Choose among given topics for discussion the one you are interested in most of all. Explain your choice. Prepare your report on it and defend it (pair, group or individual work).

Topics for discussion

1. The Universe in danger.

2. Unite against terrorism.

3. Threats of terror.

4. Let the Universe be safe.

 

Unit VI.

ART

THE MOON AND SIXPENCE
William Somerset Maugham

(1874-1965)

An outstanding English writer of the 20^th century known to the readers as a successful novelist and short story writer was born in Paris in 1874 and was brought up by his uncle, a clergyman. At the age of ten the boy was sent to England to attend school and in 1890 he went abroad to study at the University of Heidelberg, from which he returned in 1892. As his parents had destined him for the medical profession, he became a medical student at St.Thomas’s hospital in London..

His first novel Lisa of Lambeth appeared in 1897. Soon after its publication Maugham went to Spain and then traveled to all parts of the world (Russia, America, Africa, Asia, the Polynesian Islands) gaining experience for his works.

Somerset Maugham has written twenty-four plays, nineteen novels and a large number of short stories, in addition to travel works and an autobiography.

The most mature period of Maugham’s literary career began in 1915, when he published one of his most popular novels, Of Human Bondage.

The revolt of the individual against the accepted conventions of society is a theme which has always fascinated Somerset Maugham. It inspired the next novel The Moon and Sixpence (1919), which makes use of some outstanding incidents in the life of the artist Paul Gauguin.

Other prominent works by Somerset Maugham are the novels: Cakes and Ale (1930), Theater (1937) and The Razor’s Edge (1944).

Somerset Maugham triumphed not only as a novelist but as a short-story writer as well. He produced some of the finest stories in modern English literature. They are usually very sincere, interesting, well-constructed and logically developed. Many of Maugham’s stories are set in foreign lands and were inspired by his travels in China, Malaya, Borneo, Siam and many other countries.. His most popular stories are Rain, The Unconquered, Gigolo and Gigolette, The Man with the Scar, The Luncheon.

Maugham’s keen and observant eye, a realistic portrayal of life, interesting plots, subtle irony and brilliant style, made his books extremely popular all over the world.

 

Then two years more went by, or perhaps three, for time passes imperceptibly in Tahity, and it is hard to keep count of it; but at last a message was brought to Dr Coutras that Strickland was dying. Ata had waylaid the cart that took the mail into Papeete, and besought the man who drove it to go at once to the doctor. But the doctor was out when the summons came, and it was evening when he received it. It was impossible to start at so late an hour, and so it was not till next day soon after dawn that he set out. He arrived at Taravao, and for the last time tramped the seven kilometres that led to Ata’s house. The path was overgrown, and it was clear that for years now it had remained all but untrodden. It was not easy to find the way. Sometimes he had to stumble along the bed of the stream, and sometimes he had to push through shrubs, dense and thorny; often he was obliged to climb over rocks in order to avoid the hornet-nests that hung on the trees over his head. The silence was intense.

It was with a sigh of relief that at last he came upon the little unpainted house, extraordinarily bedraggled now, and unkempt; but here too was the same intolerable silence. He walked up, and a little boy, playing unconcernedly in the sunshine, started at his approach and fled quickly away: to him the stranger was the enemy. Dr Coutras had a sense that the child was stealthily watching him from behind a tree. The door was wide open. He called out, but no one answered. He stepped in. He knocked at a door, but again there was no answer. He turned the handle and entered. The stench that assailed him turned him horribly sick. He put his handkerchief to his nose and forced himself to go in. The light Was dim, and after the brilliant sunshine for a while he could see nothing. Then he gave a start. He could not make out where he was. He seemed on a sudden to have entered a magic world. He had a vague impression of a great primeval forest and of naked people walking beneath the trees. Then he saw that there were paintings on the walls.

“ Mon Dieu, I hope the sun hasn’t affected me,” he muttered.

A slight movement attracted his attention, and he saw that Ata was lying on the floor, sobbing quietly.

“Ata,” he called. “Ata.”

She took no notice. Again the beastly stench almost made him faint, and he lit a cheroot. His eyes grew accustomed to the darkness, and now he was seized by an overwhelming sensation as he stared at the painted walls. He knew nothing of pictures, but there was something about these that extra­ordinarily affected him. From floor to ceiling the walls were covered with a strange and elaborate composition. It was indescribably wonderful and mysterious. It took his breath away. It filled him with an emotion which he could not un­der­stand or analyse. He felt the awe and the delight which a man might feel who watched the beginning of a world. It was tremendous, sensual, passionate; and yet there was something horrible there too, something which made him afraid. It was the work of a man who had delved into the hidden depths of nature and had discovered secrets which were beautiful and fearful too. It was the work of a man who knew things which it is unholy for men to know. There was something primeval there and terrible. It was not human. It brought to is mind vague recollections of black magic. It was beautiful and obscene.

“ Mon Dieu, this is genius.”

The words were wrung from him, and he did not know he had spoken.

Then his eyes fell on the bed of mats in the corner, and he went up, and he saw the dreadful, multilated, ghastly object which had been Strickland. He was dead. Dr Coutras made an effort of will and bent over that battered horror. Then he started violently, and terror blazed in his heart, for he felt that someone was behind him. It was Ata. He had not heard her get up. She was standing at his elbow, looking at what he looked at.

“Good Heavens, my nerves are all distraught,” he said. “You nearly frightened me out of my wits.”

He looked again at the poor dead thing that had been man, and then he started back in dismay.

“But he was blind.”

“Yes; he had been blind for nearly a year.”

***

“For a long time I could not get out of my head the recollection of the extraordinary decoration with which Strickland had covered the walls of his house,” he said reflectively.

I had been thinking of it too. It seemed to me that here Strickland had finally put the whole expression of himself. Working silently, knowing that it was his last chance, I fancied that here he must have said all that he knew of life and all that he divined. And I fancied that perhaps here he had at last found peace. The demon which possessed him was exorcized at last, and with the completion of the work, for which all his life had been a painful preparation, rest descended on his remote and tortured soul. He was willing to die, for he had fulfilled his purpose.

“What was the subject?” I asked.

“I scarcely know. It was strange and fantastic. It was a vision of the beginnings of the world, the Garden of Eden, with Adam and Eve – que sais-je? – it was a hymn to the beauty of the human form, male and female, and the praise of Nature, sublime, indifferent, lovely, and cruel. It gave you an awful sense of the infinity of space and of the endlessness of time. Because he painted the trees I see about me every day, the coconuts, the banyans, the flamboyants, the alligator pears, I have seen them ever since differently, as though there were in them a spirit and a mystery which I am ever on the point of seizing and which for ever escapes me. The colours were the colours familiar to me, and yet they were different. They had a significance which was all their own. And those nude men and women. They were of the earth, the clay of which they were created, and at the same time something divine. You saw man in the nakedness of his primeval instincts, and you were afraid, for you saw yourself.”

Dr Coutras shrugged his shoulders and smiled.

“You will laugh at me. I am a materialist, and I am a gross, fat man – Falstaff, eh? – the lyrical mode does not become m. I make myself ridiculous. But I have never seen painting which made so deep an impression upon me. Tenez, I had just the same feeling as when I went to the Sistine Chapel in Rome. There too I was awed by the greatness of the man who had painted that ceiling. It was genius, and it was stupendous and overwhelming. I felt small and insignificant. But you are prepared for the greatness of Michael Angelo. Nothing had prepared me for the immense surprise of these pictures in a native hut, far away from civilization, in a fold of the mountain above Taravao. And Michael Angelo is sane and healthy. Those great works of his have the calm of the sublime; but here, notwithstanding beauty, was something troubling. I do not know what it was. It made me uneasy. It gave me the impression you get when you are sitting next door to a room that you know is empty, but in which, you know not why, you have a dreadful consciousness that notwithstanding there is someone. You scold yourself; you know it is only your nerves – and yet, and yet… In a little while it is impossible to resist the terror that seizes you, and you are helpless in the clutch of an unseen horror. Yes: I confess I was not altogether sorry when I hear that those strange masterpieces had been destroyed.”

“Destroyed?” I cried.

“ Mais oui; did you not know?”

“How should I know? It is true I had never heard of this work; but I thought perhaps it had fallen into the hands of a private owner. Even now there is no certain list of Strickland’s paintings.”

***

At the door that led from the verandah to the doctor’s consulting-room, he paused and smiled.

“It is a fruit-piece. You would think it not a very suitable picture for a doctor’s consulting-room, but my wife not have it in the drawing-room. She says it is frankly obscene.”

“A fruit-piece!” I exclaimed in surprise.

We entered the room, and my eyes fell at once on the picture. I looked at it for a long time.

It was a pile of mangoes, bananas, oranges, and I know not what; and at first sight it was an innocent picture enough. It would have been passed in an exhibition of the Post-Impressionists by a careless person as an excellent but not very remarkable example of the school; but perhaps afterwards it would come back to his recollection, and he would wonder why. I do not think then he could ever entirely forget it.

The colours were so strange that words can hardly tell what a troubling emotion they gave. There were somber blues, opaque like a delicately carved bowl in lapis lazuli, and yet with a quivering luster that suggested the palpitation of mysterious life; there were purples, horrible like raw and putrid flesh, and yet with a glowing, sensual passion that called up vague memories of the Roman Empire of Heliogabalus; there were reds, shrill like the berries of holly – onethought of Christmas in England, and the snow, the good cheer, and the pleasure of children – and yet by some magic softened till they had the swooning tenderness of a dove’s breast; there were deep yellows that died with an unnatural passion into a green as fragrant as the spring and as pure as the sparkling water of a mountain brook. Who can tell what anguished fancy made these fruits? They belonged to a Polynesian garden of the Hesperides. There was something strangely alive in them, as though they were created in a stage of the earth’s dark history when things were not irrevocably fixed to their forms. They were extravagantly luxurious. They were heavy with tropical odours. They seemed to possess a somber passion of their own. It was enchanted fruit, to taste which might open the gateway to God knows what secrets of the soul and to mysterious palaces of the imagination. They were sullen with unawaited dangers, and to eat them might turn a man to beast or god. All that was healthy and natural, all that clung to happy relationships and the simple joys of simple men, shrunk from them in dismay; and yet a fearful attraction was in them, and, like the fruit on the Tree of the Knowledge of Good and Evil, they were terrible as with the possibilities of the Unknown.

At last I turned away. I felt that Strickland had kept his secret to the grave.

Interpretation of the Text

1. What sensation was Dr Coutras seized by looking at the pictures on the walls?

2. What role does the contradiction between the beauty of the pictures on the walls and the ugly figure of dead Strickland on the floor play?

3. How does the author describe the pictures on the walls of Strickland’s hut? Does he do it professionally as an artist or a connoisseur of art? What professional vocabulary does the author resort to? What syntactical structures are used in the description of the pictures?

4. What is a fruit – piece? What was the author’s exclamation of surprise caused by?

5. Account for the role of French words and expressions given in italics.

6. What made the author feel that Strickland had kept his secret to the grave?

7. Who was the prototype of Strickland? What do you know about this painter? What school and trend of painting did he belong to?

8. Sum up your considerations on the text paying attention to specal stylistic means used by the author and linguistic peculiarities.

Key Notions and Words