Interpreting and Evaluation. 1. From what you have read what are your impressions of the professional qualities of Westbrook as an editor and Shackleford as a writer?
1. From what you have read what are your impressions of the professional qualities of Westbrook as an editor and Shackleford as a writer?
2. What is the author's outlook on good literature which describes true-to-life events?
3. How do you account for the stories the Minerva was selling? Why do you think the magazine was so popular?
4. What evidence can you find in this story that the two families had beenon
friendly terms before?
5. What do you think about the relationship between:
a) Shackleford and his wife?
b) Editor Westbrook and his wife?
6. Why, in your opinion, the two women decided to leave their husbands?
7.Discuss the meaning of each of the following statements taken from the story:
a/ 'If Iknow anything of life I know that every deep, sudden and tragic emotion in the human heart evokes a corresponding expression of feeling? How much of this accord between expression and feeling should be attributed to nature, and how much to the influence of art, it would be difficult to say.'
b/ 'It is also true that all men and women have what may be called a subconscious dramatic sense that is awakened by a deep and powerful emotion - a sense unconsciously taken from literature and the stage that helps them to express those emotions in an appropriate language.'
c/ 'People in real life don't fly into heroic and blank verse at emotional crises. They simply can't do it. If they talk at all on such occasions they take from the same vocabulary that they use every day, that's all.'
8. What is the meaning of the title? How does it imply to the main idea of the story? Do you agree that the only way to judge something is to try it?
Reproduction and Composition
1. Retell the whole story as briefly and as simply as you can, placing the events in order of time, omitting anything that you consider unnecessary ,and avoiding all repetitions (about 250 words).
2. Give a clear account of what good fiction is.
3. Suggest a possible end of the story.
4. Write a paraphrase of the passage beginning with:
"Spring winked at Editor Westbrook..." up to "...he felt somebody grasp his sleeve."
5. In what way does the story explain the saying "The proof of the pudding is in the eating"?
6. Write a composition finishing with the saying: "Give it a try so you can find out if you really like it or not."
TEXT 3
W.S.
by L.P.Hartley
The first postcard came from Forfar. 'I thought you might like a picture of Forfar,' it said. 'You have always been so interested in Scotland, and that is one reason why I am interested in you. I have enjoyed all your books, but do you really get to grips with people? I doubt it. Try to think of this as a handshake from your devoted admirer, W.S.'
Like other novelists, Walter Streeter was used to getting communications from strangers. Usually they were friendly but sometimes they were critical. In either case he always answered them, for he was conscientious. But answering them took up the time and energy he needed for his writing, so that he was rather relieved that W.S. had given no address. The photograph of Forfar was uninteresting and he tore it up. His anonymous correspondent's criticism, however, lingered in his mind. Did he really fail to come to grips with his characters? Perhaps he did. He was aware that in most cases they were either projections of his own personality or, in different forms, the antithesis of it. The Me and the Not Me. Perhaps W.S had spotted this. Not for the first time Walter made a vow to be more objective.
About ten days later arrived another postcard, this time from Berwick-on-Tweed. 'What do you think of Berwick-on-Tweed?' it said. 'Like you, it's on the Border. I hope this doesn't sound rude, I don't mean that you are a border-line case! You know how much I admire your stories. Some people call them other-worldly. I think you should plump for one world or the other. Another firm handshake from W .S.' Walter Streeter pondered over this and began to wonder about the sender. Was his correspondent a man or a woman?
It looked like a man's handwriting—commercial, unselfconscious - and the criticism was like a man's. On the other hand, it was like a woman to probe - to want to make him feel at the same time flattered and unsure of himself. He felt the faint stirrings of curiosity but soon dismissed them; he was not a man to experiment with acquaintances. Still it was odd to think of this unknown person speculating about him, sizing him up. Other-worldly, indeed! He re-read the last two chapters he had written. Perhaps they didn't have their feet firm on the ground. Perhaps he was too ready to escape, as other novelists were nowadays, into an ambiguous world, a world where the conscious mind did not have things too much its own way. But did that matter? He threw the picture of Berwick-on-Tweed into his November fire and tried to write; but the words came haltingly, as though contending with an extra-strong barrier of self-criticism. And as the days passed he became uncomfortably aware of self-division, as though someone had taken hold of his personality and was pulling it apart. His work was no longer homogeneous, there were two strains in it, unreconciled and opposing, and it went much slower as he tried to resolve the discord. Never mind, he thought: perhaps I was getting into a groove. These difficulties may be growing pains, I may have tapped a new source of supply. If only I could correlatethe two and make their conflict fruitful, as many artists have!
The third postcard showed a picture of York Minster. 'I know you are interested in cathedrals,' it said. 'I'm sure this isn't a sign of megalomania in your case, but smaller churches are sometimes more rewarding. I'm seeing a good many churches on my way south. Are you busy writing or are you looking round for ideas? Another hearty handshake from your friend W.S.'
It was true that Walter Streeter was interested in cathedrals. Lincoln Cathedral had been the subject of one of his youthful fantasies and he had written about it in a travel 
book. And it was also true that he admired mere size and was inclined to under-value parish churches. But how could W.S. have known that? And was it really a sign of megalomania? And who was W.S. anyhow?
For the first time it struck him that the initials were his own. No, not for the first time. He had noticed it before, but they were such commonplace initials; they were Gilbert's, they were Maugham's, they were Shakespeare's - a common possession. Anyone might have them. Yet now it seemed to him an odd coincidence; and the idea came into his mind - suppose I have been writing postcards to myself? People did such things, especially people with split personalities. Not that he was one, of course. And yet there were these unexplained developments - the cleavage in his writing, which had now extended from his thought to his style, making one paragraph languorous with semi-colons and subordinate clauses, and another sharp and incisive with main verbs and full-stops.
He looked at the handwriting again. It had seemed the perfection of ordinariness—anybody's hand—so ordinary as perhaps to be disguised. Now he fancied he saw in it resemblances to his own. He was just going to pitch the postcard in the fire when suddenly he decided not to. I'll show it to somebody, he thought.
His friend said, 'My dear fellow, it's all quite plain. The woman's a lunatic. I'm sure it's a woman. She has probably fallen in love with you and wants to make you interested in her. I should pay no attention whatsoever. People whose names are mentioned in the papers are always getting letters from lunatics. If they worry you, destroy them without reading them. That sort of person is often a little psychic, and if she senses that she's getting a rise out of you she'll go on.'
For a moment Walter Streeter felt reassured. A woman, a little mouse-like creature, who had somehow taken a fancy to him! What was there to feel uneasy about in that? It was really rather sweet and touching, and he began to think of her and wonder what she looked like. What did it matter if she was a little mad? Then his subconscious mind, searching for something to torment him with, and assuming the authority of logic, said: Supposing those postcards are a lunatic's, and you are writing them to yourself, doesn't it follow that you must be a lunatic too?
He tried to put the thought away from him; he tried to destroy the postcard as he had the others. But something in him wanted to preserve it. It had become a piece of him, he felt. Yielding to an irresistible compulsion, which he dreaded, he found himself putting it behind the clock on the chimney-piece. He couldn't see it but he knew that it was there.
He now had to admit to himself that the postcard business had become a leading factor in his life. It had created a new area of thoughts and feelings and they were most unhelpful. His being was strung up in expectation of the next postcard.
Yet when it came it took him, as the others had, completely by surprise. He could not bring himself to look at the picture. 'I hope you are well and would like a postcard from Coventry,' he read. 'Have you ever been sent to Coventry?* I have—in fact you sent me there. It isn't a pleasant experience, I can tell you. I am getting nearer. Perhaps we shall come to grips after all. I advised you to come to grips with your characters, didn't I? Have I given you any new ideas? If I have you ought to thank me, for they are what novelists want, I understand. I have been re-reading your novels, living in them, I might say. Another hard handshake. As always, W.S.'
A wave of panic surged up in Walter Streeter. How was it that he had never noticed, all this time, the most significant fact about the postcards - that each one came from a place geographically closer to him than the last? 'I am coming nearer.' Had his mind, unconsciously self-protective, worn blinkers? If it had, he wished he could put them back. He 
took an atlas and idly traced out W.S.'s itinerary. An interval of eighty miles or so seemed to separate the stopping-places. Walter lived in a large West Country town about ninety miles from Coventry.
Should he show the postcards to an alienist? But what could an alienist tell him? He would not know, what Walter wanted to know, whether he had anything to fear from W.S.
Better go to the police. The police were used to dealing with poisonpens. If they laughed at him, so much the better.
They did not laugh, however. They said they thought the postcards were a hoax and that W.S. would never show up in the flesh. Then they asked if there was anyone who had a grudge against him. 'No one that I know of,' Walter said. They, too, took the view that the writer was probably a woman. They told him not to worry but to let them know if further postcards came.
A little comforted, Walter went home. The talk with the police had done him good. He thought it over. It was quite true what he had told them - that he had no enemies. He was not a man of strong personal feelings such feelings as he had went into his books. In his books he had drawn some pretty nasty characters. Not of recent years, however. Of recent years he had felt a reluctance to draw a very bad man or woman: he thought it morally irresponsible and artistically unconvincing, too. There was good in everyone: Iagos were a myth. Latterly—but he had to admit that it was several weeks since he laid pen to paper, so much had this ridiculous business of the postcards weighed upon his mind—if he had to draw a really wicked person he represented him as a Nazi—someone who had deliberately put off his human characteristics. But in the past, when he was younger and more inclined to see things as black or white, he had let himself go once or twice. He did not remember his old books very well but there was a character in one, “The Outcast”, into whom he had really got his knife. He had written about him with extreme vindictiveness, just as if he was a real person whom he was trying to show up. He had experienced a curious pleasure in attributing every kind of wickedness to this man. He never gave him the benefit of the doubt. He had never felt a twinge of pity for him, even when he paid the penalty for his misdeeds on the gallows. He had so worked himself up that the idea of this dark creature, creeping about brimful of malevolence, had almost frightened him.
Odd that he couldn't remember the man's name.
He took the book down from the shelf and turned the pages - even now they affected him uncomfortably. Yes, here it was, William... William...he would have to look back to find the surname. William Stainsforth.
His own initials.
Walter did not think the coincidence meant anything but it coloured his mind and weakened its resistance to his obsession. So uneasy was he that when the next postcard came it came as a relief.
'I am quite close now,' he read, and involuntarily he turned the postcard over. The glorious central tower of Gloucester Cathedral met his eye. He stared at it as if it could tell him something, then with an effort went on reading. 'My movements, as you may have guessed, are not quite under my control, but all being well I look forward to seeing you some time this week-end. Then we can really come to grips. I wonder if you'll recognize me! It won't be the first time you have given me hospitality. My hand feels a bit cold to-night, but my handshake will be just as hearty. As always, W.S.'
'P.S. Does Gloucester remind you of anything? Gloucester gaol?'
Walter took the postcard straight to the police station, and asked if he could have police protection over the week-end. The officer in charge smiled at him and said he was quite sure it was a hoax; but he would tell someone to keep an eye on the premises.
'You still have no idea who it could be?" he asked.
Walter shook his head.
It was Tuesday; Walter Streeter had plenty of time to think about the week-end. At first he felt he would not be able to live through the interval, but strange to say his confidence increased instead of waning. He set himself to work as though he could work, and presently he found he could - differently from before, and, he thought, better. It was as though the nervous strain he had been living under had, like an acid, dissolved a layer of non-conductive thought that came between him and his subject: he was nearer to it now, and his characters, instead of obeying woodenly his stage directions, responded wholeheartedly and with all their beings to the tests he put them to. So passed the days, and the dawn of Friday seemed like any other day until something jerked him out of his self-induced trance and suddenly he asked himself, 'When does a week-end begin?'
A long week-end begins on Friday. At that his panic returned. He went to the street door and looked out. It was a suburban, unfrequented street of detached Regency houses like his own. They had tail square gate-posts, some crowned with semi-circular iron brackets holding lanterns. Most of these were out of repair: only two or three were ever lit. A car went slowly down the street; some people crossed it: everything was normal.
Several times that day he went to look and saw nothing unusual, and when Saturday came, bringing no postcard, his panic had almost subsided. He nearly rang up the police station to tell them not to bother to send anyone after all.
They were as good as their word: they did send someone. Between tea and dinner, the time when week-end guests most commonly arrive, Walter went to the door and there, between two unlit gate-posts, he saw a policeman standing - the first policeman he had ever seen in Charlotte Street. At the sight, and at the relief it brought him, he realized how anxious he had been. Now he felt safer than he had ever felt in his life, and also a little ashamed at having given extra trouble to a hard worked body of men. Should he
go and speak to his unknown guardian, offer him a cup of tea or a drink? It would be nice to hear him laugh at Walter's fancies. But no - somehow he felt his security the greater when its source was impersonal and anonymous. P.C. Smith' was somehow less impressive than 'police protection'.
Several times from an upper window (he didn't like to open the door and stare) he made sure that his guardian was still there; and once, for added proof, he asked his housekeeper to verify the strange phenomenon. Disappointingly, she came back saying she had seen no policeman; but she was not very good at seeing things, and when Walter went a few minutes later he saw him plain enough, The man must walk about, of course, perhaps he had been taking a stroll when Mrs. Kendal looked.
It was contrary to his routine to work after dinner but to-night he did, he felt so much in the vein. Indeed, a sort of exaltation possessed him; the words ran off his pen; it would be foolish to check the creative impulse for the sake of a little extra sleep. On, on. They were right who said the small hours were the time to work. When his housekeeper came in to say good night he scarcely raised his eyes.
In the warm, snug little room the silence purred around him like a kettle. He did not even hear the door bell till it had been ringing for some time.
A visitor at this hour?
His knees trembling, he went to the door, scarcely knowing what he expected to find; so what was his relief on opening it, to see the doorway filled by the tall figure of a policeman. Without waiting for the man to speak—
'Come in, come in, my dear fellow,' he exclaimed. He held his hand out, but the policeman did not take it. 'You must have been very cold standing out there. I didn't know that it was snowing, though,' he added, seeing the snow-flakes on the policeman's cape and helmet. 'Come in and warm yourself.'
'Thanks,' said the policeman. 'I don't mind if I do.'
Walter knew enough of the phrases used by men of the policeman's stamp not to take this for a grudging acceptance. 'This way,' he prattled on. 'I was writing in my study. By Jove, it is cold, I'll turn the gas on more. Now won't you take your traps off, and make yourself at home?'
'I can't stay long,' the policeman said, I've got a job to do, as you know.'
'Oh yes,' said Walter, 'such a silly job, a sinecure.' He stopped, wondering if the policeman would know what a sinecure was. 'I suppose you know what it's about—the postcards?'
The policeman nodded.
'But nothing can happen to me as long as you are here,' said Walter. 'I shall be as safe ... as safe as houses. Stay as long as you can, and have a drink.'
'I never drink on duty,' said the policeman. Still in his cape and helmet, he looked round. 'So this is where you work,' he said.
'Yes, I was writing when you rang.'
'Some poor devil's for it, I expect,' the policeman said.
'Oh, why?' Walter was hurt by his unfriendly tone, and noticed how hard his
gooseberry eyes were.
'I'll tell you in a minute,' said the policeman, and then the telephone bell rang. Walter excused himself and hurried from the room.
"This is the police station,' said a voice, 'Is that Mr. Streeter?'
Walter said it was.
'Well, Mr. Streeter, how is everything at your place? All right, I hope? I'll tell you why I ask. I'm sorry to say we quite forgot about that little job we were going to do for you. Bad co-ordination, I'm afraid.'
'But,' said Walter, 'you did send someone.'
'No, Mr. Streeter, I'm afraid we didn't.'
'But there's a policeman here, here in this very house.'
There was a pause, then his interlocutor said, in a less casual voice:
'He can't be one of our chaps. Did you see his number by any chance?'
'No.'
A longer pause and then the voice said:
'Would you like us to send somebody now?'
'Yes, p ... please.'
'All right then, we'll be with you in a jiffy.'
Walter put back the receiver. What now? he asked himself. Should he barricade the door? Should he run out into the street? Should he try to rouse his housekeeper? A policeman of any sort was a formidable proposition, but a rogue policeman! How long would it take the real police to come? A jiffy, they had said. What was a jiffy in terms of minutes? While he was debating the door opened and his guest came in.
'No room's private when the street door's once passed,' he said. 'Had you forgotten I was a policeman?'
'Was?' said Walter, edging away from him. 'You are a policeman.'
'I have been other things as well.’ the policeman said. 'Thief, pimp, blackmailer, not to mention murderer. You should know.'
The policeman, if such he was, seemed to be moving towards him and Walter suddenly became alive to the importance of small distances - the distance from the sideboard to the table, the distance from one chair to another.
'I don't know what you mean,' he said. 'Why do you speak like that? I've never done you any harm. I've never set eyes on you before.'
'Oh, haven't you?' the man said. 'But you've thought about me and'—his voice rose—' and you've written about me. You got some fun out of me, didn’t you? Now I'm going to get some fun out of you. You made me just as nasty as you could. Wasn't that doing me harm? You didn't think what it would feel like to be me, did you ? You didn't put yourself in my place, did you? You hadn't any pity for me, had you? Well, I'm not going to have any pity for you.'
'But I tell you,' cried Walter, clutching the table's edge, 'I don't know you!'
'And now you say you don't know me! You did all that to me and then forgot me!' His voice became a whine, charged with self-pity. 'You forgot William Stainsforth.' 'William Stainsforth!'
'Yes. I was your scapegoat, wasn't I? You unloaded all your self-dislike on me. You felt pretty good while you were writing about me. You thought, what a noble, upright fellow you were, writing about this rotter. Now, as one W.S. to another, what shall I do, if I behave in character?' 'I ... I don't know," muttered Walter. 'You don't know?' Stainsforth sneered. 'You ought to know, you fathered me. What would William Stainsforth do if he met his old dad in a quiet place, his kind old dad who made him swing?'
Walter could only stare at him.
'You know what he'd do as well as I,' said Stainsforth. Then his face changed and he said abruptly, 'No, you don't, because you never really understood me. I'm not so black as you painted me.' He paused, and a flicker of hope started in Walter's breast. 'You never gave me a chance, did you? Well, I'm going to give you one. That shows you never understood me, doesn't it?' Walter nodded.
'And there's another thing you have forgotten.'
'What is that?'
'I was a kid once,' the ex-policeman said.
Walter said nothing.
'You admit that?' said William Stainsforth grimly. 'Well, if you can tell me of one virtue you ever credited me with—just one kind thought - just one redeeming feature "
'Yes?' said Walter, trembling.
'Well, then I'll let you off.'
'And if I can't?' whispered Walter.
'Well, then, that's just too bad. We'll have to come to grips and you know what that means. You took off one of my arms but I've still got the other. "Stainsforth of the iron hand" you called me.'
Walter began to pant.
'I'll give you two minutes to remember,' Stainsforth said. They both looked at the clock. At first the stealthy movement of the hand paralysed Walter's thought. He stared at William Stainsforth's face, his cruel, crafty face, which seemed to be always in shadow, as if it was something the light could not touch. Desperately he searched his memory for the one fact that would save him; but his memory, clenched like a fist, would give up nothing. 'I must invent something, he thought, and suddenly his mind relaxed and he saw, printed on it like a photograph, the last page of the book. Then, with the speed and magic of a dream, each page appeared before him in perfect clarity until the first was reached, and he realized with overwhelming force that what he looked for was not there. In all that evil there was not one hint of good. And he felt, compulsively and with a kind of exaltation, that unless he testified to this the cause of goodness everywhere would be betrayed.
'There's nothing to be said for you! 'he shouted. 'And you know it! Of all your dirty tricks this is the dirtiest! You want me to whitewash you, do you? The very snowflakes on you are turning black! How dare you ask me for a character? I've given you one already! God forbid that I should ever say a good word for you! I'd rather die!'
Stainsforth's one arm shot out. "Then die!' he said.
The police found Walter Streeter slumped across the dining-table. His body was still warm, but he was dead. It was easy 
to tell how he died; for it was not his hand that his visitor had shaken, but his throat. Walter Streeter had been strangled? Of his assailant there was no trace. On the table and on his clothes were flakes of melting snow. But how it came there remained a mystery, for no snow was reported from any district on the day he died.
NOTES ON THE TEXT
1. Lincoln Cathedralis in the ancient town of Lincoln, North Midlands. The magnificent Cathedral Church of St. Mary, rising to 271 ft, was built between the 11th and 14 th centuries and its honey-coloured stone is said to change colour in varying light;
2. fantasy:a fanciful or imaginative creation, such as science fiction;
3. Gilbert, WilliamSchwenck: (1836-1911), an English dramatist and poet;
4. psychic:having the alleged power of seeing objects or actions beyond the range of natural vision;
5. to send smb to Coventry:to refuse to speak to someone as a sign of disapproval or punishment.
ACTIVE WORDS
1. come vi- (esp. up to, down to) to reach;come about to happen;
come by to obtain; come down to lose position, respect or social rank.
come in to become fashionable;
come off - to cease being joined to smth.;
come on (infml) to start; come out to become clear or known;
come to to regain consciousness.
2. objectivea- not influenced by personal feelings; fair;
objectn 1)a material thing; 2) smth or smb that is the focus of feeling, thought, or action, as an object of pity, admiration, ridicule, delight, curiosity, fear, etc.; 3) purpose; aim;
objectvi to be against smth or someone.
objectionn a statement or feeling of dislike, disapproval, or opposition
3. groundn- 1)a piece of land for a special use: a football ground; picnic grounds, a playground. 2) pl a reason;
to 'cover much/a lot of ground 1) to travel a certain distance; 2) to deal with many different subjects;
v to suit someone down to the ground(infml) to be just what onewants or likes;
groundlessa (of feelings, ideas) without base or good reason;
well-groundeda based on fact;
4.thingn- 1) any material object; 2) a piece of clothing; 3)that which is not material; 4)asubject, matter; 5) a person or animal regarded as an object of pity, affection, or contempt; 6)happening, event; 7) pl possessions, belongings; 8) pl the general state of affairs.
(not) quite the thing(infml) what is considered socially correct, fashionable.
the thing isthe most important point is.
5. opposev - to be or act against. to be opposed to.
oppositen a person or thing that is as different as possible.
oppositea 1) totally different; 2) across from where you are.
oppositionn 1)action against; 2) the political parties opposed to the government
6. initialn. usu. pl - a large letter at the beginning of a name;
initial a coming at the beginning, as the initial advantage, attempt, stage, step, symptoms, etc.
initiativen 1)the first step in an undertaking (esp. in the phr. to take the initiative). 2) (u) the ability to do things before others; enterprise.
7. attentionn- 1)active focusing of the mind, oft. in the phr.to pay attention to, to attract/to drawsmb's attention to;2) thoughtful consideration, care;
attendvt/i 1) to give one's attention; 2) to be present at. 3) to look after;
attentivea 1) paying attention; 2) courteous, considerate, as anattentive host;
Ant. inattentive
8. reassurevt - to restore confidence or courage; reassurancen
assurevt 1) to promise; try to persuade; 2) to make certain;
assureda also self-assured, self-possessed, confident, asan assured manner
9. yieldv/ - I)to give, produce, 2) to give up control (of);
Syn. surrender, give up
yieldn that which is produced;
yieldinga likely to agree with or give in to others.