite?), decisive (use also decide, decision, indecisive), portrait (what is the difference between a portrait and a picture?), vivid, handsome (what is the difference between handsome, pretty and beautiful?), admirable (use also admire, admiration), trust (noun and verb) (use also trustworthy, untrustworthy, entrust), vote, false (use also falsely, falseness, falsehood), arrest, oppose (use also opposition, opposite), resist (use also resistance), yield, majority (what is the opposite?), weapon, learning (noun), extreme (use also extremist, extremely, extremity), stained-glass, philosopher (use also philosophy), courtier (use also courtesy; what is meant by "the King's court"?), palace (compare with place), humble (adjective and verb) (use also humbly, humbleness), gratitude (the corresponding adjective is grateful) (use also ungrateful, gratefully, ingratitude), calm

(note the silent "l"), forbid, county (compare with country), obedience (use also obey, disobey, disobedience), scatter, imprisoned (use also prison, prisoner, imprisonment), sentence (verb), mercy (use also merciful, merciless), blot (noun and verb), (what is blotting-paper?), enforce, tyrant (use also tyranny, tyrannical), harsh (use also harshly, harshness), affection (use also affectionate, affectionately).

II. OfrM1cnnTe 3ua11ennH cJioB u Bb pIDKenuu H3 ypoKa:

1. the King was all-poweiful.

2. it is Parliament that, in all but name, is the chief power.

3. one of the most decisive moments.

4. he lightly gave any promise.

5. it wasforced on the people that no promise he gave was of any value.

6. their gay-coloured clothes were an outward expression of an inward gaiety.

7. their faces were habitually sour.

8. they were deeply read in the writings of God.

9. their palaces were houses not made with hands.

10. for them death had lost its terror.

11. it was the hour that brought the man.

12. horsemanship.

13. keep your powder dry.

14. the Ironsides did not give way.

15. For the first time the Cavaliers had been held.

16. the King gave himself up.

17. his treatment of Ireland is one of the blots on his character.

Q63opuL1e ynpurneuIDI

III.,Il;aH:Te KpaTKHe oTBeTbIua Bonpoch1:

1. "In this long struggle one of the most decisive moments came in the seventeenth century". What struggle is referred to? Why was this a decisive time?

2. Why did the Parliamentarians decide to resist Charles I by force?

3. Why did the Parliamentarians suffer defeat at first?

4. If you had been living in the seventeenth century how would you have been able to tell a Cavalier from a Puritan?

5. How did Cromwell bring about military success for the Parliamentarians?

6. How does Cromwell's order, "Trust in God and keep your powder dry", combine "the spiritual and the practical"?

7. What were the main things that Cromwell did for England?

IV. 06'M1cume,!1,pyruMu CJIOBaMu:

1. He nothing common did or mean Upon that memorable scene,

But bowed his comely head Down as upon a bed.

2. On the rich and the learned, on nobles and priests, they looked down with scorn, for they knew themselves to be rich in a more precious treasure, nobles by a greater right, priests by the laying on of a mightier hand.

3. He that risks his life for the liberty of his country should have liberty of his conscience. In things of the mind we look for no compulsion but that of light and reason.

V. BhJY'IHTe uau3ycTb cTpmrn MapBeJia, CJIOBa KpoMBem1, a ecJiu 3a­ xo11eTcn, u OTpbIBOK H3 MaKoyJiu.

VI. IlpH,!1,yMaiiTe npe,!1,JI01KenHB co CJie,!l,ylOilfHMH H,!1,HOMaMu:

bring up; bring about; bring on; bring out; bring the house down; bring to a close; bring (something) off.

Composition Exercises

1. Write character sketches of (1) a Puritan, (b) a Cavalier.

2. Give your impression of the character of (a) Charles I, (2) Cromwell.

3. Write an essay on one of the following:

1. "The Divine Right of King".

2. "The hour brings the man".

3. "A few honest men are better than numbers".

4. "Trust in God and keep your powder dry".

5. "In things of the mind we look for no compulsion but that of light and reason".

LESSON 13

GREAT BRITONS (3): JOHN MILTON

M r. P r i e s t 1e y: I spoke to you a day or two ago about the Cavaliers and the Puritans in England in the seventeenth cen­ tury. I said, you may remember, that the Puritans despised learning and art, that they often showed an actual dislike of the beautiful, and knew nothing of the works of philosophers and poets. But that is not true of one of them at least, the greatest of the Puritans and one of the greatest Englishmen, John Mil­ ton. He is in many ways characteristic of the age in which he lived, but he is not limited by it. Like Shakespeare, he belongs not to an age but to all time.

He was born in 1608 at a house in Bread Street, London, almost under the shadow of St. Paul's Cathedral. Shakespeare was living in London then and writing his plays -indeed there is a story that Milton, a boy of six or seven, once met Shake­ speare, then a man of almost fifty.

Milton's father was a kind of lawyer, a Puritan but a man of learning and a lover of music. John went to school at St. Paul's a famous English school, and then, when he was seventeen, to Christ's College, Cambridge. From his early youth Milton seems to have known, with complete certainty, that God had chosen him for some great purpose to which his whole life had to be devoted. At first, he thought of entering the Church as a preacher, but later he decided this was not his chosen work, and after taking his degree he returned to the little village of Horton in Buckinghamshire, 17 miles from London, where his father had retired, and he settled down to six more years of study, to reading poetry, philosophy, music and languages.

There was always in Milton's mind the idea of a great poem that he was to write. What its subject was to be he did not know, but in his determination, to choose the noblest of subjects and to write in a style worthy of the subject, he read and studied in order to become familiar with the best that had been written and done by other men. He mastered Greek and Latin literature completely, learned French, Ital­ ian and Spanish and studied the latest theories of science. This way followed by travels in France and Italy where he perfected his knowledge of French and Italian. He visited theatres there, listened to music and met great and learned men, including Galileo, now old and blind and in prison. He

had intended to go to Greece, but the news of the coming struggle in England brought him home. "I considered it dishonourable thing", he wrote, "to be travelling for amuse­ ment abroad in foreign lands while my countrymen were fighting for liberty at home". So in 1639 he came back, and joined the struggle in the way he thought he could help best, not by fighting but by writing to explain and to defend the Puritan cause. For the next twenty years he wrote practically no poetry. "It is fine and noble", he said, "to sing the ways of God; it is finer and nobler to fulfil them". His prose writings, powerful, fierce, learned, have, generally speaking, lost their interest for us now, but one great work stands out, one of the greatest pieces of prose in our language, his Areopagitica defending the freedom of the press.

"As good almost kill a man", he wrote, "as kill a good book: he who kills a man destroys a reasonable creature, God's image; but he who destroys a good book, kills reason itself, kills the image of God... Many a man lives a burden to the earth; but a good book is the precious life-blood of a master­ spirit embalmed 1 and treasured up on pui:Bose to a life beyond life. Give me the liberty to know, to utter and to argue freely according to my conscience, above all liberties".

In 1649 he became Foreign Secretary to Cromwell. He worked day and night writing, in Latin, countless letters to foreign rulers, reading and translating their replies. As you have seen, the cause of Puritanism gained the day. Charles I was defeated and executed and Cromwell became ruler of England. But the price that Milton paid was terrible one. At the age of forty-three, with a great work (that he knew beyond any doubt he was to write) still unwritten, Milton became completely and incurably blind. The doctors had warned him some years be­ fore that if he continued with his work he ran the certain risk of going blind. He decided to go on with his work. He wrote, "My resolution was unshaken, though the choice was either the loss of my sight or the desertion of my duty3".

 

1 Embalmed [1m'ba:md] = preserved so that it doesn't decay, as dead bodies are sometimes preserved.

2 utter ['At] = speak.

3 Second Defence of the English People.

ere = before (Poetic), talent = ability (see also Bible, St. Matthew XXV), bent = resolved, chide = blame for a fault, fondly here has an older meaning = foolishly, doth = does (old 3rd person singular), yoke here = burden or service, post = travel.

There are few nobler or more moving poems in the English language than Milton's sonnet On his Blindness.

When I consider how my light is spent

Ere half my days, in this dark world and wide, And that one talent which is death to hide,

Lodged with me useless, though my soul more bent To serve therewith my Maker, and present

My true account, lest He returning chide; "Doth God exact day-labour, light denied?" I fondly ask. But Patience, to prevent

That murmur, soon replies: "God doth not need Either man's work, or His own gifts. Who best

Bear His mind yoke, they serve Him best. His state Is kingly; thousands at His bidding speed,

And post over land and ocean without rest: They also serve who only stand and wait".

Still further disasters came upon him. Cromwell died, and in 1660 Charles II, son of the executed Charles I, was brought back from France to be King of England. Everything that the Puritans had fought for was overthrown. The Puritan leaders were hunted down, imprisoned, put to death. Milton, perhaps because of his blindness, escaped death, but he left London and retired to a little cottage in Chalfont St. Giles, about twen­ ty miles from London. And here, lonely and blind and in dis­ grace, he wrote, or rather dictated to his daughters, his greatest work - the greatest long poem in the language - Paradise Lost. Its vast imaginative flight takes in the boundless space of Heaven, Earth and Hell. Its subject is the fall of Lucifer (Sa­ tan) and the fall of man. It tells with tremendous power of Satan's revolt, and of the war in Heaven that followed. Satan is defeated and cast down to Hell. Here in darkness and pain he forms, with the other fallen angels, a mighty empire and plans revenge. In the form of a serpent he comes to Paradise to bring evil into the world. Adam and Eve are tempted and fall and Paradise is lost.

But the greatness of the poem lies not in the "story" but, in the supreme power and nobility of the language, in the mighty music of the verse, and in the noble spirit that inspires the whole work. You can see something of this in the opening lines:

And chiefly Thou, 0 Spirit! that dost 1 prefer

Before all temples the upright heart and pure,

1 dost [dAst] = old 2nd person singular of do.

Instruct 1 me, for Thou knowest.

........What in me is dark,

Illumine; 2 what is low, raise and support3That to the height of this great aument

I may assert4 Eternal Providence

And justify 6 the ways of God to men.

In 1671 two more great works followed Paradise Lost. They were the long poem Par­ adise Regained and the drama Samson Agonistes. In the fig­ ure of Samson we feel that Milton sees himself. Samson is blind; he, like Milton, has seen his cause defeated and his en­ emies triumphant. He is

"Eyeless, in Gaza at the

mill, with slaves". MILTON DICTATING Paradise Lost

TO HIS DAUGHTER

 

But, like Milton, he is a rebel, proud and courageous, and in the face of blindness, disgrace and slavery he can still serve God's purpose. In doing this he brings about his own death; but his death is his triumph.

...Samson hath7quit8himself

Like Samson, and heroically hath finished A life heroic.

* * *

Nothing is here for tears, nothing to wai19

Or knock the breast, 10 no weakness, no contempt, Dispraise or blame, nothing but well and fair

And what may quiet us in a death so noble.

 

1 instruct = teach.

2 illumine = make light.

3 argument, here = subject.

4 assert = declare solemnly and certainly.

5 Providence = the care of God for man.

6 justify... God = show that the ways of God are just and right.

7 hath = old form of has.

8 quit (acquitted) himself = behaved. 9 wail = cry with sorrow.

10 To knock the breast was a sign of sorrow.

In 1674 Milton died. He is buried in London in the church­ yard of St. Giles, Cripplegate, not far from the street where he was born.