Министерство образования и науки Российской Федерации

Омский государственный университет им. Ф.М. Достоевского

МЕТОДИЧЕСКИЕ УКАЗАНИЯ

ПО РАБОТЕ С КНИГОЙ У.С. МОЭМА «ЛУНА И ГРОШ»



Омск

2004
ДЛЯ СТУДЕНТОВ ЯЗЫКОВЫХ СПЕЦИАЛЬНОСТЕЙ,
ИЗУЧАЮЩИХ АНГЛИЙСКИЙ ЯЗЫК

Изд-во ОмГУ

M54

Рекомендованы к изданию редакционно-издательским советом ОмГУ

Рецензент Н.Ю. Цыганкова

М 54 Методические указания по работе с книгой У.С. Моэма «Луна и грош»: для студентов языковых специальностей, изучающих английский язык / Сост. Д.Ю. Малетина. - Омск: Изд-во ОмГУ, 2004. - 40 с.

Методические указания предназначены для работы по аспекту «Домашнее чтение» и содержат тексты, посвященные биографии, творчеству, эстетическим взглядам У.С. Моэма, систему упраж­нений тренировочного и творческого характера, направленных на усвоение лексико-грамматического материала, проверку понима­ния и обобщения прочитанного, а также элементов аналитическо­го чтения.

Цель заданий - закрепить навыки чтения и перевода художе­ственного произведения, активизировать умения и навыки устной речи.

В приложении приведен лингвострановедческий материал, способствующий более полному пониманию книги, и критиче­ская статья.

Для студентов факультета иностранных языков и отделения регионоведения исторического факультета, изучающих англий­ский язык.

© Омский госуниверситет, 2004

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APPENDICES

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Appendix 1

MAENADS

In the 6th century BC, or perhaps very much earlier, the orgiastic religion of the god Dionysus, probably originating in Thrace and Phrygia, was established in Greece. In the Dionysian rites the Maenads (female attendants) became possessed by the spirit of Dionysus by means of tumultuous music and dancing, the free use of wine, and an orgiastic meal (the tearing to pieces and devouring of animals em­bodying Dionysus Zagreus with their bare hands as the central act of the Bacchanalia). Though not necessarily sacramental, these rites enabled the Maenads to surmount the barrier that separated them from the supernatural world and to surrender themselves unconditionally to the mighty powers that transcended time and space, thus carrying them into the realm of the eternal, (from “Encyclopaedia Britannica”)

SIR TOBY BELCH

A fictional character, the boisterous uncle of Olivia in W. Shakespeare’s comedy “12^th Night”, whose alcohol-induced wit produces much of the humour for the play’s subplot.

Appendix 2

Leprosy (Hansen's disease)

Leprosy is one of the most feared of diseases, a dread that stretches back into antiquity, the leper being considered as “unclean.” Yet it is not a highly infectious disease, prolonged intimate family contact being needed for its spread from one person to another. Most adults in areas in which leprosy occurs appear to be immune, but children are very susceptible. The disease has almost disappeared from most temperate countries, but it is still common in Asia, Africa, and Central and South America. At least 2,000,000 people are known to have the disease, and the actual number of infected people may be as high as 15,000,000. In sheer numbers, leprosy presents a serious problem, not lessened by the fact that it is a disabling, deforming dis­ease, slowly progressing throughout the life of the leper but not usually cutting that life short. Management of leprosy involves social, vocational, medical, rehabilitative, orthopaedic, and reconstructive surgical services.

The disease is caused by the leprosy (or Hansen) bacillus, Mycobacterium leprae, and has two principal forms, the tuberculoid and the lepromatous. How the bacillus gets into the human body is not clearly known. It can be discharged in enormous quantities from the nose or broken-down sores of an infected person and, therefore, can be inhaled or spread from skin to skin. It seems that prolonged, close physical contact with an infected person usually (but not invariably) precedes active infection in those who are susceptible. Congenital leprosy is unknown; infants bom of infected parents do not develop the disorder if separated from them at birth

The human body's first reaction to the leprosy bacillus takes place in the deep layers of the skin. The intense cellular reaction involves all of the thicknesses of the skin and the tissues under it, the sweat glands, the hair follicles, and the nerve fibrils that end in the skin. All of this shows up on the infected person's skin as a firm dry spot in which there is no sense of heat, cold, or touch. The cellular reaction continues to spread into the main trunk of the involved nerve, tending to strangle it so that impulses cannot get up or down and thereby causing loss of power in the muscles of the area, loss of sense of pain, and loss of cir­culation in the affected part. This is most commonly seen in the forearm or lower leg, and it leads to claw hand and gross deformity of the foot, but paralysis of muscles of the face, eye, and neck may also occur. The patient is unable to feel pain and minor injuries pass unnoticed. Large eroding ulcers can form, causing loss of fingers and toes; sometimes the condition of the limb is so bad that amputation is necessary.

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The progress of leprosy is slow. It may be years before a child in­fected by a parent shows the first sign of the disease, often a vague, scarcely noticed spot on the skin. Years may pass before any change is noticed, and the child has often grown to an adult before the disease is recognized. Lepers suffer occasionally from bouts of fever, but the course of the disease is mainly one of increasing disability and disfiguration. Lepers often do not die of leprosy; they can live a normal span of years and, with proper medical and rehabilitative care, can live in some measure of comfort.

Apart from the use of drugs, the management of the disease is a vast human problem. The leper must be helped in his disfigurement and his paralysis. The greatest problem is the prevention of infection. A baby bom to a leprous mother has little chance of escape unless it is separated from her. A father is almost bound to infect some members of his family unless taken away from them. The fear of separation makes the family conceal the disease and thus increases the danger of its spread. The ideal must be not a colony for lepers but village or community groups in which whole families can live in good conditions and the leper can be given necessary treatment and the encouragement and help to work within the disease's limitations.

Appendix 3

Read and compare two reviews of this novel written 80 years one after the other. What are the opinions and impressions of the authors? Why are they so different? Which one do you share?

1. 
   “The Moon and Sixpence” by W.S. Maugham re­viewed in the Guardian, May 2 1919.
   

From the archives

Drawing down the moon

The character of a man insensible to ordinary human relations, who lives the life of pure selfishness which is sometimes supposed to produce great art, has always had its fascination for novelists inspired only by the unusual. Accordingly there have been novels in plenty depicting the conflict of (by ordinary standards) brutal genius with uncongenial environment and Mr. Maugham has followed a recognized convention in this story of an imaginary artist of posthumous greatness. He treats him throughout with mock respect, and surrounds his affairs with contributory detail. Mr. Maugham's story is that of a respectable stockbroker who deserts his wife after seventeen years of marriage and goes alone to Paris to follow a new ideal - the ideal of great and for a time unrecognizable art. The break is succeeded by privation and industry, by long periods of work and outbursts of savage sexual con­quest; and the artist at length dies, blind and leprous, in Tahiti.

The book revolves throughout around the character of Strickland and the quality of his art. Does Mr. Maugham so convince us that his Strickland is a real man and a real artist that we can absorb his traits as parts of the essential human creature who lives eternally by his work? It seems to us that he does not. Where every detail should be pungently real, one is constantly checked in belief by the sense of calculated and heightened effect, and by the passion of Mr. Maugham for what is odd and "strong." Such a passion has always defeated its object. Here once more one is repelled, not by Strickland's monosyllabic callousness, but by the knowledge that this callousness is seen and represented without subtlety. The callousness of the artist is something more complex than it is here shown to be. The callousness of Strickland is merely the conventional brutality employed by other novelists of an older generation, the generation which first found in the behaviour of artists a theme to be exploited in fiction. That Mr. Maugham uses the elabo­rations of a modem technique does not create the illusion of reality that he is pursuing. It simply emphasizes the cleverness, the clever uncon­vincingness, of his portrait - not at all the vigour and personality of one who will starve and suffer for the sake of his artistic ideal.

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All the minor drawings in the book are extremely effective, and the simplicity of the narrative is notable. Technically the whole thing has great interest. But as an illumination of the nature of bizarre and uncompromising genius, ready to sacrifice every person and every association that stands in the way of its fulfillment, "The Moon and Sixpence" fails through its literary accomplishment and its lack of true creative inspiration.

2. 
   Review by Edward Tanguay published in the Guard­ian, August 13, 2002
   

Before reading this I was a bit afraid that Maugham's fictional Strickland would somehow distort my conception of Paul Gauguin. Whether this is true or not, Gauguin's paintings now glow with that vast

hollowness of possessed genius with which Maugham instills Stickland in the book.

In a plummeting step-by-step fall you get to know Strickland. Maugham begins with what is a super ordinary man (''He was null. He was probably a worthy member of society, a good husband and father, an honest broker; but there was no reason to waste one's time over him.") Maugham spends a calculated amount of time describing to you the ordinariness of Strickland's life and character, here, of Strickland and his wife:

They would grow old insensibly; they would see their son and daughter come to years of reason, marry in due course - the one a pretty girl, future mother of healthy children; the other a handsome, manly fellow, obviously a soldier; and at last, prosperous in their digni­fied retirement, beloved by their descendants, after a happy, not unuse­ful life, in the fullness of their age they would sink into the grave.

This builds you up for the descending into Strickland's empty soul. And one day in a natural Sartrian movement of absolute freedom, Strickland just leaves. Something must have smoothly and silently bro­ken inside of him to make him just move away. He has no more emo­tion, and Maugham spends the rest of the book expertly showing us this in contact after contact between the narrator and Strickland.

In meeting after meeting, Strickland proves himself to be nothing else but empty of normal response ("Then, what in God's name have you left her for?" - "I want to paint. ") He "just wants to paint," which is an extremely mild way of putting that he needs to madly pursue a gen­ius demon inside of him. Strickland simply repeats, "I've got to paint" until finally he is confronted with "You are a most unmitigated cad" to which he replies, "Now that you've got that off your chest, let's go and have dinner."

He is so dry it makes you laugh. But then you realize that Strick­land is seriously empty and the emotions waver to sadness and then dis­gust for him. You are not expecting how removed Strickland is from normal social behavior and you begin guessing what has happened in­side of him. Maugham has a way of letting you identify with the narra­tor ("I could not struggle against his indifference.").

Strickland has "the directness of the fanatic and the ferocity of the apostle." He becomes not so much an intricate character but a fan­tastically unbelievable character. In fact, describing Strickland the man becomes the goal of the book.

Does Strickland not have the same morals as the pursuer of Lo­lita? It is an all-out pursuit of beauty, and that is the only moral rule. When confronted that if everyone acted like him, "the world couldn't go on," Strickland replies, "That's a damned silly thing to say. Everyone doesn't want to act like me. The great majority are perfectly content to do the ordinary thing." This is not really impressive reasoning, but rea­soning is not what Strickland does well.

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