Pygmalion

Bernard Shaw

To My Son

George Gordon Byron

Those flaxen locks, those eyes of blue
Bright as thy mother’s in their hue;
Those rosy lips, whose dimples play
And smile to steal the heart away,
Recall a scene of former joy,
And touch thy father’s heart, my Boy!

And thou canst lisp a father’s name –
Ah, William, were thine own the same, –
No self-reproach – but, let me cease –
My care for thee shall purchase peace;
Thy mother’s shade shall smile in joy,
And pardon all the past, my Boy!

Her lowly grave the turf has prest,
And thou hast known a stranger’s breast;
Derision sneers upon thy birth,
And yields thee scarce a name on earth;
Yet shall not these one hope destroy, –
A Father’s heart is thine, my Boy!

Why, let the world unfeeling frown,
Must I fond Nature’s claims disown?
Ah, no – though moralists reprove,
I hail thee, dearest child of Love,
Fair cherub, pledge of youth and joy –
A Father guards thy birth, my Boy!

Oh,’twill be sweet in thee to trace,
Ere Age has wrinkled o’er my face,
Ere half my glass of life is run,
At once a brother and a son;
And all my wane of years employ
In justice done to thee, my Boy!

Although so young thy heedless sire,
Youth will not damp parental fire;
And, wert thou still less dear to me,
While Helen’s form revives in thee,
The breast, which beat to former joy,
Will ne’er desert its pledge, my Boy!

20. Прочитайте уривок з драми Б. Шоу «Пігмаліон». Дайте відповіді на запитання та виконайте завдання:

1. Визначте загальні особливості драматургічного роду літератури. Якими є особливості розкриття характеру персонажа в драмі? Чим драматургічні засоби характеротворення відрізняються від епічних та ліричних?

2. Визначте форми присутності авторського слова в драмі. Зверніть увагу на характер авторських ремарок в наведеному уривку. Яким чином вони формують уявлення про героїв?

3. Доведіть, що одним з засобів характеротворення є мова персонажів. В чому виявляється індивідуалізація мови Елізи, Хіггінса, Пікерінга?

4. Яку функцію виконують речі (носова хустина, рукав)? Доведіть, що звернення до предмета є засобом психологізму.

5. Визначте всі засоби психологізму, які допомагають виявленню авторського ставлення до героїв.

The flower girl enters in state. She has a hat with three ostrich feathers, orange, sky-blue, and red. She has a nearly clean apron, and the shoddy coat has been tidied alittle. The pathos of this deplorable figure, with its innocent vaniti and consequential air, touches Pickering, who has already straightened himself in the presence of Mrs. Pearce. But as to Higgins the only distinction he makes between men and women is that when he is neither bullying nor exclaiming to the heavens against some featherweight cross, he coaxes women as a child coaxes its nurse when it wants to get anything out of her.

Higgins [brusquely, recognizing her with unconcealed disappointment, and at once, babylike, making an intolerable grievance of it] Why, this is the girl I jotted down last night. Shes no use: Ive got all the records I want of the Lisson Grove lingo; and I'm not going to waste another cylinder on it. [To the girl] Be off with you: I dont want you.

The Flower Girl. Dont you be so saucy. You aint heard what I come for yet. [To Mrs. Pearce, who is waiting at the door for further instruction] Did you tell him I come in a taxi?

Mrs. Pearce. Nonsense, girl! what do you think a gentleman like Mr. Higgins cares what you came in?

The Flower Girl. Oh, we are proud! He aint above giving lessons, not him: I heard him say so. Well. I aint come here to ask for any compliment; and if my money's not good enough I can go elsewhere.

Higgins. Good enough for what?

The flower Girl. Good enough for ye-oo. Now you know, dont you? I'm come to have lessons, I am. And to pay for em too: make no mistake.

Higgins [stupent] Well!!! [Recovering his breath with a gasp] What do you expect me to say to you?

The Flower Girl. Well, if you was a gentleman, you might ask me to sit down, I think. Dont 1 tell you I'm bringing you business?

Higgins. Pickering: shall we ask this baggage to sit down or shall we throw her out of the window?

The Flower Girl [running away in terror to the piano, where she turns at bay] Ah-ah-ah-ow-ow-ow-oo! [Wounded and whimpering] I wont be called a baggage when Ive offered to pay like any lady.

Motionless, the two men stare at her from the other side of the room, amazed.

Pickering [gently] What is it you want, my girl?

The Flower Girl. I want to be a lady in a flower shop stead of selling at the corner of Tottenham Court Road. But they wont take me unless 1 can talk more genteel, lie said he could teach me. Well, here 1 am ready to pay him —not asking any favor—and he treats me as if I was dirt.

Mrs. Pearce. How can you be such a foolish ignorant girl as to think you could afford to pay Mr. Higgins?

The Flower Girl. Why shouldni І? і know what lessons cost as well as you do; and I'm ready to pay.

Higgins. How much?

The Flower Girl [coming back to him, triumphant] Now youre talking' I thought youd come off it when you saw a chance of getting back a bit of what you chucked at me last night. [Confidentially] Youd had a drop in, hadnt you?

Higgins [peremptorily] Sit down.

The Flower Girl. Oh, if youre going to make a compliment of it –

Higgins [thundering at her] Sit down.

Mrs. Pearce [severely] Sit down, girl. Do as youre told. [She places the stray chair near the hearthrug between Higgins and Pickering, and stands behind it waiting for the giri to sit down].

The Flower Girl. Ah-ah-ah-ow-ow-oo! [She stands, half rebellious, half bewildered].

Pickering [very courteous] Wont you sit down?

Liza [coyly] Dont mind if 1 do. [She sits down. Pickering returns to the hearthrug].

Higgins. Whats your name?

The Flower Girl. Liza Doolittle.

Higgins [declaiming gravely]

Eliza, Elizabeth, Betsy and Bess

They went to the woods to get a bird nes^`:

Pickering. They found a nest with four egg in it:

Higgins. They took one apiece and left three in it.

They laugh heartily at their own wit.

I A za. Oh, d out be sill у

Mrs Pearce. You mustnt speak to the gentleman like that.

Liza. Well, why wont he speak sensible to me?

Higgins. Come back to business. How much do you propose to pay me for the lessons?

Liza. Oh, I know whats right. Л lady friend of mine gets French lessons for eighteenpence an hour from a real French gentleman. Well, you wouldnt have the face to ask me the same for teaching me my own language as you would for French; so I wont give more than a shilling. Take it or leave it.

Higgins [walking up and down the room, rattling his keys and his cash in his pockets] You know, Pickering, if you consider a shilling, not as a simple shilling, but as a percentage of this girl's income, it works out as fully equivalent to sixty or seventy guineas from a millionaire.

Pickering. How so?

Higgins. Figure it out. A millionaire has about £150 a day She earns about half-a-crown.

Liza [haughtily] Who told you I only –

Higgins. [continuing] She offers me two-fifths of her day's income for a lesson. Two-fifths of a millionaire's income for a day would be somewhere about £60. it's handsome. By George, it's enormous! it's the biggest offer! ever had.

Liza [rising, terrified] Sixty pounds! What are you talking about? І never offered you sixty pounds. Where would І get –

Higgins. Hold your tongue.

Liza [weeping] But 1 aint got sixty pounds. Oh –

Mrs. Pearce. Dont cry. you silly girl. Sit down. Nobody is going to touch your money.

Higgins. Somebody is going to touch you, with a broomstick, if you dont stop snivelling. Sit down.

Liza [obeying siowiy] Ah-ah-ah-ow-oo-o! One would til ink you was my father.

Higgins. If 1 decide to teach you, I'll be worse than two fathers to you. Here [Tie offers her his silk handkerchief]!

Liza. Wbats this for?

Higgins. To wipe your eyes. To wipe any part of your face that feels moist. Remember: thats your handkerchief; and thats your sleeve. Dont mistake the one for the other if you wish to become a lady in a shop.

Liza, utterly bewildered, stares helplessly at him

Mrs. Pearce. It's no use talking to her like that, Mr. Higgins; she doesnt understand you. Besides, youre quite wrong: she doesnt do it that way at all [she takes the handkerchief]

Liza [snatching it] Here' You give me that handkerchief He give it to me, not to you.

Pickering [laughing] lie did. I think it must be regarded as her property. Mrs Pearce.

Mrs. Pearce [resigning herself] Serve you right. Mr. Higgins.

Pickering. Higgins: I'm interested. What about the ambassador's garden party? I'll say youre the greatest teacher alive if you make that good. I'll bet you all the expenses of the experiment you cant do it. And I'll pay for the lessons.

Liza. Oh, you are real good. Thank you. Captain.

Higgins [tempted, looking at her] It's almost irresistible. Shes so deliciously low – SO horribly dirty –

Liza [protesting extremely] Ah-ah-ah-ah-ow-ow-oo-oo!!! і aint dirty: і washed my lace and hands afore I come. 1 did.

Pickering. Youre certainty not going to turn her head with flattery. Higgins.

Mrs. Pearce [uneasy] Oh, dont say that, sir: theres more ways than one of turning a girl's head; and nobody can do it better than Mr. Higgins, though he may not always it. I do hope, sir, you wont encourage him to do anything foolish.

Higgins [becoming excited as the idea grows on him] What is life but a series of inspired follies? The difficulty is to find them to do. Never lose a chance: it doesnt come every day. I shall make a duchess of this draggle-tailed guttersnipe.

Liza [strongly deprecating this view of her] Ah-ah-ah-ow-ow-oo!

Higgins [carried away] Yes: in six months – in three if she has a good ear and a quick tongue – I'll take her anywhere and pass her off as anything. We'll start today: now! this moment! Take her away and clean her, Mrs. Pearce. Monkey Brand, if it wont come off any other way. Is there a good fire in the kitchen?

Mrs. Pearce [protesting]. Yes; but –

Higgins [storming on] Take all her clothes off and bum them. Ring up Whiteley or somebody for new ones. Wrap her up in brown paper til they come.

Liza. Youre no gentleman, youre not, to talk of such things. I'm a good and I know what the like of you are, I do.

Higgins. We want none of your Lisson Grove prudery here, young woman. Youve got to learn to behave like a duchess. Take her away, Mrs. Pearce. If she gives you any trouble wallop her.

Liza [springing up and running between Pickering and Mrs. Pearce for protection] No! I`ll call the police, I will.

Mrs. Pearce. But Ive no place to put her.

Higgins. Put her in the dustbin.

Liza. Ah-ah-ah-ow-ow-oo!

Pickering. Oh come, Higgins! be reasonable.

Mrs. Pearce [resolutely] You must be reasonable, Mr. Higgins: really you must. You cant walk over everybody like this.

21. Прочитайте зразки поезії нонсенсу (безглуздої поезії) Е. Ліра. Дайте відповіді на запитання та виконайте завдання:

1. Визначте жанрові ознаки поезії нонсенсу.

2. В чому, на вашу думку, виявляється зв`язок лімериків Е. Ліра з фольклорною традицією?

3. В чому полягає типологічна близькість нонсенсу та гротеску?

4. Що лежить в основі гротескної картини буття, створеної Е. Ліром?

5. Якою є оцінка людської природи в творах Е. Ліра?

6. Проти яких явищ дійсності спрямовані твори Е. Ліра? Чи присутній в них філософський аспект?

There was an Old Woman of Harrow,
Who visited in a Wheel barrow,
And her servant before,
Knock'd loud at each door;
To announce the Old Woman of Harrow.

There was an Old Woman named Towl
Who went out to Sea with her Owl,
But the Owl was Sea-sick
And scream'd for Physic;
Which sadly annoy'd Mistress Towl.

There dwelt an Old Woman Exeter,
When visitors came it sore vexed her,
So for fear they should eat,
She lock'd up all the meat;
This stingy Old Woman of Exeter.

There was an Old Woman of Croydon,
To look young she affected the Hoyden,
And would jump and would skip,
Till she put out her hip;
Alas poor Old Woman of Croydon.

22. Прочитайте уривок з ліричної драми П.Б. Шеллі «Звільнений Прометей». Дайте відповіді на запитання та виконайте завдання:

1. Визначте жанрову своєрідність твору П.Б. Шеллі. Вкажіть жанрові ознаки ліричної драми.

2. Як конструюється хронотоп твору? Яке значення має просторова опозиція «небеса-земля»?

3. Визначте тему та провідні мотиви монологу Прометея. Яке значення має повторюваний мотив туги?

4. Визначте функції персоніфікованих сил природи.

5. Визначте пафос наведеного уривку. За допомогою яких художніх засобів він створюється?

6. Чому, на вашу думку, Прометея відносять до так званих «традиційних» образів?

Дата добавления: 2014-12-08