Harlequinade grotesque in Somerset Maugham's creative work

The article deals with the study of harlequinade grotesque (a method of combining Commedia aesthetics with the tragic or scary context of the events described) in Somerset Maugham's prose: “The Magician” (1908), “The Painted Veil” (1925) and “P&O” (1926). Maugham's interest in Commedia aesthetics is proved on the basis of: 1) his frequent reference to Pierrot, Columbine, Pantaloon, Harlequin and Pulcinella in a number of his works: a novel “The Moon and Sixpence” (1919), a series of short sketches “On a Chinese Screen” (1922), short stories “P&O” (1926) and “The Four Dutchmen” (1928); 2) Somerset Maugham's friendship with playwrights who glorified Commedia aesthetics: L. Housman, H.G. Barker and C. Mackenzie; 3) Maugham's activity as a playwright in the golden age of English Commedia. Commedia roots of a number of Maugham's characters (Kitty, Walter Fane, Charlie Townsend, Oliver Huddo) are revealed through comparative analysis, the works of leading American and European researchers - R. Andrews, R. Henke, D. Rudlin, P.L. Duchartre, M. Sand, M. Green and D. Swan - are used as authoritative sources. The author of the article also sets plot parallels between the play “The Circle” (1921) and the novel “The Painted Veil” and outlines the problem of the influence of G. Flaubert, J.R. Planche, A. Schnitzler and the aesthetics of romanticism on S. Maugham. The analysis performes allows us to characterize harlequinade grotesque and to formulate its functions in Maugham's creative work.