B) Use these expressions in the sentences of your own.
IV. Give a written translation.
1. He was as popular with men as he was with women, and he had every accomplishment except that of making money. His father had bequeathed him his cavalry sword, and a History of the Peninsular War in fifteen volumes. Hughie hung the first over his looking-glass, put the second on a shelf between Ruff's Guide and Bailey's Magazine, and lived on two hundred a year that an old aunt allowed him.
2. He had tried everything. He had gone on the Stock Exchange for six months; but what was a butterfly to do among bulls and bears? He had been a tea-merchant for a little longer, then he had tried selling dry sherry. Ultimately he became nothing, a delightful, ineffectual young man with a perfect profile and no profession.
3. To make matters worse, he was in love. The girl he loved was Laura Merton, the daughter of a retired Colonel who had lost his temper and his digestion in India, and had never found either of them again. Laura adored him, and he was ready to kiss her shoestrings. They were the handsomest couple in London, and had not a penny-piece between them. The Colonel was very fond of Hughie, but would not hear of any engagement.
4. Trevor was a painter. Indeed, few people escape that nowadays. But he was also an artist, and artists are rather rare.
5. When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man.
6. "Well, I think the model should have a percentage," cried Hughie, laughing;
"they work quite as hard as you do."
"Nonsense, nonsense! Why, look at the trouble of laying on the paint alone, and standing all day long at one's easel! Its all very well, Hughie, for you to talk, but I assure you that there are moments when Art almost attains to the dignity of manual labour. But you mustn't chatter; I'm very busy. Smoke a cigarette, and keep quiet."
7. He looked so forlorn and wretched that Hughie could not help pitying him, and felt in his pockets to see what money he had. All he could find was a sovereign and some coppers. "Poor old fellow," he thought to himself, "he wants it more than I do, but it means no hansoms for a fortnight;" and he walked across the studio and slipped the sovereign into the beggar's hand.
8. Then Trevor arrived, and Hughie took his leave, blushing a little at what he had done. He spent the day with Laura, got a charming scolding for his extravagance, and had to walk home.
9. "Well, Alan, did you get the picture finish all right?" he said, as he lit his cigarette.
"Finished and framed, my boy!" answered Trevor "and, by the bye, you have made a conquest. That old model you saw is quite devoted to you. I had to tell him all about you — who you are, where you live, what your income is, what prospects you have-."
10. "I think you might have told me, Alan," said Hughie sulkily, "and not have let me make such a fool of myself."
11. When they were married Alan Trevor was the best man, and the Baron made a speech at the wedding breakfast.
"Millionaire models," remarked Alan, "are rare enough; but, by Jove, model millionaires are rarer still!"
V. Read the story once more and answer the questions.
1. What was Hughie Erskine? What kind of person was he?
2. What was Hughie Erskine’s way of earning money?
3. Whom did he love? Why couldn’t he get married to her?
4. On what condition did Colonel Merton promised to allow Hughie and Laura to marry?
5. Where did Hughie Erskine drop in one day? What was Allan Trevor?
6. What were Alan Trevor’s views on art and people?
7. What was Alan Trevor busy with? Who was Allan’s model?
8. What did Alan and Hughie speak about?
9. What idea entered Hughie’s mind when Trevor went out? What did he do? What was the beggar’s reaction to Hughie’s action?
10. What did Hughie and Alan talk about when they met at Palette Club?
11. What did both of them feel towards the model of the picture?
12. What fact astonished and surprised Hughi most of all?
13. What did Hughie feel after he learnt what the model really was?
14. Who visited Hughie’s place the next morning?
15. Why did Hughie and Laure’s marriage become possible?
VI. Extend and comment on the following:
1. Unless one is wealthy there is no use in being a charming fellow.
2. Romance is the privilege of the rich, not the profession of the unemployed.
3. The poor should be practical and prosaic.
4. It is better to have a permanent income than to be fascinating.
5. … What is a butterfly to do among bulls and bears?
6. Alan Trevor: “The only people a painter should know are the people who are bête and beautiful? people who are an artistic pleasure to look at and an intellectual repose to talk to”.
7. Alan Traver: “Men and women who are darlings rule the world, at least they should do so”.
8. There are moments when Art almost attains to the dignity of manual labour.
9. Alan Trevor: “What you call rags I call romance. What seems poverty to you is picturesqueness to me…”
10. Allan Trevor: “ An artist’s heart is his head. …Our business is to realize the world as we see it, not to reform it as we know it.”
11. Millionaire models are rare enough; but model millionaires are rarer still!
VII. Retell the story using the words of the vocabulary.
Section 3
Mr. Know-All