Министерство образования РФ Государственное образовательное учреждение высшего профессионального образования «Тобольский государственный педагогический институт им. Д.И. Менделеева» Л.Е. Антоникова АНАЛИТИЧЕСКОЕ ЧТЕНИЕ Учебно-методическое пособие для студентов отделения заочного обучения Тобольск, 2008 Печатается по решению редакционно-издательского совета ТГПИ имени Д.И. Менделеева ББК 81.432.1-923 А 64 Антоникова Л.Е.Курс по выбору «Аналитическое чтение»: Учебное пособие для студентов отделения заочного обучения. – Тобольск: Изд-во ТГПИ им. Д.И. Менделеева, 2008. – 91 с. Пособие содержит государственному материалы, экзамену по необходимые английскому для языку в успешной части, подготовки к предусматривающей стилистический анализ текста. Данные материалы включают аутентичные тексты, систему аналитических заданий, методические рекомендации по их выполнению, стилистический глоссарий. Пособие предназначено для самостоятельной и аудиторной работы студентов отделения заочного обучения. Рецензенты: кандидат филол. наук, доцент; А.М. Тимофеева. кандидат филол. наук, доцент. Л.Н. Шаповалова. © Антоникова Людмила Егоровна, 2008 © ТГПИ им. Д.И. Менделеева, 2008 2 Содержание. I. Учебная программа по дисциплине «Курс по выбору «Аналитическое чтение»…....4 II. Учебно-методические материалы по дисциплине «Курс по выбору «Аналитическое чтение»……………………………………………………………………………………………..16 РазделI. Джон Фаулз «Коллекционер»…………………………………………………...16 РазделII. Ирвин Шоу «Вечер в Византии»………………………………………………25 Раздел III. Юджин О'Нил «Долгий день уходит в ночь»…………………………….….35 Раздел IV. Юджин Найда «Морфология» …………………………………………..….. 47 Раздел V. Антология «Push» ……………………………………………………………. 54 Раздел VI. Джером Дэвид Сэлинджера «Над пропастью во ржи» ……………...……. 59 Раздел VII. Дополнительные тексты для самостоятельного анализа ……………...… 68 Раздел VIII. Глоссарий литературных и стилистический терминов …………………. 85 III. Методические рекомендации для студента при изучении дисциплине «Курс по выбору «Аналитическое чтение» ………………………………………... 89 IV. Материалы для промежуточного контроля по дисциплине «Курс по выбору «Аналитическое чтение» ………………………………………... 90 3 I. Учебная программа по дисциплине «Курс по выбору «Аналитическое чтение». Курс по выбору «Аналитическое чтение» изучает произведения современной англоязычной прозы и драматургии. Курс включает рассмотрение таких проблем, как тематика художественного произведения, его тон и атмосфера, композиционные элементы, психологический портрет и речевые партии персонажей, особенности авторского языка и стиля. 1. Цели и задачи дисциплины. Курс посвящен изучению художественного текста путем общефилологического и собственно лингвистического анализа. Целью данного курса является всестороннее и сознательное усвоение студентами материала по курсу «Аналитическое чтение» с последующим использованием приобретенных знаний, умений и навыков в преподавательской деятельности. Задачи курса: - ознакомить студентов с текстом изучаемых произведений на языке оригинала; - осветить проблематику и идейное содержание изучаемых произведений; - систематизировать основные направления анализа и интерпретации текста. Изучение данного курса способствует решению типовых задач профессиональной деятельности: В области учебно-воспитательной деятельности: • осуществление процесса обучения иностранному языку в соответствии с образовательной программой; • планирование и проведение учебных занятий по иностранному языку с учетом специфики тем и разделов программы и в соответствии с учебным планом; • использование современных научно обоснованных приемов, методов и средств обучения, информационных и компьютерных технологий; • реализация личностно-ориентированного подхода к образованию и развитию обучающихся с целью создания мотивации к обучению; В области культурно-просветительной деятельности: • формирование общей культуры учащихся; В области научно-методической деятельности: • выполнение научно-методической работы. 4 2. Требования к уровню освоения содержания дисциплины. После изучения дисциплины студенты должны знать: содержание изучаемых художественных текстов с последующим его изложением на языке оригинала; основные направления общефилологического и стилистического анализа текста; лингвистическую терминологию и фразеологию, используемую в интерпретации текста; иметь представление: о связи зарубежной литературы с системой лингвистических дисциплин; об основных направлениях и тенденциях современного литературного процесса; об идейно-психологическом содержании современной американской драмы; владеть умениями и навыками: реферирования прочитанного с использованием территориально и стилистически дифференцированной лексики; структурно-композиционного анализа; стилистического анализа языка персонажей; изложения собственного отношения к прочитанному. 3. Объем дисциплины и виды учебной работы ВО1 (3,5) Виды учебной работы Всего часов Семестр III Семестр IV Общая трудоемкость дисциплины 88 44 44 Аудиторные занятия 16 8 8 Практические занятия 16 8 8 Самостоятельная работа 72 36 36 12 6 6 24 12 12 12 6 6 Изучение аутентичных текстов пособия Выполнение прилагаемых аналитических заданий Изучение глоссария стилистических терминов 5 Изучение дополнительных текстов с их последующим стилистическим 24 12 12 зачет зачет анализом Виды итогового контроля 3. Объем дисциплины и виды учебной работы (ВО2, ВО3) (ВО2 - ВО3 для 3,5) Всего часов Семестр V Семестр VI ВО2+ВО3 ВО2 (3,5) ВО3 (3,5) Общая трудоемкость дисциплины 56+56 56 56 Аудиторные занятия 8+8 8 8 Лекции 4+4 4 4 Практические занятия 4+4 4 4 Самостоятельная работа 48+48 48 48 6+6 6 6 14+14 14 14 12+12 12 12 16+16 16 16 зачет зачет Виды учебной работы Изучение аутентичных текстов пособия Выполнение прилагаемых аналитических заданий Изучение глоссария стилистических терминов Изучение дополнительных текстов с их последующим стилистическим анализом Виды итогового контроля 3. Объем дисциплины и виды учебной работы ВО1 (5,5) Виды учебной работы Всего часов Семестр V Семестр VI Общая трудоемкость дисциплины 88 44 44 Аудиторные занятия 16 8 8 Практические занятия 16 8 8 Самостоятельная работа 72 36 36 12 6 6 24 12 12 Изучение аутентичных текстов пособия Выполнение прилагаемых аналитических заданий 6 Изучение глоссария стилистических терминов 12 6 6 24 12 12 зачет зачет Изучение дополнительных текстов с их последующим стилистическим анализом Виды итогового контроля 3. Объем дисциплины и виды учебной работы ВО2 (5,5) Виды учебной работы Всего часов Семестр IX Семестр X Общая трудоемкость дисциплины 122 56 56 Аудиторные занятия 16 8 8 Лекции 16 8 8 Самостоятельная работа 96 48 48 12 6 6 28 14 14 24 12 12 32 16 16 зачет зачет Изучение аутентичных текстов пособия Выполнение прилагаемых аналитических заданий Изучение глоссария стилистических терминов Изучение дополнительных текстов с их последующим стилистическим анализом Виды итогового контроля 4. Содержание дисциплины. 4.1. Разделы дисциплины (ВО1-3,5 ВО1-5,5) и виды занятий. № 1 Раздел дисциплины Роман Д.Фаулза «Коллекционер» Всего часов Лекции Практические Лабаратор. 2 - 2 - 2 - 2 - Пьеса Ю.О'Нила 2 «Долгий день уходит в ночь» 7 3 Роман И.Шоу «Вечер в Византии» 2 - 2 - 2 - 2 - Роман Д.Сэлинджера 4 «Над пропастью во ржи» Разделы дисциплины ВО2 (3,5) и виды занятий. № Раздел дисциплины Всего часов Лекции Практические Лабаратор. 1 Ю.Найда «Морфология» 4 2 2 - 2 Антология «Push» 4 2 2 - Всего часов Лекции Практические Лабаратор. 8 4 4 - Всего часов Лекции Практические Лабаратор. 2 2 - - 4 4 - - 2 2 - - 2 2 - - Разделы дисциплины ВО3 (3,5) и виды занятий. № 1 Раздел дисциплины Стилистический глоссарий Разделы дисциплины ВО2 (5,5) и виды занятий. № 1 2 3 4 Раздел дисциплины Современная британская проза Литературное творчество Д.Фаулза Современная американская драма Литературное творчество Ю.О'Нила 5 Ю.Найда «Морфология» 2 2 - - 6 Антология «Push» 2 2 - - 2 2 - - 7 Стилистический глоссарий 8 4.2. Содержание разделов дисциплины. 4. 2.1. Лекционный курс.1 № Семинары V лекции 1 Кол-во Раздел, тема учебного курса, содержание лекции Раздел 1. (ВО2 – 3,5). Юджин Найда «Морфология». часов 2 Биографическая справка. Общие тенденции американской дескриптивной лингвистики. 2 Раздел 2. (ВО2 – 3,5). Антология «Push» 2 История создания антологии. Обзор ее жанрового многообразия. VI 1 Раздел 1. (ВО3 – 3,5). Стилистический глоссарий. 4 Системный обзор стилистических приемов. IX -X 1 Раздел 1. (ВО2 – 5,5). Современная британская проза. 2 Литературные тенденции, проблематика и специфика развития британской прозы второй половины XX века. 1 Раздел 2. (ВО2 – 5,5). Литературное творчество Д.Фаулза 2 Тема 1. Творческая индивидуальность Д.Фаулза. Роль творчества писателя в развитии мирового литературного процесса. 2 Тема 2. Роман Д.Фаулза «Коллекционер». Анализ 2 композиции романа, особенностей авторского языка и стиля. 1 Раздел 3. (ВО2 – 5,5). Современная американская драма. 2 Традиции реализма в современной американской драме. Тенденции и специфика развития американской драматургии 2-ой половины XX века. 1 Раздел 4. (ВО2 – 5,5). Литературное творчество 2 Ю.О'Нила. Развитие традиций психологической драмы в творчестве Ю.О'Нила. Композиционно-стилистический анализ драмы «Долгий день уходит в ночь». Тезисы лекций по дисциплине предваряют каждый из разделов пособия «Курс по выбору «Аналитическое чтение». 1 9 Раздел 5. (ВО2 – 5,5). Ю.Найда «Морфология». 1 2 Биографическая справка. Общие тенденции американской дескриптивной лингвистики. Раздел 6. (ВО2 – 5,5). Антология «Push» 1 2 История создания антологии. Обзор и стилистический анализ ее жанрового многообразия. Раздел 7. (ВО2 – 5,5). Стилистический глоссарий 1 2 Системный обзор стилистических приемов. 4.2.2 Практические занятия2 1 № Наименование темы занятия практического занятия Раздел, тема дисциплины Интерпретационный и Раздел 1. (ВО1 – 3,5)(ВО1 – 5,5). стилистический анализ текста Роман Д.Фаулза «Коллекционер». Кол-во часов 2 Д.Фаулза (отрывок из романа «Коллекционер»). 2 Интерпретационный и Раздел 2. (ВО1 – 3,5)(ВО1 – 5,5). стилистический анализ текста Пьеса Ю.О'Нила «Долгий день Ю.О'Нила (отрывок из драмы уходит в ночь». 2 «Долгий день уходит в ночь»). 3 Интерпретационный и Раздел 3. (ВО1 – 3,5)(ВО1 – 5,5). стилистический анализ текста Романа И.Шоу «Вечер в Византии». 2 И.Шоу (2 отрывка из романа «Вечер в Византии»). 4 Интерпретационный и Раздел 4. (ВО1 – 3,5)(ВО1 – 5,5). стилистический анализ текста Роман Д.Сэлинджера «Над Роман Д.Сэлинджера (отрывок пропастью во ржи». 2 из романа «Над пропастью во ржи»). 5 Морфологический анализ Раздел 1. (ВО2 – 3,5). текстов Ю.Найды (отрывок из Ю.Найда «Морфология». 2 книги «Морфология»: Развернутые планы практических занятий представлены в соответствующих разделах пособия «Курс по выбору «Аналитическое чтение». 2 10 дескриптивный анализ). 6 Интерпретационный и Раздел 2. (ВО2 – 3,5). стилистический анализ рассказа Антология «Push» 2 из антологии Push. 7 Лексические, синтаксические и Раздел 1. (ВО3 – 3,5). фонетические синтаксические Стилистический глоссарий 4 средства 4.2.3. Задания для самостоятельной работы. Разделы и темы Перечень домашнего задания и других Кол-во Формы рабочей программы вопросов для самостоятельного изучения часов контроля 8 Проверка для самостоятельного изучения ВО1 (3,5 – 5,5) по два Письменное выполнение аналитических семестра. Раздел2. заданий учебных материалов пособия (I- письменного Роман Д.Фаулза XIV, стр.) варианта «Коллекционер». выполнения Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом Д.Фаулза. (учебных материалов) занятии ВО1. Раздел2. Письменное выполнение аналитических Пьеса Ю.О'Нила заданий учебных материалов пособия (I- письменного «Долгий день уходит XV) варианта 8 в ночь». Проверка выполнения Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом Ю.О'Нила занятии ВО1. Раздел3. Письменное выполнение аналитических Романа И.Шоу заданий учебных материалов пособия (I- письменного «Вечер в Византии». XIII) варианта 8 Проверка выполнения 11 Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом И.Шоу занятии ВО1. Раздел4. Письменное выполнение аналитических Роман Д.Сэлинджера заданий учебных материалов пособия (I- письменного «Над пропастью во XVII) варианта 8 ржи». Проверка выполнения Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом Д.Сэлинджера занятии ВО2 (3,5) семестрV. Письменное выполнение аналитических Раздел1. Ю.Найда заданий учебных материалов пособия (I- письменного «Морфология». IX) варианта 8 Проверка выполнения Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом Ю.Найда занятии Анализ дополнительного текста Ю.Найда 6 (учебные материалы,) Представление письменного варианта анализа на зачете ВО2 (3,5) семестрV. Письменное выполнение аналитических Раздел2. заданий учебных материалов пособия (I- письменного Антология «Push» XIII) варианта 8 Проверка выполнения Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом рассказа «Я знала одного мальчика» занятии Анализ дополнительного текста Ю.Найда (учебные материалы) 6 Представление письменного варианта анализа на зачете 12 ВО3 (3,5) семестрVI. Изучение глоссария литературных и Раздел1 стилистических терминов (учебно- практических «Стилистический методические материалы пособия) занятиях глоссарий» Составление индивидуального Представить стилистического глоссария текстов: глоссария на 8 Сообщение на Д.Фаулза, 10 Ю.О'Нила, 10 И.Шоу, 10 Д.Сэлинджера 10 ВО2 (5,5) семестры Письменное выполнение аналитических 8 IX-X. Раздел5. заданий учебных материалов пособия (I- письменного Ю.Найда IX) варианта «Морфология». зачете Проверка выполнения Выполнение заданий по смысловой и 10 Обсуждение стилистической интерпретации текста вариантов Ю.Найда интерпретации в ходе лекциибеседы Анализ дополнительного текста Ю.Найда 6 учебным материалам пособия Представить письменный вариант анализа на зачете ВО2 (5,5) Раздел6. Письменное выполнение аналитических Антология Push заданий учебных материалов пособия (I- письменного XIII) варианта 8 Проверка выполнения Выполнение заданий по смысловой и 10 Сообщение на стилистической интерпретации текста практическом рассказа «Я знала одного мальчика» занятии Анализ дополнительных текстов антологии (учебные материалы) 6 Представление письменного варианта на зачет 13 Раздел7. Изучение глоссария литературных и Стилистический стилистических терминов учебно- вариантов глоссарий методические материалы пособия интерпретации 8 Обсуждение в ходе лекциибеседы Составление индивидуального Представить стилистического глоссария текстов: глоссарий на Д.Фаулза, 10 Ю.О'Нила, 10 И.Шоу, 10 Д.Сэлинджера 10 зачете 4.2.4. Лабораторный практикум (не предусмотрен). 5. Учебно-методическое обеспечение дисциплины. 5.1. Рекомендуемая литература: Основная литература 1. Арнольд И.В. Стилистика современного английского языка. – Л., 1981 2. Galperin I.R. Stylistics. – Moscow, 1977. 3. Кухаренко В.А. Интерпретация текста. – Л., 1987. 4. Screbnev Y.M. Fundamentals of English Stylistics. - Moscow, 1994/\ 5. Стилистика английского языка. – Учебное пособие для студентов отделения заочного обучения. – Нижний Новгород, 2005. Дополнительная литература. 1. David L. Hay. James F. Ho well. Contact with Drama. Central Michigan University, USA, 1974 2. Literature, the Human Experience. Richard Abcarian and Martin Klotz, editors. New York, 1994 3. The Bedford Introduction to Drama. Boston, 1997 5.2. Средства обеспечения освоения дисциплины. Классификационные схемы и таблицы: - типологии лингво-экспрессивных средств языка американской драмы; - стилистических составляющих аффективного высказывания. 6. Материально-техническое обеспечение дисциплины. Для наиболее эффективного освоения дисциплины в распоряжение студентов предоставлены: • Классы и аудитории с компьютерным обеспечением: Каб. 212, кафедра АЯ и МПАЯ: 14 1. Система: Microsoft Windows XP Professional 2002 Service Pack 2 Компьютер: Intel Pentium (R) 4 CPU 2.66 Hz 2.67 ГГц, 480 мб ОЗУ 2. Система: Microsoft Windows 2000 Компьютер: AMD-K6 ™ 2 D processor AT/ AT COMPATIBLE 81 396 КБ ОЗУ Каб. 204, Мультимедийный кабинет: 1. Головной компьютер: Система: Microsoft Windows XP Professional 2002 Service Pack 2 Компьютер: Intel Pentium (R) 4 CPU 3.00 Hz 3.01 ГГц, 512 мб ОЗУ 2. Рабочие компьютеры - 12 шт. Система: Microsoft Windows XP Professional 2002 Service Pack 2 Компьютеры: Intel Pentium (R) 4 CPU 2.66 Hz 2.67 ГГц, 480 мб ОЗУ 3. Проектор: NEC VI 58 LCD 4. Принтер: MB 218 5. Экран 213x213 Каб. 202, Мультимедийный кабинет: 1. Головной компьютер: Система: Microsoft Windows XP Professional 2002 Service Pack 2 Компьютер: Intel Pentium (R) 4 CPU 3.00 Hz 3.01 ГГц, 512 мб ОЗУ 2. Рабочие компьютеры - 12 шт. Система: Microsoft Windows XP Professional 2002 Service Pack 2 Компьютеры: Intel Pentium (R) 4 CPU 2.66 Hz 2.67 ГГц, 480 мб ОЗУ 3. Проектор: Мультимедийный LCD проектор Toshiba S 20 7. Содержание текущего и промежуточного контроля3 Полусеместровая аттестация представлена в виде материала контрольных работ по изученным разделам. 7.1. Перечень вопросов к зачетам по дисциплине «курс по выбору «Аналитическое чтение». 1. Современная британская проза. 2. Литературное творчество Д.Фаулза. 3. «Коллекционер»: особенности романа. 4. Аналитические к текстам романа задания «Коллекционер» 5. Интерпретационный анализ текстов Д.Фаулза. 6. Стилистический анализ текстов Д.Фаулза. 7. «Вечер в Византии»: особенности романа. драмы 8. Аналитические задания к текстам И.Шоу. 9. Интерпретационный анализ текстов И.Шоу. 10. Стилистический анализ текстов И.Шоу. 11. Литературное творчество Ю.О'Нила 12. «Долгий день уходит в ночь» особенности драмы Ю.О'Нила 13. Аналитические задания к текстам Ю.О'Нила 14. Интерпретационный анализ текстов Ю.О'Нила 15. Стилистический анализ текстов Ю.О'Нила 16. Общая характеристика языка научной прозы. (Ю.Найда «Морфология: дескриптивный анализ»). 17. Аналитические задания к текстам Ю.Найды. 18. Интерпретационный и стилистический анализ текстов Ю.Найды. 19. Жанровое многообразие антологии «Push». 3 Материалы для текущего и промежуточного контроля представлены в УМК по курсу «Современная американская драма: элементы анализа» 15 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. Аналитические задания к текстам антологии Push. Интерпретационный анализ текстов антологии. Стилистический анализ текстов антологии Литературное творчество Д.Сэлинджера. Аналитические задания к текстам Д.Сэлинджера. Интерпретационный анализ текстов Д.Сэлинджера Стилистический глоссарий текстов Д.Фаулза. Стилистический глоссарий текстов И.Шоу. Стилистический глоссарий текстов Ю.О'Нила. Стилистический глоссарий текстов Ю.Найды. Стилистический глоссарий текстов антологии Push. Стилистический глоссарий текстов Д.Сэлинджера. II. Учебно-методические материалы по дисциплине «Курс по выбору «Аналитическое чтение». “The Collector” by John Fowles” John Fowles won international recognition with his first published title, The Collector (1963). He was immediately acclaimed as an outstandingly innovative writer of exceptional imaginative power and this reputation was confirmed with the appearance of his subsequent works. After his thought-provoking The Aristos (1964) came The Magus (1966), described as “an astonishing achievement” by Anthony Burgess (The Listener) and “immensely seductive and brilliantly entertaining” by Frederic Raphael (The Sunday Times). His next novel, The French Lieutenant’s Woman (1969), was described as “a splendid, lucid, profoundly satisfying work of art” (New Statesman) and The Ebony Tower (1974) as “an immensely stimulating book, rich in imagery, sure in dialogue, profound in characterization” (The Times). “The Collector” is singularly skilled novel, original in its conception and unnervingly acute in its observation of an obsession. It is the story of a kidnapping – a nutty clerk captures and holds the art student he has become fixated upon, and there follows a fiendish interplay of sanity and insanity, the contest of minds without a meeting point. This extraordinary tour de force may be read as a study of morbid psychology. “The Collector” has a brilliant unusual theme, short and spare and direct, an intelligent thriller, with psychological and social overtones. The extract given below is the selection from the girl’s diary, which she secretly kept all through her imprisonment up to the moment of her own death. ____________________ October 20th 16 It's eleven o'clock in the morning. I've just tried to escape. What I did was to wait for him to unbolt the door, which opens outwards. Then to push it back as violently as possible. It's only metal-lined on this side, it's made of wood, but it's very heavy. I thought I might hit him with it and knock him out, if I did it at just the right moment. So as soon as it began to move back, I gave it the biggest push I could manage. It knocked him back and I rushed out, but of course it depended on his being stunned. And he wasn't at all. He must have taken the force of it on his shoulder, it doesn't swing very smoothly. At any rate he caught my jumper. For a second there was that other side of him I sense, the violence, hatred, absolute determination not to let me go. So I said, all right, and pulled myself away and went back. He said, you might have hurt me, that door's very heavy. I said, every second you keep me here, you hurt me. I thought pacifists didn't believe in hurting people, he said. I just shrugged and lit a cigarette. I was trembling. He did all the usual morning routine in silence. Once he rubbed his shoulder in rather an obvious way. And that was that. Now I'm going to look properly for loose stones. The tunnel idea. Of course I've looked before, but not really closely, literally stone by stone, from top to bottom of each wall. It's evening. He's just gone away. He brought me my food. But he's been very silent. Disapproving. I laughed out loud when he went away with the supper-things. He behaves exactly as if I ought to be ashamed. He won't be caught by the door trick again. There aren't any loose stones. All solidly concreted in. I suppose he thought of that as well as of everything else. I've spent most of today thinking. About me. What will happen to me? I've never felt the mystery of the future so much as here. What will happen? What will happen? It's not only now, in this situation. When I get away. What shall I do? I want to marry, I want to have children, I want to prove to myself that all marriages needn't be like D and M's. I know exactly the sort of person I want to marry, someone with a mind like G.P.'s, only much nearer my own age, and with the looks I like. And without his one horrid weakness. But then I want to use my feelings about life. I don't want to use my skill vainly, for its own sake. But I want to make beauty. And marriage and being a mother terrifies me for that reason. Getting sucked down into the house and the house things and the baby-world and the child-world and the cooking-world and the shopping-world. I have a feeling a lazy-cow me would welcome it, would 17 forget what I once wanted to do, and I would just become a Great Female Cabbage. Or I would have to do miserable work like illustrating, or even commercial stuff, to keep the home going. Or turn into a bitchy ginny misery like M (no, I couldn't be like her). Or worst of all be like Caroline, running along pathetically after modern art and modern ideas and never catching up with them because she's someone quite different at heart and yet can never see it. I think and think down here. I understand things I haven't really thought about before. Two things. M. I've never really thought of M objectively before, as another person. She's always been my mother I've hated or been ashamed of. Yet of all the lame ducks I've met or heard of, she's the lamest. I've never given her enough sympathy. I haven't given her this last year (since I left home) one half of the consideration I've given the beastly creature upstairs just this last week. I feel that I could overwhelm her with love now. Because I haven't felt so sorry for her for years. I've always excused myself – I've said, I'm kind and tolerant with everyone else, she's the one person I can't be like that with, and there has to be an exception to the general rule. So it doesn't matter. But of course that's wrong. She's the last person that should be an exception to the general rule. Minny and I have so often despised D for putting up with her. We ought to go down on our knees to him. The other thing I think about is G.P. When I first met him I told everyone how marvellous he was. Then a reaction set in, I thought I was getting a silly schoolgirl hero-pash on him, and the other thing began to happen. It was all too emotional. Because he's changed me more than anything or anybody. More than London, more than the Slade. It's not just that he's seen so much more life. Had so much more artistic experience. And is known. But he says exactly what he thinks, and he always makes me think. That's the big thing. He makes me question myself. How many times have I disagreed with him? And then a week later with someone else I find I'm arguing as he would argue. Judging people by his standards. He's chipped off all (well, some of, anyway) my silliness, my stupid fussy frilly ideas about life and art, and modern art. My feyness. I've never been the same since he told me how he hated fey women. I even learnt the word from him. List of the ways in which he has altered me. Either directly. Or confirmed alterations in progress. 1. If you are a real artist, you give your whole being to your art. Anything short of that, then you are not an artist. Not what G.P. calls a ''maker''. 18 2. You don't gush. You don't have little set-pieces or set-ideas you gush out to impress people with. 3. You have to be Left politically because the Socialists are the only people who care, for all their mistakes. They feel, they want to better the world. 4. You must make, always. You must act, if you believe something. Talking about acting is like boasting about pictures you're going to paint. The most terrible bad form. 5. If you feel something deeply, you're not ashamed to show your feeling. 6. You accept that you are English. You don't pretend that you'd rather be French or Italian or something else. (Piers always talking about his American grandmother.) 7. But you don't compromise with your background. You cut off all the old you that gets in the way of the maker you. If you're suburban (as I realize D and M are – their laughing at suburbia is just a blind), you throw away (cauterize) the suburbs. If you're working class, you cauterize the working class in you. And the same, whatever class you are, because class is primitive and silly. (It's not only me. Look at that time Louise's boy-friend – the miner's son from Wales – met him, and how they argued and snarled at each other, and we were all against G.P. for being so contemptuous about working-class people and working-class life. Calling them animals, not human beings. And David Evans, all white and stammering, don't you tell me my father's a bloody animal I've got to kick out of the way, and G.P. saying I've never hurt an animal in my life, you can always make out a case for hurting human beings, but human animals deserve every sympathy. And then David Evans coming up to me last month and actually admitting it had changed him, that evening.) 8. You hate the political business of nationality. You hate everything, in politics and art and everything else, that is not genuine and deep and necessary. You don't have any time for silly trivial things. You live seriously. You don't go to silly films, even if you want to; you don't read cheap newspapers; you don't listen to trash on the wireless and the telly; you don't waste time talking about nothing. You use your life. I must have always wanted to believe in those things; I did believe in them in a vague sort of way, before I met him. But he's made me believe them; it's the thought of him that makes me feel guilty when I break the rules. If he's made me believe them, that means he's made a large part of the new me. If I had a fairy godmother – please, make G.P. twenty years younger. And please, make him physically attractive to me. How he would despise that! It's odd (and I feel a little guilty) but I have been feeling happier today than at any time since I came here. A feeling – all will turn out for the best. Partly because I did something this 19 morning. I tried to escape. Then, Caliban has accepted it. I mean if he was going to attack me, he'd surely do it at some time when he had a reason to be angry. As he was this morning. He has tremendous selfcontrol, in some ways. I know I also feel happy because I've been not here for most of the day. I've been mainly thinking about G.P. In his world, not this one here. I remembered so much. I would have liked to write it all down. I gorged myself on memories. This world makes that world seem so real, so living, so beautiful. Even the sordid parts of it. And partly, too, it's been a sort of indulging in wicked vanity about myself. Remembering things G.P. has said to me, and other people. Knowing I am rather a special person. Knowing I am intelligent, knowing that I am beginning to understand life much better than most people of my age. Even knowing that I shall never be so stupid as to be vain about it, but be grateful, be terribly glad (especially after this) to be alive, to be who I am – Miranda, and unique. I shall never let anyone see this. Even if it is the truth, it must sound vain. Just as I never never let other girls see that I know I am pretty; nobody knows how I've fallen over myself not to take that unfair advantage. Wandering male eyes, even the nicest, I've snubbed. Minny: one day when I'd been gushing about her dress when she was going out to a dance. She said, shut up. You're so pretty you don't even have to try. ____________________ Understanding the Selection 1. Present the contents of the selection in a nutshell. 2. What are the structural components of the selection? Dwell on the role of the first-person narration. 3. Tone and atmosphere of the passage. Find the key-sentences and the key words most evidently revealing the tragedy of the situation. Account for the use of rhetorical questions. 4. Expend on the problem of the generation gap touched upon in the selection. 5. Sum up the second character of the narration. What means of portrayal does the author employ? 6. What basically opposite human types are outlined in the selection? What sort of generalizes conflict can be felt through the passage? 7. What human values does Miranda represent? What is her credo? 20 8. The critics define the genre of “The Collector” as a black novel in its Freud’s variety of erotic psychopathology. What do you make of the term? Can you comment on the title of the novel? 9. Give your review of the language of the selection (peculiarities of syntactical structure, choice of words, graphical means, specific stylistic devices). 10. What elements of psychological and social analysis can be traced in the selection? Commentary 1. The Slade – художественная академия в Лондоне 2. M & D – мать и отец 3. G.P. – инициалы любимого человека Миранды Words and Word-combinations to be memorized 1. to stun – оглушать, ошеломлять 2. to believe in smth – возлагать надежды, считать правильным, полезным 3. looks – внешность 4. to suck smb down – поглощать, засасывать 5. to keep the home going – содержать дом, семью 6. to run along after smb – гоняться за кем-то 7. to catch up with smb / smth – догнать кого-то, поймать кого-то / что-то 8. a lame duck – неудачник, несчастненький, калека 9. tolerant – терпимый 10. to put up with smb / smth – мириться с кем-то / чем-то 11. to go down on one’s knees to smb – опуститься перед кем-то на колени 12. for all smth – несмотря на что-то 13. to get in the way of smth / smb – мешать чему-то / кому-то 14. at heart – в душé Exercises I. Explain and expand on the following. 1. I want to prove to myself that all marriages needn't be like D and M's. 2. I have a feeling a lazy-cow me would welcome it, would forget what I once wanted to do, and I would just become a Great Female Cabbage. 3. I thought pacifists didn't believe in hurting people, he said. 4. You don't gush. You don't have little set-pieces or set-ideas you gush out to impress people with. 21 5. You accept that you are English. You don't pretend that you'd rather be French or Italian or something else. 6. You must act, if you believe something. 7. But you don't compromise with your background. II. Paraphrase the following sentences from the selection paying special attention to unconventional speech. 1. Getting sucked down into the house and the house things and the baby-world and the child-world and the cooking-world and the shopping-world. 2. Or turn into a bitchy ginny misery like M. 3. Then a reaction set in, I thought I was getting a silly schoolgirl hero-pash on him, and the other thing began to happen. 4. Yet of all the lame ducks I've met or heard of, she's the lamest. 5. He's chipped off all my silliness, my stupid fussy frilly ideas about life and art, and modern art. 6. If you are working class, you cauterize the working class in you. 7. I've never been the same since he told me how he hated fey women. 8. You don't gush. 9. He won't be caught by the door trick again. III. Explain the meaning of these words using an English - English dictionary. Violence, determination, routine, literally, miserable, knock out, objectively, beastly, overwhelm, tolerant, artistic, compromise, marriage, stun. IV. Find synonyms for these words and explain the difference in their meaning and use. To hit, looks, miserable, tolerant, alterations, to better, to get in the way, female, to stun, food, trick, to get away. V. Paraphrase these sentences using words and expressions from the text. 1. I was completely shocked by his refusal to help. 2. Jim considers it to be worth going for a run every morning. 3. He kept his attractive appearance even in his old age. 4. She was overwhelmed by the news. 5. His usual morning ordinary way of doing things irritates me a lot. 6. He won’t be deceived by this old trick again. 7. Stones in the wall were not fastened together. 8. Being engrossed in the house and the house things is not for me. 9. He had to do commercial stuff to support his family. 10. All her life she tried to help disabled people. 11. She is the only person I can’t be patient with. 12. We despised him for suffering from that woman without complaining. 13. He has changed me in so many ways. 14. Young mothers often talk with excessive enthusiasm over 22 their babies. 15. I’ve never dreamt of improving this world. 16. His judgments have always been uninfluenced by personal feelings. 17. She made me give up my stupid ideas about life. VI. Find Russian equivalents for the following. Metal-lined; to look properly for smth; a lazy-cow me; that’s the big thing; to do miserable work; the beastly creature; to gush; a schoolgirl hero-pash; feyness; to chip off one’s silliness; fussy frilly ideas; set-ideas. VII. Find English equivalents for these word collocations. Ошеломить кого-то; превратиться в кого-то; исключение из общего правила; догнать кого-то; единственные неравнодушные люди; мириться с чем-то; мешать чему-то; сильно ударить кого-то; решимость; буквально. VIII.Explain the same notion more concisely. Taking words in their usual and obvious sense; use of bodily force to hurt or harm; pity for the sufferings of other people; strong will to succeed; something that does not follow the rule; to feel contempt for; consent to receive smth offered; to settle a dispute while each side gives up something it has asked for and neither side gets all it has asked for; a person who practices one of the fine arts; causing wretchedness and unhappiness; to cut or break a piece; correct in every detail. IX. A) Analyze the non-finite forms in phrases and constructions, translate the sentences into Russian, use the Russian translation for back translation into English. 1. What I did was to wait for him to unbolt the door, which opens outward. 2. It knocked him back and I rushed out, but of course it depended on his being stunned. 3. And marriage and being a mother terrifies me for that reason. 4. Or worst of all be like Caroline, running along pathetically after modern art and modern ideas. 5. Minny and I have so often despised D for putting up with her. 6. If you are suburban (as I realize D and M are – their laughing at suburbia is just a blind), you throw away the suburbs. B) Analyze the meaning of modal verbs. 1. He must have taken the force of it on his shoulder. 2. He said, you might have hurt me, that door’s very heavy. 3. I want to prove to myself that all marriages needn’t be like D a nd M’s. 4. We ought to go down on our knees to him. 5. I thought I might hit him with it and knock him out. 23 X.Fill in the blanks with prepositions and adverbs if necessary. 1. She is the last person that should be an exception … the general rule. 2. Then a reaction set …, I thought I was getting a silly schoolgirl hero-pash … him. 3. … any rate he caught my jumper. 4. What will happen when I get …? 5. Or worst of all be like Caroline, running … pathetically … modern art and modern ideas and never catching … … them because she’s someone quite different … heart. 6. And marriage and being a mother terrifies me … that reason. 7. I thought pacifists didn’t believe … hurting people. 8. Of course I’ve looked …, but not really closely, literally stone … stone, … top … bottom of each wall. 9. I laughed … when he went … … the supper things. 10. He’s chipped … all my silliness. 11. I swore … him. I was my mother’s daughter. 12. It’s a fantastic variation … a fantastic situation. I mean, now he’s got me … his mercy. I’m … edge. XI.Choose the stylistic device, which is used in the following sentences. Underline it in the sentences. I. I felt like the girl-at-the-ball-coming-down-the-grand-staircase. a) metonymy b) phrase epithet c) simile II. He looked at me as if he thought I might laugh. One of those flashes of shyness he has. a) metaphor b) periphrasis c) irony III. I could scream abuse at him all day long; he wouldn’t mind at all. a) zeugma b) oxymoron c) hyperbole IV. Like rain, endless dreary rain. Colour-killing. a) simile b) metaphor c) epithet V. I know he is the Devil showing me the world that can be mine. a) allusion b) metaphor c) periphrasis VI. I used to think D and M’s class the worst. All golf and gin and bridge and cars and the right accent and the right money and having been to the right school and hating the arts. a) hyperbole b) polysyndeton c) irony XII. Analyze the stylistic devices, which are used in the following sentences. 1. Getting sucked down into the house and the house things and the baby-world and the child-world and the cooking-world and the shopping-world. 2. I have a feeling a lazy-cow me would welcome it, would forget what I once wanted to do, and I would just become a Great Female Cabbage. 3. Then a reaction set in, I thought I was getting a silly schoolgirl hero-pash on 24 him. 4. How I hate ignorance! Caliban’s ignorance, my ignorance, the world’s ignorance! Oh, I could learn and learn and learn and learn. 5. I remember later he said (Professor Higgins again) you don’t really stand a dog’s chance anyhow. The art of love’s your line: not the love of art. 6. He let me go up and made me sit on the divan and he put on some music and turned out the light and the moon came through the window. It fell on my legs and lap through the skylight, a lovely slow silver moon. Sailing. 7. A sort of fog of unsolved desire and sadness between us. 8. I wasn’t nice to him, I don’t want to be nice to him, I shan’t be nice to him. XIII.Translate into English. 1. Он был совершенно ошеломлен моими словами. 2. У него типично английская внешность. 3. Она всегда боялась, что семейная жизнь полностью поглотит её и не оставит времени на занятие искусством. 4. Содержание семьи и дома требует больших средств. 5. Джун Форсайт всегда опекала юродивых. 6. Вечно она в погоне за знаменитостями, но не может никого заполучить. 7. Как бы терпима она ни была, смириться с предательством она не сможет. 8. Несмотря на все его ошибки, в душе он добрый человек. 9. Молодой человек опустился перед девушкой на колени и сделал ей предложение. 10. Я не думаю, что учеба будет мешать твоей семейной жизни. XIV. Comment on the excerpt from the Russian translation of “The Collector”. Use it for simultaneous back translation into English. Я здесь всё думаю и думаю. И понимаю вещи, о которых прежде не задумывалась. Две вещи. М. Я никогда не думала о ней объективно, как о другом человеке. Она всегда была моей матерью, которую я ненавижу и которой стыжусь. А между тем, из всех неудачников, когда-либо встречавшихся мне, она самая несчастная. Я никогда не сочувствовала ей в достаточной мере. Я думала о ней вдвое меньше за весь последний год (с тех пор как уехала из дома), чем за одну неделю об этой скотине наверху. А сейчас я чувствую, что излила бы на неё всю свою любовь. Потому что не жалела её много лет. Я всегда находила себе оправдания – говорила, что добра и терпима ко всем, она же единственный человек, с кем я не могу быть такой, и что у всех правил есть исключения. Так что это не имеет значения. Но, конечно, я ошибалась. Она – последний человек, который может быть исключением из общего правила. Мы с Минни часто презирали П. за то, что он мирится с ней. А нужно было опуститься перед ним на колени. 25 Irwin Shaw “Evening in Byzantium” (1973) Irwin Shaw is an outstanding American writer born in 1913 in New York. He got his education in Brooklyn College, changed several professions. For several years he worked in Hollywood. His major works are Bury the Dead (1936), The Gentle People, A Brooklyn Fable, The Young Lions, The Rich Man, the Poor Man. “Evening in Byzantium” is a tense racy tale of an ageing film tycoon facing up to the facts of life at a film festival in Cannes. The hero is Jess Craig, forty-eight years old. He comes to Cannes to look his creative urge that had been gone for some time. His survival is at stake in the midst of this gaudy carnival. Shaw’s manner of writing makes his hero utterly attractive. The basic technique is Craig’s inner speech, smart and exquisite, full of nostalgia and deep sententions. It is rather like an “in depth” scenario, enriched by Shaw’s imagination and lush swift style. In the first selection given below Craig is having lunch with his agent Murphy and a young girl who writes about Craig for an American radio station. In the second passage he meets his daughter Anne and drives her to Cannes. ____________________ They had lunch at the cabana. The cold langouste was very good and Murphy ordered two bottles of Blanc-de-Blanc. He drank most of the wine and did most of the talking. He quizzed Gail McKinnon roughly but good-naturedly, at least at first. “I want to find out what the goddamn younger generation is about,” he said, “before they come and slit my throat.” Gail McKinnon answered his questions forthrightly. What ever she was, she was not shy. She had grown up in Philadelphia. Her father still lived there. She was an only child. Her parents were divorced. Her father had remarried. Her father was a lawyer. She had gone to Bryn Mawr, but had quit in her sophomore year. She had gotten a job with a Philadelphia radio station and had been in Europe for a year and a half. Her base was London, but her job allowed her to travel a good deal. She enjoyed Europe but she intended to go back and live in the United States. Preferably in New York. She sounded like a thousand other American girls Craig had met in Europe, hopeful, enthusiastic, and obscurely doomed. “You got a boyfriend?” Murphy asked. “Not really,” she said. “Lovers?” 26 The girl laughed. “Murph,” Sonia Murphy said reproachfully. “I’m not the one who invented the permissive society,” Murphy said. “They did. The goddamn young.” He turned again to the girl. “Do all the guys you interview make a pass at you?” “Not all,” she said, smiling. “The most interesting one was an old rabbi from Cleveland who was passing through London on his way to Jerusalem. I had to fight for my life in the Hotel Berkeley. Luckily, his plane left in an hour. He had a silky beard.” The conversation made Craig uncomfortable. The girl reminded him too much of his daughter, Anne. He did not want to think of how his daughter talked to older men when he wasn’t there. Murphy rambled on about the decline of the movie industry. “Take Warners, for example,” he said. “You know who bought Warners? A cemetery business. How do you like that for crappy symbolism? And the age thing. They talk about revolutions devouring their young. We’ve had a revolution out there, only it’s devouring its old. I suppose you approve, Miss Smart-Face.” He was becoming belligerent with the wine. “Partially,” Gail McKinnon said calmly. “You’re eating my lobster,” Murphy said, “and you say partially.” “Look where the old have got us,” Gail McKinnon said. “The young can’t do any worse.” “I know that song and dance,” Murphy said. “I don’t have any children, thank God, but I listen to my friends’ kids. The young can’t do any worse. Let me tell you something, Gail SmartFace, they can. They can do a lot worse. Put your tape recorder on again. I’ll put that in the interview.” “Finish your lunch, Murph,” Sonia said. “The poor girl’s taken enough guff from you already.” “Seen and not heard,” Murphy grumbled. “That’s my motto. And now they’re giving them the vote. The foundations are tottering.” They started back toward Cannes, driving slowly in the heavy traffic. Occasionally, Anne leaned over and patted his cheek as he drove, as if to assure herself by the fleeting touch of fingers that she was really there, side by side with her father. “The blue Mediterranean,” she said, looking across at the sea. “I tell you, it’s the wildest invitation I ever got in my whole life.” She chuckled at some private thought. “Your wife says you are buying my affection,” she said. 27 “What do you think?” he asked. “If that’s what you’re doing,” she said, “keep buying.” “How was your visit?” he asked carefully. “Average gruesome,” Anne said. “What’s she doing in Geneva?” “Consulting private bankers. Her friend is with her, helping her to consult.” A sudden hardness came into Anne’s voice. “She’s become a demon investor now that you’re giving her all that money. The American economy doesn’t look strong enough for her, she says, she intends to go into German and Japanese companies. She told me to tell you you ought to do the same. It’s ridiculous, she says, for you to get only five per cent on your money. You never had a head for business, she says, and she’s thinking of your best interests.” She made a little grimace. “In your best interests, she says, you also ought to give up your lady friend in Paris.” “She told you about that?” He tried to keep the anger out of his voice. “She told me about a lot of things,” Anne said. “What does she know about the lady in Paris anyway?” “I don’t know what she knows,” Anne said. “I only know what she told me. She says that the lady is ridiculously young for you and looks like a manicurist and is out for your money.” Craig laughed. “Manicurist. Obviously, she’s never seen the lady.” “Oh, yes she has. She’s even had a scene with her.” “Where?” “Paris.” “She was in Paris?” he asked incredulously. “You bet she was. In your best interests. She told the lady what she thought of adventuring ladies who took advantage of foolish old men and broke up happy homes.” Craig shook his head wonderingly. “Constance never said a word about it.” “I guess it’s not the sort of thing a lady likes to talk about,” Anne said. “Am I going to meet Constance?” “Of course,” Craig said uncomfortably. This was not the conversation he had imagined he was going to have with his daughter when he took her in his arms at the airport. “I tell you,” Anne said, “Geneva was just pure fun all the way. I got to have dinner at the Richemonde with Mummy and her friend, along with all the other goodies.” Craig drove silently. He didn’t want to discuss his wife’s lover with his daughter. “Little pompous show-off,” Anne said. “Ugh. Sitting there, ordering caviar and yelling at the waiter about the wine and being gallant for five minutes with Mummy and five minutes with me. I suddenly knew why I’ve hated Mummy ever since I was twelve.” 28 “You don’t hate her,” Craig said gently. Whatever he was responsible for, he didn’t want to be responsible for alienating his daughters from their mother. “Oh, yes I do,” Anne said. “I do, I do. Why did you tolerate that miserable, boring man around the house, pretending to be your friend all those years, why did you let them get away with it for so long?” “Betrayal begins at home,” Craig said. “I was no angel either. You’re a big girl now, Anne, and I imagine you’ve realized quite a while ago that your mother and I have been going our separate ways for years – ” “Separate ways!” Anne said impatiently. “Okay, separate ways. I can understand that. But I can’t understand how you ever married that bitch – ” “Anne!” he said sharply. “You can’t talk like that – ” “And what I can’t understand most of all is how you can let her threaten to sue you for adultery and take all your money like that. And the house! Why don’t you put a detective on her for two days and then see how she behaves?” “I can’t do that.” “Why not? She put a detective on you.” Craig shrugged. “Don’t argue like a lawyer,” he said. “I just can’t.” “You’re too old-fashioned,” Anne said, “that’s your trouble.” “Let’s not talk about it, please,” he said. “Just remember that if I hadn’t married your mother I wouldn’t have you and your sister and maybe I think because I do have you two everything else is worth it and no matter what your mother does or says I am still grateful to her for that. Will you remember?” “I’ll try.” Anne’s voice was trembling and he was afraid she was going to cry. She had never been an easy crier, even as a child. “One thing, though,” she said bitterly, “I don’t want to see that woman again. Not in Switzerland, not in New York, not in California. No place. Never.” “You’ll change your mind,” he said gently. “Wanna bet?” Oh, Christ, he thought. Families. “There’s one fact I have to make absolutely clear to you and Marcia,” he said. “Constance had nothing to do with my leaving your mother. I left because I was bored to the point of suicide. Because the marriage was meaningless and I didn’t want to lead a meaningless life any more. I’m not blaming your mother any more than I’m blaming myself. But whosever fault it was, there was no point in trying to continue. Constance was just a coincidence.” “Okay,” Anne said. “I’ll buy that.” Anne didn’t speak for several moments, and he drove past the Cannes race course, grateful for the silence. 29 Understanding the Selection 1. Define the selection. Present its contents in a nutshell. 2. What is the main idea of the first selection? Why does Murphy act like an angry old man? What is the implication in the words “The foundations are tottering”? 3. Comment on the symbolism Murphy speaks about. Do you agree that the movie industry is declining? In what way? 4. Speak of Jess Craig and his crisis. This state is rather typical for a man in his forties. Why? What can help? 5. What makes Craig attractive to a young girl like Gail McKinnon? 6. Comment on the second selection. Divorce and children. Why is Ann on her father’s side? What does Craig convince her of? What stylistic means emphasize Ann’s rejection of the situation? 7. Account for Craig’s relationships with Gail and Constance. Why does he need both women? 8. What is the author’s attitude towards Jess Craig? How did you feel it? Compare Craig’s actual and inner speech. 9. Sum up the characters involved in both selections. Summarize the author’s method of character drawing. Pick out verbs and adverbs characterizing Craig’s ex-wife, Ann, Murphy. Compare Gail and Ann. Why does their manner of speech make Craig uncomfortable? 10. Summarize your observations on the vocabulary, syntax and style of the passage. 11. How can you account for the title of the novel? Words and Word-combinations to be memorized 1. to do most of the talking – больше всех говорить 2. to quiz smb – поддразнивать, подшучивать над кем-то 3. to quit (in one’s sophomore year) – бросить (учебу) (на втором курсе) 4. to get a job with (a radio station) – найти, получить работу на (радио) 5. to make a pass at smb – приставать к кому-то 6. to ramble on about smth – молоть вздор 7. crappy – груб. паршивый 8. where the old have got us – до чего довели нас старики 9. guff – пустая болтовня 10. to yell at smb – орать, кричать на кого-то 30 11. quite a while ago – уже довольно давно 12. to go one’s separate ways – жить своей жизнью, быть друг другу чужими 13. to put a detective on smb – нанять детектива для слежки за кем-то 14. to be an easy crier – глаза на мокром месте 15. there is no point in doing smth – нет смысла делать что-то 16. to be out for smb’s money – охотиться за чьими-то деньгами 17. to get away with smth – сходить чему-то с чьих-либо рук 18. to buy smth – поверить тому, что не является правдой; ср. купиться на что-то 19. to have a head for business – иметь способности к бизнесу Exercises I. Explain and expand on the following. 1. “I want to find out what the goddamn younger generation is about,” Murphy said, “before they come and slit my throat.” 2. “I’m not the one who invented the permissive society,” Murphy said. “They did. The goddamn young.” 3. “Look where the old have got us,” Gail McKinnon said. “The young can’t do any worse.” 4. “I don’t have any children, thank God, but I listen to my friends’ kids … They can do a lot worse.” 5. “The foundations are tottering,” Murphy grumbled. 6. “I guess it’s not the sort of thing a lady likes to talk about,” Anne said. 7. “You don’t hate her,” Craig said gently. Whatever he was responsible for, he didn’t want to be responsible for alienating his daughters from their mother. 8. “Why don’t you put a detective on her for two days and then see how she behaves?” – “I can’t do that.” 9. “Betrayal begins at home,” Craig said. “I was no angel either.” 10. “I think because I do have you two everything else is worth it and no matter what your mother does or says I am still grateful to her for that.” 11. Oh, Christ, he thought. Families. 12. They talk about revolutions devouring their young. II. Paraphrase the following sentences paying special attention to unconventional speech. 1. “Do all the guys you interview make a pass at you?” 2. Murphy rambled on about the decline of the movie industry. 3. “How do you like that for crappy symbolism?” 4. He was becoming belligerent with the wine. 5. “I know that song and dance,” Murphy said. 6. “The poor girl’s taken enough guff from you already.” 7. “How was your visit?” he asked carefully. – “Average gruesome,” Anne said. 8. “I got to have dinner at the Richemonde with Mummy and her friend, along with all the other goodies.” 9. “Wanna bet?” 10. “Okay,” Anne said. “I’ll buy that.” III. Define these words on your own. Compare your definitions with the definitions in an English - English dictionary. 31 Quiz (v), decline (n), symbolism (n), interview (n), totter (v), coincidence (n), adventuring (adj.). IV. Find synonyms and synonymous expressions for the following. To sit next to smb; ostentation; rough; every now and then; to estrange; to eat hungrily; senseless chatter; intelligent, bright; to leave; loss of strength; to endure without protest. V. Paraphrase these sentences using words and expressions from the text. 1. Murphy was the only person who talked at dinner. 2. She left college in her third year. 3. He was making unwelcome amorous advances at Gail. 4. It is his money she has after. 5. They didn’t divorce but separated. 6. It is very seldom that she allows herself to cry. 7. It is no use trying to talk to him. 8. I think she believed it against her better judgement. 9. He always teases her goodnaturedly. 10. The boy was not punished for his bad marks. VI. Find Russian equivalents for the following. The foundations are tottering; the permissive society; obscurely doomed; to devour their young; to be gallant for five minutes; to sue smb for adultery; to be bored to the point of suicide; Geneva was just pure fun. VII. Find English equivalents for these words and word-combinations. Молоть вздор; нанять детектива; до чего старики довели нас; она даже устроила ей сцену; иметь дело с немецкими и японскими компаниями; приставать к кому-то; иметь способности к математике; сходить с рук; помпезный банкет; частично; нет смысла продолжать беседу. VIII. Explain these grammatical phenomena. Consult your book of grammar if necessary. A) Means of logical and emotional emphasis. 1. I think because I do have you two everything else is worth it and no matter what your mother does or says I am still grateful to her for that. 2. I was no angel either. 3. I am not the one who invented the permissive society. (Give neutral variants of these sentences.) B) Miscellaneous. 1. Look where the old have got us. (Article) 2. Sitting there, ordering caviar and yelling at the waiter about the wine and being gallant for five minutes with Mummy and five minutes with me. (ing-forms) 3. They talk about revolutions devouring their young. (Construction) 4. It’s 32 ridiculous, she says, for you to get only five per cent on your money. (Infinitive) 5. Constance had nothing to do with my leaving your mother. (Gerundial complex) IX. Fill in the blanks with prepositions and adverbs if necessary. A) 1. The woman put a detective … her husband. 2. Why are you yelling … me? 3. The old man rambled … … younger generation. 4. He kept quizzing … me at dinner. 5. Why did she quit … her third year? 6. He got a job … a bank. 7. There is no point … trying to persuade him. 8. Don’t think you’ll get … … your accusations. 9. I’m absolutely positive that the girl is … … my father’s money. 10. I’m afraid he’ll make a pass … her. B) “Her friend is … her, helping her … consult.” A sudden hardness came … Anne’s voice. “The American economy doesn’t look strong enough ... her, she says, she intends to go ... German and Japanese companies. She told me to tell … you you ought to do the same. It’s ridiculous, she says, … you to get only five per cent … your money. You never had a head … business, and she’s thinking … your best interests. … your best interests, she says, you also ought to give … your lady friend in Paris.” “She told … you … that?” He tried to keep the anger … … his voice. “She says that the lady is ridiculously young … you and looks … a manicurist and is … … your money. She’s even had a scene … her. She told the lady what she thought … adventuring ladies who took advantage ... foolish old men and broke … happy homes.” Craig shook … his head wonderingly. “Constance never said a word … it.” X. Fill in the blanks with articles if necessary. He reached for … letter from his lawyer, then thought better of it. He picked up … batch of ... yellow sheets, weighed them, held them indecisively over … wastebasket. He shuffled through … pages at random. “He is forty-eight now and looks it,” he read. What does … forty-eight-year-old man look like to … twenty-two-year-old girl? Ruins. … walls of … Pompeii. … trenches of Verdun. … Hiroshima. He sat down at … desk, started reading from where he had left off when … girl had gone out of … room. See yourself as … world sees you. “He does not seem like … self-indulgent man,” he read. “And according to all reports he does not indulge … others.” “Because of this, in some quarters he has … reputation for … ruthlessness. He has made many enemies and among his former collaborators there are some who speak of what they call his disloyalty. In support of this, it is cited that only once has he ever done more than one play by … same author, and unlike other producers has never developed …favorite roster of actors. 33 It must be admitted that when his last two films failed, for … total loss that is estimated at more than eight million dollars, there was little sympathy shown him in … movie colony.” … bitch, he thought, where did she get that? XI. Translate into English. 1. Почему ты не нанял детектива, чтобы следить за ней? 2. Не думай, что я тебе поверю. Это пустая болтовня. 3. Я хочу знать, куда нас заведут подобные эксперименты. 4. “Я тоже далеко не ангел”, – сказал Крэг. 5. “Не я придумал общество вседозволенности”, – проворчал Мёрф. 6. Почему она бросила университет на втором курсе? 7. У неё глаза никогда не были на мокром месте. 8. Она всего лишь охотится за его деньгами. 9. Такие вещи никому не должны сходить с рук, мы не потерпим этого. 10. Уже довольно давно у каждого из них своя жизнь. 11. У меня никогда не было способностей к музыке. 12. В твоих интересах порвать с этой женщиной. 13. Нет смысла продолжать жить вместе. 14. Под свои деньги он получал всего пять процентов. 15. Говорят, что революция всегда пожирает своих детей. 16. Все парни, у которых ты берешь интервью, пристают к тебе? 17. Мёрфи продолжал молоть вздор об упадке киноиндустрии. 18. Он нашел хорошую работу в нефтяной компании. 19. Обычно она больше всех говорит и больше всех ест. 20. У него репутация безжалостного человека. XII. Comment on the excerpt from the Russian translation of “Evening in Byzantium”. Use it for simultaneous back translation into English. Work in pairs. Они обедали в гостиничном коттедже. Холодный лангуст был очень хорош, и Мёрфи заказал две бутылки белого вина. Он больше всех пил и больше всех говорил. Он поддразнивал Гейл МакКиннон грубовато, но добродушно, во всяком случае, вначале. “Я хочу выяснить, что на уме у этой чертовой молодежи”, – говорил он, – “пока они не пришли и не перерезали мне горло”. Гейл отвечала на его вопросы прямо. Она была какой угодно, только не застенчивой. Выросла она в Филадельфии. Её отец и сейчас живет там. Она – единственный ребенок. Родители разведены. Отец женился во второй раз. Он – юрист. Она училась в Брин Морском университете, но на втором курсе бросила. Нашла работу на одной из радиостанций Филадельфии и полтора года пробыла в Европе. Постоянным местом жительства был Лондон, но работа давала возможность много путешествовать. Европа ей нравится, но она намерена вернуться назад и жить в Штатах. Желательно, в Нью-Йорк. 34 Она была похожа на тысячи других американских девушек, которых Крэг встречал в Европе, полных надежд, энтузиазма, и судьба которых могла сложиться как угодно. “У вас есть друг?” – спросил Мёрфи. “В общем, нет”, – ответила она. “Любовники?” Девушка рассмеялась. “Мёрф”, – с упреком сказала Соня Мёрфи. “Это не я придумал общество вседозволенности”, – сказал Мёрфи. – “Они. Чертова молодежь”. Он опять обратился к девушке. “А что, все парни, у которых вы берете интервью, пристают к вам?” “Не все”, – сказала она с улыбкой. “Самым интересным был один старый раввин из Кливленда, который летел через Лондон в Иерусалим. Мне пришлось защищать свою жизнь в отеле Беркли. К счастью, его самолет улетал через час. У него была шелковистая борода”. XIII. A) Find the stylistic devices within the following sentences and analyze their function. 1. They talk about revolutions devouring their young. 2. “I suppose you approve, Miss Smart-Face.” He was becoming belligerent with the wine. 3. I had to fight for my life in the Hotel Berkeley. 4. Sitting there, ordering caviar and yelling at the waiter about the wine and being gallant for five minutes with Mummy and five minutes with me. B) Find all epithets, metaphors and metaphoric idioms in the text. How do they characterize Anne’s speech? “Long Day’s Journey into Night” by Eugene O’Neill E. (Gladstone) O’Neill is an American dramatist (1888-1953). He achieved recognition with his first, full-length play “Beyond the Horizon” (1920), which won a Pulitzer Prize. Among his many other plays are “The Dreamy Kid” (1916), “Desire under the Elms” (1924), “Mourning Becomes Electra” (1931) etc. He was awarded the Nobel Prize for literature in 1936. “Long Day’s Journey into Night” was performed and published posthumously in 1956. It is a semiautobiographical tragedy portraying mutually destructive family relationships. Games Tyrone is an ex-actor. After the birth of their latest baby his wife Mary was put on drugs by an ignorant 35 hotel doctor. Their younger son Edmund has got TB. Now they all face up to the tragedy in attempt to blame and to forgive each other. ____________________ T Y R O N E: Mary! (He suddenly hugs her to him – brokenly.) Dear Mary! For the love of God, for my sake and the boys’ sake and your own, won’t you stop now? M A R Y: (Stammers in guilty confusion for a second) I – James! Please! (Her strange, stubborn defense comes back instantly.) Stop what? What are you talking about? (He lets his arm fall to his side brokenly. She impulsively puts her arm around him.) James! We’ve loved each other! We always will! Let’s remember only that, and not try to understand what we cannot understand, or help things that cannot be helped – the things life has done to us we cannot excuse or explain. T Y R O N E: (As if he hadn’t heard – bitterly.) You won’t even try? M A R Y: (Her arms drop hopelessly and she turns away – with detachment.) Try to go for a drive this afternoon, you mean? Why, yes, if you wish me to, although it makes me feel lonelier if I stayed here. There is no one I can invite to drive with me, and I never know where to tell Smythe to go. If there was a friend’s house where I could drop in and laugh and gossip awhile. But, of course, there isn’t. There never has been. (Her manner becoming more and more remote) At the Convent I had so many friends. Girls whose families lived in lovely homes. I used to visit them and they’d visit me in my father’s home. But, naturally, after I married an actor – you know how actors were considered in those days – a lot of them gave me the cold shoulder. And then, right after we were married, there was the scandal of that woman who had been your mistress, suing you. From then on, all my old friends either pitied me or cut me dead. I hated the ones who cut me much less than the pitiers. T Y R O N E: (With guilty resentment) For God’s sake, don’t dig up what’s long forgotten. If you’re that far gone in the past already, when it’s only the beginning of the afternoon, what will you be tonight? M A R Y: (Stares at him defiantly now) Come to think of it, I do have to drive uptown. There’s something I must get at the drugstore. T Y R O N E: (Bitterly scornful) Leave it to you to have some of the stuff hidden, and prescriptions for more! I hope you’ll lay in a good stock ahead so we’ll never have another night like the one when you screamed for it, and ran out of the house in your nightdress half crazy, to try and throw yourself off the dock! 36 M A R Y: (Tries to ignore this) I have to get tooth powder and toilet soap and cold cream – (She breaks down pitiably.) James! You mustn’t remember! You mustn’t humiliate me so! T Y R O N E: (Ashamed) I’m sorry. Forgive me, Marry! M A R Y: (Defensively detached again) It doesn’t matter. Nothing like that ever happened. You must have dreamed it. (He stares at her hopelessly. Her voice seems to drift farther and farther away.) I was so healthy before Edmund was born. You remember, James. There wasn’t a nerve in my body. Even traveling with you season after season, with week after week of one-night stands, in trains without Pullmans, in dirty rooms of filthy hotels, eating bad food, bearing children in hotel rooms, I still kept healthy. But bearing Edmund was the last straw. I was so sick afterwards, and that ignorant quack of a cheap hotel doctor – All he knew was I was in pain. It was easy for him to stop the pain. T Y R O N E: Mary! For God’s sake, forget the past! M A R Y: (With strange objective calm) Why? How can I? The past is the present, isn’t it? It’s the future, too. We all try to lie out of that but life won’t let us. (Going on) I blame only myself. I swore after Eugene died I would never have another baby. I was to blame for his death. If I hadn’t left him with my mother to join you on the road, because you wrote telling me you missed me and were so lonely, Jamie would never have been allowed, when he still had measles, to go in the baby’s room. (Her face hardening) I’ve always believed Jamie did it on purpose. He was jealous of the baby. He hated him. (As TYRONE starts to protest.) Oh, I know Jamie was only seven, but he was never stupid. He’d been warned it might kill the baby. He knew. I’ve never been able to forgive him for that. T Y R O N E: (With bitter sadness) Are you back with Eugene now? Can’t you let our dead baby rest in peace? M A R Y: (As if she hadn’t heard him) It was my fault. I should have insisted on staying with Eugene and not have let you persuade me to join you, just because I loved you. Above all, I shouldn’t have let you insist I have another baby to take Eugene’s place, because you thought that would make me forget his death. I knew from experience by then that children should have homes to be born in, if they are to be good children, and women need homes, if they are to be good mothers. I was afraid all the time I carried Edmund. I knew something terrible would happen. I knew I’d proved by the way I’d left Eugene that I wasn’t worthy to have another baby, and that God would punish me if I did. I never should have borne Edmund. T Y R O N E: (With an uneasy glance through the front parlor) Mary! Be careful with your talk. If he heard you he might think you never wanted him. He’s feeling bad enough already without – 37 M A R Y: (Violently) It’s a lie! I did want him! More than anything in the world! You don’t understand! I meant, for his sake. He has never been happy. He never will be. Nor healthy. He was born nervous and too sensitive, and that’s my fault. And now, ever since he’s been so sick I’ve kept remembering Eugene and my father and I’ve been so frightened and guilty – (Then, catching herself, with an instant change to stubborn denial) Oh, I know it’s foolish to imagine dreadful things when there’s no reason for it. After all, everyone has colds and gets over them. (TYRONE stares at her and sighs helplessly. He turns away toward the front parlor and sees EDMUND coming down the stairs in the hall.) T Y R O N E: (Sharply, in a low voice) Here’s Edmund. For God’s sake try and be yourself – at least until he goes! You can do that much for him! (He waits, forcing his face into a pleasantly paternal expression. She waits frightenedly seized again by a nervous panic, her hands fluttering over the bosom of her dress, up to her throat and hair, with a distracted aimlessness. Then, as EDMUND approaches the doorway, she cannot face him. She goes swiftly away to the windows at left and stares out with her back to the front parlor. EDMUND enters. He has changed to a readymade blue serge suit, high stiff collar and tie, black shoes. With an actor’s heartiness.) Well! You look spic and span. I’m on my way up to change, too. (He starts to pass him.) E D M U N D: (Dryly) Wait a minute, Papa. I hate to bring up disagreeable topics, but there’s the matter of carfare. I’m broke. T Y R O N E: (Starts automatically on a customary lecture.) You’ll always be broke until you learn the value – (Checks himself guiltily, looking at his son’s sick face with worried pity) But you’ve been learning, lad. You worked hard before you took ill. You’ve done splendidly. I’m proud of you. (He pulls out a small roll of bills from his pants pocket and carefully selects one. EDMUND takes it. He glances at it and his face expresses astonishment. His father again reacts customarily – sarcastically.) Thank you. (He quotes.) “How sharper than a serpent’s tooth it is – “ E D M U N D: “To have a thankless child.” I know. Give me a chance, Papa. I’m knocked speechless. This isn’t a dollar. It’s a ten spot. 38 T Y R O N E: (Embarrassed by his generosity) Put it in your pocket. You’ll probably meet some of your friends uptown and you can’t hold your end up and be sociable with nothing in your jeans. E D M U N D: You meant it? Gosh, thank you, Papa. (He is genuinely pleased and grateful for a moment – then he stares at his father’s face with uneasy suspicion.) But why all of a sudden – ? (Cynically) Did Doc Hardy tell you I was going to die? (Then he sees his father is bitterly hurt.) No! That’s a rotten crack. I was only kidding, Papa. (He puts an arm around his father impulsively and gives him an affectionate hug.) I’m very grateful. Honest, Papa. T Y R O N E: (Touched, returns his hug.) You’re welcome, lad. M A R Y: (Suddenly turns to them in a confused panic of frightened anger) I won’t have it! (She stamps her foot.) Do you hear, Edmund! Such morbid nonsense! Saying you’re going to die! It’s the books you read! Nothing but sadness and death! Your father shouldn’t allow you to have them. And some of the poems you’ve written yourself are even worse! You’d think you didn’t want to live! A boy of your age with everything before him! It’s just a pose you get out of books! You’re not really sick at all! T Y R O N E: Mary! Hold your tongue! M A R Y: (Instantly changing to a detached tone) But, James, it’s absurd of Edmund to be so gloomy and make such a great to-do about nothing. (Turning to EDMUND but avoiding his eyes – teasingly affectionate) Never mind, dear. I’m on to you. (She comes to him.) You want to be petted and spoiled and made a fuss over, isn’t that it? You’re still such a baby. (She puts her arm around him and hugs him. He remains rigid and unyielding. Her voice begins to tremble.) But please don’t carry it too far, dear. Don’t say horrible things. I know it’s foolish to take them seriously but I can’t help it. You’ve got me – so frightened. (She breaks and hides her face on his shoulder, sobbing. EDMUND is moved in spite of himself. He pats her shoulder with an awkward tenderness.) E D M U N D: Don’t, mother. 39 Commentary 1. Pulitzer Prize – Пулитцеровская премия. Утверждена Джозефом Пулитцером, американским газетным магнатом венгерского происхождения. Присуждается ежегодно американским гражданам за достижения в музыке, журналистике, истории Америки, поэзии, драматургии, художественной литературе. 2. “How sharper than a serpent’s tooth it is to have a thankless child.” – Больней, чем быть укушенным змеей, иметь неблагодарного ребенка. Слова короля Лира из одноименной трагедии Шекспира (Акт I, сцена 4; пер. Б. Пастернака). 3. I’m knocked speechless – я совершенно обалдел, не нахожу слов. 4. a ten spot (разг.) – десятка 5. you can’t hold your end up – зд. ты не можешь быть с ними на равных 6. I’m on to you. – зд. Я тебя насквозь вижу. 7. one-night stand – третьеразрядная гостиница, где актеры останавливаются на одну ночь Understanding the Selection 1.Define the selection as a form of writing and present its contents in a nutshell. 2.Speak on two time dimensions the narration touches upon. 3.Comment on the first paragraph. What implication does it carry? How does it colour the whole of the selected passage? 4.Mary’s utterances are more extensive than those of Tyrone. Why? Why is Mary so engrossed in the past? 5.Why do characters switch rapidly from one tone to another? 6.Account for the role of the author’s stage directions. Why are they so precise and detailed? 7.Comment on Mary’s syntax. What grammatical structures are prevailing in her speech? Why? What other means of emotional colouring can you single out in Mary’s utterances? 8.Tyrone: a character sketch. The writer’s method in presenting this character. 9.Judging from what you have read what do you think is the author’s attitude towards his characters? How do you feel it? Bear in mind that the play is autobiographical. 10. Speak on the problem of drug addiction. Take into account all aspects of the problem. 40 Words and Word-combinations to be memorized 1. to help things / cannot help things – изменить / нельзя изменить что-то 2. to drop in on smb – зайти к кому-то 3. from then on – с тех пор; ср. from now on – с этих пор 4. come to think of it – если задуматься над чем-то … 5. to lay in smth ahead – отложить про запас 6. to do smth on purpose – сделать что-то нарочно 7. to do that much for smb – хоть это сделать для кого-то 8. to look spic and span – шикарно выглядеть, быть одетым с иголочки 9. to bring up a topic – поднять тему, затеять разговор на тему 10. to be broke – быть без денег 11. to be sociable – общаться, быть общительным, syn. to socialize with smb 12. to make a fuss over smb – суетиться над кем-то 13. to carry it too far – зайти слишком далеко 14. to be on one’s way up to do smth – идти делать что-то; ср. I’m on my way up to change. – Пойду, переоденусь. 15. to give smb a cold shoulder – холодно относиться к кому-то Exercises I. Explain and expand on the following. 1. “We loved each other! We always will! Let’s remember only that, and not try to understand what we cannot understand, or help things that cannot be helped.” 2. “But, naturally, after I married an actor – you know how actors were considered in those days – a lot of them gave me the cold shoulder.” 3. “I hated the ones who cut me much less than the pitiers.” 4. “If you are that far gone in the past already, when it’s only the beginning of the afternoon, what will you be tonight?” 5. “The past is the present, isn’t it? It’s the future too. We all try to lie out of that but life won’t let us.” 6. “I’ve always believed Jamie did it on purpose. He was jealous of the baby.” 7. “I knew from experience by then that children should have homes to be born in, if they are to be good children, and women need homes, if they are to be good mothers.” 8. Starts automatically on a customary lecture. (Tyrone) 9. Embarrassed by his generosity. (Tyrone) 41 II. Paraphrase the following sentences from the selection paying attention to colloquialisms. 1. “For God’s sake, don’t dig up what’s long forgotten.” 2. “I was so sick afterwards, and that ignorant quack of a cheap hotel doctor …” 3. “I hate to bring up disagreeable topics, but there’s the matter of carfare. I’m broke.” 4. “I’m knocked speechless.” 5. “You’ll probably meet some of your friends uptown and you can’t hold your end up and be sociable with nothing in your jeans.” 6. “That’s a rotten crack. I was only kidding, Papa.” 7. “But James, it’s absurd of Edmund to be so gloomy and to make such a great to-do about nothing.” 8. “Never mind, dear. I’m on to you.” III. Explain the meaning of these words using an English - English dictionary. Confusion, detachment, guilt, sarcastically, remote, resentment, bitter, violently, stubborn, affection, automatically, customary, quote. IV. Find synonyms for these words and explain the difference in their meaning and use. To hug; scornful; to scream; on purpose; to persuade smb; swiftly; to check oneself; genuinely; morbid; sociable; astonishment; filthy. V. Paraphrase these sentences using words and expressions from the text. 1. I believe James did it deliberately. 2. He lost all his money gambling. 3. She is friendly and fun to have around, people like her a lot. 4. His suit looks clean and bright, like new. 5. All my old friends interrupted our friendship. 6. She always looks so impartial and estranged. 7. He is not a good or professional doctor, don’t trust him. 8. It is anger and bitterness that Tyrone speaks with. 9. Trust him to start an unpleasant talk at the wrong moment. 10. For a moment Edmund was at a loss for words. 11. Aunt Mary always pays a lot of unnecessary attention to the children. 12. You drink a lot. Stop it before it’s too late. 13. He often uses expressions which clearly mean the opposite to what is felt. 14. His tone was full of sorrow and anger. 15. She could always see through his true feelings and intentions. VI. Find Russian equivalents for the following. To help things that cannot be helped; with guilty resentment; defiantly; detachment; quack of a doctor; to drift father away; unyielding; a rotten crack; morbid nonsense; bitterly scornful. VII. Find English equivalents for these word collocations. Выглядеть с иголочки; шарлатан; смущенный своей щедростью; привычно реагировать; с актерской тщательностью; перестать кого-то замечать; поехать в город; подать на кого-то в суд; с горьким презрением. 42 VIII. Express the same notion more concisely. A person dishonestly claiming to have medical knowledge or skills; not influenced by personal feelings; to make smb feel low or lose respect of others; the last trial which makes one collapse; determined, showing a strong will; filled with or caused by anger or sorrow; fond of being with other people friendly; showing strong angry disrespect; a clever quick joke or remark; seeing little or no good in anything. IX. Explain different applications of the italicized words. 1. Edmund was dressed with an actor’s heartiness. We thanked the hostess for her kind words and heartiness. 2. Mary instantly changed to a detached tone. They live in a detached house. 3. He’s always making cracks about my big feet. The door was opened just a crack. 4. And then there was the scandal of that woman who had been your mistress, suing you. She felt she was no longer mistress in her own house when her husband’s mother came to stay. 5. Nothing like that ever happened. You must have dreamed it. He always dreamed about playing football for his country. X. Analyze these grammatical phenomena (miscellaneous). Consult your book of grammar if necessary. Translate the sentences into Russian. 1. Try to go for a drive this afternoon, you mean? Why, yes, if you wish me to, although it makes me feel lonelier if I stayed here. (Non-finite forms) 2. Come to think of it, I do have to drive uptown. (Auxiliary verb) 3. Nothing like that ever happened. You must have dreamed it. (Non-finite forms) 4. If I hadn’t left him with my mother to join you on the road, Jamie would never have been allowed, when he still had measles, to go in the baby’s room. ( Mood) 5. I should have insisted on staying with Eugene and not have let you persuade me to join you. (Non-finite forms) 6. I knew from experience by then that children should have homes to be born in, if they are to be good children, and women need homes, if they are to be good mothers. (Means of expressing modality) 7. It’s a lie! I did want him! (Auxiliary verb) 8. She waits frightenedly seized again by a nervous panic, her hands fluttering over the bosom of her dress, up to her throat and hair. (Non-finite forms) XI. Fill in the blanks with prepositions or adverbs if necessary. E D M U N D: Shove … the bottle. I’ll have one, too. J A M I E: (With sudden, big-brotherly solicitude, grabbing the bottle) No, you don’t. Not while I’m … . Remember doctor’s orders. Maybe no one else gives a damn if you die, but I do. My kid brother. I love your guts, Kid. Everything else is gone. You’re all I’ve got left. 43 (Pulling bottle close to him) So no booze … you, if I can help it. E D M U N D: (Irritably) Oh, lay … it. J A M I E: (Is hurt and his face hardens) You don’t believe I care, eh? Just drunken bull. (He shoves the bottle over.) All right. Go … and kill yourself. E D M U N D: (Seeing he is hurt – affectionately) Sure I know you care, Jamie, and I’m going … the wagon. But tonight doesn’t count. Too many damned things have happened today. (He pours a drink.) Here’s how. J A M I E: (Sobers up momentarily and with a pitying look) I know, Kid. It’s been a lousy day … you. (Then with sneering cynicism) I’ll bet old Gaspard hasn’t tried to keep you … booze. Probably give … you a case to take with you to the state farm for pauper patients. The sooner you kick the bucket, the less expense. (With contemptuous hatred) What bastard to have … a father! Christ, if you put him … a book, no one would believe … it! E D M U N D: (Defensively) Oh, Papa’s all right, if you try to understand him – and keep your sense … humor. J A M I E: (Cynically) He’s been putting … the old sob act for you, eh? He can always kid you. But not me. Never again. (Then slowly) Although, … a way, I do feel sorry … him … one thing. But he has even that coming … him. He’s … blame. (Hurriedly) But to hell … that. (He grabs the bottle and pours another drink, appearing very drunk again.) That lash drink’s getting me. This one ought to put the lights … . Did you tell … Gaspard I got it … … Doc Hardy this sanatorium is a charity dump? E D M U N D: (Reluctantly) Yes. I told … him I wouldn’t go there. It’s all settled now. He said I can go anywhere I want. (He adds, smiling without resentment.) … reason, of course. (from “Long Day’s Journey into Night” by E. O’Neill) XII. Fill in the blanks with articles if necessary. At a rear are two double doorways with … portieres. The one at right leads into … front parlor with … formally arranged, set appearance of … room rarely occupied. … other opens on … dark, windowless back parlor, never used except as … passage from living room to dinin g room. Against … wall between … doorways is … small bookcase, with … picture of Shakespeare above it, containing … novels by Balzac, Zola, philosophical and sociological works by Nietzsche, Marx, etc. In … right wall, rear, is … screen door leading out on … porch which extends halfway around … house. Farther forward, … series of three windows looks over … front lawn to … harbor and … avenue that runs along … water front. … small wicker table and … ordinary oak desk are against … wall, flanking … windows. 44 In … left wall, … similar series of windows looks out on … grounds in back of … house. Farther back is … large, glassed-in bookcase with sets of Dumas, Victor Hugo, … World’s Best Literature in fifty large volumes, Hume’s History of … England, etc. … astonishing thing about these sets is that all … volumes have … look of having been read and reread. (from “Long Day’s Journey into Night” by E. O’Neill) XIII. Translate into English. 1. Не нужно пытаться понять то, что нельзя понять или изменить то, что нельзя изменить. 2. Ах, если бы был такой дом, куда я могла бы зайти, посмеяться или посплетничать немножко. 3. С тех самых пор моих старых друзей как отрезало. 4. Если подумать, то мне действительно нужно съездить в город. 5. Отложи про запас немного денег, чтобы нам не пришлось экономить. 6. Я всегда думала, что Джейми нарочно вошел в комнату младенца, когда болел корью. 7. Подожди, папа! Не люблю затрагивать неприятные темы, но у меня совсем нет денег. 8. Посмотрите, он одет с иголочки! 9. С ней легко иметь дело, она очень общительная. 10. Хоть это он мог сделать для своей семьи? 11. Твои шутки заходят слишком далеко. 12. Ты шикарно выглядишь. Пойду, тоже переоденусь. 13. Она всегда суетится без причины. XIV. A) Choose the stylistic device, which is used in the following sentences. Underline it in the sentences. Account for your choice. 1. But, naturally, after I married an actor – you know how actors were considered in those days – a lot of them gave me the cold shoulder. a) simile b) metaphor c) detached construction 2. There wasn’t a nerve in my body. a) periphrasis b) irony c) hyperbole 3. I was so sick afterwards, and that ignorant quack of a cheap hotel doctor – All he knew was I was in pain. a) reversed epithet b) metonymy c) zeugma 4. The past is the present, isn’t it? It’s the future, too. a) ellipsis b) oxymoron c) paradox 5. I knew from experience by then that children should have homes to be born in, if they are to be good children, and women need homes, if they are to be good mothers. 45 a) epifora b) antithesis c) parallel constructions 6. “How sharper than a serpent’s tooth it is to have a thankless child.” a) irony b) allusion c) anaphora 7. You meant it? Gosh, thank you, Papa. a) metonymy b) simile c) interjection B) Find all cases of anaphora and climax. Analyze their function in the selection. XV. Comment on the excerpt from the Russian translation of “Long Day’s Journey into Night”. Use it for simultaneous back translation into English. Work in pairs. Т А Й Р О Н: Мэри! (Внезапно прижимает её к себе – прерывисто.) Дорогая! Ради Бога, ради меня, ради мальчиков, ради самой себя – остановись! М Э Р И: (секунду виновато заикается) Я – Джеймс! Пожалуйста! (Но сразу же упорно и, непонятным образом, защищаясь) В чем остановиться? О чем ты говоришь? (Руки его беспомощно опускаются. Она порывисто обнимает его.) Джеймс! Мы любили друг друга! И всегда будем любить! Давай помнить только об этом и не пытаться понять то, что нельзя понять или изменить то, что невозможно изменить – то, что сделала с нами жизнь, нельзя оправдать или объяснить. Т А Й Р О Н: (горько, как будто не слыша её) Ты даже не попытаешься? М Э Р И: (Руки её беспомощно падают и она отворачивается – отчужденно) Съездить сегодня в город, ты хочешь сказать? Ну да, если ты хочешь, здесь я чувствую себя еще более одинокой. Некого пригласить покататься со мной, и вечно я не знаю, куда Смиту ехать. Если бы я могла зайти в дом к каким-нибудь друзьям, посмеяться или посплетничать немножко. Но, такого, конечно, нет. Никогда не было. (Она ведет себя все более отчужденно) В монастыре у меня было столько друзей. Девочки, чьи семьи жили в прекрасных домах. Я часто навещала их, а они навещали меня в отцовском доме. Но, естественно, после того, как я вышла замуж за актера – ты знаешь, как относились к актерам в те дни – многие из них отвернулись от меня. А потом, сразу после нашей свадьбы, был ещё скандал с той женщиной, которая была твоей любовницей и подала на тебя в суд. С тех самых пор все мои старые друзья или жалели меня, или же резко отвернулись. Тех, кто порвал со мной, я ненавидела меньше, чем жалеющих. Т А Й Р О Н: (виновато обиженно) Ради Бога, не копайся ты в том, что давно забыто. Если ты так погрузилась в прошлое уже в начале дня, что с тобой будет к вечеру? М Э Р И: (теперь смотрит на него вызывающе) Если подумать, то мне и правда нужно в город. Кое-что купить в аптеке. 46 Т А Й Р О Н: (с горьким презрением) Ты уж не забудешь запастись этой дурью да ещё и рецептами! Надеюсь, ты отложишь достаточно, чтобы не повторилась та ночь, когда ты, полубезумная, в ночной сорочке убежала из дома и чуть не бросилась с пристани в море. М Э Р И: (пытаясь игнорировать это) Мне нужен зубной порошок, туалетное мыло, еще крем – (жалобно срывается). Джеймс! Ты не должен об этом вспоминать! Не должен так унижать меня! Т А Й Р О Н: (пристыжено) Извини. Прости меня, Мэри! E. Nida “Morphology: The Descriptive Analysis of Words” Midfifties of the XX century mark a period of intensive development of American linguistics and Structural (Descriptive) Grammar in particular. E. Nida, Z.S. Harris, R. Wells concentrated their attention on formal operations, the so-called grammar discovery procedures, their aim being to discover and describe the features and arrangement of two fundamental linguistic units (the phoneme and the morpheme as the minimal unit of grammatical structure) without having recourse to meaning. The passage from the book by E. Nida elected for discussion is a sample of scientific prose. The language of science is governed by the aim of the functional style of scientific prose, which is to prove a hypothesis, to create new concepts, to disclose development, relations between different phenomena, etc. The language means used, therefore, tend to be objective, precise, unemotional; there is a striving for the most generalized form of expression. The first and the most noticeable feature of this style is the logical sequence of utterances with a developed and varied system of connectives. A second and no less important feature is the use of terms specific to each given branch of science. Words of the general vocabulary also tend to be used in their primary logical meaning. Another observable feature of the style of modern scientific prose is the use of quotations references and foot-notes. The impersonality of scientific writings can also be considered a typical feature of this style. This quality is mainly revealed in the frequent use of passive constructions. Syntax in general is governed by logical reasoning, and there are no emotional elements whatsoever. The characteristic features enumerated above do not cover all the peculiarities of scientific prose, but they are the most essential ones. 47 1) Time. Time is usually called “tense”, and the tenses are basically three: past, present and future. Relative tenses also occur, for example, the “pluperfect”, indicating time before the past and translatable as had done so-and-so, and the “future perfect” indicating time before the future and translatable as will have done so-and-so. The “perfect” tense indicates an action performed before the present, but the implications of which usually carry over to the present. It may be translated as have done so-and-so. Other relative tenses may likewise be expressed. Some languages differentiate between the immediate future, the regular future, and the remote future, and also between the immediate past, the regular past and the remote past. The range of possibilities for differentiations of tense is considerable, particularly when they are combined with the aspect of the action. 2) Aspect. The aspect of the verb denotes the kind of action. It is difficult at times to distinguish between the tense and the aspect, for the two are often combined. Aspect in itself defines the character of the action. An action may be considered a single unit, performed at a point of time, or it may be considered a continuous performance, extending over a period of time; similarly, an action may be characterized as repeated or increased or diminished. All these characteristics of action may be considered aspects. […] 3) Voice. The voice defines the relationship between the actor, the undergoer of the action, and the action. This may be considered a rather mechanical relationship between the subject and the verb. A verb in the so-called “active” voice indicates that the subject is performing the action expressed in the verb. If, on the other hand, the voice is “passive”, the verb form indicates that the subject is undergoing or is being subjected to the action of the verb. In the active voice further differentiation may indicate (1) the “transitive”, in which the action is “carried across” to an object, or (2) “intransitive”, in which there is no object. In addition to the active and the passive voices, some languages distinguish a so-called “middle” voice, in which one does something to or for oneself. If, however, the action is always performed by the subject and upon himself, this is normally called the “reflexive”. If the action is performed by two or more subjects and if these subjects act upon each other, the relationship of voice is generally called “reciprocal”. […] 4) Mode. The “mode”, or, as it is also called the “mood” indicates the psychological atmosphere of the action as reflecting the speaker’s attitude. These psychologically conditioning features of the verb form, consisting of any type of morphological formative, may indicate a variety of semantic domains. (“Theoretical Grammar through Practice” by E.J. Morokhovskaya) 48 Words and Word-combinations to be memorized 1. implication 9. diminished 2. immediate 10. transitive 3. regular 11. intransitive 4. remote 12. reflexive 5. range 13. reciprocal 6. aspect 14. semantic 7. repeated 15. domain 8. increased 16. mode Exercises I. Explain and expand on the following. 1. Relative tenses also occur. 2. The perfect tense indicates an action performed before the present, but the implications of which usually carry over to the present. 3. The range of possibilities for differentiations of tense is considerable. 4. It is difficult at times to distinguish between the tense and the aspect. 5. Aspect in itself defines the character of the action. 6. All these characteristics of action may be considered aspects. 7. These psychologically conditioning features of the verb form, consisting of any type of morphological formative, may indicate a variety of semantic domains. II. Explain these words using an English - English dictionary. Single out terminological meanings if a word is polysemantic. Tense, aspect, perfect (adj.), continuous, voice, subject, transitive, intransitive, reflexive, reciprocal, morphological. III. Paraphrase these sentences using words and word-combinations from the text. 1. “Voice” is the form of the verb which shows whether the subject of a sentence acts or is acted on. 2. The Perfect Tense concerns a period of time up to and including the present. 3. “Transitive” of a verb means “taking a direct object”. 4. “Reflexive” of a word or form means “showing that the agent’s action is upon himself”. 5. The relationship of Voice expressing mutual action or relation is normally called “reciprocal”. 6. “Mood” is one of the groups of forms that a verb may take to show whether things are regarded as certain, possible, doubtful, etc. IV. Express the following in a more concise way. Far away in space or time; relating to meaning in language; noun or noun equivalent which 49 carries out the action of a verb, and which must agree with the verb; verb form which relates activity to passage of time; field of thought, knowledge, activity; something hinted or suggested, but not expressed; any of three groups of forms of a verb, expressing a fact, a command or request, condition, doubt; a word, indicating what smb or smth does; relating to morphemes of a language and how they are combined to make words; having normal inflexions; occurring done at once. V. Supply definitions to justify the differentiation of the following forms of a verb. transitive – intransitive verbs active – passive voices middle – reflexive – reciprocal voices past – present – future tenses pluperfect – future perfect tenses immediate – regular – remote future tenses continuous – repeated (Indefinite) aspects Indicative – Imperative – Subjunctive moods VI. Define Voice forms in the following examples. Translate the sentences into Russian. 1. They kissed each other and the child. 2. The door opened. 3. Hame got up and dressed. 4. Catherine found herself alone. 5. The book reads well. 6. I see this man doing everything, helping himself and everybody else. 7. The figures would not add. 8. They praised one another. 9. The rule applies to many cases. 10. He doesn’t shave yet. 11. He hurt himself badly. 12. He hurt me badly. 13. The tea’s making. VII. Give possible interpretations of the phenomena illustrated by the following sentences and mentioned in the text. Translate the sentences into Russian. 1. She raised herself suddenly in the tall chair. 2. Arnie opened the rumble seat and helped Sabina to get in. 3. It is so dynamically produced and acted that I found myself enjoying it. 4. The apparatus ran itself and observed itself. 5. He walked Andrew eight miles that first day. 6. “Does anyone know we are here?” Davy was asking him when he was getting himself into the water again. 7. They quarrel easily. 8. Britain’s National Theatre and its director Sir Lawrence Olivier have been awarded the American Theatre’s top honour for distinguished achievement. 9. I was having thoughts about the state of the world. 10. She had already begun to button her gloves and to readjust her feather boa, with which she had been knocking the Easter cards from the counter. 52 VIII. Translate into English. 1. Всем желающим предлагаются туристические путевки. 2. Книга читается легко, хотя в ней встречается много незнакомых реалий. 3. Она всегда держится в тени. 4. К шести часам они уже вернулись из кино. 5. Конференция возобновилась на следующий день. 6. В это время года фрукты хорошо продаются. 7. Они поцеловались и расстались. 8. Он уже работает учителем в той школе, где мы учились. К маю следующего года у него будет уже трехлетний опыт работы в школе. 9. Я перевел статью к пяти часам. Почему ты за ней не пришел? 10. Вид глагола определяет характер действия. 11. Некоторые лингвисты говорят о так называемом возвратном залоге. 12. Переходные глаголы могут иметь прямое дополнение. 13. В так называемом среднем залоге субъект делает что-то для себя. 14. В некоторых языках различают ближайшее, собственно и отдаленное будущее время. 15. Иногда сложно провести границу между временем и видом глагола. IX. Comment on the Russian translation of the selection. Use it for back translation without consulting the original text. ВИД. Вид глагола определяет характер действия. Иногда трудно различить время и вид, так как они зачастую существуют нераздельно. Вид несет в себе характеристику действия. Действие может рассматриваться как единичное, выполненное в какой-то момент времени, или как длительное, выполнение которого может растягиваться на некий период времени; подобно этому, действие характеризуется как повторяющееся, нарастающее и затухающее. Все эти характеристики действия могут рассматриваться как вид. […] СПОСОБ. Способ действия, или "наклонение", указывает на психологическую атмосферу действия, отражающую отношение к нему говорящего. Такие психологически обусловленные признаки глагольной формы, выраженные разного рода морфологическими формантами, могут указывать на большое разнообразие их семантики. ____________________ Understanding the Selection 1. What is the main subject of the above extract? 2. Give a general definition of the text. What are its main characteristics? What features make 53 it a sample of scientific prose? 3. What can you say about the vocabulary of the extract? Does it contain many terms? Are all of them easily translated into Russian? Pick out the most difficult ones and try to explain what they mean. Pick out the most generalized terms. 4. Find sentences containing passive constructions. Does the text abound in them? Is it typical of scientific style? 5. Trace the logical sequence of utterances in the selection. 6. What relations between different linguistic phenomena are disclosed in the text? 7. What is the aim of scientific prose and the aim of this selection in particular? 8. Give your summary of your comments on the extract. PUSH ANTHOLOGY PUSH presents the best young writers and artists in America. They are all teenagers, sharing their truths in powerful words and images. Their poems, stories, essays, and works of art give us the real world from different angles – the highs, the lows, and all the thoughts in between. Together they add up to a chorus of songs, shouts, and whispers. They are the voices of the present … and the voices of the future. An essay given below is written by a winner of the Scholastic Art and Writing Awards. “I Knew a Boy” by Leah Christie When I think of him I think of the scent of raspberries. And the moon. I think of the tide and trees in the dark. Jumping fence-post hurdles in the inky black of an almost winter night. I think of him driving in that comfortable silence as I watched cars go by on the expressway. And how he sensed my sadness and told me to smile. I think of him tying my shoelaces in knots and timing me as I tried, exasperated, to get them undone (four minutes). Him, tucked into the corner of my study, wrapped in a Mexican-print blanket, humming so that the walls vibrated. I think of Adia. I think of how shocked I was that the décor in our rooms matched, down to the flannel sheets. Birthday cards, meticulously chosen, and phone calls for no other reason than to say hello. I see him at my piano. I hear him singing. I smell him. I feel him breathing, the steady, slow rise and fall of his chest under my head. All the syllables. Dirty socks, thrown out my car window at one in the morning after a “study session”. I think of bowling. His impish grin and mischievous 54 pranks. An “A”. Standing by himself, dressed in lacrosse gear, on the sidelines. There were movies and hugs and advice, cartoon characters and children. I think of him barefoot in the snow, hopping from foot to foot, threatening to wake up the neighborhood. Tousled hair, seeing whose could stand up straighter longer (mine). I think of late-night conversations, falling asleep on the phone as the sun rose. His music. His keys (or glasses or hat or shoes) taken off and put down somewhere where they were inevitably forgotten until it was time to go. Word games. Card games. I think of him in the backseat while I drove, asking me to tell him a secret. Throwing my gloves into the way back of my station wagon. Broken Volvo glove compartments. I think of him decoding dreams. Sandwiches and pizza, ice cream, Scrabble, and those little dice with letters on every side. Breaking things. I think of him dancing, laughing, making me laugh. Standing outside, dressed up, freezing, and eating Pez. He threw bits of candy during class. Inertia, zero seconds, and the annoying way he always got out of everything. I think of the comfort in being myself around him, his quirky, accepting disposition. Adjectives like aristocratic, snooty, and pretentious. Inside jokes. I think of him falling asleep or curling up under blankets. Whispering. I think of the last time he left my house, knowing he wouldn’t come back. Not allowing myself to watch him through the window as he strode down the walk. His shirts were always untucked. Understanding the Selection 1. Present the contents of the selection in a nutshell. 2. What do you think is the implication of the key-sentence “I think of …”? 3. The girl’s psychological portrait. 4. Sum up the boy’s character. What means of portrayal does the author employ? 5. What details in the story imply the boy-and-girl’s affinity? 6. Suppose you did not know the title of the story. Which one would you suggest? Why? 7. The ample use of Complex Object as well as nominative sentences gives the story special colouring, doesn’t it? 8. Summarize your observations of peculiar vocabulary, syntax and stylistics. 9. Dwell upon the role of the first love in one’s life. 10. You could (not) write your own first love story better. What stylistic means would you use? Why? 55 Words and Word-combinations to be memorized 1. time (v) 7. prank 2. exasperated 8. inevitably, inevitable 3. tuck (v) 9. glove compartment 4. down to smth 10. disposition 5. for no other reason than + inf 11. inside jokes 6. mischievous Exercises I. Explain and expand on the following. (What do you think the girl could possibly imply by the following phrases?) 1. When I think of him I think of the scent of raspberries. 2. I think of how shocked I was that the décor in our rooms matched, down to the flannel sheets. 3. I feel him breathing, the steady, slow rise and fall of his chest under my head. 4. Adjectives like aristocratic, snooty, and pretentious. Inside jokes. 5. Not allowing myself to watch him through the window as he strode down the walk. 6. I think of the comfort in being myself around him, his quirky, accepting disposition. 7. His impish grin and mischievous pranks. II. Explain the meaning of these words using an English - English dictionary. Meticulously, impish, mischievous, prank, cartoon, wrap, inevitably, decode, snooty, quirky. III. Paraphrase the following sentences from the text. 1. Birthday cards, meticulously chosen, and phone calls for no other reason than to say hello. 2. His impish grin and mischievous pranks. 3. Him, tucked into the corner of my study, wrapped in a Mexican-print blanket. 4. Tousled hair, seeing whose could stand up straighter longer (mine). 5. I think of him barefoot in the snow, hopping from foot to foot, threatening to wake up the neighborhood. 6. His shirts were always untucked. IV.Find synonyms for these words and explain the difference in their meaning and use. To sense; disposition; shocked; steady; to match; mischievous; to hug; to hop; prank; to stride; to tuck. 56 V.Paraphrase these sentences using words and expressions from the text. 1. His hair, put into disorder, seeing whose could stand up straighter longer. 2. I think of him interpreting dreams. 3. Birthday cards, carefully chosen. 4. His impish smile and foolish, injuring tricks. 5. I think of the comfort in being myself around him, his mocking disposition. 6. A compartment in the dashboard of his car was empty. 7. Him, hidden in the corner of my study, wrapped in a Mexican-print blanket. 8. This is our private joke. 9. Such things cannot be avoided. 10. He was in a state of extreme irritation yesterday. VI.Find Russian equivalents for the following. The inky black; decor; exasperated; meticulously; study session; mischievous pranks; tousled hair; impish; inevitably; glove compartment; to decode dreams; quirky, accepting disposition. VII. Find English equivalents for these word collocations. Характер; неизбежный; «бардачок»; тщательно отобранные; дурацкие проделки; взъерошенные волосы; шагать большими шагами; раздраженный; насмешливый, задирающий нос. VIII.Express the same notion more concisely. Causing mischief, damaging; a playful or mischievous trick; to walk with long steps; like a little devil; annoyed or made angry; claiming importance that one does not possess; which cannot be prevented from happening; wearing someone else’s clothes for fun or pretence; proudly rude; one of the small box - like containers inside the front of a car; a very wide road built for last longdistance travel; very carefully, with attention to details. IX. Analyze the non-finite forms in phrases and constructions, translate the sentences into Russian, use the Russian translation for back translation into English. 1. I think of him driving in that comfortable silence as I watched cars go by on the expressway. 2. I think of him tying my shoelaces in knots and timing me as I tried, exasperated, to get them undone. 3. Him, tucked into the corner of my study, wrapped in a Mexican-print blanket, humming so that the walls vibrated. 4. Tousled hair, seeing whose could stand up straighter longer. 5. Dirty socks, thrown out my car window at one in the morning. 6. I think of the comfort in being myself around him, his quirky, accepting disposition. X. Fill in the blanks with prepositions and adverbs if necessary. 1. I think … how shocked I was that the décor in our rooms matched, … … the flannel 57 sheets. 2. Birthday cards, meticulously chosen, and phone calls … no other reason than to say hello. 3. Standing … himself, dressed … lacrosse gear, … the sidelines. 4. I think … him … the backseat while I drove, asking … me to tell … him a secret. 5. I think … late-night conversations, falling … … the phone as the sun rose. 6. His keys (or glasses or hat or shoes) taken … and put … somewhere where they were inevitably forgotten … it was time to go. 7. Standing outside, dressed …, freezing, and eating Pez. 8. I think … the comfort … being myself around him, his quirky, accepting disposition. 9. Adjectives … aristocratic, snooty, and pretentious. 10. I think … him falling … or curling … … blankets. 11. Not allowing … myself to watch him … the window … he strode … the walk. XI. Choose the stylistic device, which is used in the following sentences. Underline it in the sentences. 1. I think of him driving in that comfortable silence as I watched cars go by on the expressway. a) irony b) periphrasis c) epithet 2. Jumping fence-post hurdles in the inky black of an almost winter night. a) metaphor b) metonymy c) simile 3. Him, tucked into the corner of my study, wrapped in a Mexican-print blanket, humming so that the walls vibrated. a) hyperbole b) oxymoron c) zeugma 4. His impish grin and mischievous pranks. a) simile b) polysyndeton c) epithet 5. His keys (or glasses or hat or shoes) taken off and put down somewhere where they were inevitably forgotten until it was time to go. a) allusion b) pun c) polysyndeton XII. Translate into English. 1. Я хочу, чтобы ты засёк время, пока я делаю эту работу. 2. После подобных неудач он очень раздражен. 3. Злые языки давно об этом поговаривают. 4. Наши вкусы совпадают вплоть до мелочей. 5. Он сидел в уголке, поджав под себя ноги. 6. Если насилие неизбежно, расслабьтесь и получите удовольствие. (Пункт военного устава для женщин- военнослужащих Великобритании) 7. Он приехал только за тем, чтобы увидеться с тобой. 8. У него в бардачке всегда бардак. 9. Эта шутка понятна только для нас двоих. 10. У нее не такой уж мягкий характер, она способна на злые проделки. 58 XIII. Comment on the excerpt from the Russian translation of “I Knew a Boy”. Use it for simultaneous back translation into English. Когда я думаю о нем, я думаю о запахе малины. И о луне. Как прыгал через заборные столбики в чернильной темноте уже почти зимней ночи. Я думаю о том, как он вел машину в таком уютном молчании, а я наблюдала за проезжающими мимо по шоссе машинами. И как он почувствовал мою печаль и велел улыбнуться. Я думаю о том, как он завязывал в узлы мои шнурки и засекал время, пока я пыталась, в раздражении, развязать их (за четыре минуты). О нем, укрывшемся в уголке моей комнаты, закутанном в одеяло с мексиканским орнаментом и свистевшем так, что стены дрожали. Я думаю об Адье. Думаю о том, как меня поразило, насколько гармонирует обстановка моей комнаты и его, вплоть до фланелевых простыней. Открытки ко дню рождения, тщательно выбранные, и телефонные звонки только для того, чтобы сказать «привет!». Вижу его за моим пианино. Слышу, как он поет. Ощущаю его запах. “The Catcher in the Rye” by Jerome David Salinger J.D. Salinger is a famous and mysterious American writer. Advertisement and publicity that accompany fame in America made him choose the position of an “invisible writer”, who refuses to give interview. Salinger got his education in the Military School in Pennsylvania where he started writing. His first stories published in 1943 made him famous. His fist novel “The Catcher in the Rye” must surely be reckoned by any standard as an outstanding and genuinely challenging achievement. The main character and the narrator is Holden Caufield, a sixteen year-old boy. He describes several days of his life in an informal tone of a friendly talk with the reader. He is regularly expelled from several schools in Pennsylvania for poor progress. This time it happens just before Christmas. Holden leaves earlier and checks in a hotel in New York “just to take it easy”. But he fails to take it easy and four days in New York turn into a real trial. What makes Holden such a wonderful and sympathetic protagonist is his extreme sincerity and touching loneliness. His speech is an authentic reproduction of teenager slang with all its grammatical and lexical peculiarities. In the end Holden is left with his aspiration for “a worthy life aim” which is expressed by the title of the book. 59 It was Monday and all, and pretty near Christmas, and all the stores were open. So it wasn’t too bad walking on Fifth Avenue*. It was fairly Christmasy. All those scraggy-looking Santa Clauses were standing on corners ringing those bells, and the Salvation Army girls, the ones that don’t wear any lipstick or anything, were ringing bells too. I sort of kept looking around for those two nuns I’d met at breakfast the day before, but I didn’t see them. I knew I wouldn’t, because they’d told me they’d come to New York to be schoolteachers, but I kept looking for them anyway. Anyway, it was pretty Christmasy all of a sudden. A million little kids were downtown with their mothers, getting on and off buses and coming in and out of stores. I wished old Phoebe was around. She’s not little enough any more to go stark staring mad in the toy department, but she enjoys horsing around and looking at the people. The Christmas before last I took her downtown shopping with me. We had a helluva time. I think it was in Bloomingdale’s*. We went in the shoe department and we pretended she – old Phoebe – wanted to get a pair of those very high storm shoes, the kind that have about a million holes to lace up. We had the poor salesman guy going crazy. Old Phoebe tried on about twenty pairs, and each time the poor guy had to lace one shoe all the way up. It was a dirty trick, but it killed old Phoebe. We finally bought a pair of moccasins and charged them. The salesman was very nice about it. I think he knew we were horsing around, because old Phoebe always starts giggling. Anyway, I kept walking and walking up Fifth Avenue, without any tie on or anything. Then all of a sudden, something very spooky started happening. Every time I came to the end of a block and stepped off the goddam curb, I had this feeling that I’d never get to the other side of the street I thought I’d just go down, down, down, and nobody’d ever see me again. Boy, did it scare me. You can’t imagine. I started sweating like a bastard – my whole shirt and underwear and everything. Then I started doing something else. Every time I’d get to the end of a block I’d make believe I was talking to my brother Allie. I’d say to him, “Allie, don’t let me disappear. Allie, don’t let me disappear. Allie, don’t let me disappear. Please, Allie.” And then when I’d reach the other side of the street without disappearing, I’d thank him. Then it would start all over again as soon as I got to the next corner. But I kept going and all. I was sort of afraid to stop, I think – I don’t remember, to tell you the truth. I know I didn’t stop till I was way up in the Sixties*, past the zoo and all. Then I sat down on this bench. I could hardly get my breath, and I was still sweating like a bastard. I sat there, I guess, for about an hour. Finally, what I decided I’d do, I decided I’d go away. I decided I’d never go home again and I’d never go away to another school again. I decided I’d just see old Phoebe and sort of say good-by to her and all, and give her back her Christmas dough, and then I’d 60 start hitchhiking my way out West. What I’d do, I figured, I’d go down to the Holland Tunnel* and bum a ride, and then I’d bum another one, and another one, and another one, and in a few days I’d be somewhere out West where it was very pretty and sunny and where nobody’d know me and I’d get a job. I figured I could get a job at a filling station somewhere, putting gas and oil in people’s cars. I didn’t care what kind of a job it was, though. Just so people didn’t know me and I didn’t know anybody. I thought what I’d do was, I’d pretend I was one of those deaf-mutes. That way I wouldn’t have to have any goddam stupid useless conversations with anybody. If anybody wanted to tell me something, they’d have to write it on a piece of paper and shove it over to me. They’d get bored as hell doing that after a while, and then I’d be through with having conversations for the rest of my life. Everybody’d think I was just a poor deaf-mute bastard and they’d leave me alone. They’d let me put gas and oil in their stupid cars, and they’d pay me a salary and all for it, and I’d build me a little cabin somewhere with the dough I made and live there for the rest of my life. I’d build it right near the woods, but not right in them, because I’d want it to be sunny as hell all the time. I’d cook all my own food, and later on, if I wanted to get married or something, I’d meet this beautiful girl that was also a deaf-mute and we’d get married. She’d come and live in my cabin with me, and if she wanted to say anything to me, she’d have to write it on a goddam piece of paper, like everybody else. If we had any children, we’d hide them somewhere. We could buy them a lot of books and teach them how to read and write by ourselves. I got excited as hell thinking about it. I really did. I knew the part about pretending I was a deaf-mute was crazy, but I liked thinking about it anyway. But I really decided to go out West and all. All I wanted to do first was say good-by to old Phoebe. ____________________ Commentary 1. “The Catcher in the Rye” is a periphrasis of Robert Burn’s poem. That is how Holden sees his life aim: “I keep picturing all these little kids playing some game in the big field of rue. Thousands of little kids and nobody’s around. And I’m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody of they start to go over the cliff … That’s all I’d do all day. That’s the only thing I’d really like to be.” 2. Fifth Avenue – Пятая Авеню, одна из центральных улиц Нью-Йорка 3. Bloomingdale’s – универсальный магазин в Нью-Йорке 61 4. way up in the Sixties – далеко на шестидесятых улицах 5. Holland Tunnel – Холланд-туннель под рекой Гудзон при выезде из Нью-Йорка Understanding the Selection 1. Define the selection as a form of writing and present its contents in a nutshell. 2. Formulate the subject matter of the selection. 3. Study the structure of the text. What parts does it fall into? Where is the emotional climax of the passage? What stylistic means bring it out? 4. How is Holden presented in the extract under discussion? What is the author’s method of describing his character? Does Salinger use indirect characterization? Do you feel Holden’s loneliness and despair? 5. What is Holden’s value orientation? What stylistic devices help us to find it out? Does he accept standard values? 6. What is your opinion of Holden’s plan to go out West? Do you think it could work? Why? 7. Summarize your notes on the choice of words and the syntax of the selection. 8. Why was Holden shifting from school to school? What psychological problems of teenagers can you trace in the extract? 9. Describe Holden’s younger sister. What do you think is the role of this character in the extract under analysis and in the novel at large? 10. What is the general tone of the passage? Does the author sympathize with his character? How did you feel it? 11. Make up a summary of your notes on the passage. Words and Word-combinations to be memorized 1. scraggy-looking (sl.) – худосочный 2. sort of + n, sort of + v (col.) – как бы, вроде 3. downtown – деловая часть города 4. to horse around (col.) – разыгрывать кого-то; беситься 5. to have smb doing smth – довести кого-то до чего-либо. We had the poor salesman guy going crazy. 6. to kill smb (col.) – обалдеть от чего-либо. It was a dirty trick, but it killed old Phoebe. Syn. to knock smb out 62 7. to charge (some goods) – заказывать товар в магазине 8. spooky – страшный, призрачный (шутлив.) 9. to get one’s breath – отдышаться, перевести дыхание 10. dough (sl.) – деньги («бабки») 11. to figure (out) (col.) – рассчитывать, воображать; понять что-либо, кого-либо 12. filling station – автозаправка; gas – бензин 13. to be through with doing smth – не придется больше делать что-то 14. after a while – скоро 15. to do smth on one’s own – делать что-то самому; ср. She made her own clothes. – Она сама шила себе одежду. 16. without any tie on – без всякого галстука Exercises I. Explain and expand on the following. 1. It was fairly Christmasy. All those scraggy-looking Santa Clauses were standing on corners ringing those bells, and the Salvation Army girls, the ones that don’t wear any lipstick or anything, were ringing bells too. 2. … if I wanted to get married or something, I’d meet this beautiful girl that was also a deaf-mute and we’d get married. 3. … but she enjoys horsing around and looking at the people. 4. Then all of a sudden, something very spooky started happening. 5. That way I wouldn’t have to have any goddam stupid useless conversations with anybody. 6. Anyway, I kept walking and walking up Fifth Avenue, without any tie on or anything. 7. They’d let me put gas and oil in their stupid cars … 8. If we had any children, we’d hide them somewhere. II. Paraphrase the following sentences from the selection. 1. A million little kids were downtown with their mothers, getting on and off buses and coming in and out of stores. 2. She is not little enough any more to go stark staring mad in the toy department … 3. It was a dirty trick, but it killed old Phoebe. 4. What I’d do, I figured, I’d go down to the Holland Tunnel and bum a ride, and then I’d bum another one, and another one, and another one, and in a few days I’d be somewhere out West where it was very pretty and sunny and where nobody’d know me and I’d get a job. 5. We finally bought a pair of moccasins and charged them. 6. I decided I’d just see old Phoebe and sort of say good-by to her and all, and give her back her Christmas dough, and then I’d start hitchhiking my way out West. 7. We had a helluva time. III. Paraphrase the following sentences using the vocabulary of the text. 1. This book knocked me out. 2. A lot of people enjoy practical jokes. 3. The boy looked 63 thin and bony. 4. I pictured mentally my trip to London. 5. This was a ghostly house causing fear in a strange way. 6. We asked the salesman to send our purchase home, payment on delivery. 7. We enjoyed ourselves yesterday. 8. A good friend of mine lended me some money. 9. She went stiff on seeing her old enemy. 10. They visited the city’s business center. 11. You won’t have to smile at your enemies any longer. 12. In a way I understood that person. IV. Find Russian equivalents for the following. It was fairly Christmasy; to go stark staring mad; something very spooky; charged them; I figured; bum a ride; sort of say good-by; sort of kept looking around; enjoys horsing around; it killed old Phoebe; The salesman was very nice about it; the goddam curb; Boy, did it scare me; high storm shoes; I could hardly get my breath; till I was way up in the Sixties; with her gloves on. V. Find English equivalents for the following. Пользоваться помадой; остолбенеть; доехать на халяву; совсем как на Рождество; и всё такое; или ещё что-то; автозаправка; бензин; около часа; пара тапочек; хихикать; заправить машину; хижина; ужасно разволновался; как-то попрощаться; без шляпы. VI. Give definitions of the following words using an explanatory dictionary. If a word is polysemantic, define the lexico-semantic variant used in the text. Christmas, Salvation, nun, to figure, to knock smb out, to giggle, to hitchhike, gas, scraggy, spooky, to bum, to horse around. VII. Arrange the following words in pairs of synonyms and explain the difference in their usage and meaning. Use them in sentences of your own. To enjoy, mad, to pretend, to look at, kids, shoes, few, shops, to bum a ride, to horse around, little, to hitchhike, stores, to have a helluva time, children, wish, to stare, moccasins, to want, crazy. VIII. Arrange the following words in pairs of antonyms and use them in sentences of your own. To start, to look for, to have a helluva time, to be through, to keep walking, to hide, nobody, to get bored, to sale, to stop, everybody, to buy. IX. Explain the difference in meaning between the components of these pairs. To look – to look around; to figure – to figure out; to go – to go down; to horse – to 64 horse around; to sit – to sit down; to give – to give back; to marry – to get married. X. Analyze the non-finite forms in phrases and constructions, translate the sentences into Russian, use the Russian translation for back translation into English. 1. So it wasn’t too bad walking on Fifth Avenue. 2. I sort of kept looking around for those two nuns I’d met at breakfast the day before. 3. She is not little enough anymore to go stark staring mad in the toy department, but she enjoys horsing around and looking at the people. 4. The Christmas before last I took her downtown shopping with me. 5. We had the poor salesman guy going crazy. 6. Old Phoebe tried on about twenty pairs, and each time the poor guy had to lace one shoe all the way up. 7. I think he knew we were horsing around, because old Phoebe always starts giggling. 8. I figured I could get a job at a filling station somewhere, putting gas and oil in people’s cars. 9. I’d build it (a little cabin) right near the woods, but not right in them, because I’d want it to be sunny as hell all the time. 10. I knew the part about pretending I was a deaf-mute was crazy, but I liked thinking about it anyway. XI. Explain the grammatical phenomena from the text. Translate the sentences into Russian. 1. It was fairly Christmasy. (Adjective) 2. The Christmas before last I took her downtown shopping with me. (Construction) 3. We went in the shoe department and we pretended she – old Phoebe – wanted to get a pair of those very high storm shoes, the kind that have about a million holes to lace up. (Infinitive and its function) 4. Boy, did it scare me. (Auxiliary verb, word-order) 5. Every time I’d get to the end of a block I’d make believe I was talking to my brother Allie. (Types of predicate) 6. All I wanted to do first was say good-by to old Phoebe. (Function of infinitive) XII. Fill in the blanks with prepositions or adverbs if necessary. I looked … the clock in the recess yard, and it was only twenty … twelve, so I had quite a lot of time to kill … I met old Phoebe. But I just walked … to the museum anyway. I thought maybe I might stop … a phone booth and give … old Jane Gallagher a buzz before I started bumming my way West, but I wasn’t … the mood. … one thing, I wasn’t even sure she was home … vocation yet. So I just went … to the museum, and hung … . While I was waiting … Phoebe in the museum, right … the doors and all, these two little kids came … … me and asked me if I knew where the mummies were. The one little kid, the one that asked me, had his pants open. I told him … it. So he buttoned them … right where he was standing talking to me, he didn’t even bother to go … a post or anything. I would’ve 65 laughed, but I was afraid I’d feel … vomiting again, so I didn’t. I horsed … with the two of them a little bit I didn’t have anything to do, though, … old Phoebe showed … . XIII. Fill in the blanks with articles if necessary. We always had … meal on Saturday nights at Pencey. It was supposed to be … big deal, because they gave you … steak. I’ll bet … thousand bucks … reason they did that was beca use a lot of guys’ parents came up to … school on Sunday, and old Thurmer probably figured everybody’s mother would ask their darling boy what he had for … dinner last night, and he would say, “Steak”. What … racket. You should’ve see … steaks. They were t hese little hard, dry jobs that you could hardly even cut. You always got these very lumpy mashed potatoes on steak night, and for … desert you got Brown Betty, which nobody ate, except maybe … kids in … lower school that didn’t know any better and guys like Ackley that ate everything. It was nice though, when we got out of … dining room. There was about three inches of … snow on … ground, and it was still coming down like … madman. It looked pretty as hell, and we all started throwing … snowballs and horsing around all over … place. I didn’t have … date or anything, so I and this friend of mine, Mal Brossard, that was on … wrestling team decided we’d take … bus into Agerstown and have … hamburger and maybe see … lousy movie. XIV. Translate into English. 1. Я как-то побаиваюсь летать на самолете. 2. Думаю, он понимал, что мы его разыгрывали, потому что кто-то хихикнул. 3. Он сам готовит себе еду. 4. Сегодня солнечно, я гуляла без пальто. 5. Армия Спасения – международная благотворительная организация. 6. Спустя какое-то время ему все надоело. 7. Ну и напугался же ребенок! 8. Холден еле отдышался. 9. Потом все началось заново. 10. Он мысленно представил себе, как поедет на Запад. 11. Она была без макияжа. 12. Я, наконец, покончу с этой неприятной работой. 13. Он у нас чуть с ума не сошел. 14. Они выглядят такими худосочными. 15. На заправке не оказалось бензина нужной марки. 16. Совсем неплохо было отдохнуть на побережье. 17. Она ведет себя совсем как настоящая учительница. 18. А я все шел и шел по незнакомой улице, пока не оказался в деловой части города. XV. Comment on the excerpt from the Russian translation of “Catcher in the Rye”. Use it for simultaneous back translation into English. Это был понедельник, вот, и почти что Рождество, и магазины все были открыты. Потому неплохо было и прогуляться по Пятой Авеню. Было совсем по-Рождественски. Все 66 эти худосочные Санта Клаусы стояли на углах и звонили в колокольчики, и девчонки из Армии Спасения, ну, те, что не пользуются ни помадой, ничем вообще, тоже звонили в колокольчики. Я поглядывал вокруг, типа искал тех двух монахинь, с которыми познакомился за завтраком за день до этого, но их не было видно. Я знал, что их не будет, потому что они сказали, что будут в Нью-Йорке работать учительницами, но я всё равно их искал. А так Рождество вдруг почувствовалось во всём. В центре море детишек со своими мамашами входили и выходили из автобусов и магазинов. Я пожалел, что со мной не было старушки Феб. Она уж не такая маленькая, чтобы глазеть в отделе игрушек на всё, как ненормальная, но ей нравится всех разыгрывать и просто смотреть на людей. Прошлое Рождество я взял её с собой делать покупки. Вот мы повеселились. Кажется, это было в Блумингдейле. Мы зашли в обувной отдел и сделали вид, что ей – старушке Феб – нужна пара высоких ботинок, ну, таких, что надо зашнуровывать полчаса. Бедный продавец у нас чуть не тронулся. Старушка померила чуть ли не двадцать пар, и каждый раз бедняге приходилось до конца зашнуровывать ботинок. Ясно, что пакость, но старушка Феб тащилась. В конце-концов мы купили пару тапочек с оплатой по доставке. А продавец ничего. Думаю, он догадался, что его разыгрывают, потому что старушка Феб всегда начинает хихикать. XVI. Find the stylistic devices within the following sentences and analyze their function. 1. All those scraggy-looking Santa Clauses were standing on corners ringing those bells. 2. We went in the shoe department and we pretended she – old Phoebe – wanted to get a pair of those very high storm shoes, the kind that have about a million holes to lace up. 3. I thought I’d just go down, down, down, and nobody’d ever see me again. 4. I started sweating like a bastard – my whole shirt and underwear and everything. 5. What I’d do, I figured, I’d go down to the Holland Tunnel and bum a ride, and then I’d bum another one, and another one, and another one, and in a few days I’d be somewhere out West. 6. They’d let me put gas and oil in their stupid cars. 7. I’d say to him, “Allie, don’t let me disappear. Allie don’t let me disappear. Allie, don’t let me disappear. Please, Allie.” XVII. Name the stylistic device that fits the following definition. Find these stylistic devices in the text under analysis. 1. … is a device based on some likeness between the thing named and the thing implied. 2. … is a word or phrase containing the author’s expressive characteristics of an object. 3. … is a deliberate repetition of connectives in close succession joining homogeneous sentence elements, 67 clauses or sentences. 4. … is the repetition of the final elements or successive segments of an utterance. 5. … a deliberate exaggeration of some quantity, quality, or size expressing an emotional attitude of the author to what he is depicting. 6. … is any violation of the traditional word-order which does not alter the meaning of the sentence but adds emotional colouring to the utterance. 7. … is the structure in which every successive unit is emotionally stronger or logically more important than the preceding one. TEXTS FOR INDEPENDENT ANALYSIS “The Collector” by John Fowles October 31st Nothing. I psycho-analysed him-this evening. He would sit so stiffly beside me. We were looking at Goya's etchings. Perhaps it was the etchings themselves, but he sat and I thought he wasn't really looking at them. But thinking only of being so close to me. His inhibition. It's absurd. I talked at him as if he could easily be normal. As if he wasn't a maniac keeping me prisoner here. But a nice young man who wanted a bit of chivvying from a jolly girl-friend. It's because I never see anyone else. He becomes the norm. I forget to compare. Another time with G.P. It was soon after the icy douche (what he said about my work). I was restless one evening. I went round to his flat. About ten. He had his dressing-gown on. I was just going to bed, he said. I wanted to hear some music, I said. I'll go away. But I didn't. He said, it's late. I said I was depressed. It had been a beastly day and Caroline had been so silly at supper. He let me go up and made me sit on the divan and he put on some music and turned out the lights and the moon came through the window. It fell on my legs and lap through the skylight, a lovely slow silver moon. Sailing. And he sat in the armchair on the other side of the room, in the shadows. It was the music. The Goldberg Variations. There was one towards the end that was very slow, very simple, very sad, but so beautiful beyond words or drawing or anything but music, beautiful there in the moonlight. Moon-music, so 68 silvery, so far, so noble. The two of us in that room. No past, no future. All intense deep that-time-only. A feeling that everything must end, the music, ourselves, the moon, everything. That if you get to the heart of things you find sadness for ever and ever, everywhere; but a beautiful silver sadness, like a Christ face. Accepting the sadness. Knowing that to pretend it was all gay was treachery. Treachery to everyone sad at that moment, everyone ever sad, treachery to such music, such truth. In all the fuss and anxiety and the shoddiness and the business of London, making a career, getting pashes, art, learning, grabbing frantically at experience, suddenly this silent silver room full of that music. Like lying on one's back as we did in Spain when we slept out looking up between the figbranches into the star-corridors, the great seas and oceans of stars. Knowing what it was to be in a universe. I cried. In silence. At the end he said, now can I go to bed? Gently, making fun of me a little bit, bringing me back to earth. And I went. I don't think we said anything. I can't remember. He had his little dry smile, he could see I was moved. His perfect tact. I would have gone to bed with him that night. If he had asked. If he had come and kissed me. Not for his sake, but for being alive's. “Evening in Byzantium” by Irwin Shaw He took her to dinner that night. Every night thereafter while he stayed in Paris. She had been a great beauty out of Texas, had conquered New York, then Paris, a tall, slender, wilful girl, with a tilted, narrow dark head. Dear men, her presence demanded when she entered a room, what are you doing here, are you worth the time? With her, he saw Paris in its best light. It was her town and she walked through it with joy and pride and mischief, lovely legs making a carnival of its pavements. She had small teeth, a dangerous temper. She was not to be taken lightly. She was a puritan about work, her own and that of others. Fiercely independent, she scorned inaction, parasitism. She had come to Paris as a model, during, as she put it, the second half of the rule of Charlemagne. Unschooled, she was surprisingly bookish. Her age was anybody’s guess. She had been married twice. Vaguely, she said. Both men, and others, had made off with money. She bore them no ill will, neither the husbands nor the others. 69 She had tired of modelling, gone with a partner, male, an ex-University professor from Maine, into the exchange-student business. “The kids have to know about each other,” she said. “Maybe they finally won’t be able to be talked into killing each other.” A much older, beloved brother had been lost at Aachen and she was furious against war. When she read the news from Vietnam, and it was particularly bad, she cursed in barracks language, threatened to move to the South Seas with her son. As she had said the first night, she lived from hand to mouth, but dressed extravagantly. The couturiers of Paris loaned her clothes, knowing that in the places to which she was invited, neither she nor their confections would go unnoticed. She left whatever bed she was in promptly at seven each morning, to make breakfast for her children and send them off to school. Regardless of the night she had spent, she was at her desk promptly at nine a.m. Although Craig kept a suite in a hotel, the wide bed in her room overlooking a garden on the Left Bank became his true Paris address. Her children grew fond of him. “They’re used to men,” she explained. She had outgrown whatever morality she had been exposed to in Texas and ignored whatever conventions were in practice in the society or societies she adorned in Paris. She was straightforward, funny, demanding, unpredictable, gloriously formed for lovemaking, affectionate, eager and enterprising, only serious at those moments that demanded seriousness. He had been dormant. He was dormant no longer. He had fallen into the dull habit of not noticing or appreciating women as women. Now he was immediately conscious of beauty, a sensual smile, a way of walking; his eye had been reeducated, was youthful again, was quick and innocently lascivious for the flick of a skirt, the curve of a throat, womanly movements. Faithful to one, once more he enjoyed the entire sex. It was not the least of the gifts Constance had brought him. “Long Day’s Journey into Night” by Eugene O’Neill J A M I E: (In a cruel, sneering tone with hatred in it) Where’s the hophead? Gone to sleep? (EDMUND jerks as if he’d been struck. There is a tense silence. EDMUND’s face looks stricken and sick. Then in a burst of rage he springs from his chair.) E D M U N D: You dirty bastard! 70 (He punches his brother in the face, a blow that glances off the cheekbone. For a second JAMIE reacts pugnaciously and half rises from his chair to do battle, but suddenly he seems to sober up to a shocked realization of what he has said and he sinks back limply.) J A M I E: (Miserably) Thanks, Kid. I certainly had that coming. Don’t know what made me – booze talking – You know me, Kid. E D M U N D: (His anger ebbing) I know you’d never say that unless – But God, Jamie, no matter how drunk you are, it’s no excuse! (He pauses – miserably.) I’m sorry I hit you. You and I never scrap – that bad. (He sinks back on his chair.) J A M I E: (Huskily) It’s all right. Glad you did. My dirty tongue. Like to cut it out. (He hides his face in his hands – dully.) I suppose it’s because I feel so damned sunk. Because this time Mama had me fooled. I really believed she had it licked. She thinks I always believe the worst, but this time I believed the best. (His voice flutters.) I suppose I can’t forgive her – yet. It meant so much. I’d begun to hope, if she’d beaten the game, I could, too. (He begins to sob, and the horrible part of his weeping is that it appears sober, not the maudlin tears of drunkenness.) E D M U N D: (Blinking back tears himself) God, don’t I know how you feel! Stop it, Jamie! J A M I E: (Trying to control his sobs) I’ve known about Mama so much longer than you. Never forget the first time I got wise. Caught her in the act with a hypo. Christ, I’d never dreamed before that any women but whores took dope! (He pauses.) And then this stuff of you getting consumption. It’s got me licked. We’ve been more that brothers. You’re the only pal I’ve ever had. I love your guts. I’d do anything for you. E D M U N D: (Reaches out and pats his arm) I know that, Jamie. J A M I E: (His crying over – drops his hands from his face – with a strange bitterness) Yet I’ll bet you’ve heard Mama and old Gaspard spill so much bunk about my hoping for the worst, you 71 suspect right now I’m thinking to myself that Papa is old and can’t last much longer, and if you were to die, Mama and I would get all he’s got, and so I’m probably hoping – E D M U N D: (Indignantly) Shut up, you damned fool! What the hell put that in your nut? (He stares at his brother accusingly.) Yes, that’s what I’d like to know. What put that in your mid? J A M I E: (Confusedly – appearing drunk again) Don’t be a dumbbell! What I said! Always suspected of hoping for the worst. I’ve got so I can’t help – (Then drunkenly resentful) What are you trying to do, accuse me? Don’t play the wise guy with me! I’ve learned more of life than you’ll ever know! Just because you’ve read a lot of highbrow junk, don’t think you can fool me! You’re only an overgrown kid! Mama’s baby and Papa’s pet! The family White Hope! You’ve been getting a swelled head lately. About nothing! About a few poems in a hick town newspaper! Hell, I used to write better stuff for the Lit magazine in college! You better wake up! You’re setting no rivers on fire! You let hick town boobs flatter you with bunk about your future – (Abruptly his tone changes to disgusted contrition. EDMUND has looked away from him, trying to ignore this tirade.) Hell, Kid, forget it. That goes for Sweeny. You know I don’t mean it. No one is prouder you’ve started to make good. (Drunkenly assertive) Why shouldn’t I be proud? Hell, it’s purely selfish. You reflect credit on me. I’ve had more to do with bringing you up than anyone. I wised you up about women, so you’d never be a fall guy, or make any mistakes you didn’t want to make! And who steered you on to reading poetry first? Swinburne, for example? I did! And because I once wanted to write, I planted it in your mind that someday you’d write! Hell, you’re more than my brother. I made you! You’re my Frankenstein! (He has risen to a note of drunken arrogance. EDMUND is grinning with amusement now.) Aspect “Readings in the Theory of English Grammar” by L.L. Iofik, L.P. Chakhoyan, A.G. Pospelova, pp. 74-76 Aspect indicates the aspect, the type, the character of the action. The following classes occur: 1. Durative Aspect. This type represents the action as continuing. We usually employ here the progressive form: “He is eating.” To express different shades of the idea of continuance also other forms are often used, especially remain, keep, keep on, go on, continue with a present participle as predicate after an intransitive, and an infinitive or gerund as object after a transitive. […] 72 2. Point-action Aspects. The point-action aspects call attention, not to an act as a whole, but to only one point, either the beginning or the final point. There are thus two classes: a. INGRESSIVE ASPECT. This point-action type directs the attention especially to the initial stage of the action or state: “He awoke early”, i.e., came into a waking state early. “The boat slowed up as it came in.” “They went the moment it cleared.” This idea is expressed in various ways: aa. The ingressive aspect is often expressed by begin, commence, or start in connection with an infinitive or gerund as object. […] ab. The ingressive idea is often expressed by the ingressives get, grow, fall, turn, wax, become, run, go, come, set, stare, take (take up as a habit) in connection with a predicate adjective, participle, noun, or a prepositional phrase: “He often gets sick.” […] b. EFFECTIVE ASPECT. This point-action aspect directs the attention to the final point of the activity or state, to a result that has been reached, hence it often indicates attainment or failure: “The two friends fell out.” “He knocked him out in the fourth round.” […] 3. Terminate Aspect. A large number of simple and compound verbs indicate an action as a whole. Such verbs are called terminates. This aspect is especially associated with the simple form of the verb just as the durative aspect is associated with the progressive form. […] In terminates the action often begins and terminates within a limited period: “He motioned to me.” “He didn’t even wince.” “He hit the mark.” “He handed me a book.” “He shot a duck.” “The bullet pierced his heart.” “She sighed.” “A snowflake lit upon his nose.” “He stumbled and fell.” “The thugs killed him, took his money, and threw him into the river.” “An idea flashed on me.” “This news dashed, shattered, our hopes.” “She misunderstood me.” “I overlooked this item in my calculation.” The terminate aspect is the largest category, and hence is associated with many verbs of quite a different meaning from those just mentioned. Any verbal form that represents the act as a finished whole is a terminate whether the duration of the act be long or short: “He went (here thought of as a finished whole, not as continuing) to church this morning.” “Last summer I built a fine new house.” “Next summer I expect to build a fine new house.” […] 4. Iterative Aspect. This type indicates an indefinitely prolonged succession of like acts: “He pooh-poohs at everything.” “He threw his head back and haw-hawed.” “Outside the wind blew gustily and set a loquacious tassel tap-tapping against a pane.” […] “A Domestic Conversation” by Dan Poston He was sitting by the table, staring out the window, when she entered the kitchen. For a moment, she looked at him, ridiculous in his ragged blue robe and uncombed hair, and wanted to roll her eyes. She didn’t, though; he looked up at her all too soon, anxious to share his thoughts. 73 She turned to the dirty dishes lying on the counters and in the sink, not wanting to encourage him. It was maddening to hear him talk lately. “Where have you been?” She clanked dishes into the dishwasher. “Went to the grocery store. Then I was outside raking the leaves.” Where have you been? Maybe that was the question he wanted her to ask. Why have you been in bed for half the day? Maybe that was it; maybe that was the question he wanted to answer. But she wouldn’t ask it. Not today. She was tired of his answers. She opened the cabinet and looked at the containers to make sure she had what she needed to bake her chicken casserole tonight. Really, she could do this. She could go on with the day as she’d gone on with every other day before. It didn’t matter if he wanted to sit around all day, looking out every window in the house, amazed at the greatness of his own thoughts. She could go on. Unless he talked, that is. “Marianne, do you ever wonder why we do this?” She focused harder. It was the cloves she was looking for. “Do what, Henry?” She succeeded in making herself sound as if she were talking to a child. “All of this. Everything we do.” She left the cabinet open and found her recipe box on a shelf on the other side of the room. “I don’t know, Henry. Maybe because we have a church social to go to tonight.” He looked at her and made that “don’t play games with me” face that he had learned to use so aptly as a father. She was too busy thumbing through the recipe cards to take notice. “You know that’s not what I mean, Marianne.” She scanned the card quickly. There it was. The cream of mushroom soup. How could she have forgotten that? She walked behind Henry to the large cabinet that held the soup cans and opened the door to peer inside, hating to be so close to him. “I’m tired of this, Marianne. I’m tired of church socials on weekends and work on weekdays. I’m tired of pretending it all means something, tired of people thinking that we know anything about anything.” Tired, Henry? Are you still “tired of work” after calling in sick every day this week, lying around like a dead dog? Are you tired of church because you sit in the back and let your arrogant eyes chastise everyone who tries to talk to you? You’re tired, Henry? Well, we’re tired of you. Tired of your life crisis and your “deep thoughts.” 74 Cream of mushroom soup. There wasn’t any. She’d have to go back down to the grocery store. “Do you want me to call the church and tell them you aren’t coming?” She walked back to the other side of the room and closed the cabinet door. “No, Marianne! That’s ridiculous.” He paused. “I just want you to talk with me.” She scrubbed the counter where the dirty dishes had left stains, trying to ignore the way she felt compelled to turn around and face him. Finally, he broke the tension, turning his eyes away from her and back to the window. “Marianne, I just need to think about things. I need time to think over the things that I wouldn’t think about otherwise. That’s all.” There was one spot, a coffee stain that had been there for years, that drove her crazy. She pressed the washcloth into it, grinding back and forth furiously. She half muttered it: “It’s taken you fifty years. …” “Fifty years for what?” He didn’t understand. Not for a second. Fifty years, Henry, to see what you know when you’re four years old. To see that the world is big, Henry. “Fifty years to get tired of everything.” It was a half-truth, at least. He ignored it. “Marianne, they say even Einstein didn’t know ninety-nine percent of the reasons for why things happen. He just explained what he saw. They’ll tell you about atoms and forces and energy, but they really don’t know anything, Marianne. Not anything.” She turned around and looked at her husband, throwing the dishcloth back into the sink. He was staring out the window again, consumed in the abstractness of his thoughts. Don’t talk to me about all that, Henry. I don’t know anything about it. Do you know your granddaughter is thinking about having a baby, Henry? Can you feel that? Can you feel the four funerals we went to over the last ten years, the last days we saw each one of our parents? What’s eighty years of life, Henry, and who cares? Who cares, Henry? “I have to go to the grocery store again. Do you need anything?” She went into the next room to get her coat and purse. Henry got out of his chair and followed her. “What do you think, Marianne?” She looked at him for a moment and then breezed past him, through the kitchen to the garage door. “I guess I don’t understand it, Henry.” He came into the kitchen again, looking urgently at her. “Marianne – ” She cocked her head towards him, politely, apathetically obedient. “Yes?” “When are you going to face yourself?” 75 She sighed, reaching for the keys on the wall and opening the door. “I’m going grocery shopping, Henry.” She shut the door behind her, letting its echo ring hollowly in the kitchen. There was nothing to say to him today, nothing that mattered more than the fact that she felt like she was choking, in his house and in his car. “The Catcher in the Rye” by Jerome David Salinger I was way early when I got there, so I just sat down on one of those leather couches right near the clock in the lobby and watched the girls. A lot of schools were home for vacation already, and there were about a million girls sitting and standing around waiting for their dates to show up. Girls with their legs crossed, girls with their legs not crossed, girls with terrific legs, girls with lousy legs, girls that looked like swell girls, girls that looked like they’d be bitches if you knew them. It was really nice sightseeing, if you know what I mean. In a way, it was sort of depressing, too, because you kept wondering what the hell would happen to all of them. When they got out of school and college, I mean. You figured most of them would probably marry dopey guys. Guys that always talk about how many miles they get to a gallon in their goddam cars. Guys that get sore and childish as hell if you beat them at golf, or even just some stupid game like ping-pong. Guys that are very mean. Guys that never read books. Guys that are very boring. – But I have to be careful about that. I mean about calling certain guys bores. I don’t understand boring guys. I really don’t. When I was at Elkton Hills, I roomed for about two months with this boy, Harris Macklin. He was very intelligent and all, but he was one of the biggest bores I ever met. He had one of these very raspy voices, and he never stopped talking, practically. He never stopped talking, and what was awful was, he never said anything you wanted to hear in the first place. But he could do one thing. The sonuvabitch could whistle better than anybody I ever heard. He’d be making his bed, or hanging up stuff in the closet – he was always hanging up stuff in the closet – it drove me crazy – and he’d be whistling while he did it, if he wasn’t talking in this raspy voice. He could even whistle classical stuff, but most of the time he just whistled jazz. He could take something very jazzy, like “Tin Roof Blues,” and whistle it so nice and easy – right while he was hanging stuff up in the closet – that it could kill you. Naturally, I never told him I thought he was a terrific whistler. I mean you don’t just go up to somebody and say, “You’re a terrific whistler.” But I roomed with him for about two whole months, even though he bored me till I was half crazy, just because he was such a terrific whistler, the best I ever heard. So I don’t know about bores. Maybe you shouldn’t feel too sorry if you see some swell girl getting married to them. They don’t hurt anybody, most of them, and maybe they’re secretly all terrific whistlers or something. Who the hell knows? Not me. 76 READING FICTION An author is a god, creator of the world he describes. That world has a limited and very special landscape. It is peopled with men and women of a particular complexion, of particular gifts and failings. Its history, almost always, is determined by the tight interaction of its people within its narrow geography. Everything that occurs in a work of fiction – every figure, every tree, every furnished room and crescent moon and dreary fog – has been purposely put there by its creator. When a story pleases, when it moves its reader, he has responded to that carefully created world. The pleasure, the emotional commitment, the human response are not results of analysis. The reader has not registered in some mental adding machine the several details that establish character, the particular appropriateness of the weather to the events in the story, the marvelous rightness of the furnishings, the manipulation of the point of view, the plot, the theme, the style. He has recognized and accepted the world of the author and has been delighted (or saddened or made angry) by what happens in it. But how does it come about that readers recognize the artificial worlds, often quite different from their own, that authors create? And why is it that readers who recognize some fictional worlds effortlessly are bewildered and lost in other fictional worlds? Is it possible to extend the boundaries of readers’ recognition? Can more and more of the landscapes and societies of fiction be made available to that on looking audience? The answer to the first of these questions is easy. Readers are comfortable in literary worlds that, however exotic the landscapes and the personalities that people them, incorporate moral imperatives which reflect the value system in the readers’ world. Put another way, much fiction ends with its virtuous characters rewarded and its villains punished. This we speak of as poetic justice. Comedies, and most motion pictures of the recent past, end this way. But such endings are illustrations of poetic justice, and poetic seems to suggest that somehow such endings are ideal rather than “real.” Not much experience of life is required to recognize that injustice, pain, frustration, and downright villainy often prevail, that the beautiful young girl and the strong, handsome hero do not always overcome all obstacles, marry, and live happily ever after, that not every man is strong and handsome nor every woman beautiful. But readers, knowing that, respond to tragic fiction as well – where virtue is defeated, where obstacles prove too much for the men and women, where ponderous forces result in defeat, even death. Unhappy outcomes are painful to contemplate, but it is not difficult to recognize the world in which they occur. That world is much like our own. And unhappy outcomes serve to emphasize the very ideals which we have established in this world as the aims and goals of human activity. Consequently, both the “romantic” comedies that gladden with justice and success 77 and the “realistic” stories that end in defeat provide readers with recognizable and available emotional worlds, however exotic the settings and the characters in those stories might be. If we look at fiction this way, the answer to the questions “Why is it that some readers are bewildered and lost in some fiction worlds?” is clearly implied. Some fiction worlds seem to incorporate a strange set of moral imperatives. Readers are not altogether certain who are the virtuous characters and who are the villains or even what constitutes virtue and evil. Sometimes tragic oppositions in a fictional world that brooks no compromise puzzle readers who live in a world where compromise has become almost a virtue. Sometimes, particularly in more recent fiction that reflects the ever widening influence of psychoanalytic theory, the landscape and the behavior of characters is designed to represent deep interiors, the less-than-rational hearts and minds of characters. Those weird interiors are not part of the common awareness of readers; the moral questions raised there are not the same moral questions that occupy most of our waking hours. Such fictional worlds (those of Franz Kafka, for example) are difficult to map, and bewildered readers may well reject these underworlds for the sunshine of the surfaces they know more immediately. Studying Literature It might be useful to distinguish between three different kinds of discussion that take literature for a subject. Literary history attends to the consequences for literature of the passing of time. Certain forms that were popular in medieval times – the religious allegory, for instance – have waned in popularity and importance. Certain authors have been measurably influenced by their predecessors. Certain features of Elizabethan culture and belief illuminate passages in Shakespeare’s plays. Most of the footnotes in this book provide readers with historical information (the meaning of an archaic word, perhaps, the characteristics of some half-forgotten Creek god, or an allusion to an earlier literary work). Sometimes such information liberates the enduring life of old stories for new readers. Literary criticism, on the other hand, attends to the value of a work. It is good? Bad? Minor? Major? Criticism itself has a history: taste changes over the years; standards of judgment change; cultural forces contribute to critical judgments. But, though information about the history of criticism may help you understand why an author did what he did, it will not significantly help you make your own critical judgment. The story must finally speak for itself to you – no amount of historical justification can really enliven a dead work for a new reader. Unconcerned with both history and criticism, literary theory attends to the craft of literature. How does the author manipulate language (the substance of all literature – and the only substance) in order to create a world which affects his readers? Over many years of incessant examination of literature, observers have noted that certain techniques, certain 78 characteristic uses of language, occur again and again – so frequently that it is useful to name them. Literary theory makes particular use of these observations in its discussion of form and the features on which form depends. Note that theoretical discussions frequently trespass on the discipline of psychology. Theoreticians and critics frequently speak of the effect on readers of an author’s craft – his images, his clever symbols, his vision of mortality, his colors and shapes. But it is dangerous business to assert that certain combinations of words will generate, invariably, the same complex emotional response. What are we to make of the spectacle of two critics, or two teachers, testifying that the same story affects them quite differently? Is one of them wrong? Are both of them wrong, perhaps? Perhaps! But we do the best we can, and we use all the varieties of human experience that authors and critics and theoreticians share in an attempt to respond significantly to significant fiction. Fiction and Reality Why do people read fiction (or go to movies)? The question is not so easy to answer as one might suppose. The first response is likely to have something to do with “amusement” or “entertainment”. But you have doubtless read stories and novels (or seen movies) that end tragically. Is it accurate to say that they were amusing or entertaining? Is it entertaining to be made sad or to be made angry by the defeat of “good” people? Or does the emotional impact of such stories somehow enlarge our own humanity? Fiction teaches its readers by providing them a vast range of experience that they could not acquire otherwise. Especially for the relatively young, conceptions of love, of success in life, of war, of malignant evil and cleansing virtue are learned from fiction – not from life. And herein lies a great danger, for literary artists are notorious liars, and their lies frequently become the source of people’s convictions about human nature and human society. To illustrate, a huge number of television series based on the exploits of the FBI, or the Hawaiian police force, or the dedicated surgeons at the general hospital, or the young lawyers always end with a capture, with a successful (though dangerous) operation, with justice triumphant. But, in the real world, police are able to resolve only about 10 percent of reported crime, disease ravages, and economic and political power often extends into the courtroom. The very existence of such television drama bespeaks a yearning that things should be different; their heroes are heroic in that they regularly overcome those obstacles that we all experience but that, alas, we do not overcome. Some writers, beginning about the middle of the nineteenth century, were particularly incensed at the real damage which a lying literature promotes, and they devoted their energies to exposing and counteracting the lies of the novelists, particularly those lies that formed attitudes about what constituted human success and happiness. Yet that popular fiction, loosely called escapist, is 79 still most widely read for reasons that would probably fill several studies in social psychology. It needs no advocate. The fiction in this book, on the other hand, has been chosen largely because it does not lie about life – at least it does not lie about life in the ordinary way. And the various authors employ a large variety of literary methods and modes in an effort to illuminate the deepest wells of human experience. Consequently, many of these stories do not retail high adventure (though some do), since an adventurous inner life does not depend on an incident-filled outer life. Some stories, like Toomer’s “Theater” and Porter’s “The Jilting of Granny Weatherall,” might almost be said to be about what does not happen rather than what does – not-happening being as much incident, after all, as happening. All fiction attempts to be interesting, to involve the reader in situations, to force some aesthetic response from him – most simply put, in the widest sense of the word, to entertain. Some fiction aspires to nothing more. Other fiction seeks, as well, to establish some truth about the nature of man – Kafka’s “Metamorphosis” and Hemingway’s “The Short Happy Life of Francis Macomber” ask the reader to perceive the inner life of central figures. Some fiction seeks to explore the relationships among men – Faulkner’s “Dry September,” Toomer’s “Theater,” and Lawrence’s “The Horse Dealer’s Daughter” depend for their force on the powerful interaction of one character with another. Still other fiction seeks to explore the connection between men and society – Ellison’s “"Repent, Harlequin!" Said the Ticktockman” and Wright’s “The Man Who Lived Underground” acquire their force from the implied struggle between men seeking a free and rich emotional life and the tyrannically ordering society that would sacrifice their humanity to some ideal of social efficiency. We have been talking about that aspect of fiction which literary theorists identify as theme. Theorists also talk about plot, characterization, setting, point of view, and conflict – all terms naming aspects of fiction that generally have to do with the author’s technique. Let us here deal with one story – James Joyce’s “Araby.” Read it. Then compare your private responses to the story with what we hope will be helpful and suggestive remarks about the methods of fiction. The Methods of Fiction One can perceive only a few things simultaneously and can hardly respond to everything contained in a well-wrought story all at once. When he has finished the story, the reader likely thinks back, makes readjustments, and reflects on the significance of things before he reaches that set of 80 emotional and intellectual experiences that we have been calling response. Most readers of short stories respond first to what may be called the tone of the opening lines. Now tone is an aspect of literature about which it is particularly difficult to talk, because it is an aura – a shimmering and shifting atmosphere that depends for its substance on rather delicate emotional responses to language and situation. Surely, before the reader knows anything at all about the plot of “Araby,” he has experienced a tone. North Richmond Street, being blind, was a quiet street except at the hour when the Christian Brothers’ School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbors in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces. Is the scene gay? Vital and active? Is this opening appropriate for a story that goes on to celebrate joyous affirmations about life and living? You should answer these questions negatively. Why? Because the dead end street is described as “blind,” because the Christian Brothers’ School sounds much like a prison (it sets the boys free), because a vacant house fronts the dead end, because the other houses, personified, are conscious of decent lives within (a mildly ironic description – decent suggesting ordinary, thin-lipped respectability rather than passion or heroism), because those houses gaze at one another with “brown imperturbable faces” – brown being nondescript, as opposed, say, to scarlet, gold, bright blue, and imperturbable faces reinforcing the priggish decency within. Compare this opening from Faulkner’s “Dry September”: Through the bloody September twilight, aftermath of sixty-two rainless days, it had gone like fire in a dry grass – the rumor, the story, whatever it was. Something about Miss Minnie Cooper and a Negro. The tone generated by “bloody twilight,” “rainless days,” “fire in a dry grass” is quite different from the blind, brown apathy of “Araby.” And unsurprisingly, Faulkner’s story involves movement to a horrifying violence. “Araby,” on the other hand, is a story about the dawning of awareness in the mind and heart of the child of one of those decent families in brown and blind North Richmond Street. Tone, of course, permeates all fiction, and it may change as the narrative develops. Since short stories generally reveal change, the manipulation of tone is just one more tool used in the working of design. Short stories, of course, are short, but this fact implies some serious considerations. In some ways, a large class of good short fiction deals with events that may be compared to the tip of the proverbial iceberg. The events animating the story represent only a tiny fraction of the characters’ 81 lives and experiences; yet, that fraction is terribly important and provides the basis for wide understanding both to the characters within the story and to its readers. In “Araby,” the plot, the connected sequence of events, may be simply stated. A young boy who lives in a rather drab, respectable neighborhood develops a crush on the sister of one of his playmates. She asks him if he intends to go to a charity fair that she cannot attend. He resolves to go and purchase a gift for her. He is tormented by the late and drunken arrival of his uncle who has promised him the money he needs. When the boy finally arrives at the bazaar, he is disappointed by the difference between his expectation and the actuality of the almost deserted fair. He perceives some minor events, overhears some minor conversation, and finally sees himself “as a creature driven and derided by vanity.” Yet this tiny stretch of experience out of the life of the boy introduces him to an awareness about the differences between imagination and reality, between his romantic infatuation and the vulgar reality all about him. We are talking now about what is called the theme of the story. Emerging from the workaday events that constitute its plot is a general statement about intensely idealized childish “love,” the shattering recognition of the false sentimentality that occasions it, and the enveloping vulgarity of adult life. The few pages of the story, by detailing a few events out of a short period of the protagonist’s life, illuminate one aspect of the loss of innocence that we all endure and that is always painful. In much of the literature in the section on innocence and experience, the protagonists learn painfully the moral complexities of a world that had once seemed uncomplicated and predictable. That education does not always occur, as in “Araby,” at an early age, either in literature or life. Certainly theme is a centrally important aspect of prose fiction, but “good” themes do not necessarily ensure good stories. One may write a wretched story with the same theme as “Araby.” What, then, independent of theme, is the difference between good stories and bad stories? Instinctively you know how to answer this question. Good stories, to begin with, are interesting; they present characters you care about; however fantastic, they are yet somehow plausible; they project a moral world you recognize. One of the obvious differences between short stories and novels requires that story writers develop character rapidly and limit the number of developed characters. Many stories have only one fleshed character; the other characters are frequently two-dimensional projections or even stereotypes. We see their surface only, not their souls. Rarely does a short story have more than three developed characters. Again, unlike novels, short stories usually work themselves out in restricted geographical setting, in a single place, and within a rather short period of time. We often speak of character, setting, plot, theme, and style as separate aspects of a story in order to break down a complex narrative into more manageable parts. But it is important to understand that this analytic process of separating various elements is something we have done to the 82 story – the story (if it is a good one) is an integrated whole. The closer we examine the separate elements, the clearer it becomes that each is integrally related to the others. It is part of the boy’s character that he lives in a brown imperturbable house in North Richmond Street, that he does the things he does (which is, after all, the plot), that he learns what he does (which is the theme), and that all of this characterization emerges from Joyce’s rich and suggestive style. Consider this paragraph: Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs’ cheeks, the nasal chanting of street-singers, who sang a come-all-you about O’Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires. This paragraph furthers the plot. But it suggests much more. Te boy thinks of his friend’s sister even when he carries parcels for his aunt during the shopping trips through a crowded and coarse part of town. In those coarse market streets the shop-boys cry shrill “litanies,” the girl’s name springs to his lips in strange “prayers and praises,” and the boy confesses a confused “adoration.” Further, he bears “his chalice safely through a throng of foes.” Now the words litanies, prayers, praises, adoration all come from a special vocabulary that is easy to identify. It is the vocabulary of the church. The chalice and the throng of foes come from the vocabulary of chivalric romance, which is alluded to in the first line of the quoted paragraph. Joyce’s diction evokes a sort of holy chivalry that characterizes the boy on this otherwise altogether ordinary shopping trip. This paragraph suggests to the careful reader that the boy has cast his awakening sexuality in a mold that mixes the disparate shapes of the heroic knight, winning his lady by force of arms, and the ascetic penitent, adoring the holy virgin, mother of god. Playing the word game, of course, can be dangerous. But from the beginning of this story to its end, a certain religious quality shimmers. That now-dead priest of the story’s second paragraph 83 had three books (at least). One is a romantic chivalric novel by Sir Walter Scott; one is a sensational account of the adventures of a famous rogue; one is what a priest might be expected to have at hand – an Easter week devotional guide. That priest who read Scott’s novels might have understood the boy’s response – that mixture of religious devotion and romance. Shortly after the shopping trip, the boy finally speaks to the girl, and it is instructive to see her as he does. He stands at the railings and looks up (presumably) at her, she bowing her head towards him. “The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.” Skip the petticoat, for a moment. Might the description of Mangan’s sister remind the careful reader of quite common sculptured representations of the Virgin Mary? But the petticoat! And the white curve of her neck! This erotic overlay characterizes the boy’s response. The sexuality is his own; the chivalry, the religious adoration, comes from the culture in which he is immersed – comes from Scott, the ballads sung in the market place, the “Arab’s Farewell to his Steed” sung by the boy’s uncle. And it is the culture that so romanticizes and elevates the boy’s yearning. He finally gets to Araby – “the word called to him through the silence in which his soul luxuriated and cast an Eastern enchantment over him.” His purpose is to serve his lady – to bring her something from that exotic place. What he finds is a weary-looking man guarding a turnstile, the silence that pervades a church after a service, and two men counting money on a salver (that tray is called a salver by design). And in this setting he overhears the courtship of a young lady by two gentlemen: “O, I never said such a thing!” “O, but you did!” “O, but I didn’t!” “Didn’t she say that?” “Yes, I heard her.” “O, there’s a … fib!” This is Araby, this is love in a darkened hall where money is counted. Is it any wonder that the boy, in the moment of personal illumination that Joyce calls an epiphany, sees himself as a creature driven and derided by vanity? “Araby” is a careful, even a delicate story. Nothing much happens – what does occur largely in the boy’s perception and imagination. The story focuses on the boy’s confusion of sexual attraction with the lofty sentiments of chivalry and religion. The climax occurs when he confronts the darkened, money-grubbing fair and the utterly banal expression of the sexual attraction between the gentlemen 84 and the young lady. The result is a sudden deflation of the boy’s ego, his sense of self, as he recognizes his own delusions about the nature of love and the relationship between men, women, heroism, god, and money. We would like to conclude with a discussion of one feature of fiction that sometimes proves troublesome to developing readers. Often the events of a story, upon which much depends, puzzle or annoy readers. Why does that fool do that? Why doesn’t X simply tell Y the way he feels and then the tragedy would be averted? In a sense, such responses reflect the intrusion of a reader into the world of the story. The reader, a sensible and sensitive person, understands some things about life after all and is oppressed by the characters’ inability to understand at least as much. Characters choose to die when they might with a slight adjustment live. They risk danger when with a slight adjustment they might proceed safely. They suffer the pain of an unfortunate marriage when with a little trouble they might be free to live joyously. If the “whys” issuing from the reader are too insistent, too sensible, then the story must fail, at least for that reader. But many “whys” are not legitimate. Many are intrusions of the reader’s hindsight, the reader’s altogether different cultural and emotional fix. Henry James urged that the author must be allowed his donnée, his “given.” He creates the society and the rules by which it operates within his own fictional world. Sometimes his creation is so close to the reader’s own world that it is hardly possible to object. Black readers will recognize the inner life of Wright’s man who lived underground even if the events are bizarre. Those who have grown up in a small southern town will recognize the atmosphere of Faulkner’s “Dry September” and Baldwin’s “Going to Meet the Man.” But few readers of this book know 1895 Dublin and Irish middle-class society, which plays a brooding role in “Araby” (as it does in almost all of Joyce’s work). None know the futuristic world of Harlan Ellison’s Harlequin. In every case, we must finally imagine those worlds. If we cannot, the events that take place in them will be of no consequence. If those worlds are unimaginable, then the stories must fail. If they too much strain belief or remain too foreign to the reader’s heart, they must likewise fail. But all response to fiction depends on the reader’s acquiescence to the world of the author and his perceptions of the moral consequences of acts and attitudes in that world. At best, that acquiescence will provide much pleasure as well as emotional insight into his own existence. GLOSSARY OF LITERARY TERMS Allegory A form of symbolism in which ideas or abstract qualities are represented as characters in a narrative and dramatic situation, resulting in a moral or philosophic statement. Alliteration The repetition within a line or phrase of the same initial consonant sound. 85 Allusion A reference, explicit or indirect, to something outside the work itself. The reference is usually to some famous person, event, or other literary work. Ambiguity A phrase, statement, or situation that may be understood in two or more ways. As a literary device, it is used to enrich meaning or achieve irony. Apostrophe A direct address to a person who is absent or to an abstract or inanimate entity. Archetype Themes, images, and narrative patterns that are universal and thus embody some enduring aspects of man’s experience. Some of these themes are the death and rebirth of the hero, the underground journey, and the search for the father. Assonance The repetition of vowel sounds in a line, stanza, or sentence. Catharsis One of the key concepts in The Poetics of Aristotle by which he attempts to account for the fact that representations of suffering and death in drama paradoxically leave the audience feeling relieved rather than depressed. According to Aristotle, a tragic hero arouses in the viewer feelings of “pity and fear,” pity because he is a man of great moral worth and fear because the viewer sees himself in the hero. Conceit A figure of speech that establishes an elaborate parallel between unlike things. Conflict The struggle of a protagonist, or main character, with forces that must be subdued. The struggle creates suspense and is usually resolved at the end of the story. The force opposing the main character may be either another person – the antagonist, or society, or natural forces, or an internal conflict within the main character. Connotation The associative and suggestive meanings of a word in contrast to its literal meaning. Compare Denotation. Consonance The repetition of the final consonant sounds in stressed syllables. Denotation The literal, dictionary definition of a word. Compare Connotation. 86 Denouement The final outcome or unraveling of the main conflict of a story; literally, “untying”. Didactic A work whose primary and avowed purpose is to teach or to persuade the reader of the truth of some philosophical, religious, or moral statement or doctrine. Dramatic Distance In fiction, the point of view which enables the reader to know more than the narrator of the story. Figurative Language A general term covering the many ways in which language is used nonliterally. See Hyperbole, Irony, Metaphor, Metonymy, Paradox, Simile, Symbol, Synecdoche, Understatement. Hyperbole Exaggeration; overstatement. Compare Understatement. Imagery Language that embodies an appeal to the senses: sight, sound, smell, taste, or touch. Irony Language in which the intended meaning is different from or opposite to the literal meaning. Verbal irony includes overstatement (hyperbole), understatement, and opposite statement. Dramatic irony occurs when a reader knows things a character is ignorant of or when the speech and action of a character reveal him to be different from what he believes himself to be. Lyric Originally, a song accompanied by lyre music. Now, a relatively short poem expressing the thought or feeling of a single speaker. Metaphor A figurative expression consisting of two elements in which one element is provided with special attributes by being equated with a second unlike element. Metonymy A figure of speech in which a word stands for a closely related idea. In the expression “the pen is mightier than the sword,” pen and sword are metonymies for written ideas and military force respectively. Onomatopoeia Language that sounds like what it means. Words like buzz, bark, and hiss are onomatopoetic. Also, sound patterns that reinforce the meaning over one or more lines may 87 be designated onomatopoetic. Paradox A statement that seems self-contradictory or absurd but is, somehow, valid. Persona Literally “mask”. The term is used to describe a narrator in fiction or the speaker in a poem. The persona’s views are different from the author’s views. Personification Plot The attribution of human qualities to nature, animals, or things. A series of actions in a story or a drama which bear a significant relationship to each other. Point of View The person or intelligence a writer of fiction creates to tell the story to the reader. The major techniques are: First person, where the story is told by someone, often, though not necessarily, the principal character, who identifies himself as “I”. Third person, where the story is told by someone (not identified as “I”) who is not a participant in the action and who refers to the characters by name or as “he”, “she”, and “they”. Omniscient, a variation on the third person, where the narrator knows everything about the characters and events, can move about in time and place as well as from character to character at will, and can, whenever he wishes, enter the mind of any character. Central intelligence, another variation on the third person, where narrative elements are limited to what a single character sees, thinks, and hears. Rhythm The alternation of accented and unaccented syllables in language. A regular pattern of alternation produces meter. Irregular alternation of stressed and unstressed syllables produces free verse. Satire Writing in a comic mode that holds a subject up to scorn and ridicule, often with the purpose of correcting human vice and folly. Setting The place where the story occurs. Often the setting contributes significantly to the total impact of the story. Simile A figurative expression in which an elements is provided with special attributes through a comparison with something quite different. The words like or as create the comparison, 88 e.g. “My love is like a red, red rose”, “As virtuous men pass mildly away … so let us melt, and make no noise”. Stream of Consciousness The narrative technique of some modern fiction, which attempts to reproduce the full and uninterrupted flow of a character’s mental process, in which ideas, memories, and sense impressions may intermingle without logical transitions. A characteristic of this technique is the abandonment of conventional rules of syntax and punctuation. Symbol A thing or an action that embodies more than its literal, concrete meaning. Synecdoche A figure of speech in which a part is used to signify the whole. Synesthesia In literature, the description of one kind of sensory experience in terms of another. Taste might be described as a color or a song. Theme The moral proposition that a literary work is designed to advance. The theme of Milton’s “Paradise Lost” is to “justify the ways of God to men”. The theme of Joseph Conrad’s “The Secret Sharer” might be briefly stated: The recognition of complex moral ambiguities is essential to maturity. Tone The attitude embodied in the language a writer chooses. The tone of a work might be sad, joyful, ironic, solemn, and playful. Understatement A figure of speech that represents something as less important than it really is. Compare Hyperbole. Методические рекомендации для студента при изучении дисциплины. Курс по выбору призван помочь всесторонне и эффективно подготовится к государственному экзамену по специальности 05030365 Иностранный язык. Наряду с базовыми теоретическими курсами он непосредственно связан дисциплиной «Практика речи основного иностранного языка» и поэтому аккумулирует знания, полученные ранее на теоретических курсах, через практику анализа современных художественных произведений. В связи с этим рекомендуется: 89 обратить внимание на разделы теоретических дисциплин, указывающих на их связь с дисциплиной «Стилистика»; провести реферирование основных разделов курса «Стилистика»; самостоятельно осуществить сбор практических материалов для диагностики стилистических средств; уделить особое внимание развитию навыков индивидуального анализа аутентичного художественного текста. систематически выполнить задания для самостоятельной работы. Материалы для промежуточного контроля по дисциплине «курс по выбору «Аналитическое чтение». Variant 1. Text under analysis: “The Collector” by john Fowles. Guidelines for analysis: 1. Theme and idea. 2. Tone and atmosphere of the piece. 3. The plot. 4. Character sketches. 5. Stylistic analysis of the climax. 6. The message. Variant 2. Text under analysis: Irving Shaw. “Evening in Byzantium”. Guidelines for analysis: 1. Theme and idea. 2. Tone and atmosphere of the piece. 3. The plot. 4. Character sketches. 5. Stylistic analysis of the climax. 6. The message. Variant 3. Text under analysis: Eugene O’Neill. “Long Day’s. Journey into Night”. Guidelines for analysis: 1. Theme and idea. 2. Tone and atmosphere of the piece. 3. The plot. 4. Character sketches. 5. Stylistic analysis of the climax. 6. The message. Variant 4. Text under analysis: E.Nida. “Morphology: The Descriptive Analysis”. Guidelines for analysis: 1. Theme and idea. 2. Tone and atmosphere of the piece. 3. The plot. 4. Character sketches. 5. Stylistic analysis of the climax. 90 6. The message. Variant 5. Text under analysis: Leah Christie. “I Knew a Boy”. Guidelines for analysis: 1. Theme and idea. 2. Tone and atmosphere of the piece. 3. The plot. 4. Character sketches. 5. Stylistic analysis of the climax. 6. The message. Variant 6. Text under analysis: J.D.Salinger. “The Catcher in the Rye”. Guidelines for analysis: 1. Theme and idea. 2. Tone and atmosphere of the piece. 3. The plot. 4. Character sketches. 5. Stylistic analysis of the climax. 6. The message. 91 Л.Е. Антоникова АНАЛИТИЧЕСКОЕ ЧТЕНИЕ Учебно-методическое пособие для студентов отделения заочного обучения 92
