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PART III. Chapters I —II —III

MRS MACANDER'S EVIDENCE.

NIGHT IN THE PARK. MEETING AT THE BOTANICAL

ACTIVE VOCABULARY Words

humaneness n domination n

deprecate v

adore v vivid a fuss v

self-possession n distress n claim v

доброта, человечность господство, власть, преобладание

сильно возражать, протестовать, выступать против

обожать, поклоняться яркий, ясный, живой суетиться, волноваться

из-за пустяков самообладание, хладнокровие

горе, страдание; несчастье, беда

требовать; предъявлять претензию, заявлять право на что-л.

to go to extremes Irish bull
Word Combinations

идти на крайние меры, впадать в крайность

очевидный абсурд, явная нелепость, анекдотическое противоречие

103

Rjn

to lie in wait for smb to be in low water

down in the mouth to make the most of

in the thick of it (one's) palmy days to pass smb over

to talk shop

to bring a suit against smb

быть в засаде, выжидать кого-л.

быть без денег, находиться в критическом фи-нансовом положении; сидеть на мели

в унынии, как в воду опущенный, павший духом

использовать наилучшим образом; расхваливать, преувеличивать достоинство

в самой гуще

период расцвета

пропускать, оставлять без внимания, обходить молчанием

говорить в обществе о своих служебных делах

предъявить иск кому-л.

RECOGNITION VOCABULARY

dilute v

circumspect a

fortuitous a conundrum n perusal n irretrievable a

incur v gauge v

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разжижать, разбавлять, разводить, выхолащи вать (теорию)

осмотрительный, осторожный

случайный

загадка, головоломка

внимательное чтение

непоправимый, невозместимый, невознаградимый

подвергаться чему-л., навлечь на себя

оценивать (человека, характер), измерять, проверять (размер)

infallible a

impasse n

custodian n degenerate a glean v

contingency n

deter v preternatural a

judicious a

безошибочный, непогрешимый, надежный, верный

тупик, безвыходное положение

сторож, опекун

вырождающийся

тщательно подбирать, собирать по мелочам (факты, сведения)

случайность, случай, непредвиденное обстоятельство

удерживать, отпугивать

сверхъестественный, противоестественный

здравомыслящий, рассудительный

Exercises

1. Paraphrase the fallowing:

A judge would make short work of it, he was afraid.
He intended to make a big effort — the point was a
nice one.
... an attempt should be made to secure from the
architect an admission that he understood he was
not to spend at the outside more than twelve thou
sand and fifty pounds.
... a good deal of information came to Soames' ear
anent this line of policy.
... to ride a bicycle and talk to young Flippard
will try the toughest constitution.
When Mrs Macander dined at Timothy's the conver
sation took that wider, man-of-the-world tone cur
rent among Forsytes at large, and this, no doubt,
was what put her at a premium there.
... she went because she knew of no other place
where by some random speech, or round-about ques
tion, she could glean news of Bosinney.
... the thought of the new disposition of property
which he had just set in motion, appeared vaguely

105

in the light of a stroke of punishment levelled at

that family and that Society, of which James and his son seemed to him the representative. 9) But paralyzed by unaccountable discretion Mrs Septimus Small let fall no word.

II. Explain the following:

Brutality is not so deplorably diluted by humane
ness as it used to be.
... how that long-standing suit of Fryer v. Forsyte
was getting on, which, arising in the preternaturally
careful disposition of his property by his great-uncle
Nicholas, who had tied it up so that no one could
get at it at all, seemed likely to remain a source of
income for several solicitors till the Day of Judge
ment.
Her own marriage, poor thing, had not been suc
cessful, but having had the good sense and ability
to force her husband into pronounced error, she
herself had passed through the necessary divorce
proceeding without incurring censure.
At the Macander, like at London, Time pauses.
This small but remarkable woman merits attention;
her all seeing eye and shrewd tongue were inscru
tably the means of furthering the ends of Provi
dence.
In this search, who knows what he thought and
what he sought? Bread for hunger — light in dark
ness? Who knows what he expected to find — imper
sonal knowledge of the human heart — the end of
his private subterranean tragedy ...

Give a written translation of the following extracts:
a) from chapter I beginning with the words: Sometimes when he
questioned his wife as to where she had been up to the words: It
was really as if she were hugging to herself the thought of triumph
over him; b) from chapter III beginning with the words: One of
first things that June aid on getting home was to go round to Ti
mothy's up to the words: She had not yet been to see anyone.
Translate into English making use of the active vocabu
lary:

1) Если он все же пойдет на крайние меры, я вам советую в разговоре с ним не терять самообладания.

106

Полнейшая нелепость говорить о том, что он в то
время сидел на мели; напротив, он получил боль
шое наследство От своей тетки.
Крайне низко с его стороны возбуждать судебное
дело против своих близких друзей.
Хорошо, если бы вы не суетились по пустякам, а
наилучшим образом использовали свое время.
Компаньоны бесстыдно обошли его молчанием,
поэтому неудивительно, что он ходит как в воду
опущенный.
Я бы предпочел, чтобы вы не говорили о делах
в его присутствии.
Неожиданно для себя мы оказались в гуще собы
тий.
Странно, что он выжидает. Обычно в таких ситу
ациях он идет на крайние меры.

V. Answer the following questions:

What was the "nice" point in Soames' case? Why
was it "nice"?
What word did Soames invent to characterize the
situation in his house? Why?
What kind of woman was Mrs Macander?
How did the Forsytes treat her?
What effect did her piece of evidence produce on
the Forsytes at Timothy's?
Did Soames know what he sought in the park?
Why did young Jolyon begin to make a series of
water-colour drawings of London?
What struck young Jolyon most in Irene's appear
ance?
Did old Jolyon manage to cure June of her depres
sion?

How did June drag the truth about Bosinney?
Why did old Jolyon make alterations in his will?

VI. Recall the situations in which you come across the fol
lowing expressions:

Irish bull, in the thick of it, to pass smb over, to go to extremes, one's palmy days, to lay too much stress upon smth, to take revenge, to be hard up, to poke one's nose into smb's affairs, to come short of smth.

107

VII. Make up a list of words pertaining to appearance,

VIII. Reproduce chapter I according to the key-lines.

Soames had brought a suit against "the Buccaneer",
in which he claimed from him the sum of three
hundred and fifty pounds.
Sometimes when he questioned his wife as to where
she had been which he still made a point of doing,
as every Forsyte should, she looked very strange.
And the Forsytes! What part did they play in this
state of Soames' subterranean tragedy?
When Mrs Macander dined at Timothy's the con
versation (although Timothy himself could never be
induced to be present) took that wider, man-of-the-
world tone current among Forsytes at large, and
this, no doubt, was what put her at a premium there.
Her anxiety for information had not made sufficient
allowance for that inner Forsyte skin which refuses
to share its troubles with outsiders.

IX. Find examples of irony in Galsworthy's description of Mr?
Macander.

X. What stylistic devices are used in the following sentences:

Each section, in the vineyard of its own choosing,
grew and culled and pressed and bottled the grapes
of a pet sea-air.
Yet he hated Bosinney, that Buccaneer, that prowl
ing vagabond, that night-wanderer.
All London had poured into the Park draining the
cup of summer to its dregs.
... they were lost to all but themselves in the heart
of the soft darkness.
... they ... silent as shadows, were gone from the
light.
... where, in full lamp-light, black against the sil
ver water, sat a couple who never moved, the wom
an's face buried on the man's neck — a single
form like a carved emblem of passion, silent and
unashamed.

XI. Dramatize the extract describing Mrs Macander's visit to
Timothy's.

XII. Retell the extract describing old Jolyon's visit to his son
as if you were old Jolyon.

108

XIII. Make up dialogues using 'the following colloquial
phrases:

It worries me out of my life.
I expect the worst.
I knew how it would be from the first.
And this stands to reason.
Where does he come in?
Little they know of it.
They are not the gimcrack things you like.
And what ever he'll do I can't think.
It's very dreadful for him, you know.

He's got himself into a mess.
I don't know what he is about to make, a fuss
over it.
I can't tell what you've got in your minds.
But if you take my advice, you ...
You can cut your coat a bit longer in the future.

XIV. Speak on the following:

What is implicit in Soames' law-suit against the
architect?
A character sketch of Mrs Macander.

XV. Choose the extracts from the text describing nature. What
is the stylistic function of those descriptions? Are those descrip
tions of nature in keeping with the mood of the characters? Learn
some of the extracts by heart.

XVI. Describe any episode using the following word combina
tions:

To go to extremes, to be in low water, down in the mouth, one's palmy days, to pass smb over, to talk shop, to do smth on one's own responsibility, before you could say Jack Robinson, to make a pretty mess of smth, to set one's heart on smth, to be sore at hearty a queer fish.

XVII. Read the following extract and give a brief account
of it:

/

Mr John Galsworthy stands practically alone among latter-day novelists, as the social philosopher who, however often he delivers his own message, repeats it in a voice of astonishing quietness and clarity. Of all

109

the qualities that make up the rich timbre of that voice, it is surely this trait of quietude, of coolness, that impresses the hearer first and haunts him longest. ... One can best summarize the style of Mr Galsworthy by saying that no single quality of it has the dubious distinction of calling attention to itself. It is a style that wins without arresting, and persuades without ever having challenged. It is quite without self-assertiveness, yet it is charged with individuality. Its frequent brilliance of phrase is simply the maximum of fitness and neat condensation — the brilliance that comes from self-discipline and long apprenticeship, not from the paroxysmal cleverness of particular moments. It manages to become a profoundly personal means of expression. There is nothing meretricious in it that one can identify it by — no hysterical violence, no sacrifice of sense to sound or of trust to wit. Where many an artist has lost himself in self-assertion, Mr Galsworthy has evidently found himself in self-effacement.

... We find thriving more and more in his pages, as the number of them grows, what must surely be called the finest flower of artistic experience — artistic self-knowledge and self-command. Academically, Mr Galsworthy would be a writer of importance if he had nothing of unique impressiveness to communicate, simply because, through this distinguished restraint of his craftsmanship, he has proved more conclusively than any one else now writing fiction that English prose can be unmistakably modern without having to be either ugly or cold.

Galsworthy's composition in the novel is essentially dramatic rather than epic; it consists of a series of dramatic nuclei or kernels, careful foreshortenings of the subject-matter. He does not so much try to give the history of his personage in a continuous line or curve as to plot it by a dotted line.

Each dot is a chapter dedicated to one episode, the episode so chosen that it implies its own past and future, as a figure in paint or stone may imply in one frozen attitude the action of preceding and succeeding moments.

Mr Galsworthy elaborates his central episode and leaves out the connection — which means that the epi-

110

sode is in itself more decisive, more crowded with self-explaining relations. Each of his chapters has its own unity of mood, its exquisite symmetrical finish, with an almost complete freedom from the extraneous — the preparation and exposition, the backing and filling, which we are accustomed to think of as the necessary — evils of the fictional art. Each episode has the singleness of effect, it is like a skilful and separately complete sketch.

We are familiar elsewhere with chapters of all sorts, their structure determined by a crucial event, by pure chronology, by pure caprice of the author, even by the most tawdry exigencies of serial publication; and most novels remind one, in their succession of chapters, of a seried and irregular chain of mountains.

... Mr Galsworthy turns the chain of mountains into a chain of beads, all of them strung on the invisible thread of the story and all consisting of a skilfully manufactured alloy of setting, action, character, talk, and dominant mood.

... The units are much the same in size and contour. What saves the succession of them from monotony is that the artificer, a master of colour and contrast, has given each its own tint of mood, so that, although they are alike in form, no two are the same in effect.

(H. Th. Follett and W. Follett. Some Modern Novelists)

Chapters IV — V — VI

1 2 3 4 5 6 7 8 9 10 11

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Книга представляет собой пособие по домашнему чтению по роману Дж. Голсуорси Собственник. Пособие состоит из разра­боток глав романа и системы упражнений.

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Книга представляет собой пособие по домашнему чтению по роману Дж. Голсуорси Собственник. Пособие состоит из разработок глав романа и системы упражнений.