OU Degree 1st Sem English – Seeing People Off Questions and Answers & Summary
Comprehension-I.
Answer the following questions in 80-100 words.
Question 1.
‘Our failure is in exact ratio to the seriousness of the occasion, and to the depth of our feeling.’ What failure is Beerbohm talking about? Explain the meaning of this statement.
Answer:
Henry Beerbohm feels that he is not good at seeing people off. For him, to send a friend off is one of the most difficult things in the world. Beerbohm opines that when a friend is going on a longish journey, and will be absent for a longish time, we turn up at the railway station. The dearer the friend, and the longer the journey, and the longer the likely absence, the earlier do we turn up, and the more lamentably do we fail.
He laments that the process of ‘seeing off’ or ‘sending off’ cannot match our deep feelings towards the person who is travelling. The limitation of seeing off also fails in matching the seriousness of departing of a friend to a longer distance. It has become a formality or farce. Therefore, Beerbohm considers the limitations of the seeing off are a failure.
Question 2.
What about le Ros surprises Beerbohm at the train station?
Answer:
When Beerbohm turns up at Euston railway station to see off a friend, he happens to see Hubert le Ros, a renowned stage actor in London. According to Beerbohm, Le Ros was an excellent actor, and a man of sober habit. One thing about Le Ros that surprises the author is that he has changed a lot since the author saw him seven or eight years before.
Le Ros used to work for the Strand, a London theatre, but with of less success. The author recalls that when Le Rose was not employed, he borrowed from the author a half- a- crown (a British coin worth 25 pence). The author feels that Le Ros was then a magnetic and attractive actor. However, his magnetism had never made him successful on the London stage. His failure remains a mystery to the author. As the result, Le Ros has gone into oblivion, and the author also forgot him for a while.
Question 3.
Elaborate on the purpose and working of the AASB in your own words.
Answer:
In the essay, “Seeing People Off” Beerbohm explains the futility of the process of seeing off people when they leave on a journey. After a gap of seven or eight years, the author happens to meet Hubert le Ros, a London stage actor at the platform. From the conversation with Le Ros, Beerbohm comes to know about AASB. According to Le Ros, AASB stands for the Anglo-American Social Bureau’.
He explains that the thousands of Americans annually pass through England. Many hundreds of them have no English friends. In the old days, they used to bring letters of introduction. But the English are so inhospitable that these letters are hardly worth the paper they are written on.
According to Le Ros, many Americans cannot afford to keep friends in England. But they can all afford to be seen off. The fee is only five pounds (twenty-five dollars) for a single traveller; and eight pounds (forty dollars) for a party of two or more.
They send that into the Bureau, giving the date of their departure, and a description by which the seer-off can identify them on the platform. And then, they are affectionately seen off. Therefore, the AASB supplies a long-felt want of ‘friends’ or ‘seers-off’. Moreover, Americans are a sociable people, and most of them have plenty of money to spend.
The AASB supplies them with English friends. Fifty percent of the fees is paid over to the ‘friends’ or ‘seers- off’. The other fifty is retained by the AASB. Le Ros is an employee in the Bureau and acts as a seer-off to the visiting Americans. He wishes to be the Director of the Bureau, since it is earning a lot of money in the business.
Question 4.
Beerbohm says that despite being a good actor, le Ros never found success on the London stage. Comment on this statement in the light of this essay.
Answer:
Beerbohm says that despite being a good actor, le Ros never found success on the London stage. When Beerbohm turns up at Euston railway station to see off a friend, he happens to see Hubert le Ros, a not-so-successful stage actor in London. According to Beerbohm, Le Ros was an excellent actor, and a man of sober habit.
One thing about Le Ros that surprises the author is that he has changed a lot since the author saw him seven or eight years before. Le Ros used to work for the Strand, a London theatre, but with of less success. The author recalls that when Le Rose was not employed, he borrowed from the author a half-a-crown (a British coin worth 25 pence).
The author feels that Le Ros was then a magnetic and attractive actor. However, his magnetism had never made him successful on the London stage. His failure remains a mystery to the author. As the result, Le Ros has gone into oblivion, and the author also forgot him for a while.
However, in the due course of their interaction, the author comes to know that Le Ros is a successful employee as a ‘seer-off working with the ‘Anglo-American Social Bureau’ (AASB) which supplies a long-felt want of ‘friends’ or ‘seers-off to the visiting Americans who do not have friends in England. Though he was not successful as a ‘stage actor’, he is now successfully acting as a ‘seer-off,
Question 5.
Why does the author say that he envied le Ros? How is this connected to his request to le Ros?
Answer:
When the Author asks about his present work, Hubert le Rose shares his happiness in working or acting as ‘seer-off’ for the ‘Anglo-American Social Bureau’ (AASB). The AASB supplies a long-felt want of ‘friends’ or ‘seers-off to the visiting Americans who do not have friends in England. Le Ros also claims that it (acting as a seer-off to a visiting American) is a great pleasure in itself.
Then Beerbohm laments that it was unbearable experience of coming to the platform to see off a friend in an artificial manner. In the contrast, Le Ros is acting in doing so and getting satisfaction out of his work for the AASB.
He quotes French philosopher Denis Diderot who says: You can’t act without feeling’. Therefore, the Author feels envied Le Ros. Then the author requests Le Ros to teach him the art of seeing off or acting with feelings. Such request is the direct result of his envying Le Ros’ success as a seer-off and his own failure in the art of sending off people.
Comprehension – II.
Answer the following questions in 350-400 words.
Question 1.
Who was Hubert le Ros? Describe him and his personality in your own words. What difference did the author notice between le Ros’ previous and present circumstances?
Answer:
Sir Henry Beerbohm (1872-1956) was an English writer and caricaturist popular for his witty essays and amusing caricatures. He also worked as drama critic, and a radio broadcaster. People were attracted to Beerbohm for his charming conversation and amusing anecdotes.
He parodies of famous people-both written and drawn – brilliantly captured the absurdities and affectations of his subjects with a gentle humour free of malice. Sir Henry Beerbohm’s essay ‘Seeing People Off’ is about the art of seeing off and difficulties associated with sending people off. In the essay, Beerbohm explains the futility of the process of seeing off people when they leave on a journey.
When Beerbohn turns up at Euston railway station to see Hubert le Ros, a not-so-successful stage actor in London. Beerbohm says that despite being a good actor, le Ros never found success on the London stage. The author now notices much difference between le Ros’ previous and present circumstances. According to Beerbohm, Le Ros was an excellent actor, and a man of sober habit. One thing about Le Ros that surprises the author is that he has changed a lot since the author saw him
seven or eight years before.
Le Ros used to work for the Strand, a London theatre, but with of less success. The author recalls that when Le Rose was not employed, he borrowed from the author a half-a-crown (a British coin worth 25 pence). The author feels that Le Ros was then a magnetic and attractive actor. However, his magnetism had never made him successful on the London stage.
His failure remains a mystery to the author. As the result, Le Ros has gone into oblivion, and the author also forgot him for a while. However, in the due course of their interaction, the author comes to know that Le Ros is a successful employee as a ‘seer-off’ working with the ‘Anglo-American Social Bureau’ (AASB) which supplies a long-felt want of ‘friends’ or ‘seers-off’ to the visiting Americans who do not have friends in England.
In the course of his argument, le Ros explains that thousands of Americans annually pass through England. Many hundreds of them have no English friends. In the old days, they used to bring letters of introduction. But the English are so inhospitable that these letters are hardly worth the paper they are written on. According to Le Ros, many Americans cannot afford to keep friends in England.
But they can all afford to be seen off. The fee is only five pounds (twenty-five dollars) for a single traveller; and eight pounds (forty dollars) for a party of two or more. They send that into the Bureau, giving the date of their departure, and a description by which the seer-off can identify them on the platform. And then, they are affectionately seen off.
Therefore, the AASB supplies a long-felt want of ‘friends’ or ‘seers-off’. Moreover, Americans are a
sociable people, and most of them have plenty of money to spend. The AASB supplies them with English friends. Fifty per cent of the fees is paid over to the ‘friends’ or ‘seers- off’.
The other fifty is retained by the AASB. Le Ros is an employee in the Bureau and acts as a seer-off to the visiting Americans. He wishes to be the Director of the Bureau since it is earning a lot of money in the business. Though he was not successful as a ‘stage actor’ earlier, he is now successfully acting as a ‘seer-off’. Le Rose returns the half-a-crown that he has borrowed the author. Moreover, he is now looking prosperous and solid due to his making money for acting as a ‘seer-off’.
Question 2.
How did the author’s farewell at the train station differ from le Ros’ send-off? What was iconic about this difference?
Answer:
Sir Henry Beerbohm’s essay ‘Seeing People Off is about the art of seeing off and difficulties associated with sending people off. In the essay, Beerbohm explains the futility of the process of seeing off people when they leave on a journey.
When Beerbohm turns up at Euston railway station to see off a friend, he happens to see Hubert le Ros, a not-so-successful stage actor in London. Upon their interaction, the author comes to know that Le Ros is also at the station to see off a young American lady. Beerbohm and Le Ros both are at the station to send their respective ‘friends’. However, the author’s farewell at the train station differs from le Ros’ send-off in a strikingly manner.
Beerbohm says that despite being a good actor, le Ros never found success on the London stage. The author now notices much difference between le Ros’ previous and present circumstances. According to Beerbohm, Le Ros was an excellent actor, and a man of sober habit. One thing about Le Ros that surprises the author is that he has changed a lot since the author saw him seven or eight years before.
Le Ros used to work for the Strand, a London theatre, but with of less success. The author recalls that when Le Rose was not employed, he borrowed from the author a half-a-crown (a British coin worth 25 pence). The author feels that Le Ros was then a magnetic and attractive actor. However, his magnetism had never made him successful on the London stage.
However, in the due course of their interaction, the author comes to know that Le Ros is now a successful employee as a ‘seer-off’ working with the ‘Anglo-American Social Bureau’ (AASB) which supplies a long-felt want of ‘friends’ or ‘seers-off’ to the visiting Americans who do not have friends in England. Therefore, the AASB supplies a long-fplt want of ‘friends’ or ‘seers-off’.
Moreover, Americans are a sociable people, and most of them have plenty of money to spend. Le Ros is an employee in the Bureau and acts as a seer-off to the visiting Americans. He wishes to be the Director of the Bureau, since it is earning a lot of money in the business. Though he was not successful as a ‘stage actor’ earlier, he is now successfully acting as a ‘seer-off’. Le Rose returns the half-a-crown that he has borrowed the author. Moreover, he is now looking prosperous and solid due to his making money for acting as a ‘seer-off’.
Le Ros also claims that it (acting as a seer-off to a visiting American) is a great pleasure in itself. Le Ros is acting as a seer-off with a lot feeling. Moreover, he gets satisfied out of his work for the AASB. He quotes French philosopher Denis Diderot who says: You can’t act without feeling’. Le Ros also claims that his work is worth, since it prevents the people from feeling “out of it”’; it earns them the respect of the guard; it saves them from being despised by their fellow passengers. It gives them a footing for the whole voyage.
In the contrast, Beerbohm laments that it was unbearable experience of coming to the platform to see off a friend in an artificial manner. Therefore, the Author feels envied Le Ros. Then the author requests Le Ros to teach him the art of seeing off or acting with feelings.
Such request is the direct result of his envying Le Ros’ success as a seer-off and his own failure in the art of sending off people. There lies the irony between their sending off: Beerbohm’s seeing off is about seeing off people as acting without feelings and emotions, and Le Ros’ seeing off is about seeing off people as acting with full of emotions and feelings.
Question 3.
What does Beerbohm’s attitude towards seeing people off at a port or train station? Why does he feel this way, and what does he prefer instead?
Answer:
Sir Henry Beerbohm (1872-1956) was an English writer and caricaturist popular for hi witty essays and amusing caricatures. He also worked as drama critic, and a radio broadcaster. People were attracted to Beerbohm for his charming conversation and amusing anecdotes.
He parodies of famous people-both written and drawn – brilliantly captured the absurdities and affectations of his subjects with a gentle humour free of malice. Beerbohm’s essay ‘Seeing People Off is about the art of seeing off and difficulties associated with sending people off. In the essay, Beerbohm explains the futility of the process of seeing off people when they leave on a journey.
Henry Beerbohm feels that he is not good at seeing off people at a port or train station. For him, to send a friend off is one of the most difficult things in the world. Beerbohm opines that when a friend is going on a longish journey, and will be absent for a longish time, that we turn up at the railway station. The dearer the friend, and the longer the journey, and the longer the likely absence, the earlier do we turn up, and the more lamentably do we fail.
He laments that the process of ‘seeing off’ or ‘sending off cannot match our deep feelings towards the person who is travelling. The limitation of seeing off also fails in matching the seriousness of departing of a friend to a longer distance. It has become a formality or farce. Therefore, Beerbohm considers the limitations of the seeing off are a failure. Beerbohm’s seeing off is about seeing off people as acting without feelings and emotions.
Instead, Beerbohm prefers to make the farewell quite worthy in a room, or, even on a door-step. For him, leave-taking is an ideal one when it ends in a private place where the friends can express their genuine feeling sorrow, without any awkwardness, no restraint on their side.
In the contrast, even after their yesterday’s part, when the same friends turn up at the railway station next day, they gaze at each other as dumb animals gazing at human beings. They try to ‘make conversations’ and are fed up with .waiting eagerly for the train guard to blow his whistle and put an end to the farce- their impatient wait. Therefore, Beerbohm considers the act of ‘seeing people off’ is tedious one and not worth in doing it.
Seeing People Off Poem Summary in English
Sir Henry Beerbohm (1872-1956) was an English writer and caricaturist popular for hi witty essays and amusing caricatures. He also worked as drama critic, and a radio broadcaster. People were attracted to Beerbohm for his charming conversation and amusing anecdotes.
He parodies of famous people-both written and drawn – brilliantly captured the absurdities and affectations of his subjects with a gentle humour free of malice. Beerbohm’s essay ‘Seeing People Off is about the art of seeing off and difficulties associated with sending people off. In the essay, Beerbohm explains the futility of the process of seeing off people when they leave on a journey.
Henry Beerbohm feels that he is not good at seeing, off people at a port or train station. For him, to send a friend off is one of the most difficult things in the world. Beerbohm opines that when a friend is going on a longish journey, and will be absent for a longish time, that we turn up at the railway station. The dearer the friend, and the longer the journey, and the longer the likely absence, the earlier do we turn up, and the more lamentably do we fail.
He laments that the process of ‘seeing off’ or ‘sending off’ cannot match our deep feelings towards the person who is travelling. The limitation of seeing off also fails in matching the seriousness of departing of a friend to a longer distance. It has become a formality or farce. Therefore, Beerbohm considers the limitations of the seeing off are a failure.
Instead, Beerbohm prefers to make the farewell quite worthy in a room, or, even on a door-step. For him, leave-taking is an ideal one when it ends in a private place where the friends can express their genuine feeling sorrow, without any awkwardness, no restraint on their side. In the contrast, even after their yesterday’s part, when the same friends turn up at the railway station next day, they gaze at each other as dumb animals gazing at human beings.
They try to-‘make conversations’ and are fed up with waiting eagerly for the train guard to blow his whistle and put an end to the farce- their impatient wait. Therefore, Beerbohm considers the act of ‘seeing people off’ is tedious one and not worth in doing it.
When Beerbohm turns up at Euston railway station to see off a friend, he happens to see Hubert le Ros, a not-so-successful stage actor in London. Beerbohm says that despite being a good actor, le Ros never found success on the London stage. The author now notices much difference between le Ros’ previous and present circumstances.
According to Beerbohm, Le Ros was an excellent actor, and a man of sober habit. One thing about Le Ros that surprises the author is that he has changed a lot since the author saw him seven or eight years before. Le Ros used to work for the Strand, a London theatre, but with less success. The author recalls that when Le Rose was not employed, he borrowed from the author a half-a-crown (a British coin worth 25 pence).
The author feels that Le Ros was then a magnetic and attractive actor. However, his magnetism had never made him successful on the London stage. His failure remains a mystery to the author. As the result, Le Ros has gone into oblivion, and the author also forgot him for a while.
However, in the due course of their interaction, the author comes to know that Le Ros is now a successful employee as a ‘seer-off working with the ‘Anglo-American Social Bureau’ (AASB) which supplies a long-felt want of ‘friends’ or ‘seers-off’ to the visiting Americans who do not have friends in England. In the course of his argument, le Ros explains that the thousands of Americans annually pass through England. Many hundreds of them have no English friends. In the old days, they used to bring letters of introduction. But the English are so inhospitable that these letters are hardly worth the paper they are written on.
According to Le Ros, many Americans cannot afford to keep friends in England. But they can all afford to be seen off. The fee is only five pounds (twenty-five dollars) for a single traveller; and eight pounds (forty dollars) for a party of two or more. They send that into the Bureau, giving the date of their departure, and a description by which the seer-off can identify them on the platform. And then, they are affectionately seen off.
Therefore, the AASB supplies a long-felt want of ‘friends’ or ‘seers-off’. Moreover, Americans are a sociable people, and most of them have plenty of money to spend. The AASB supplies them with English friends. Fifty per cent of the fees is paid over to the ‘friends’ or ‘seers- off’. The other fifty is retained by the AASB.
Le Ros is an employee in the Bureau and acts as a seer-off to the visiting Americans. He wishes to be the Director of the Bureau, since it is earning a lot of money in the business. Though he was not successful as a ‘stage actor’ earlier, he is now successfully acting as a ‘seer-off’. Le Rose returns the half-a-crown that he has borrowed the author. Moreover, he is now looking prosperous and solid due to his making money for acting as a ‘seer-off’.
Le Ros also claims that it (acting as a seer-off to a visiting American) is a great pleasure in itself. Le Ros is acting as a seer-off with a lot feeling. Moreover, he gets satisfied out of his work for the AASB. He quotes French philosopher Denis Diderot who says: You can’t act without feeling’.
Le Ros also claims that his work is worth, since it prevents the people from feeling “out of it”; it earns them the respect of the guard; it saves them from being despised by their fellow passengers. It gives them a footing for the whole voyage. In the contrast, Beerbohm laments that it was unbearable experience of coming to the platform to see off a friend in an artificial manner.
Therefore, the Author feels envied Le Ros. Then the author requests Le Ros to teach him the art of seeing off or acting with feelings. Such request is the direct result of his envying Le Ros’ success as a seer-off and his own failure in the art of sending off people.
Seeing People Off Poem Summary in Telugu
సర్ హెస్రీ బీర్టోమ్ (1872-1956) హాడ్ చమత్కారమైన వ్యాసాలు మరియు వినోదభరితమైన వ్యంగ్య చిత్రాలకు ప్రసిద్ధి చెందిన ఒక ఆంగ్ల రచయిత మరియు వ్యంగ్య చిత్రకారుడు. అతను నాటక విమర్శకుడిగా మరియు రేడియో బ్రాడ్కాస్టర్గా కూడా పనిచేశాడు. అతని మనోహరమైన సంభాషణ మరియు వినోదభరితమైన కథల కోసం ప్రజలు బీర్టోమ్ వైపు ఆకర్షితులయ్యారు.
అతను ప్రసిద్ధ వ్యక్తులను పేరడీ చేసాడు-ప్రాసిన మరియు గీసిన రెండూ – దుర్మార్గం లేని సున్నితమైన హాస్యంతో అతని విషయాల యొక్క అసంబద్ధాలు మరియు (ప్రభావాలను అద్భుతంగా సంగ్రహించారు. బీర్దోమ్ యొక్క వ్యాసం ‘సీయింగ్ పీపుల్ ఆఫ్’ అనేది చూసే కళ మరియు ప్రజలను పంపడంలో ఉన్న ఇబ్బందుల గురించి. వ్యాసంలో, బీరీదోమ్ ప్రజలు ప్రయాణంలో బయలుదేరినప్పుడు వారిని చూసే ప్రక్రియ యొక్క వ్యర్థతను వివరిస్తుంది.
ఓడరేవు లేదా రైలు స్టేషన్ వద్ద ప్రజలను చూడటం తనకు మంచిది కాదని హెన్రీ బీర్బోమ్ భావించాడు. అతనికి, స్నేహితుడిని పంపడం ప్రపంచంలోని అత్యంత కష్టమైన విషయాలలో ఒకటి. ఒక స్నేహితుడు సుదీర్ఘ ప్రయాణానికి వెళుతున్నప్పుడు మరియు చాలా కాలం పాటు గైరాజరు అయినప్పుడు, మేము రైల్వే స్టేషన్కు వస్తామని బీర్దోమ్ అభిప్రాయపడ్డారు.
ప్రియమైన స్నేహితుడు, మరియు ప్రయాణం ఎక్కువ, మరియు ఎక్కువ కాలం లేకపోవడం, మనం అంత త్వరగా వస్తాము మరియు మరింత విచారకరంగా విఫలమవుతాము. ప్రయాణిస్తున్న వ్యక్తి పట్ల మనకున్న లోతైన భావాలకు ‘సీయింగ్ ఆఫ్’ లేదా ‘సెండింగ్ ఆఫ్’ (ప్రక్రియ సరిపోలడం లేదని అతను విలపించాడు. స్నేహితుడి నుండి ఎక్కువ దూరం వెళ్లడం యొక్క గంభీరతను సరిపోల్చడంలో కూడా ఆఫ్ సీయింగ్ పరిమితి విఫలమవుతుంది. ఇది లాంఛనంగా లేదా (ప్రహసనంగా మారింది. అందువల్ల, బీర్దోమ్ చూడటం యొక్క పరిమితులను వైఫల్యంగా పరిగణించింది.
బదులుగా, బీర్దోమ్ వీడ్కోలును ఒక గదిలో లేదా డోర్-స్టెప్లో కూడా చాలా విలువైనదిగా చేయడానికి ఇష్టపడతాడు. అతని కోసం, సెలవు తీసుకోవడం అనేది ఒక (పైవేట్ ప్రదేశంలో ముగుస్తుంది, అక్కడ స్నేహితులు తమ నిజమైన అనుభూతిని వ్యక్తం చేయగలరు, ఎటువంటి ఇబ్బంది లేకుండా, వారి వైపు ఎటువంటి సంయమనం లేకుండా.
దీనికి విరుద్ధంగా, వారి నిన్నటి భాగం తర్వాత కూడా, అదే స్నేహితులు మరుసది రోజు రైల్వే స్టేషన్కి వచ్చినప్పుడు, వారు ఒకరినొకరు మూగ జంతువులు మనుషులను చూస్తున్నారు. వారు ‘సంభాషణలు’ చేయడానికి ప్రయత్నిస్తారు మరియు రైలు గార్డు తన విజిల్ను ఉదడానికి మరియు ప్రహసనానికి ముగింపు పలికే వరకు ఆత్రుతగా వేచి ఉండటంతో విసుగు చెందారు- వారి అసహనంతో కూడిన నిరీక్షణ. అందువల్ల, బీర్దోమ్ ‘ప్రజలను దూరంగా చూడటం’ అనేది చాలా దుర్భరమైన చర్య మరియు దానిని చేయడం విలువైనది కాదు.
బీర్దోమ్ స్నేహితుడిని చూడటానికి యూస్టన్ రైల్వే స్టేషన్కి వచ్చినప్పుడు, అతను లండన్లో అంతగా విజయం సాధించని రంగస్థల నటుడు హుబెర్ట్ లే రోస్ చూస్తాడు. మంచి నటుడిగా ఉన్నప్పటికీ, లండన్ వేదికపై లే రోస్ ఎప్పుడూ విజయం సాధించలేదని బీర్దోమ్ చెప్పారు. రచయిత ఇప్పుడు లే రోస్ యొక్క మునుపటి మరియు ప్రస్తుత పరిస్థితుల మధ్య చాలా వ్యత్యాసాన్ని గమనించారు. బీర్దోమ్ ప్రకారం, లే రోస్ అద్భుతమైన నటుడు మరియు తెలివిగల వ్యక్తి.
లే రోస్ గురించి రచయిత ఆశ్చర్యం కలిగించే విషయం ఏమిటంటే, రచయిత తనను ఏడెనిమిదేళ్ల క్రితం చూసినప్పటి నుండి అతను చాలా మారిపోయాడు. లే రోస్ లండన్ థియేటర్ అయిన స్ట్రాండ్ కోసం పనిచేశాడు, కానీ తక్కువ విజయం సాధించాడు. లే రోజ్ ఉద్యోగంలో లేనప్పుడు, అతను రచయిత నుండి సగం-కిరీటం (25 పెన్స్ విలువైన (బ్రిటిష్ నాణెం) తీసుకున్నాడని రచయిత.
గుర్తుచేసుకున్నాడు. లే రోస్ అప్పుడు అయస్కాంత మరియు ఆకర్షణీయమైన నటుడని రచయిత భావిస్తాడు. అయినప్పదికీ, అతని అయస్కాంతత్వం అతన్ని లండన్ వేదికపై ఎప్పుడూ విజయవంతం చేయలేదు. అతని వైఫల్యం రచయితకు మిస్టరీగా మిగిలిపోయింది. ఫలితంగా, లే రోస్ ఉపేక్షకు గురయ్యాడు మరియు రచయిత కూడా అతనిని కొంతకాలం మరచిపోయాడు.
అయినప్పటికీ, వారి పరస్పర చర్య యొక్కనిర్ణీత సమయంలో, దీర్ఘకాలంగా భావించిన కోరికను అందించే ‘ఆంగ్లో-అమెరికన్ సోషల్ బ్యూరో, తో కలిసి పని చేస్తున్న ‘సీర్-ఆఫ్గా లీ రోస్ ఇప్పుడు విజయవంతమైన ఉద్యోగి అని రచయిత తెలుసుకున్నారు. ఇంగ్లాండ్లో స్నేహితులు లేని సందర్శించే అమెరికన్లకు ‘స్నేహితులు’ లేదా ‘సీర్స్-ఆఫ్.
తన వాదనలో, వేల మంది అమెరికన్లు ఏటా ఇంగ్లండ్ గుండా వెళుతున్నారని లె రోస్ వివరించాడు. వారిలో అనేక వందల మంధికి ఆంగ్లేయ స్నేహితులు లేరు. పూర్వకాలంలో పరిచయ లేఖలు తెచ్చేవారు. కానీ ఇంగ్లీషువారు చాలా నిరాదరణకు గురవుతున్నారు, ఈ అక్షరాలు వారు హ్రాసిన కాగితం విలువైనవి కావు. లే రోస్ ప్రకారం, చాలా మంది అమెరికన్లు ఇంగ్లాండ్లో స్నేహితులను ఉంచుకోలేరు. కానీ వీళ్లంతా చూసీచూడనట్టు చూసుకుంటారు.
ఒక్క ప్రయాణికుడికి రుసుము ఐదు పౌండ్లు (ఇరవై-ఐదు డాలర్లు) మాత్రమ్షేమ మరియు రెండు లేదా అంతకంటే ఎక్కువ పార్టీలకు ఎనిమిది పొండ్లు (నలభై డాలర్లు). వారు దానిని బ్యూరోకి పంపుతారు, వారు బయలుదేరే తేదీని మరియు ప్లాట్ఫారమ్పై చూసే వ్యక్తి వారిని గుర్తించగల వివరణను ఇస్తారు. ఆపై వారిని ఆప్యాయంగా చూసుకుంటారు. అందువల్ల, %జుజుణఔ% ‘స్నేహితులు’ లేదా (సీర్స్-ఆఫ్’ యొక్క దీర్ఘకాల కోరికను అందిస్తుంది. అంతేకాకుండా, అమెరికన్లు స్నేహశీలియైన వ్యక్తులు, మరియు వారిలో చాలా మందికి ఖర్చు చేయడానికి డబ్బు పుష్కలంగా ఉంటుంది. %జుజుణఔ% వాటిని ఆంగ్ల మిత్రులతో సరఫరా చేస్తుంది.
ఫ్టుజులో యాభై శాతం ‘ఫెండ్స్’ లేదా ‘సీర్స్-ఆఫ్’కి చెల్లించబడుతుంది. మిగిలిన యాభైని %జుజుఐఔ% నిలుపుకుంది. లే రోస్ బ్యూరోలో ఒక ఉద్యోగి మరియు సందర్శించే అమెరికన్లకు దర్శనిగా వ్యవహరిస్తాడు. వ్యాపారంలో చాలా డబ్బు సంపాదిస్తున్నందున, అతను బ్యూరో డైరెక్టర్గా ఉండాలని కోరుకుంటున్నాడు. ఇంతకుముందు ‘రంగస్థల నటుడు’గా రాణించలేకపోయినా, ఇప్పుడు ‘సీయర్ ఆఫ్’గా సక్సెస్ఫుల్గా నటిస్తున్నాడు. లే రోజ్ రచయితను అరువుగా తీసుకున్న సగం కిరీటాన్ని తిరిగి ఇచ్చాడు. అంతేకాదు, ‘సీర్-ఆఫ్’గా నటించి డబ్బు సంపాదించడం వల్ల ఇప్పుడు ఆయన సంపన్నంగా, దృఢంగా కనిపిస్తున్నారు.
లే రోస్ కూడా ఇది (సందర్శిస్తున్న అమెరికన్కి సీర్-ఆఫ్గా నటించడం) చాలా ఆనందంగా ఉందని పేర్కొంది. లే రోస్ చాలా ఫీలింగ్తో చూసే వ్యక్తిగా నటిస్తున్నాడు. అంతేకాకుండా, అతను %జుజుఐఔ% కోసం తన పని నుండి సంతృప్తి చెందుతాడు. అతను ఫఫెంచ్ తత్వవేత్త డెనిస్ డిడెరోట్ను ఉటంకిస్తూ ఇలా అన్నాడు: మీరు అనుభూతి లేకుండా నదించలేరు.
లే రోస్ తన పని విలువైనదని కూడా పేర్కొన్నాడు, ఎందుకంటే ఇది ప్రజలను “అది బయటకు” అనుభూతి చెందకుండా చేస్తుంద్ష్మి అది వారికి గార్డు యొక్క గౌరవాన్ని పొందుతుంద్షి ఇది వారి తోటి ప్రయాణీకులచే తృణీకరించబడకుండా వారిని కాపాడుతుంది. ఇది మొత్తం సముద్రయానం కోసం వారికి పునాదిని ఇస్తుంది. దీనికి విరుద్ధంగా, కృత్రిమ పద్ధతిలో స్నేహితుడిని చూడటానికి ప్లాట్ఫారమ్ పైకి రావడం భరించలేని అనుభవం అని బీర్దోమ్ విలపించాడు.
అందువల్ల, రచయిత లే రోస్కు అసూయపడుతున్నట్లు అనిపిస్తుంది. అప్పుడు రచయిత లే రోస్ని తన భావాలతో చూసే లేదా నదించే కళను నేర్పించమని అభర్థించాడు. అటువంటి అభ్యర్థన, అతను అసూయపడే లే రోస్ యొక్క ప్రత్యక్ష ఫలితం, ఒక సీర్-ఆఫ్ మరియు ప్రజలను పంపే కళలో అతని స్వంత వైఫల్యం.
Glossary:
feat: an achievement that requires great courage, skill or strength
lamentably: done very badly or in a way that deserves criticism
restraint: self-control intimacy: close familiarity or friendship
implore: to beg someone earnestly or desperately to do something
entreaty: an earnest or humble request
reciprocate: to respond to something by doing something similar; to feel for someone the same way they feel for you
gulf: a large division or a huge difference between two things, people, etc.
yawn: (of an opening or space) be very large and wide.
farce: an event or situation that is absurd
Euston: a busy train station in central London
elapse: to pass or go by
gaily: in a cheerful or light-hearted way
prophecy: a prediction of what will happen in the future
conviction: certainty; assurance
conscientiously: doing one’s duty well or thoroughly
bustle: activity and movement
unabated: without any reduction in intensity or strength alight: to come to a rest; to settle upon
portly: having a stout body; of a stately or dignified appearance injunction: an authoritative warning or order
engagement: an arrangement to do something (here, out of an engagement means that he was not employed)
crown: a British coin worth 25 pence sober: serious and sensible seedily: in a disreputable way imitation: fake
ill-shorn: not well shaved (and therefore looking unkempt)
lantern jaw: a long, protruding or wide square jaw, often with a large chin
sombre: serious
unhinged: mentally unbalanced
explicit: stated clearly and in detail, leaving no room for confusion or doubt presently: after a short time; soon assent: to express approval or agreement bewildered: confused
inhospitable: unfriendly or unwelcoming to people want: lack of something essential out of it: feeling that one has not been included in something
despise: to feel contempt or disgust for
footing: the basis on which something is established
be a martyr to something: (idiomatic expression) to suffer a lot because of an illness, problem or bad situation
resentment: bitterness at having been treated unfairly
Diderot: Denis Diderot (1713-84), a French philosopher and art critic, who argued that great actors display the illusion of emotions without actually feeling them ornate: highly decorated or elaborate
grudge: to feel resentful or to hold ill will towards someone or something
