UNIT FIVE: "ART IS LONG, AND TIME IS FLEETING".

Lesson one.

Exercise 1. We are going to speak about ... Have you got any talents? Can you draw, sing, play the piano, the accordion, the guitar, the violin? The drums? Have you ever danced in your life? If I ask you to draw a tree, will you begin from the bottom or at the top? The trunk or the branches? Or will you be satisfied with a blossoming apple-tree twig with its white-pink flowers and droplets of dew? And if you are asked to hum a tune /наспівати/ what will it be? Try, and let your classmates guess. Have you got a good ear or a deaf one? And what about your voice? Does it sound pleasant when you sing?

So we're going to speak about talents and arts.

"Stay, fleeting moment! You are divine!" exclaimed Faust [faʊst] in the immortal poem by Goethe [gɜ:tǝ]. How often all of us could exclaim the same! When we are enchanted with the sunrise or the sunset, with the view of a rough sea or an endless field, with the beautiful face of a woman, we would like to keep this picture in our memory , on paper or canvas, in a photo at least.

If a young woman of the 18th century could have her portrait painted by

Gaisborough ['geınzbǝrǝ], she would have looked like a gracious ['greıʃǝs] /люб'яз -ний/, graceful /витончений/, intelligent and infinitely charming lady. Such was the artistic power of this master!

People have always tried to reflect the pictures of the surrounding world, which they were delighted or amazed with, in some way. Nowadays we have got photo and video cameras, so it depends only on our skill, whether we capture the 'fleeting' moment or not. Our ancestors have left us carvings on the walls of caves, on wood or stone, on metal, paper or canvas. They created stone or wooden statues of animals and people.

There are two absolutely fabulous figurines among thousands of exhibits of the British Museum. Both are from Ancient Egypt. One is a most majestic bronze cat, sacred to Goddess Bastet, with a gold nose-ring and earrings, and a silvered amulet hanging from its neck, dating to 30 BC; and a tiny hippopotamus, his blue-glazed body painted with aquatic plants, dating to 1900 BC. If you close your eyes for a moment and imagine these two animals, what visions appear in your brain? Who

were the sculptors and who were the admirers?

Thanks to many known and thousands of unknown artists, we have got a pictorial history of the world with all its victories, tragedies and disasters, triumphs and

celebrations. Imagine the Egyptian cat. Did he catch mice in his ancient Egypt? Or was he treated as a kind of god? Or was he a pet, which used to purr when he was happy?

Read a short poem by William Blake (1757-1827), an English poet, engraver, painter, and mystic. He printed his own books and illustrated them by hand.

Please, try to penetrate into the philosophical thought of the verse and explain the poet's message to us:

"To see a world in a grain of sand

And heaven in a wild flower;

To hold Infinity in the palm of your hand /безкінечність/

And Eternity in an hour". /вічність/

Exercise 2. Each country is famous for and proud of its museums, monuments of architecture and sculpture, which testify to the intellectual wealth, artistic talents and immortal soul of its people. There are museums well-known for their marvellous

collections of genuine masterpieces throughout the world: the National Gallery, the Tate Gallery and the British Museum in London, the Louvre in Paris, the Prado in Madrid, the Uffizi in Florence, the Hermitage and the Russian Museum in St.Petersburgh, the Tretiakov Gallery in Moscow, the National Gallery of Arts in Washington, the National Gallery of Ukraine, the Russian Arts Museum and the Khanenko Western and Oriental Museum in Kyiv and hundreds of others.

Recollect which museums you have visited and what impressed you most of all. If you can't remember properly, please, say which museum seems interesting for you to visit and explain why.

Exercise 3. Try to match the museums with the most famous pictures exhibited there; sometimes there are two or three belonging to the same museum:

1.The Louvre 2.The Hermitage 3.The Kyiv Russian Arts 4.The Tretiakov Gallery 5.The London National Gallery 6.The London Tate Gallery 7.The National Gallery of Ukraine 8.The Russian Museum (St. Petersburgh) 9.The Madrid Prado Museum 10.The Florence Uffizi Museum 11.The Dresden Gallery 12.The Kyiv Khanenko Museum of Western and Oriental Arts 13.The Hague Van Gogh Museum 14. The New York Museum of Modern Art

a-1.Sistine Madonna, Raphael a-2.The Old Testament Trinity, Andrei Rublev a-3.Portrait of Alexander Pushkin, Orest Kiprensky a-4.The Boyarynia Morozova, Vasily Surikov a-5.The Demon Seated, Mikhail Vrubel a-6.Bathing the Red Horse, Kuzma Petrov-Vodkin a-7.Self-Portrait, Sir Anthony van Dyck a-8.Romeo and Juliet (sculpture), Auguste Rodin a-9.Portrait of the Duchess of Beaufort, Thomas Gainsborough a-10.The Return of the Prodigal Son, Rembrandt a-11.Portrait of the Infanta Margarita, DiegoVelasquez a-12.The Last Day Of Pompei, Karl Bryullov a-13.The Sunflowers, Vincent van Gogh a-14.Storm, Ivan Aivazovsky a-15.The Pine Tree, Ivan Shishkin (In the Northern Wilderness...) a-16.Nestor the Chronicler, (sculpture) Mark Antokolsky a-17.Mona Lisa (La Gioconda), Leonardo da Vinci a-18.Marriage a la Mode, William Hogarth a-19.The Shrimp Girl, William Hogarth a-20.Shipwreck , Joseph Mallord William Turner a-21.Snowstorm: Hannibal Crossing the Alps, Joseph Mallord William Turner a-22.The Bride, Fedir Krychevsky a-23.The Billow (A large' ninth' wave), Ivan Ayvasovsky a-24.The Lake. Russia. Isaac Levitan a-25.Youth. Arkady Plastov a-26.Meadow on the edge of a Forest. Isaac Levitan a-27.The Birth of Venus, Sandro Botticelli a-28.A Cornfield with Cypresses,Vincent van Gogh a-29.Guernica, Pablo Picasso a-30.Ladies-in- Waiting, Diego Velasquez

Exercise 4. Have you succeeded? Are you disappointed if you haven't? Take it easy. You shouldn't be upset, if you don't know something. You should feel ill at ease /ніяково/ if you don't want to know anything.

There are short descriptions of some of the above- mentioned pictures; try to guess which of the pictures has been described and add your idea as to what the author wanted to tell us with his picture:

1. It's the middle of spring. The sky is blue and high. In the background there is green field of wheat stretching far to the distant forest. In the foreground there is a boy of 15-16 lying flat on his back on the grass with all kinds of wild flowers around. He is looking at the sky. A dog is sitting next to the boy, panting and waiting for fun.

2. In fact there are many variants of the same picture. The painter was captivated with the flowers, because they seemed warm, homely and unpretentious. He painted them growing in the field or being put in a vase. They were symbols of life, sunshine and modest beauty for him.

3. It is a rock of white marble in which two beautiful young bodies have entwined in a passionate kiss.

4. The background of the picture is dark, depicting the entrance to a house. There are three men standing and looking to the left-hand part of the picture where we see an old man with grey hair and a beard. In front of him with his back to us another man is kneeling, his clothes being dirty and torn all over. He's wearing an old slipper on his right foot, and his left foot is bare, and we see dirty and cracked skin of it. The old man's face is sad, while he is pressing his son against him with his both hands so hard that they seem to have become one whole for the moment.

5. It's early morning, the sun is rising, but we can't see it. What we do see is a

wonderful bright red horse with a thin naked boy on back. The boy is looking in the distance, trying to hold the horse by the bridle. Can a horse be red like blood? It can seem so, if it's light-gray and is sunlit with the rising sun. Having lifted its right leg ready to bathe and to swim, the horse is looking straight at us, as if it were going to say something special. The background of the picture is a lake or a river with other children and horses in the distance.

Home assignment: think and prepare to speak about the museums you would like to visit and say what kinds of pictures you'd like to see there: portraits, landscapes, sea-scapes, city-scapes, genre pictures( a scene where some people are depicted), still lives (a picture of things), drawings, oil paintings, water-colours, battle paintings, pictures of animals, etc. Explain why you prefer these genres to others.

In Ex. IV you could have guessed: 1. Youth by Arkady Plastov; 2. The Sunflowers by Vincent van Gogh; 3. Romeo and Juliet by Auguste Rodin; 4. The Return of the Prodigal Son by Rembrandt and 5. Bathing of the Red Horse by Kuzma Petrov-Vodkin.

Lesson two.

Exercise 1. Oscar Wilde (1854-1900) was an Irish- born English playwright, poet and prose-writer, well-known for his brilliant wit, eccentricity and paradox. The following are some of his sayings about arts, books and artists. Please, read them and say how you understand them and if you agree with all of them:

"The artist is the creator of beautiful things. To reveal art and to conceal the artist is art's aim."

There is no such thing as a moral or an immoral book. Books are well written or badly written. That is all.

The artist can express everything.

Diversity of opinion about a work of art shows that the work is new, complex, and vital.

When critics disagree, the artist is in accord with himself.

All art is quite useless."

Exercise 2. Oscar Wilde's best novel is "The Picture of Dorian Gray", which became the centre of public attention and controversial opinions when it was published in 1891.

The extract from the novel, which you are to read, deals with the description of an artist's studio, where we get acquainted with the three main characters of the novel: Basil Hallward - the artist, who has created a portrait of his young friend Dorian, Dorian Gray - a very handsome young man, and Lord Henry Wotton, a vain, snobbish and cynical aristocrat.

a/ At first get acquainted with new words:

List of vocabulary:

eccentricity [,eksen'trısıtı] - unusual or strange behaviour, taste, which may shock;

vain - having too high an opinion about oneself; = self-conceited [kǝn'si:t];

snob(bish) - one who gives too much respect to social status and wealth; who believes that he is superior to the people of the lower position;

cynical - being unable to trust virtuous deeds or people; being concerned only with one's interests and wishes;

to clamp/ed/ - to put up, to fasten, to secure;

an easel - an upright frame to hold a picture;

a con'jecture - a guess, a gossip, a rumor;

comely - pretty, attractive, good-looking;

to linger/ed/ - to stay, to remain;

Grosvenor - a picture gallery in London;

the Academy - the Royal Academy of Arts in London;

dreadful - awful, horrible, shocking;

candour - frankness, openness, sincerity

b/ While reading try to pay attention to the most interesting sentence in the text:

In the centre of the room, clamped to an upright easel, stood the full-length portrait of a young man of extraordinary personal beauty, and in front of it, some little distance away, was sitting the artist himself, Basil Hallward, whose sudden disappearance some years ago caused, at the time, such public excitement, and gave rise to so many strange conjectures.

As the painter looked at the gracious and comely form he had so skilfully mirrored in his art, a smile of pleasure passed across his face, and seemed about to linger there. But he suddenly started up, and, closing his eyes, placed his fingers upon his lids, as though he sought to imprison within his brain some curious dream, which he feared, he might awake.

"It's your best work, Basil, the best thing you have ever done," said Lord Henry. "You must certainly send it next year to the Grosvenor. The Academy is too large and too vulgar. Whenever I have gone there, there have been either so many people, that I haven't been able to see the pictures, which was dreadful, or so many pictures, that I have not been able to see the people, which was worse."

As they entered the sitting room, they saw Dorian Gray. He was seated at the piano, with his back to them, turning over the pages of a volume of Schumann's "Forest Scenes". "You must lend me these, Basil," he cried. "I want to learn them. They are perfectly charming."

"That entirely depends on how you sit today, Dorian."

"Oh, I'm tired of sitting, and I don't want a life-sized portrait of myself," answered the lad, swinging round on the music stool, in an easy manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks for a moment, and he started up. "I beg your pardon, Basil, I didn't know you had anyone with you".

"This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. I have just been telling him what a capital sitter you were, and now you have spoiled everything."

"You have not spoiled my pleasure in meeting you, Mr.Gray," said Lord Henry, stepping forward and extending his hand.

Lord Henry looked at the young man. Yes, he was certainly wonderfully handsome, with his finely-curved scarlet lips, his frank eyes, his crisp gold hair. There was something in his face that made one trust him at once. All the candour of youth was there, as well as all youth's passionate purity. One felt that he had kept himself unspotted from the world. No wonder Basil Hallward worshiped him

Exercise 3. Have you paid attention to the description of Hallward's studio? If you are to describe a studio what would you add to the description from the text? Does an artist have any palettes, brushes, tubes or jars with paint or oil, some kind of thinners for the paints, frames with canvases on them, etc? What kinds of windows do the artists prefer?

Exercise 4. There is rather a laconic description of Dorian Gray. Could you try to use your imagination and add to the picture? Could you compare him with any of the famous film-stars? Try and compare him with your classmate; mention likeness and differences and make your group guess who you mean.

Home assignment: please, answer the following questions:

1. Why do most artists have studios?

2. Why are artists willing to exhibit their works at the exhibitions and galleries?

3. Why do they clamp the canvas on the upright easel?

4. What is a palette used for?

5. Why do artists need a sitter to create a portrait?

6. Why is the work of a sitter rather hard?

7. Why do we feel annoyed if there are many people at the exhibition on the day of our visit?

Lesson three.

Exercise 1. Please, read the following sayings of the famous people about arts; choose one or two to share your mind:

"Art is power". Henry Longfellow.

"Art is long, and Time is fleeting". Henry Longfellow.

"Dead he is not , but departed, - for the artist never dies". Henry Longfellow.

"Great art is an instant arrested in eternity". James G. Huneker.

"Scratch an artist, and you'll find a child". James G. Huneker.

Exercise 2. Arts of every country have their own history, which is closely connected with the political, economic and social development of a country. So do British Arts.

The essay that follows has been written by Stuart Holroyd, who tries to make analysis of the development of British Arts in the 18th century. Before you start reading the text could you try and answer the questions that follow?

1. Why were frescos used to decorate churches and the houses of rich people, not the houses of the poor?

2. Why were many wall-paintings destroyed in Great Britain in the churches and houses during the religious conflicts and the Civil War?

3. What class of people was the moving force of the Civil War in Great Britain?

4. What did the middle class of Great Britain get as a result of the Civil War?

5. Why do rich people support arts? (Suffice it to refer to Stanislavsky, Tretiakov, Mamontov, Tereschenko, Khanenko, to mention but a few).

Exercise 3. After reading you are supposed to be ready to give the gist of the text:

Painting in the modern sense came late in the history of Britain. There was no truly national school before the 18th century. The Reformation (1530-1563), the replacement of Roman Catholicism and its institutions by the national Protestant Church in destroying monastic houses, destroyed also the culture of which they were the centre. The centuries following the Reformation brought to an end the art of Middle Ages - wall painting.

Historians of English literature and critics of arts classify the 18th century as the 'golden' and 'classical' age of British Arts. It was in this century that England became famous all over the world for its national School of landscape painting. Unlike the artists of the 17th Dutch school of landscape, each of the English artists of the 18th century seemed to have kept a distinct artistic individuality typical of the English character in general. However, there were some things in common for all of them, which distinguished them from the artists of other schools.

The first was a simple faith in nature. They thought of nature as a universal spirit, open to human experience by observation and intuition.

The second interest common to all was light as a means of expression. They watched and reflected in their pictures the minutest [maı'nju:t] /найменший/ variations in tone as light fell on individual leaves, branches and tree trunks.

As the middle class acquired wealth and power as a result of the Civil War, the only thing that distinguished it from nobility was a certain coarseness of taste, a lack of refinement. These things, as Defoe poited out, could be also acquired, if one had money. Classicism, with its emphasis on order, discipline, balance and reason, appealed to the middle class as the answer to its deepest need: for a sense of balance and self-assurance. Through the wealth the middle class gained social respectability, and through classical arts it sought to gain intellectual respectability. The members of the middle class widely assumed that classical culture could endow them with their desired refinement and balance.

Supported by the wealthy middle class the new representatives of English painting could afford to reject the continental influence. The English arts began to develop independently, establishing a kind of School whose themes and subjects were thoroughly British, landscape and portrait painting first of all.

Exercise 4. There are some phrases in the text which seem interesting to debate on:

1. ... a simple faith in nature. They thought of nature as a universal spirit...(How could nature be a universal spirit?)

2. ... light as a means of expression... (Expression of what?)

3. ... a certain coarseness of taste, a lack of refinement.... (Did these disadvantages result from lack or inadequate education in comparison with that of the aristocrats?)

4. ... the answer to its deepest need: for a sense of balance and self-assurance. (Why is the feeling of balance and stability so important for the middle class?)

5. ... intellectual respectability... (Have our middle class of the 21st century gained their intellectual respectability, after they have become sponsors of different projects in culture?)

6. ... landscape and portrait painting first of all. (Why were these two most fashionable?)

Exercise 5. Please, read the sentences in italics again and try and explain how you understand them.

Exercise 6. Let's hold a discussion on the questions of the previous home assignment: share your views with the partner sitting next to you. If you disagree about some problem ask the teacher or the other pupils to be arbitrators.

Home assignment: keeping in mind that most of the English painters of the 18th century were also representatives of the middle class, retell the main aspects of the text.

The clues to Ex. 3, lesson I;

1. - a-17; 2.- a-7; a-8; a-9; a-10; 3. -a-15; a-12; a-14; a-16; 4.- a-2; a-3; a-4; a-5; a-6; 5.- a-13; a-18; a-19; 6.- a-20; a-21; 7. -a-22; 8. a-23; a-24; a-25; a-26; 9. - a-30;

10. -a-27; 11.-a-1; 12. - a-11; 13. - a-13; -a-28; 14. - a-29;

Lesson four.

Exercise 1. So what was so extraordinary in the history of British arts in the 18th century? Who were the commissioners /замовники/? After the grim, prudent /обережний/ and gloomy Puritan cleansing /[klenzıŋ] очищення/ why were the representatives of the middle class eager to have their portraits painted and the walls of the houses decorated?

Exercise 2. We are going to get acquainted with William Hogarth, the man who, so to say, started it all. Not until William Hogarth do we find a painter truly English.

What's so English about this man? You are to read the text and to think and debate about the parts in italics:

William Hogarth, the great English painter and pictorial satirist, was born in London in 1697. His father, Richard Hogarth, who died in 1718, was a school-master and a literary hack /=amateur/, who had come to London to seek for fortune. He was a well-educated man and he must have given his son the knowledge of languages and encouraged him to view the life philosophically. The boy was smart enough to see that much learning had not made his parent prosper. William must have been captivated by the theatre. "Shows of all sorts gave me uncommon pleasure when an infant", Hogarth used to say later. He was utterly enchanted by "The Beggar's Opera" staged in London in 1728 by John Gay. Hardly had any side of the English contemporary life escaped its satirical treatment in this work. Thieves and beggars, ladies and gentlemen, lawyers and tradesmen - all of them were caricatured and mocked at in the songs, many of them set to popular English and Scottish tunes. There was one thing that was in common with them - they were beggars in spirit, in their moral and intellectual essence.

So, by his own desire William Hogarth was apprenticed to a silver-plate engraver, since it was still at a public school, that he had been in the habit of drawing ornaments around all his exercises. But he can't have limited his skills to silver-plate engraving only. "Engraving on copper was, at twenty years of age, my utmost ambition". Hogarth was endowed with marvellous power of seizing expression, unique eye-memory and tenacity /чіпкість/ of minor detail. Having been greatly impressed by "The Beggar's Opera" - a brilliant music parody on the aristocratic theatre on the one hand and on the morals of the society on the other, Hogarth created a series of satirical paintings, which one after another told a story of 'The Harlot's Progress" /"Кар'єра повії"/ . He distributed the series of engravings by subscription. They must have been a tremen- dous success, so Hogarth went on to do other series of narrative engravings such as "The Rake's Progress" /"Кар'єра гульвіси"/, "Election" and many others. The famous set of pictures "Marriage a la Mode" /"Модний шлюб"/ contains the most important and highly wrought /витончений/ of the Hogarth comedies. No wonder it made his name famous all over Great Britain and on the continent as well.

What man was he who executed these portraits - so various and so admirable? In the London National Gallery visitors can see the best and most carefully finished series of his comic paintings, and also "The Shrimp Girl" /"Дівчинка з креветками"/, and the portrait of his own honest face, his bright blue eyes shining out from the canvas, giving you an idea of that keen and brave look with which William Hogarth must have regarded the world.

William Hogarth was the first man to raise British pictorial art to an importance level with that of the country's great literature. He had the courage to be himself. He was no court favourite: the story goes, that George II was much offended by Hogarth's painting "The March of the Guards to Finchley". A rabble of drunken and disorderly men - this was no way to express the stately discipline that His Majesty very naturally wished to see in his guardsmen.

In many respects William Hogarth was a typical product of his age - the Age of Reason. There is probably no side of English life that had escaped the artist's keen and witty eye. The painter's concern with social themes and his uncompromising criticism of the follies and evils of the various classes of society make him one of the most eminent representatives of realism in the 18th century art. He was intensely interested in the world about him - as interested as Shakespeare, and with a comparable genius.

Home assignment: The Age of Reason, the Age of Classicism... What names is this century associated with in Literature? What do such names as Jonathan Swift with "Gulliver's Travels", Daniel Defoe with "Robinson Crusoe", Robert Burns with "John Barleycorn" tell you? William Hogarth was also from that age. Write a few questions to ask your classmates about the giants of the Age of Reason and their creativity.

Lesson five.

Exercise 1. The first picture of Hogarth's series "Marriage a la Mode" describes negotiations between the daughter of a rich citizen Alderman /a member of the city authorities/ and young Lord Viscount /віконт/ Squanderland, the dissipated /безпутний/ son of a sick old Earl /граф/. (To squander ['skwɒndǝ] means to waste foolishly, so even the name of the Lord is a caricature). Pride and pomposity appear in every thing surrounding the Earl. He sits in gold lace and velvet /мереживо і оксамит/ - as how should such an Earl wear anything but velvet and gold lace? His coronet /герб/ is everywhere: on his footstool, on the candlesticks /канделябр/ and looking-glasses, on the dog's collar, even on his lordship's very crutches /милиці/. While discussing the terms of the marriage contract the Earl is pointing to his pedigree /родовід, поxодження/, decorated with his coronet! that shows that his race stretches from William the Conqueror. Confronting him is the old Alderman from the City who has brought a bag full of money. While a lawyer, a hypocrite and cheat, is negotiating with the old couple, their children sit together united, but apart. My lord is admiring his reflection in the mirror, while his bride is playing with her marriage ring. She is pretty, but the painter, with a curious watchfulness, has taken care to give her a likeness to her father.

There are many pictures around the room, which give sly /хитрий/ hints indicating the situation of the parties about to marry. A martyr /мученик/ is led to the fire; Andromeda is offered to sacrifice; Judith is going to slay Holofernes (Judice - a legendary heroine, who wanted to protect her native city from Holoferne, general of the Assyrian king. She entered his camp, seduced him and slew him in his drunken sleep). There is the ancestor of the house (in the picture it is the Earl himself as a young man ), with a comet over his head indicating that the career of the family is to be brilliant and brief.

Exercise 2. Have you got a good imagination? Can you clearly see the situation? Does the scene look like a kind of engagement or a business deal? What has the Alderman brought to challenge the pedigree of the Earl? Who do you think will win the battle? Why should they have invited the lawyer to settle the deal? Try and imagine the same room a few days after the wedding ceremony.

Exercise 3. Some time has passed. There is another situation in the series of the pictures; see if your guess was right:

The room with all its gilded furniture, decorated with the Earl's coronet, is a complete mess. The chairs are upset, all things are thrown around, the young wife is shouting and crying and stamping her feet in fury, the dog is barking, the lawyer is trying to flee; my lordship is helplessly sprawling /розвалитися/ in the chair, bearing his coronet, exhausted and desperate.

Exercise 4. Please, use the tables to characterize William Hogarth:

#I

Hogarth was the first one of the first

to

view the life of his country philosophically pay attention to the follies, evils, vices of his time parody the morals of the new bourgeoisie attract the attention of the people to the morals caricature all the classes of Great Britain satirize hypocrisy, drunkenness, vanity, sloth, avarice create a satirical portrayal of the Age of Reason establish national themes and subjects in art give the impulse to set the national School of painting

#2

It goes without saying It's common knowledge It's quite natural It's taken for granted It's no exagge- ration to say

that Wil- liam Ho- garth

created a pictorial history of his country made a parody of the morals of his age addressed a lot of engravings to common people produced his own "Beggar's Opera" influenced the development of satire of his time made a revolution in the history of painting responded to the highest aspirations of his country inspired a whole succession of geniuses

Exercise 5. Make up sentences complete by adding the suitable ending:

1. William Hogarth must have been dissatisfied with the things he had to study at school because ...

2. Hogarth needn't have gone far to observe ...

3. He must have been aware of his gift for quick satirical portrayal of things since ...

4. His father may have ...

5. Engraving on copper must have allowed him to produce imprints on paper, so his caricatures ...

6. The series of narrative paintings may have enabled Hogarth to show ...

7. The first series of engravings which was bought by subscription, must have made the name of the artist ...

8. He needn't have sought for any favours of the king because ...

9. Could Hogarth have thought about the revolution in ...

10. There must have been no other artist in the whole of Europe at that time who could have shown ...

Home assignment: there is a choice: 1/ you may write a thesis, describing the life and creativity of Hogarth; or 2/ you may write a story based on the "Marriage a la Mode".

Lesson six.

Exercise 1. Sir Joshua Reynolds and Thomas Gainsborough were contemporaries and rivals. They rank side by side as the greatest portrait- painters of the English school. But they were always at variance /=couldn't agree with each other/. Compare the lives and the contribution of both and try to say what made them competitors:

Born Family Education London Died

Joshua Reynolds 1723, in Devonshire father -a clergyman, a master of three grammar schools a grammar school; 17 - apprenticed to a popular portrait painter in London for 2 years; returned to Devonshire, painted portraits; 1744; stepped into a foremost position as the fashionable portrait painter; his social occupations took the next place to his painting. His painting-room was crowded with the wealth and fashion of London. Studied the greatest masters in Rome 1750-1752. December 1768 the Royal Academy of Arts was founded; Reynolds became its first president. Always had lots of commissions 1755 - 120; by 1757 altogether 677 pictures. Tried to reflect psychological analysis of his sitters; among them a lot of writers. Wrote 15 "Discourses" for the meeting of the Academy; in them - his views on aesthetics; he wasn't a person who could inspire or feel any great warmth of personal feeling; his attitude to other artists lacked generosity; many less fortunate artists were jealous of him. 1792

Thomas Gainsborough 1727, Sudbury, Suffolk father- a businessman, a woolen crape-maker /вовняна тканина/ mother-excelled in flower-painting encouraged her son in drawing; 10 - sketched every tree and cottage in Sudbury; 14- made caricatures of his schoolmaster; went to London to follow the bent of his genius; apprenticed to an etcher; then learnt from Hayman, the historical painter; stayed in London 3 years; 2 years in the country; married a rich woman; 1774; received an invitation to the palace; by the end of his career he divided with West the favour of the court and with Reynolds the favour of the town; Gainsborough was tall, fair, hand-some, generous, impulsive, a lively quick-witted talker; he was delighted with nature; insatiable in working- a warm rich personality; fond of music, played some instruments and collected them; painted landscapes and portraits; tried to combine the two; he always made his sitters look pleasant and distinguished; the portraits of ladies and children are the best; many friends among actors, writers, musicians; his great love for the English countryside, his ability to portray it, and his bold technique made him an innovator in this field. Altogether he created more than 300 pictures. 1788

Exercise 2. Both painters are exhibited at the National Gallery in London. Would you like to see the pictures of both of them or which of them? Explain your wish.

Exercise 3. Not all of us are great and genuine connoisseurs /[,kɒnı'sɜ:] /знавці/, when it comes to arts, are we? There are so many jokes dealing with

pictures and painters. Dramatize the following jokes:

1. The painter: Yes, my picture makes everybody speechless with admiration.

The visitor: Oh, I must take my wife to see it.____________________________

2. She: I 've heard you are a great artist.

He: I hope to be. I've only started.

She: So what are you doing?

He: Well, I'm living in a studio and growing a beard.______________________

3. She: Have you already seen a new Murillo our town authorities bought last week?

Her friend: No, I never go to the Zoo.

(Murillo - a Spanish painter of the 17th century)_________________________

4. The artist: How do you like this picture?

The visitor: Umm, it might be worse.

The artist: Oh, I'm sorry to hear you say it.

The visitor: All right, then, it couldn't be worse.__________________________

5. She: Why did they hang the picture here?

He : Perhaps, they couldn't find the artist.______________________________

6. Critic: Ah! The picture is superb! What soul! What expression!

Artist: Yeah! That's where I clean the paint off my brushes._________________

7. Lady: My husband called me from Paris on my birthday asking if he should

buy me a Rembrandt or a Titian. Now what would you advise?

Her friend: Well, any of those French cars are pretty good.____________________

8. She is saying to an abstractionist painter: My nose is a bit long. Could you make

a little smaller?

The painter: Oh,Lord! I don't remember, where I have painted it._____________

Home assignment: try and write a critical article about one of the English painters.

Lesson seven.

Exercise 1. We are going to say good bye to the 18th century, but before this we have to give it its due: let's have a discourse about its achievements and its great people in Britain. The following items may give you a hint:

1. The 18th century - the Age of Reason, the Age of Enlightenment in literature and Arts. The middle class has become the most influential layer of society in the 18th century.

2. Having got a lot of wealth and having gained power the middle class wanted some intellectual refinement.

3. The emergence of the National school of painting; William Hogarth and his satirical approach to portraying the life of his time.

4. The geniuses of landscape and portrait painting - Reynolds and Gainsborough.

Exercise 2. If we paraphrase the famous saying, we'll have: "Scratch a child and you'll find a philosopher". Could you scratch your head, please. Do you feel any philosophical ardour /запал, ентузіазм/? Good, on we go:

1. What will you say about a man who is a sailor at heart?

2. If you had a commission /заказ/ to paint the mountains or the sea what would it be?

Take a sheet of paper and make a sketch of a sea or a mountain; show your drawing to your partner. Ask your partner to describe the drawing. Are you satisfied? If you aren't satisfied with his/her description give yours.

3. Why do people often than not use the words 'mysterious, majestic, mystical, sphinxlike, enigmatic' when they speak about seas or mountains?

4. What difficulties will a painter face if he/she wants to paint the sea?

5. The painters distinguish 'hot' colours: red, brown, orange, yellow and all their hues

/відтінки/ and 'cold' colours: blue, indigo, violet and all their hues. Which colours will you use to paint the sea? Mountains? The sea in the moonlight? At sunrise?

6. Will you pay attention to the sky trying to paint the sea or the mountain?

7. Is visual memory more important for the painter who paints mountains or seascapes?

Exercise 3. There are some quotations from the text you are going to read about one of the most illustrious painters of Great Britain. While reading them try to understand as much as you can about him and share your ideas:

1. Profound as his love of the mountains was, it was scarcely so fundamental as his love of the sea. It was the sea that remained his life-long passion.

2. A wave cannot be drawn slowly and stolidly /мляво/; it will not sit still to have its portrait painted. Here the value of his splendid visual memory is vital and evident.

3. He was the first, who by constant observation and by a constant thorough know-ledge of wave form and of the rules that they obey, gave to his seas mass and weight as well as movement.

4. The sea in itself absorbed /захопити/ him, but especially the sea as it affected /впливати/ ships.

5. He was at heart a sailor, a ship was a living creature for him, courageous and loyal /вірний/, resourceful /винахідливий/, yet pathetically in need of help.

6. Her curves /=the ship's lines/, like those of a human figure, are beautiful because they are of use. In drawing ships he shows a special knowledge that springs /брати початок/ from love; his manual skill is never more astonishing than when he paints masts and rigging /щогли і оснастку/.

7. If he sympathised with ships, he sympathised equally with men within them and loved the fishermen pulling at oars and sailors fastening the ropes. He only cared to portray the mood of the sea as it affected the experience of men.

8. To increase his knowledge of mass and volume of the sea and its rhythmic

movement and in order to better witness the effect, he had himself tied to the mast of the ship Ariel, being 67 at that time.

9. After continental tour in 1802, his eyes seemed to have been opened to the beauty of English scenery, that he had neglected before. Now he began to choose subjects from agricultural and pastoral country, scenes with trees and water. The best works of this time were executed in close communication with nature.

10. Colour, as well as tone, /емоційний відтінок/ has produced a wonderfully delicate effect in most of his pictures, the effect of distance, of mist and of growing sunlight. The colour of some landscapes and seascapes has in general a golden warmth, symbolizing the radiant beauty of nature.

Home assignment: could you or would you write a kind of explanation why the pictures of the painter have fascinated and amazed the people since the 19th century?

Lesson eight.

Exercise 1. Please, think over the quotations from some famous people; try to find which of them is closer to your heart:

"The land is dearer for the sea,

The ocean for the shore". Lucy Larcom.

"He who loves the ocean and the ways of ships

May taste beside a mountain pool brine /very salty water/ on his lips".

Mary Sinton Leitch.

"...the sea is Woman, the sea is Wonder,

Her other name is fate". Edwin Markham.

"My soul is full of longing for the secret of the sea,

And the heart of the great ocean send a thrilling pulse through me".

Henry Longfellow.

Exercise 2. You may arrange a contest of your written works; praise the best ones, please.

Exercise 3. If you read the following text you will understand who you were trying to speak about at the previous lesson; try to pay attention to the facts which you already know and twice as much attention to the new information:

Turner didn't begin oils until he was about 21, his first exhibited oil-painting apparently being The Fishermen at Sea. It is typical of Turner to have begun the medium by attacking the difficult problem of moonlight.

Joseph Mallord William Turner was born in 1774 in the family of a London barber /перукар/. He could hardly have got any school education, but he was fond of drawing since early childhood. At the age of13 he worked for a famous engraver John Smith, making and colouring the prints for him. In 1789 he went to study to the Royal Academy Art School.

Profound as Turner's love for the mountains was , it was scarcely so fundamental as his love of the sea. He had been feeding his eyes on waves and storms, upon clouds and vapour /пара/. Here the value of his splendid visual memory is evident. A wave cannot be drawn slowly and stolidly; it will not sit still to have its portrait painted.

Turner may have been the first artist who, by constant observation and by a

'consequent thorough ['θʌrǝ] knowledge of wave forms and of the rules that they obeyed, gave to his seas mass and weight, as well as movement. The sea itself absorbed him, but especially the sea as it affected ships. To a sailor, and Turner was at heart a sailor, a ship is a living creature, courageous and loyal, resourceful, yet pathetically in need of help. Her curves, like those of a human figure, are beautiful because they are of use. In drawing ships Turner showed a special knowledge that springs from love; his manual skills were remarkable when he painted masts and rigging. If Turner sympathised with ships, he sympathised equally with the men within them and loved to depict fisherman pulling at oars or sailors fastening ropes. He only cared in fact to

portray the mood of the sea, as it affected the experience of man.

In his late twenties Turner traveled around Europe where he got acquainted with the famous masters of Holland, France and Italy. After the continental tour, his eyes seemed to have been opened to the beauty of English scenery that he had neglected before. Up till now, he had painted mainly ruins, stormy seas and gloomy mountains: now he began to choose subjects from agricultural and pastoral country with trees and water. The best works of this time were created in harmony with nature.

The year 1829 was a turning point in Turner's career. About then he began to adopt his final, and in many ways his most original style as a colourist. He used in oil the gorgeous colour schemes with which he had earlier experimented in water-colour, and which were the marked characteristics of the last twenty years of his life. It was at that time that he painted his most original masterpieces. There are avalanches /лавина/, show storms, downpour, blizzards in the mountains. In painting marine subjects he remained true to his youth love. His knowledge of mass and volume as well as of the rhythmic movement of the waves can be seen in his later works. To better study the sea, he had himself tied to the mast of the ship Ariel and traveled with it for a week.

Colour, as well as tone, has produced a wonderfully delicate effect in most of his pictures, the effect of distance, of mist and of growing sunlight. The colour has in general a golden warmth , symbolizing the radiant beauty of nature. In his late 60ties he achieved the style and brilliance for which there was absolutely no precedent /=he

was unique/.

Turner died in 1851, leaving more than 300 paintings, 20,000 water colours and 19,000 drawings to the nation. The vast total quantity of Turner's work is also one of the marks of his genius. In 1987 a special wing was added to the Tate Gallery to

exhibit his collection.

Exercise 4. Complete the sentences using the following table and the information you have got acquainted with:

Observing the movement of the waves Studying the rules of the sea movement Great love of the sea and people at sea Admiration for the mountains An eternal interest in the English scenery (be) Profound knowledge of mass and weight of waves Insatiable curiosity about the mystery of the sea Attempts to depict mixture of vapour, mist and light A philosophical view of life A satirical description of people's follies and vices A sincere worship of nature and its eternal beauty A great personal courage and dignity

characteristic of ... distinguishing of .. essential to ... typical of ... inherent in ... inborn in ... natural of... common of ...

and so...

Home assignment: there is a choice: 1/ prepare to recite the most significant facts dealing with the life and creative endeavour of Turner; 2/ there are some names of his pictures: Calais Pier /Пірс в Кале/, Snowstorm in the Sea, Windsor, Sun Rising through Vapour, Light and Colour, Boats in the Sea, A Lagoon in the Moonlight,

A Castle Lit with the Sun, An Avalanche in the Mountains. Choose one or two and try to imagine the whole picture: the background, the foreground, the left hand side, the right hand side, the subjects, the colours, the impression.

Let's have fun, shall we?

On the importance of learning English properly:

From a Japanese information booklet about using the hotel air conditioner: "Cooles and heates. If you want just condition of warm in your room, please control yourself."

How to drive a rented car in Tokyo: "When passenger on foot have in sight, tootle the horn. /сигналити/. Trumpet him melodiously at first, please, but if he still obstacles your passage then tootle him with vigor, please."

In the office of a doctor in Rome: "Specialist in women and other diseases."

Advertisements: "Wanted - a folding table by a woman with detachable legs."

"Wanted - a boy to take care of horses who can speak German."

"Don't kill your wife. Let our washing machine do the dirty job."

"Just one bottle gets rid of all aunts about the house."

"Sale - 25 Men's Suits: $ 18.50. - They won't last an hour."

At the examination : Trigonometry is when a lady marries three men at the same time."

Lesson nine.

Exercise 1. I suggest you start the lesson with the story of Joseph Turner. One or two students are to tell it. Those students, who chose the description of the pictures interrupt the person and add their description as an illustration. Thank you!

Exercise 2. John Galsworthy, an outstanding English writer of the 19th-20th

centuries created a bright description of the history of one family in "The Forsyte Saga", which to some extent may be considered the history of a middle class family as a whole. The heroes who we are going to meet in the 19th century have their roots in the 18th (!) century, in the family which through hard work, trade and business managed to raise its income so as to give the next generation education and wealth. The main character of the trilogy is Soames Forsyte, a solicitor /a lawyer, who prepares documents for businessmen/, the notorious /горезвісний/ 'man of property',

the first book of the trilogy being entitled "The Man of Property". In his middle age Soames took an interest in arts, and began to collect pictures by famous painters, being sure that it would be a good and profitable investment of his money.

In the following scene Soames comes to visit his daughter Fleur, who lives in a fashionable place of London with her husband , Michael Mont, a representative of an aristocratic family.

a/ At first get acquainted with new words:

List of vocabulary:

to murmur/ed/ - to mutter, to mumble, to speak indistinctly;

to startle/d/ - to surprise, to shock, to disturb suddenly;

to grunt/ed/ - to make a short hoarse sound; pigs grunt;

Ruhr - an industrial area in Germany, along the Ruhr river;

jolly - cheerful, merry, delightful, funny;

to strip/ped/ - to undress, to remove the clothes or cover, to unwrap;

jade - a semiprecious green stone - нефрит;

a settee - a small sofa;

to haunt/ed/ - to trouble, to worry, to torment, to terrify; - не давати спокою;

to wrest/ed/ - to take, to jerk, to tear;

crisped - hairy, covered with curly hair;

rinds [raındz] - the skin of any fruit, an orange;

ghostliness (of ghost) - indefinite, vague colour;

a masterpiece - a superb work of art, a chef-d'oeuvre [ʃeı'dɜ:vr];

the Chinese - a book about the painters of the Chinese School;

to be worth of any amount - to be very expensive;

to glide/d/ - to move smoothly, to soar, to slide, to flow;

to glow/ed/ - to shine, to glitter, to gleam; -світитися, блискати;

gem - jewel , a precious stone or thing;

to cease/d/ - to stop, to quit, to finish;

flippant - disrespectful. rude, saucy; - зyхвалий;

reverential (of to revere/d/ - шанувати, вклонятися/ - honourable, respectful;

aghast [ǝ'gɑ:st] - amazed, astonished, thunderstruck;

to stare/d/ - to gaze, to look attentively and steadily;

to appall/ed/ - to terrify, to shock, to frighten, to horrify;

pungent ['pʌnʤǝnt]- strong, acid, sharp-smelling;

to cop/ped/ - to notice, to catch;

incarnate - emphasized, embodied; - втіленний;

b/ While reading the scene, please, stop to discuss the ideas written in brackets:

"Have you come for the night, dad?", asked Fleur kissing him.

"If I may." murmured Soames. "Business."

"Anything unpleasant, ducky?"

Soames looked up as if startled.

"Unpleasant? Why should it be unpleasant?" he asked.

"I only thought from your face."

Soames grunted. "This Ruhr!" he said. "I've brought you a picture. Chinese!"

"Oh, dad! How jolly!"

"It isn't," said Soames, "it's a monkey eating fruit."

"But that's perfect! Where is it- in the hall?"

Soames nodded.

Stripping the covering off the picture, Fleur brought it in, and setting it up on the jade-green settee, stood away and looked at it...

(We are going to make a pause in reading and I wish you would try and imagine the picture, using the information about it, you've just read. Compare your descriptions)

On we go:

The large white monkey with its brown haunting eyes, as if she had suddenly wrested its interest from the orange-like fruit in its crisped paw, the gray background, the empty rinds all around - bright splashes in a general ghostliness of colour, impressed Fleur at once.

"But, dad, it's a masterpiece - I'm sure it's of a frightfully good period."

"I don't know," said Soames. "I must look up the Chinese."

"But you oughtn't to give it to me, it must be worth any amount. You ought to have it in your collection."

"They didn't know its value," said Soames, and a faint smile illuminated his features.

"I gave three hundred for it. It'll be safer here. Where are you going to hang it?"

"There, I think; but I must wait for Michael. Oh, here's Ting! Well, darling?"

The Chinese dog, let in, seeing Soames, sat suddenly with snub upturned and eyes brilliant.

"Funny little chap," said Soames; "he always knows me."

"Mr. Aubrey Greene, ma'am!" announced the servant.

"H'm!" said Soames.

The painter came gliding and glowing; his bright hair slipping back, his green eyes

sliding off.

"Ah!" he said pointing to the dog. "That's what I've come about."

Fleur followed his finger in amazement.

"Ting!" she said severely, "stop it! He will lick the copper, Aubrey."

"But how perfectly Chinese! They do everything we don't," exclaimed Aubrey.

(Chinese ... Fleur had a Pekinese dog. Soames bought a Chinese picture. How can you explain this interest in the Orient, China in particular, at the beginning of the 20th century? Are you interested in the Oriental culture, traditions, religions, arts?)

"Dad - Aubrey Greene. My father has just brought me this picture, Aubrey, isn't it a gem?"

The painter stood quite still, his eyes ceased sliding off, his hair ceased slipping back.

"Phew!" he said.

Soames rose. He had waited for the flippant; but he recognized in the tone something reverential, if not aghast.

"By George," said Aubrey Greene, "those eyes. Where did you pick it up, sir?"

"It belonged to a cousin of mine - a racing man. It was his only picture."

"Good for him. He must have had taste."

Soames stared. The idea that George should have had taste almost appalled him.

"No," he said, with a flash of inspiration: "What he liked about it was that it makes you feel uncomfortable."

(The picture makes you feel uncomfortable ... Have you seen such a picture which made you feel uncomfortable? What was it? What other emotions can a picture arouse in people: admiration, horror, surprise, shock, inspiration, joy...? Why is it great, when a picture arouses any kind of emotions?)

"Same thing! I don't know where I have seen a more pungent satire on human life."

"I don't follow," said Soames dryly.

"Why, it's perfect allegory, sir! Eat the fruit of life, scatter the rinds, and get copped doing it. When they are still, a monkey's eyes are the human tragedy incarnate. Look at them! He thinks there is something beyond, and he's sad or angry, because he can't get at it. That picture ought to be in the British Museum, sir, with the label: 'Civilization, caught out'."

"Well, it won't be there," said Fleur. "It will be here, labelled "The White Monkey."

Home assignment: could you read the scene again? It'd be good if you try to comment on some of the phrases in italics.

Lesson ten.

Exercise 1. We're going to come back to the text; would you dramatize it? Split into groups of three and off you go!

Exercise 2. Look again through the words and expressions worth remembering,

Ex. 2, les. 9

Exercise 3. Change the verbs in the sentences into the Passive Voice; add all other necessary changes:

1. Soames murmured something, being uncertain what to say.

2. Fleur's concern startled him, but he grunted his thanks with pleasure.

3. When she stripped the paper which wrapped up the picture, the picture amazed her.

4. It seemed that some vague thought haunted the monkey.

5. The monkey was peeling the orange, and suddenly some idea wrested her interest from the fruit. She stared at the orange in surprise.

6. Ting was looking at Soames with his brilliant eyes.

7. The picture astonished Aubrey Greene so mush, that he became quite serious, and his attitude showed his reverence towards the picture.

8. The idea that George should have had taste almost appalled Soames.

9. When monkeys are still , their eyes seem to express all the human tragedy.

10. The picture will stay at Fleur's, and she will label it "The White Monkey".

Exercise 3. Please read the text of the exercise; while reading open the brackets using the Passive Voice or Participles:

When he entered the room he /startle/ to see something lying on the floor. Murmuring he bent down and picked up a parcel which /wrap/ in a newspaper. The covering /strip/, he grunted aghastly. The book /write/ by one of the authors who /forbid/ a few years ago. The worth of the book /discover/ only lately. When he saw it he /cop/ with a kind of fear. His nostrils /tickle/ with the pungent smell of the newly-bound book that /deliver/ so unexpectedly, and he was happy now. In a minute the scraps of the wrapping /scatter/ on the table and the book /attend/ to with care. He /appall/ with the very first phrase, so flippant it seemed.

Exercise 4. Soames was held up by his business in London, so he decided to spend the night at Fleur's. Have you understood the meaning? Try and make up your own situations or sentences speaking about the occasions when you had :

1/ to stay at your granny's;

2/ to spend holidays at your aunt's/ uncle's;

3/ to wait until the rain stops at your friend's;

4/ to celebrate Christmas at your neighbours';

5/ to leave the keys at your neighbour's;

6/ to spend a few days at your god-mother's;

7/ to have a good time at your great grandmother's.

Home assignment: reproduce the story in the Indirect Speech for Soames or Fleur

in writing. Avoid 'said', 'asked', 'told', will you? Try and use: explain, complain of (!), deny, apologise for, accuse of, wonder, inquire, suggest, please.

Lesson eleven.

Exercise 1. We've already mentioned William Blake, an English painter, poet, and philosopher. He is said to have been trying for a long time to paint the tiger, he had seen in the Zoo, but every attempt of his failed. Finally he wrote a poem:

Tiger! Tiger! burning bright

In the forest of the night,

What immortal hand or eye,

Dare frame thy fearful symmetry?

1. Why is it sometimes so difficult to paint animals? Can you explain the interest of painters in animals? What do you think about the work of animalists? With the development of photography do you think this art may extinguish?

2. Have you ever seen monkeys alive? What were your feelings? Why are monkeys considered sacred animals in some Oriental / Orient - East, sunrise/ countries?

3. Do you prefer to go around museums all by yourself or with a guide?

4. They say Oriental philosophy and arts are radically different from those of the West. Have you ever thought about it? Why do artists of the east pay such a great attention to poses, contemplation /роздуми/, meditation, the trick of gestures, the revealing of the inner world of the things?

5. Can you imagine the picture that Soames bought for Fleur? Why was Aubrey Greene reverential, if not aghast, when he saw it? What did the artist want to tell the viewers having painted that white monkey?

Exercise 2. There are thousands of artists in Ukraine as well as in all other countries now. Each of them has been endowed with the gift and they can't help drawing. Drawing for them is another way of breathing. There was a one-man exhibition of Yevhen Levchenko from Kryvy Rih, whose pictures have won acknowledgement and fame both in Ukraine and abroad, because they radiate mysterious energy and are real masterpieces. Yevhen answered the questions of the journalists, who came to the exhibition to interview him. Read the answers given by the painter; comment on them; think what questions he tried to answer:

1. "No, it's not for having fame for fame's sake. I create art for people. I want to create kind, humane art. I am for good against evil. The universal love is my favourite subject. Art for me is like tintinnabulation /дзвін дзонів/, that carries the glad news all around the land and reminds the hearts of the highest spiritual values.

2. Good and evil can be found in the things we do, in our hearts and in our minds. Every person has a black and a white side. But we have a mind and will power and a freedom of choice and what we choose, good or evil, evidently depends upon us.

3. I am all for lofty, fine art, for subtlety /ніжність, проникливість, витонченість/ in art. Harmony is not something that has been invented by man. It has been in existence since before time. Disharmony is death, it's temporal, harmony is eternal.

4. The most important thing in art is not form or shape, it's spirit that one should be after. Colour is the soul of painting. Light and colour are inseparable. Great mysteries are concentrated even in the most trivial things, and one has to learn how to see them. Nature is the realm /[relm] - царство/ of harmony, so art should seek similar

perfection.

5. Finding one's own way in art is a slow process. An artist has to try very hard to establish himself in art, to prove his right for having a unique vision. I like many trends in art because usually there is a powerful personality that stands at the roots of each trend.

6. There's an easy way of making oneself popular - it is by criticizing political institutions, political leaders and the like, but art must not choose this way. An artist instead of criticizing should attempt to make himself better. Both he and his art will benefit.

7. Of course! Art is eternal, never-ending. There was great art in the past, there will be great art in the future. Here I want to stress the importance of finding one's own way, one's own individuality in art. If an artist puts his soul into his art, then every painting of his, no matter what it is - a landscape, a still-life, an abstract composition - is his self-portrait, or rather a portrait of his soul. Love, purity of heart and high morality - on these three art rests. "

Exercise 3. I believe there will be a volunteer in the group to speak for Yevhen Levchenko. The group are supposed to ask him questions and he is free to answer them, whether in the same way or differently.

Home assignment: firstly, it's interesting to sum up the ideas which Yevhen Levchenko shared in the interview; secondly, please, imagine that you are to take an interview from a group of well-known Ukrainian artists; think about 5-7 most

interesting questions and put them down.

Lesson twelve.

Exercise 1. Now, try to use your imagination and create a picture in your mind out of the following description:

If you happen to go to the National Gallery of Ukraine in Kyiv, you may be charmed by the picture named "The Bride" /Hаречена/. It's a big canvas 210 x 292, painted in warm, radiant, life-asserting colours /життєстверджуючий/. In the room of a village house there are women of different ages. They've come to help the bride to get dressed for the wedding ceremony and they have just finished and are looking at the young woman in the centre. She is stepping forward as if she were going to dance, feeling how young, beautiful and happy she is, wearing her finery - her best Ukrainian national costume. The colour scheme of her attire /убрання / is warm and rich: white - a new white sheet of her biography, scarlet meaning love and passion, golden for happiness, wealth and sunshine. There are fabulous home-made laces, decorating her skirt, and a coral necklace on her neck. There is also black in the pattern of the embroidery with which her costume is decorated, but it's not dominating, only reminding that there may be sorrow /журба/ in her future life too. The girl is tall, strong, her face being suntanned and beautiful, her eyes are bright, her full lips are beginning to smile. Though she is still young, her hands are strong and big, country girls beginning to work hard rather early in their lives. She is radiating /випромінює/ optimism, hope, strong will and longing to be happy, her youthful ardour /поривання, пристрасть/, a wish to triumph. Her whole image is generating pride and a sense of human dignity, spiritual beauty and vitality.

The women in the background are also wearing Ukrainian national costumes, but not so bright and rich. The expression of most of their faces is thoughtful and pathetic /жалісний/. Only the woman on the right, who is holding brightly and marvelously embroidered towels, is smiling. On the left a woman of about 40 is sitting, sadly looking down. She may be the bride's mother, who may have experienced quite a lot of sorrow in her family life, so her dress is rather dark and is contrasting with the whole atmosphere of the coming festivities.

Unlike William Hogarth, who ridiculed the ways and morals of his characters in his "Marriage a la Mode", the author of this painting wanted to tell the viewers something different. Have you understood his message?

Exercise 2. Would you participate in the press-conference, devoted to the opening of an art exhibition in any Ukrainian city? Split into two groups: painters and journalists. As it goes, journalists ask questions, artists, in this case, try to answer them.

Journalists, try to add a question or two about "The Bride".

Exercise 3. "The Bride" was created by an illustrious Ukrainian artist, one of the founders of the Ukrainian School of painting, Fedir Krychevsky (1879-1947).

While reading the text try to understand what things the artist was inspired by in his creative work, will you? Please, do your best:

Fedir Krychevsky holds a prominent place in the history of Ukrainian art. He made an invaluable contribution to the development of genre [ʒɑ:ŋr] and portrait painting and did a series of monumental canvases of great public importance. His aesthetic views and mastership were shaped at the turn of the century. Like Philip Malyavin, Olexandr Arkhipov, Boris Kustodiyev, Olexandr Murashko he tried to find a pictorial interpretation of a truly national theme. In the 20's and 30's of the 20th century his humanitarian principles developed more fully and extensively.

Krychevsky was born on May,10, 1879, in the town of Lebedin, Kharkov Province into the family of a medical attendant (doctor's assistant). He spent his childhood in the village of Vorozhba, whose colourful folk rites and customs and beautiful scenery left an unforgettable mark on him for the rest of his life.

Krychevsky received his basic training at the Moscow School of Painting, Sculpture and Architecture (1899-1901), where he studied in the classes of such eminent masters as Valentin Serov, Olexandr Arkhipov and Leonid Pasternak, and completed his education at the Academy of Arts in St.Petersburgh (1907-1910) in the studio of the famous painter of battle pieces, Franz Rubo. (If you have visited The Panorama of the Crimean War in Sebastopol, you have seen the unsurpassed work of Rubo there).

It was 'The Bride", that Krychevsky entered in the Academy competition, and this mature work testified to the artist's inclinations and individuality. The traditional subject of a folk wedding rite is treated by the artist on a monumental and epic plane. This and other pictures of Krychevsky speak about the artist's desire to pay the highest tribute /віддавати належне/ to characters taken from the people and to create types of great power and meaning. This was to become a prevailing tendency in his entire creation.

The artist never tore the links /зв'язки/ with his people and their life. The village of Shishaky in Poltava Region had a special beneficial influence on him. Here he lived and worked for many years, inspired by the village's picturesque scenery and ancient folkways and traditions. His best oils were born in this blossoming part of Ukraine, which invariably filled him with new impressions and observations. His palette absorbed the decorative beauty and wealth of the patterns of Ukrainian carpets, embroidery and pottery, enriching his works and giving them a distinctly national colouring. In the artist's vision this corner of his Motherland was transformed into a generalized image of entire Ukraine, becoming a poetic symbol of his homeland and a nourishing /поживний/ source for his inspiration.

Profound as his love of nature was, it was scarcely so fundamental as his love of his people. His leading theme - the people - became more optimistic and life-asserting, having acquired laconic refinement and flexibility. Studying and observing the art of old masters, Krychevsky achieved in his own work an organic fusion /з'єднання/ of tradition and modernity.

The painter revealed a new facet in his creativity when he painted his "Kateryna", an absolutely fabulous composition based on the motifs from Taras Shevchenko's poem. Krychevsky focuses his attention on the spiritual beauty of Kateryna's character, her fine moral qualities which are in remarkable harmony with the painting's delicate drawing and refined colour.

Fedir Krychevsky combined his artistic career with teaching, to which he devoted much energy and effort, sparing neither time nor mastership, since he regarded it a significant task of his life. He took an active part in shaping the education program

at the Kyiv Art School, where he was an instructor and later the Principal. He

participated in organizing and creating his cherished pet project - the Kyiv Art College. He was the first person in Ukraine to hold a Doctor's Degree in art history and criticism.

Krychevsky was one of the founders of the Ukrainian School of painting, which was represented by such outstanding painters as Anatoliy Petrytsky, Volodymyr Kostet- sky, Tetyana Yablonska, Georgy Melikhov, Yevhen Volobuyev, to mention but a few.

Home assignment: there is a choice for you: 1/ write a 15-20- sentence essay about Fedir Krychevsky's creativity; or 2/ write an essay comparing the work and life of William Hogarth with those of Fedir Krychevsky.

Lesson thirteen.

Exercise 1. Some people visit museums and galleries quite voluntarily, because they feel the call of arts; others are made by their parents or teachers. For the first group it's usually entertainment, some minutes of joy, plunging into a different world, which gives them new experience. The other group turn their blind eye to whatever they see, and neither landscapes nor portraits or still-lives awaken any response in their hearts. How would you explain these attitudes?

Exercise 2. Practice the dialogues and have fun, will you?

I. A. It's raining, and raining, and raining. I feel I've soaked to the skin, damn it!

B. Let's go to an art museum for a change, shall we?

A. To where? Oh, you are cool, aren't you? By the way, I have already been to an art museum, you know. Nothing special. Walls, pictures, people.

B. When was that? Where was that? What museum was that?

A. An interview, eh? One question at a time, please. It was last year in Moscow. And I don't remember what museum it was, so ask me another, please!

B. Don't you remember anything?

A. Not a single thing. Oh, yes, I do remember a long queque [kju:] /черга/ where we wasted about an hour. And, yes, there was a statue of some man in front.

It was of stone.

B. You are something, you know? I believe it was the Tretiakov Gallery. And the 'man' was the statue of Pavel Tretiakov, the famous connoisseur and founder of the gallery. Don't you remember a single picture?

A. Stop it , will you? I don't remember, and I don't care, OK?

II. A. Whose portrait is that?

D. Which do you mean, who painted the picture or who is painted in it?

A. In fact, I'd like to know both. Let's look at the caption /підпис/, shall we?

D. It's Repin's picture of ... Repin. It's his self-portrait.

A. I say, why do painters create their own portraits, self-portraits? Do they love them-selves so much? "Now I'll paint a portrait of darling me!"

D. Gosh, I am not sure what to say. Perhaps, they don't have sitters for a portrait from time to time. Or they may want to peep /зазирнути/ deep into their own soul. A good portrait may reveal the truth about a person which one didn't suspect of having.

A. You are a born psychologist, you are!

D. If you don't like what I say, stop asking, will you?

A. Oh, oh, you are so hot! We're only talking.

III. C. Now what's that?

D. What's what?

C. What are these nails, cans, rags and an old tyre for?

D. They are a part of a composition. An artistic composition.

C. In that case there isn't enough rubbish to produce a great impression. You know, the greater the heap of garbage, the greater the impression. Come on, it's ugly and smelly. Don't you even try to tell me you like it, will you?

D. Just a moment, I 'll look at the caption. But of course, it's "Sorrow", as the caption indicates. I only wonder: sorrow for what? Or for whom?

C. Great sorrow for the man or a woman who has gathered all these. You know I create such compositions every day at home: all my clothes, books, a bag, make-up in a heap on the sofa. The only thing is I don't call them artistic. But, you should see the mess!

D. Is admission free? Or do you charge some money for the entrance ticket?

C. Great! Thank you for the idea!

IV. F. Oh, I'd like to see a Turner in the original.

H. Then you'll have to go to London.

F. Why so far?

H. Because most of his paintings are exhibited in London either at the National Gallery or at the Tate Gallery.

F. Oh, what a shame! Illustrations are small, one can hardly get the proper idea of the colours and the details. I have bought an album of Turner, published in Hungary, so I am irritated when I try to decipher the texts, and I am annoyed when I try to see the pictures.

H. But why on earth did you buy the album in Hungarean?

F. I couldn't find one in English. I am special, aren't I?

H. You are cool , aren't you? A real connoisseur!

F. Hey, do you think you are funny? Stop picking at me, will you?

V. K. Look! That is a picture, isn't it?

L. Of course, it's in a frame.

K. Is anything in a frame a picture?

L. At least at this exhibition. Let's have a look at the caption. What's it called?

K. What does it matter what it is called? There are lines, zigzags, dots and ovals. You can call it anything.

L. But I wonder what the painted meant with it. See, it's "Early Morning".

K. Why 'early', not 'late'? It doesn't make any sense to me. I think everybody is able to 'paint' such a chef-d'oeuvre.

L Then why doesn't everybody do it? Abstract art is in, the pictures are very expensive. There is the Museum of Modern Art in New York. You should have seen the pictures.

K. Have you seen them?

L. Only some and only in the album, unfortunately.

K. Lucky you! No, that's not my piece of cake. You see I don't know much about art in general, but when it comes to abstract art... thank you very much. I'd rather not.

Home assignment: none or ... an abstract picture or composition.

Lesson fourteen.

Exercise 1. These two poems are for you to feel the emotional influence of them:

THE BALLAD OF THE SUNFLOWER.

The sunflower once was all arms and legs With a green body, prickly and rough. It raced with the breeze And scaled a pear tree, /=climbed/ And its bosom with ripe pears stuffed. It swam by the mill, on the sand lay still, With a catapult sparrows it potted. /з рогатки стріляв горобців/ It hopped on one foot, From its ears water shook, Then suddenly saw the gorgeous sun, /розкішне/ The glorious swarthy sun - /засмагле/ Among golden clouds

In a red country blouse, Riding a bicycle, Dodging the potholes in the sky... /обминаючи ями/ The sunflower froze there, Gaping forever in golden rapture: /витріщивши очі від здивування/ 'Let me go ride your bike, old man! Or put me astride the frame, at least, O, why be so mean, old man?!' O poetry, my orange sun! Every second a youngster Discovers you for himself And becomes forever a flower of the sun. Ivan Drach.

THE FIRST LULLABY.

Sleep, my little baby, lulla-bye! Sleep, my child, My little brown-eyed worry! In warm dreams, above the field of rye, High above it sunrise starts to hurry. Father's is the happiest of souls. Sleep, my darling, it is very late. There, outside the window, restless roll All you future years - your future fate. Sleep, my little one, until your time.

Shadows drowse; The maple, too, is sleeping. Only let Ukraine not sleep in you - Like the sky reflected in the Dnieper. Let it never sleep in you at all; It is yours and all the world's, my sweetest. Sleep, my little man, my little soul, Silver dreams are dropping from the tree tops. Mykola Vinhranovsky .

Exercise 2. In his poem Ivan Drach compares himself with the sunflower who was once and forever attracted by the sun - poetry, as soon as he had discovered it. Are your feelings about poetry the same? Can we replace the word 'poetry' with 'art' without changing the philosophical meaning of the poem? Do you think the poet has found the exact image to define the eternal links between people and poetry?

In the poem by Vingranovsky there are some lines in italics. What do you think about love of your Motherland? Is it an inborn feeling or should it be instilled /прищеплю-вати/ in every child by the parents? At what age? And how should this education be started?

Exercise 3. Read the following information and discuss the suggested problems in groups of 3-4:

In September 1992 an exhibition "Art of Free Ukraine" was opened at the House of Artists. It was visited by John Tusa, Managing Director of the BBC World Service and David Morton, the Head of the BBC's Russian and Ukrainian Services who shared their impressions of the importance of such an itinerant /пересувний/

exhibition in the following way:

"When I went to Kyiv for the opening of the exhibition at the House of Artists and saw the works for myself, I was immensely struck/=amazed/ by their force and

vigour /=energy/, by the confidence and the range /розмах/ of their artistic

expression. I am delighted that the BBC World Service is promoting a worth-while project and is able once more to demonstrate a wider commitment /зобов'язання/ by the BBC to its role as a patron of the arts; and to underline a wider vision of the role of broadcasting than it has been fashionable to hold over the last few years."

John Tusa.

"I am sure the exhibition will enable the people of Great Britain to get acquainted with the spiritual and cultural life of Ukraine, which, though it won its independence only a year ago, has got cultural traditions, that go deep into the history of the country. I am sure the Ukrainian people can be proud of mastership and diversity of its art, the pictures of the collection rightfully testifying to it."

David Morton.

Exercise 4. The problems for discussion :

1. How can the Mass Media shape the tastes, knowledge, interests of the people?

2. The BBC is one of the oldest and most popular radio companies in the world. Can you explain its popularity? Have you heard or watched its programs on TV or on the radio?

3. Formerly, in the time of the USSR, the programs of the BBC were forbidden and jammed by the security services. That seems surprising and ridiculous, doesn't it?

4. The Ukrainian service of the BBC was created in 1992. Have you heard any of its broadcasts? Are they worth listening to? What programs would you suggest if you were invited to work for the Ukrainian service of the BBC?

5. How can this service promote the interest in Ukraine and its prestige in the world? 6. What made the Managing Director of the BBC so enthusiastic about the arranging of the itinerant exhibition "Art of Free Ukraine" in Great Britain?

7. Why was it necessary to present various styles and epochs, genres and technique at the first exhibition of Ukrainian arts in the UK?

8. What role does Ukrainian diaspora in Great Britain play in strengthening friendship between the people of Ukraine and the UK?

Exercise 5. Having discussed the problems you have arrived at some common ideas. Please, share them with the class.

Home assignment: imagine that you are responsible for selecting the pictures and sculptures or some other things for an exhibition of Ukrainian arts abroad. Think about the artists, who you would like to invite to participate and genres (landscapes, portraits, still-lives, city scapes, seascapes?) you would include in it. You are to be ready to speak about one artist at least. It'd wonderful to bring illustrations to class.

Lesson fifteen.

Exercise 1. Improvise a sitting of the examiners to select the exhibits for an itinerant exhibition abroad; the students move their nominees and the whole group are to decide whether the picture is worth being exhibited abroad.

Exercise 2. Now what? What are we going to speak about? American painters? OK. Please read the story attentively and try to explain why the painter is so popular and loved: also make a pause after each paragraph and answer the questions:

I. The best traditions of American realism are maintained by Andrew Wyeth [waıǝθ] ], the most famous and the best liked living artist of America, who now determines the world level of contemporary American art. The work of Andrew Wyeth stands both comparison and contrast with that of the best artists of the USA His highly humanitarian art enjoys tremendous popularity with the American people. It is well known abroad and exercises a decisive influence over American artists. Andrew Wyeth was the first artist in the history of the USA to have an exhibition of his works staged in the White House.

1. Why is Wyeth's realistic art so loved and valued?

II. He has been elected an honorary member of Academies of Arts of many countries.

The personages of Wyeth paintings are common Americans, his neighbours and friends, the members of his family. They invariably impress the viewer with their individuality, innocence and the oneness with nature and the environment. At times both his portraits and figure compositions, and also his landscapes give an impression of a hidden inner meaning, subtle emotion or of a hidden drama

2. Yevhen Levchenko is sure that a true artist should be able to see harmony in the most trivial things. Why is the image of harmony so dear to people now?

III. Two families fascinated Andrew Wyeth in particular and drew his attention again and over again. Karl Kuerner was a farmer of German origin. He, his farm and his livestock /худоба/ have been in the focus of dozens of paintings.

Christina Olson and her brother lived on a farm near the Wyeths in Maine. She was a paralitic and could not walk. Crawling or moving about in a wheelchair, she managed to keep the house for her brother. Christina's life became a symbol of great impor-tance for Wyeth and became the subject of many pictures. Hardly has any of Wyeth's pictures made a deeper impression on the people than "Christina's World".

3. Why did this talented artist choose his characters among the common people?

IV. "Christina's World" has become the most beloved Wyeth's painting. The picture grew out of a very slight incident: the artist saw how she had dragged /витягла/ her-self out into an empty field and lying on the grass was looking at her old house where Wyeth was working in an upper room. The barren /безплідний/, hard landscape and the indomitable [ın'dɒmıtǝbl]/нескорений/ human spirit provide the drama. Christina's twisted body in a faded pink dress under the pitiless glare of the sun has become a symbol of refusal to admit defeat, the epitome [ı'pıtǝmı] /втілення/ of human courage and loneliness. Deep, controlled emotion is accomplished by the wide, empty composition of the picture, its subtle, muted colouring.

4. You have already read and learnt quite a lot about the Americans. Why is the picture, portraying this disabled person, so loved by them?

V. Wyeth's art is loved for the visual poetry with which he depicts even the most common scenes, and a deep sympathy for the plain people and their surroundings. Wyeth often painted his wife and children.

His art displays an undying respect for and invariable confidence in his countrymen, with whom he lives side by side and shares their joys and sorrows with the highest human dignity.

5. ....... ?

Home assignment: prepare an essay "Wyeth's realistic and humane art".

Lesson sixteen.

Exercise 1. Have your parents collected some of your pictures? Were you fond of drawing when you were little? What were your favourite subjects? Did you paint in pencils, felt-pens, water colours, gouache [gu'ɑ:ʃ], tempera, oil? Did your parents encourage your effort or forbid you to draw? Why does it so happen, that people pass by a tree, a flower, a house without noticing it, but when they see the same thing painted by an artist they are delighted? Did you attend any art studio to learn to draw?

Exercise 2. The names of Raphael, Leonardo da Vinci, Michelangelo have been known to people for more than four centuries. In what connection have you heard them? Have you read anything about their childhood? You are going to have a chance... Please, read the extract from the novel by Irving Stone, the highly successful American writer for his fictionalized biographies of Vincent Van Gogh, Jack London, Charles Darvin, Michelangelo and others.

Practice reading the names of the characters:

,Michel'angelo Buonar'roti (1475- 1564)

Francesco Granacci [grɑnɑʧı] (1469-1544) -Florentine painter;

Domenico Ghirlandaio [gırlɑn'daıǝʊ] (1449-1494) -Florentine painter and mosaicist;

While reading comment on the parts in italics:

The studio was a large high-ceilinged room with a pungent smell of paint and char-coal /вугільний олівець/. In the centre was a rough plank table set up on horses around which half a dozen sleepy young apprentices crouched /зкорчитись/ on stools. Along the walls were stacked colour cartoons of completed frescoes.

On a raised platform sat a man of about forty, his wide-topped desk with its neat rows of pens, brushes, sketch-books, and implements /приладдя/ seemed to be the only ordered spot in the studio.

Granacci stopped below his master's desk.

"Signor [si:'njɔ:] Ghirlandaio, this is Michelangelo, about whom I told you."

Michelangelo felt himself spitted by a pair of eyes, about which the people said, that they were able to see more than any artist's in Italy.

"How old are you?" demanded the master. "Thirteen."

"We start apprentices at ten. Where have you been for the past three years?"

"Wasting my time at school, studying my Latin and Greek."

A twitching /сіпання/ at the corner of the artist's dark full lips showed that he liked the answer.

"Can you draw?"

"I have the capacity to learn."

"Whatever else you may lack, it isn't modesty. Very well. Suppose you sketch for me. What will it be?"

Michelangelo's eyes traveled over the workshop, swallowing impressions.

"Why not the studio?"

Ghirlandaio gave a short laugh, "Give Michelangelo Buonarroti paper and charcoal!"

Michelangelo sat down on a bench to sketch. His eye and hand were good working partners. For the first time since entering the studio his breathing was normal. He felt someone leaning over his shoulder.

"I'm not finished," he said.

"It is enough." Ghirlandaio took his paper, studied it for a moment. "You have a strong fist /кулак/. I'll start you as an apprentice, but you must pay me six florins for the first year ..."

"I can pay you nothing."

Ghirlandaio looked at him sharply. "The Buonarroti are known to be well-off. Since your father wants you apprenticed ..."

"My father has beaten me every time I mentioned painting."

"Why will he not beat you again when you tell him now?"

Exercise 3. Please, find in the text sentences and expressions similar to the following in their meaning:

1. The workshop was a spacious room with a high ceiling;

2. All things on Ghirlandaio's desk were put in their places;

3. Michelangelo felt that the master was studying him, looking at him attentively;

4. Ghirlandaio had keen vision /=eyesight/;

5. Idling around the school;

6. You are an ambitious boy;

7. He looked around the studio, searching for the thing to make an impression on him;

8. His hand could draw what his eyes could see;

9. My sketch isn't over;

10. You are capable of drawing;

11. The Buonarroti are known to be quite rich;

Exercise 4. Match the definitions in the right-hand column with the words in the left-hand column:

1. canvas 2. palette 3. cartoon 4. charcoal 5. easel 6. fresco 7. mosaic 8. studio 9. apprentice 10. sketch 11. brush 12. paint 13. tempera 14. water colours

a frame to hold a picture upright for the artist's convenience a working room of a painter or a sculptor a colouring matter used by painters for making pictures strong, coarse cloth used for painting on; a painting on it the thing made of hair to paint with a pencil, made of black carbon, used for drawing a young pupil who learns skills from a qualified craftsman a picture made of small pieces of glass, stone of various colours an outline or a rough drawing to show the chief features of smth paint consisting of coloring matter mixed with eggs and water colours which dissolve in water a mural painting made on freshly spread plaster before it dries an amusing picture, a pictorial caricature a thin board with a thumb hole at one end to hold it, on which a painter mixes his paint

Exercise 5. Let's have a quiz with colours, shall we? There are five sentences with blue, eight with red, five with green and six with black. Would you try to guess which of the colours you'll have to add?

1. Michelangelo was fascinated with drawing since his ... years/=youth/

2. Whatever my mother plants in the garden with her ... fingers, immediately begins to grow /=skilful in gardening/.

3. The sea was rough, while they were crossing the Atlantic. Many of the passengers looked ... /=were sick/.

4. Most part of Great Britain usually have ... winter/ = snowless/, since the climate of the country is mild and damp.

5. He was arrested for making and spreading ... goods /=false money/.

6. Hogarth didn't come from a ... blooded family /=aristocratic/.

7. When a ship is about to sail the captain flies ... Peter /a special flag to signal departure/.

8. There was a band playing the guitars and banjoes. Their repertoire was mostly ...grass /= country music/.

9. The ship was wrecked in a terrible storm and the sailors met their ... ruin /=death/.

10. Becoming an artist has always been a ... rose for the young man /= smth unreal/.

11. The British insurance agencies have got the ... book of all wrecked ships /a book, where all kinds of shipwrecks are recorded/.

12. Before announcing the capital punishment to the criminal the judge put on his ... cap /a special headwear for the judge/.

13. He has failed his exams, so he has got the ... dog on his back /to feel depressed/.

14. The sailors stood aghast when they saw the ... Jack on the mast of the

approaching ship /a pirates' flag/.

15. The prices of the ... gold are going up now /oil/

16. The woman was persecuted because she was said to practice ... magic /evil tricks/.

17. There were hundreds of ...coats marching along the streets of London /=soldiers/.

18. Cardinal Rechelieu never took off his ... hat /a peculiar cap/.

19. He couldn't concentrate on the picture, the talkative lady being a ... herring

/a nuisance/.

20. The young man got so drunk because he had been sipping the cheap ... ink for

quite a long time /cheap wine/.

21. At the beginning of colonization of America ... men were rather friendly and hospitable /Indians/.

22. Only fresh ... meat is good to make a perfect raw beefsteak /beef/

23. All talks about his quitting smoking is like ... rag for a bull; they make him furious /smth irritating/.

24. There are so many obstacles in the way of privatization because of ... tape and bureaucracy /complicated unnecessary regulations/.

Home assignment: the story you have read isn't finished; try to invent your own ending to the situation writing 6-8 sentences.

As to Ex. V... 1-5 - green; 6-10 - blue; 11-16 - black; and 17-24 - red. Have you guessed? Bravo!

Lesson seventeen.

Exercise 1. Let's hear the endings which you have invented, shall we? Choose the ones you like the best. Bravo!

Exercise 2. What would you tell your friends about the visit to Ghirlandaio if you were Michelangelo (were in his shoes)? Try to report the whole part in the indirect speech. Please, don't forget: to introduce, to wonder, to admit, to suggest, to promise, to demand, to protest, to complain, to deny, to warn, will you?

Exercise 3. Would you like to know the true end of the episode? You would, wouldn't you? Good! Then go on reading:

"Because your willingness to accept me will be a defence. That and the fact that you will pay him six florins the first year, eight the second, and ten the third," explained Michelangelo.

Ghirlandaio's eyes flared /спалахнути/.

"That's unheard of! Paying money for the privilege of teaching you!"

"Then I cannot come to work for you."

The apprentices made no pretence of working. Michelangelo stood his ground. His manner was respectful both to the older man and himself. His eyes seemed to be saying, "I will be worth it to you."

Ghirlandaio felt a grudging admiration. He lived up to his reputation of being a man "lovable and loved" by saying: "Certainly, we are unlikely to get anything finished without your invaluable help. Bring your father to see me."

Out in the street Granacci threw his arm affectionately about the smaller boy's shoulder.

"You broke every rule. But you got in!"

Exercise 4. Has your guess been right? Try and explain in your own way the following:

1. Why did Michelangelo's father, who was a merchant, beat him?

2. Why did the apprentices make no pretence of working?

3. Why did Ghirlandaio feel a grudging admiration?

4. Why did he agree to accept Micheangelo's terms?

5. Why did Granacci hug Michelangelo?

Exercise5. Referring to the text prove that:

1. Michelangelo was gifted, persistent, self-motivated; that he had a great

sense of dignity.

2. Ghirlandaio was a famous master.

3. Ghirlandaio was generous, intelligent and well-wishing.

4. Granacci was a true friend of Michelangelo.

5. Ghirlandaio had a good sense of humour.

Exercise 6. Dramatize both parts.

Home assignment: there is a choice: 1/ report both parts of the story for Ghirlandaio; 2/ think twice before saying: which of your teachers would pay your parents for the privilege of teaching you, my dear.

Lesson eighteen.

Exercise 1. In one of his sonnets Micheangelo wrote:

Just like ink and pen contain

Low, medium and elevated styles of poetry,

So does a boulder /брила/ of marble hide

rough and lofty images in it;