liter_country_learning_lang

Beatrice: Yes, faith; it is my cousin's duty to make curtsey, and say, ''Father, as it please you''. But yet for all that, cousin, let him be a handsome fellow, or else make another curtsey, and say, ''Father, as it please me''.

L e o n a t o: Well, niece, I hope to see you one day fitted with a husband.

Beatrice: Not till God make men of some other metal than earth. Would it not grieve a woman to be overmastered with a piece of valiant dust? To make an account of her life to a clod of wayward marl? No, uncle, I’ll none: Adam's sons are my brethren; and, truly, I hold it a sin to match in my kindred.

L e o n a t o: Daughter, remember what I told you: if the prince do solicit you in that kind, you know your answer.

Beatrice: The fault will be in the music, cousin, if you be not wooed in good time: if the prince be too important, tell him there is measure in everything, and so dance out the answer. For, hear me, Hero: wooing, wedding, and repenting, is as a Scotch jig, a measure, and a cinque pace: the first suit is hot and hasty, like a Scotch jig, and full as fantastical; the wedding, man- nerly-modest, as a measure, full of state and ancientry; and then comes repentance, and with his bad legs, falls into the cinque pace faster and faster, till he sink into his grave.

4. Assignments for stylistic analysis.

1.What impression do you get from Beatrice?

2.Comment on Leonato's words: «By my troth, niece, thou wilt never get thee a husband, if thou be so shrewd of thy tongue».

3.Discuss the meaning of the saying: «God sends a curst cow short horns» and comment on its stylistic peculiarity. Say why Beatrice uses it.

4.Speak on the way Leonato interprets the above mentioned saying. What SD is used by him?

5.Find cases of periphrasis in Beatrice's speech and speak of their func-

tion.

6.Discuss Beatrice's attitude towards marriage, comment on lexical and phonetic EMs and SDs used in her speech and speak of the effect achieved through the use of these devices.

7.Comment on the different ways Shakespeare manipulates with the remarks of the characters.

Summing up your analysis of the extract, discuss the character of Beatrice and her views as they are revealed through her speech.

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Variant 8

1.The works of Ch. Dikens: ''Great Expectations'' – a psychological and autobiographical novel.

2.What is the role of fate in Tess of the d'Urbervilles? What does Hardy mean by ''fate''? To what extent does Tess's tragedy hinge on improbable.

3.Analyze the following extract.

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[Left by her husband and penniless, Tess wanders from farm to farm in search of work.]

''Under foot the leaves were dry, and the foliage of some holly bushes which grew among the deciduous trees was dense enough to keep off draughts. She scraped together the dead leaves till she had formed them into a large heap, making a sort of nest in the middle. Into this Tess crept.

Such sleep as she got was naturally fitful; she fancied she heard strange noises, but persuaded herself that they were caused by the breeze. She thought of her husband in some vague warm clime on the other side of the globe, while she was here in the cold. Was there another such a wretched being as she in the world? Tess asked herself; and, thinking of her wasted life, said, "All is vanity." She repeated the words mechanically, till she reflected that this was a most inadequate thought for modern days. Solomon had thought as far as that more than two thousand years ago; she herself, though not in the van of thinkers, had got much further. If all were only vanity, who would mind it? All was, alas, worse than vanity – injustice, punishment, exaction, death. The wife of Angel Clare put her hand to her brow, and felt its curve, and the edges of her eye-sockets perceptible under the soft skin, and thought as she did so that a time would come when that bone would he bare. "I wish it were now", she said.

In the midst of these whimsical fancies she heard a new strange sound among the leaves. It might be the wind; yet there was scarcely any wind. Sometimes it was a palpitation, sometimes a flutter; sometimes it was a sort of gasp or gurgle. Soon she was certain that the noises came from wild creatures of some kind, the more so when, originating in the boughs overhead, they were followed by the fall of a heavy body upon the ground. Had she been ensconced here under other and more pleasant conditions she would have become alarmed; but, outside humanity, she had at present no fear.

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Day at length broke in the sky. When it had been day aloft for some little while it became day in the wood.

Directly the assuring and prosaic light of the world's active hours had grown strong she crept from under her hillock of leaves, and looked around boldly. Then she perceived what had been going on to disturb her. The plantation wherein she had taken shelter ran down at this spot into a peak, which ended it hitherward, outside the hedge being arable ground. Under the trees several pheasants lay about, their rich plumage dabbled with blood; some were dead, some feebly twitching a wing, some staring up at the sky, some pulsating quickly, some contorted, some stretched out – all of them writhing in agony, except the fortunate ones whose tortures had ended during the night by the inability of nature to bear more.

Tess guessed at once the meaning of this. The birds had been driven down into this corner the day before by some shooting-party; and while those that had dropped dead under the shot, or had died before nightfall, had been searched for and carried off, many badly wounded birds had escaped and hidden themselves away, or risen among the thick boughs, where they had maintained their position till they grew weaker with loss of blood in the night-time, when they had fallen one by one as she had heard them.

She had occasionally caught glimpses of these men in girlhood, looking over hedges, or peering through bushes, and pointing their guns, strangely accoutred, a bloodthirsty light in their eyes. She had been told that, rough and brutal as they seemed just then, they were not like this all the year round, but were, in fact, quite civil persons save during certain weeks of autumn and winter, when, like the inhabitants of the Malay Peninsula, they ran amuck, and made it their purpose to destroy life – in this case harmless feathered creatures, brought into being by artificial means solely to gratify these propensities – at once so unmannerly and so unchival-rous towards their weaker fellows in Nature's teeming family.

With the impulse of a soul who could feel for kindred sufferers as much as for herself, Tess's first thought was to put the still living birds out of their torture, and to this end with her own hands she broke the necks of as many as she could find, leaving them to lie where she had found them till the gamekeepers should come – as they probably would come – to look for them a second time.

"Poor darlings – to suppose myself the most miserable being on earth in the sight o'such misery as yours!" she exclaimed, her tears running down as she killed the birds tenderly. "And not a twinge of bodily pain about me! I be not mangled, and I be not bleeding, and I have two hands to feed and clothe me. "She was ashamed of herself for her gloom of the night, based on noth-

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ing more tangible than a sense of condemnation under an arbitrary law of society which had no foundation in Nature".

QUESTIONS AND TASKS

1.Where does Tess find shelter for the night during her wanderings?

2.What reveals her despair?

3.How is her mood changed?

4.Explain the philosophical significance of the last sentence with its contrast of nature and society.

5.Point out epithets rendering the heroine's state of mind.

6.Is the narrative calm or pathetic? Prove your point of view.

7.Analyse the means by which the writer's opinion of the brutality of hunting is revealed.

8.Discuss the symbolic meaning of the imagery connected with the wounded birds. Pick out the words describing their sufferings.

9.What are Hardy's ways of showing Tess's courage and kindness? (See the last paragraph.) Comment upon the phrases: "she killed the birds tenderly" and "their weaker fellows in Nature's teeming family".

10.How are humanistic and lyrical trends in Hardy's art manifested in this excerpt?

11.Explain in your own words what is meant by the sentences beginning: "Solomon had thought as far as that...".

4. Hardy rarely questions public morality openly in Tess of the d'Urbervilles. Nevertheless, the novel has been taken as a powerful critique of the social principles that were dominant in Tess's time. How does

Hardy achieve this effect? Why might we infer a level of social criticism beneath Tess's story? Write the essay on this theme.

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Variant 9

1.E. Bronte's ''Wurthering Heights'' – the novel's narrative strategy.

2.Analyze the following extract:

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3. Discussion Questions for Vanity Fair.

Chapters 41–53

1.What is the significance of the friendship that develops between Rawdon Crawley and Lady Jane during this part of the novel?

2.Compare and contrast the characterizations of Amelia Sedley, Jane Osborne, and Lady Jane Crawley. What features of their personalities do they share and how are they different?

3.What is the narrator's attitude towards women in this part of the

novel?

4.What similarities are there in the relationships between Amelia and George, and Amelia and Georgy?

5.What is the significance of the pair of charades that are acted in Chap-

ter 51?

6.Is Rawdon's decision to leave Becky a spontaneous one – the result of wounded vanity – or is it the result of subtle changes in his character that have been developing for some time?

7.At the end of Chapter 53, the narrator provocatively questions the nature of Becky's relationship with Lord Steyne: "What had happened? Was she guilty or not? She said not; but who could tell what was truth which came from those lips; or if that corrupt heart was in this case pure." What evidence is there to suggest that Becky is guilty? Is not guilty?

4. Write the essay on narrative technique in "Tess of the D'Urbervilles" by T. Hardy.

Variant 10

1.The Victorian Period Historical background, Victorian novels.

2.Discussion Questions for Vanity Fair.

Chapters 54–67

1.Trace all of the factors that influence our feelings about Dobbin throughout the novel. Do we experience peaks and valleys with him as we do with Becky, and do we feel that he gets what he deserves at the novel's close? Does Amelia get what she deserves?

2.What do you make of the challenge Rawdon Crawley wishes to issue to Lord Steyne, and what are your feelings about both Mr. Wenham (Lord Steyne's second) and Captain Macmurdo (Rawdon's second)? Do you find that these negotiations make for gripping drama or high comedy?

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3.What is the significance of the deaths of Old Sedley and Mr. Osbourne? Do you feel anything amounting to sympathy and/or pity for these old rivals?

4.What do you make of the encounter between Becky and Georgy in the gaming room at the Stadthaus ball in Chapter 63?

5.Does Becky kill Jos Sedley? Is she capable of such an act? If we can not be entirely sure of the extent to which she is guilty of adultery in her liaison with Lord Steyne, can we possibly suspect her of poisoning her acquaintance?

3. Analyze the extract from "Great Expectations" by Ch. Dickens:

Pip gives the convict the food and returns home. For Christmas lunch the Gargery household is joined by Mr Wopsle, a church clerk, Mr Hubble, a wheelwright (a person who makes wooden carts), Mrs Hubble and Uncle Pumblechook, Joe's uncle.

"Among this good company I should have felt myself, even if I hadn't robbed the pantry, in a false position. Not because I was squeezed in at an acute angle of the table-cloth, with the table in my chest, and the Pumblechookian elbow in my eye, nor because I was not allowed to speak (I did- n't want to speak), nor because I was regaled with the scaly tips of the drumsticks of the fowls, and with those obscure corners of pork of which the pig, when living, had had the least reason to be vain. No; I should not have minded that if they would only have left me alone. But they wouldn't leave me alone. They seemed to think the opportunity lost, if they failed to point the conversation at me, every now and then, and stick the point into me. I might have been an unfortunate little bull in a Spanish arena, I got so smartingly touched up by these moral goads".

Answer the following questions:

a)Which of the following alternatives is wrong? He was given the worst food/ignored, forced to be silent/taunted.

b)How does Dickens convey the gap between Pip and the adults?

4. Write the essay on Wilde's literary works "The Importance of Being Earnest".

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5. ИТОГОВЫЙ КОНТРОЛЬ РЕЗУЛЬТАТОВ ИЗУЧЕНИЯ ДИСЦИПЛИНЫ

Итоговый контроль результатов изучения дисциплины проводится в форме экзамена, при выставлении которого учитываются: посещение занятий во время сессии, аудиторная и самостоятельная работа, выполнение контрольной работы.

Экзамен предполагает проверку умений:

•выделить и дать характеристику основных периодов развития английской литературы;

•анализировать художественный текст не только в аспекте проблематики, но и васпекте его художественного своеобразия;

•логично и аргументированно в устной и письменной форме дать ответ на поставленные вопросы об идейно-художественном содержании изучаемых произведений английской литературы;

•устанавливать связь между особенностями литературного произведения (смысловое содержание, событийная нагрузка, стилистика, жанр повествования) того или иного английского автора и реальными событиями (фактами, явлениями) эпохи, в которую жил и творил этот писатель/поэт.

6.УЧЕБНО-МЕТОДИЧЕСКОЕ ОБЕСПЕЧЕНИЕ ДИСЦИПЛИНЫ

6.1.Литература обязательная

1.Аникст А.А. Хрестоматия по английской литературе XIX – XX вв. – М., 1988.

2.Burgess Antony. English Literature. A Survey for Students. – Longman, 1999.

3.Thornley Gwyneth Roberts G.C. An Outline of English Literature. – Longman, 1999.

6.2.Литература дополнительная

4.Арнольд И.В. Three Centuries of English Prose / И.В. Арнольд,

Н.Я. Дьяконова. – Л., 1987.

5. Дьяконова Н.Я. An Antology of English Literature XIX /

Н.Я. Дьяконова, Т.А. Амелина. – Л., 1987.

6.Дьяконова Н.Я. Three Centuries of English Poetry. – Л., 1985.

7.Bradbury M., Lodge D. The Contemporary English Novel. – London, 1997.

8.Gindin J. Postwar British Fiction. – Oxford University Press, 1995.

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9.Karl F.R. A Readers Guide to the Contemporary English Novel. – London, 1972.

10.Roger Cower Past Into Present. – Longman Groop UK Limited,

1990.

11.Ward A.C. Twentieth – Century English Literature 1901 – 1910. – Longman, 1998.

12.Eliot T.S. Poetry and Drama. – Faber and Faber, 1951.

13.Andrews, M.V. The Faber Book of Modern Verse / Ed. Michael Roberts. – Faber and Faber, 1951.

14.Rowell, G. The Victorian Theatre. – O.U.P., 1967.

15.The Pelican Book of English Prose II-III / Ed. K. Allot. – Penguin,

1956.

16.Bowra Sir C.M. The Romantic Imagination. – OUP, 1950.

17.Bate W.B. From Classics to Romantics. – OUP, 1950.

18.Baker J.K. The Re-Interpretation of Victorian Literature. – OUP,

1956.

19.Watt I. The Rise of the Novel: Studies in Defoe, Richardson and Fielding. – Penquin, 1963.

6.3.Web-ресурсы

20.Жизнь и творчество Ч. Диккенса. – Режим доступа: http://www.victorianweb.org/authors/dickens/ge/endbib.html, вход свободный.

21.Дж. Г. Байрон. – Режим доступа: http://byron.narod.ru, вход свободный.

22.Лоренс Г. Сыновья и любовники. – Режим доступа: http://onlineliterature.com/dh_lawrence/sons_lovers/, вход свободный.

23.Английская проза 1910–1920 гг. – Режим доступа: http://www.questia.com/library/ literature / sons-and-lovers.jsp, вход сво-

бодный.

24.Бернард Шоу. – Режим доступа:

http:// www.naexemen.ru/english/famous/v6kdddty-4.shtml, вход свободный.

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