5 курс под редакцией В. Д. Аракина Москва, Владос, 1999 unit one text one the passionate year

intimate, hostess, wireless, serious, discovery, cynical, dissipated, addict, noble, capacity, illusion, gland, malicious, enigmatic, dangerous, route, treacherous, suicide, innocent, civilised, sympathy, seducer, paradise, wearily, represent, sentimental, courage, religion, clamour, idealise, squabble, obscene, pervert

their intimate friends; called "The Sleeping Dog"; what fun they have at the B.B.C.; who has been thinking; I understood that play; was quite right to disturb it; who doesn't care; I'm all for it coming out; every single little thing; what most people mean by truth; what that man meant in the wireless play; that happened to have been hidden away; certain trifling facts; you can't get at it this way; after another drink; and you're a fool; with that cracked brother of yours; I asked for it; that's not true; as more and more of this rotten stuff came out; my secret thoughts; another image; I had to meddle; a greedy little cat on the tiles; please, don't go on; and grips her arm

are idly discussing a wireless play; upon disturbing it; I'm all for it coming out; with nothing missing at all; trifling and innocent; in the beginning of the fragment; pointing out to him; to blow everything up; living in a fool's paradise; half looking up; with growing excitement; not living in the same world; screaming and running to the door

I'm always fibbing (why not "lying" ?); I never want to set eyes on you again (why not "I never want to see you again"?); you've a good deal in common with that cracked brother of yours {why not "you've much in common with that mad brother of yours?"); some damned silly little squabble (why not "quarrel"?)

1. The sleeping dog was the truth, do you see, and that man in­sisted upon disturbing it, 2. To lie or not to lie — what do you think, Olwen ?

I think telling the truth is about as healthy as skidding round the corner at sixty. — What stylistic device is used in the sentence ? Com­ment upon its effectiveness. How does the statement characterize the speaker?

1. And life's got a lot of dangerous corners — hasn't it, Charles? 2. It can have — if you don't choose your route well.

a match for her or anybody else present; you won't face up to real things; that cracked brother of yours; fool's paradise; you're busy building yourself a fool's hell to live in; someone who seemed to me to represent some lovely quality of life; you were getting very senti­mental and noble about her; in love with somebody who really wasn't there; I began this evening with something to keep me going; we'd ... had some silly little squabble; a hand at bridge; on the tiles

1. We've very little sugar left. You'11 have to go out and get some. 2. There was a certain weakness in him which prevented him from accepting things as they were. 3. Before that day I had never seen the man. 4. It was obvious that the facts he had given were not real: he had invented them. 5. Her child was all her world, the only thing that supported and encouraged her. 6. The real truth is sure to be revealed sooner or later. 7. He had been living in a secret happy world of his own which had nothing to do with reality. Now it was all over. 8. He found he had little petrol left and stopped to fill in. 9. The flower grew so high on the steep bank that the child couldn't get hold of it. 10. The infuriated crowd shouted angrily demanding their money back. 11. Hope and courage alone helped them to survive.

1. Ричард Стэнли был из тех людей, которые не умеют и не хотят взглянуть в лицо реальности. Стараясь забыть о своей унылой безрадостной жизни, он выдумывал красивые сказки, в которых он сам был главным действующим лицом. Эти мечты помогали ему жить. Он был по-своему счастлив в этом выдуман­ном раю. 2. Теперь, когда мы добрались до некоторых фактов, остававшихся до сих пор неизвестными, можно надеяться, что в скором времени истинные обстоятельства дела будут выясне­ны. 3. У тебя нет лишней ручки? У меня кончились чернила. 4. У ворот роскошной виллы губернатора грязные оборванные люди шумели и кричали, требуя работы. 5. Не понимаю, как это можно так сходить с ума по кому-то, кого и в глаза не видел до прошлого месяца. 6. Чтобы смотреть правде в глаза, требуется определенная сила характера. 7. Я слышал, вы потеряли работу. У вас, наверное, кончились деньги? — Да, почти. Но дело не в этом. Я любил свою работу и жил только ею. Теперь, когда у меня ее отняли, все погибло.

1. How do you understand the words: "The truth, like a sleeping dog, is not to be disturbed"? 2. What was Robert Caplan's view on Truth? 3. What was Stanton's opinion on the same point? Explain his words and comment on them. 4. What was Olwen's view on Truth? Comment on it. 5. Why did Stanton think Robert a fool? Was he right? 6. What was Robert's attitude to Betty? 7. What discoveries did Robert make during the evening which distressed him so much? 8. Why did he shoot himself? 9. What type of man is represented in the character of Robert?

B. 1. ...two people who don't understand each other, breeding children whom they don't understand and who will never understand them... 2. Her upbringing was rather conventional. She was taught that it was wicked to hurt others if you knew you were hurting them. 3. Of course, the best solution would have been to kick the fellow out, but unfortunately his breeding cut off that simple and beautiful way of dealing with the painful situation. 4. Martin had faith in himself, but he was alone in that faith. 5. Love should be absolute love. /Faith is in fullness or nought... (R. Browning) 6. Friends meet to part; love laughs at faith; /True foes once met, are join'd till death. (G. Byron) ? Even Mr. Jaggers started when I said those words. It was the slightest start that could escape a man, the most carefully repressed and the soonest checked, but he did start. 8. There were times when she would come to a sudden check in this tone of mockery and would seem to pity me. 9. This extravagant spending must be checked. 10.1 tried very hard to ieep my silly self in check, but felt the treacherous blush spread all over my face and neck.

1. Я не желаю ему зла, но и сочувствовать ему я тоже не могу. Нужно смотреть правде в глаза: его поведение по отношению к товарищам было предательским. 2. Тяжелее всего было ви­деть злорадные лица тех, кого еще вчера он считал верными друзьями. 3. Он попытался поднять ее на смех, но оказалось, что она ничуть не уступает ему в злом остроумии. 4. У меня есть чудесный сюрприз для тебя. Я нашла пару для твоей голубой китайской вазы. 5. В предательском тумане очертания знако­мых предметов казались пугающе необычными. 6. То обстоя­тельство, что она была без ума от своих двух девочек, не очень помогало ей в их воспитании. Они росли лживыми и невоспи­танными детьми. 7. Я из полиции. Мне нужно проверить неко­торые данные показаний свидетелей. 8. Ее спокойствие было обманчивым. Однако никто не понял бы этого, если бы не пре­дательская слеза, которая вдруг скатилась по ее щеке. 9. Если мы говорим о ком-то, что он невоспитанный человек, мы име­ем в виду его грубость, бестактность и, главное, неспособность и нежелание считаться с окружающими. 10. Миссис Финни еще ни разу не встречала девушку, которую она могла бы счесть подходящей партией для своего сына. 11. Под оболочкой воспитанности и хороших манер скрывалась лживая и злобная душа. 12. Что же это было, что остановило его на полпути в за­думанном им предательстве? Мы не знаем. Да и не все ли рав­но? Намерение предать — само по себе уже предательство.

13. Легче всего обмануть того, кто хочет, чтобы его обманули.

14. Первые впечатления часто обманчивы. 15. Его спокойная верность долгу вызывала уважение. 16. «Я всецело за то, что­бы вы высказались», — сказал он с вежливой улыбкой. 17. Пол­ностью довериться такому человеку, как он, так же опасно, как довериться бушующему морю. 18. Только хорошее воспитание сдерживало эту необузданную натуру.

1. you are being malicious; 2. a good match (in both meanings);

3. a match for; 4. faith in; 5. be unfaithful to; 6. a check on; 7. check smb.; 8. deceitful — deceptive; 9. treacherous (wind, climate, weath­er, fog, etc.)
15. Render Text Four in detail (use indirect speech).w
16. Give the gist of Text Four.
17. Answer in detail and discuss the following questions:

1. Why is the play called "Dangerous Corner"? What is meant by "dangerous corner" ? 2. What is the point of the play (so far as you can judge by the given fragments)? 3. Would it be correct to state that the author is against the truth and warns people against it? 4. What is generally understood by 'illusions' ? 5. Is it good or bad for people to have illusions? Give your reasons. 6. Do you agree with Robert that people are always in love with somebody "who really isn't there", somebody they have made up?

1. Trust is the mother of deceit. 2. All fails where faith fails. 3. Love asks faith, and faith firmness. 4. A faithful enemy is better than a treacherous friend. 5. He is easiest deceived who wants to be de­ceived. 6. Deceit breeds deceit. 7. Familiarity breeds contempt. 8. Ap­pearances are deceptive. 9. Let the sleeping dog lie. 10. Those who live in glass houses shouldn't throw stones.

1. " Now, I want to know exactly what really happened. 'Can you give me all the details with nothing missing at all?"

" I could try. But what's the use ? "

"We must get at the truth somehow. I'm not at all satisfied with what I know."

"Well, you ought to be."...

2. "Having got himself out of the trouble, he is simply asking for another. Couldn't you do something?"

"Could you? Can any one?"

"Oh, it's a silly way to talk. Of course, we can. I'm all for us doing something." ...

3. "You are meddling like a child with a fire." "Well, people do sometimes, you know." "I'm sure I never do."

"I'm sorry you don't. It's pure lack of imagination that makes you so sensible. And, after all, what am I to be blamed for?" ...

4. "You are their teacher. You ought to knowwhat's going on in­side the heads of those pupils of yours."

"It's more difficult than you think."

"But what about that girl of yours who wrote the letter? Do you know her well?"

"I've always thought so." ...

5. "I still think him a fully reliable and faithful person." "Don't you remember that famous quotation — is it Shakespeare? — something about a villain faithful only to his own treachery?" "Now, I don't quite see what you mean by it." ...
21. Render the following text in English. The italicized parts should be repro­duced close to the text:

«Опасный поворот» — первая пьеса Джона Пристли, и сам автор склонен был рассматривать ее скорее как «техническое упражнение в драматическом искусстве, чем подлинное иссле­дование (study) человеческих характеров».

Однако, как показало время, автор, по-видимому, недооценил художественных достоинств своей пьесы: иначе трудно было бы объяснить тот неизменный успех, с которым она шла на сценах чуть ли не всех стран Европы и Америки.

Несомненно, если рассматривать пьесу с чисто «техничес­кой» стороны, можно с уверенностью сказать, что это блестяще написанная пьеса. Особенно это относится к композиции — к этому знаменитому «трюку со временем» (time trick), к которо­му теперь мы уже привыкли по множеству подражаний — осо­бенно в кино, — но который во время написания пьесы (1932г.) был ошеломляющим новшеством, повергавшим в изумление зрителей, читателей и критиков.

«Трюк» заключается в том, что в третьем действии, после того как прозвучал роковой выстрел Роберта, на сцене гаснет свет, после паузы зажигается снова, и мы, вместе с героями пьесы, возвращаемся в ту точку времени, в которой мы были в начале первого действия. Иначе говоря, начало первого действия повто­ряется почти слово в слово — с некоторыми сокращениями. Думаете это скучно? Нет! Это настолько захватывающе, что у вас мороз пробегает по коже. Мы снова видим этих людей, таких спокойных и счастливых; дружная любящая семья и их близкие друзья. Но мы теперь уже знаем, что это обман, что под маской дружелюбия и воспитанности скрываются ложь, пре­дательство и измена. Каждая фраза пустой светской беседы звучит теперь двусмысленно, ибо за ней стоит та правда, кото­рую мы знаем об этих людях и которую они хотят скрыть. По­лучается так, как будто мы видим одновременно эту уютную сцену в гостиной и сквозь нее те подлинные факты, которые вышли наружу на протяжении пьесы. Вот каков этот «техничес­кий трюк». Он подчеркивает и углубляет основную мысль пье­сы. Б этой концовке окончательно спадают маски. Мы больше не верим любезным улыбкам и лживым словам, и если вся пьеса разоблачает моральное падение большинства этих людей, то концовка мастерски подчеркивает еще и их лживое лицемерие. Вот таким образом «чисто технический трюк», блестяще заду­манный и выполненный, способствует углублению и раскрытию характеров и идейного содержания пьесы.
22. Additional topics for students' talks, discussion and written composition:

A. 1. Priestley's play "Danqerous Corner". 2. Priestley as a playwright.3. A novel by Priestley.

B. The character of Louka and his theory of "consoling deceit" (Maxim Gorky. "At the Bottom of Life").

С. The difference between the writer's optimism and the writer's "fool's paradise". Speak on concrete books and authors.

1. Avoid elliptical, loaded or vague questions. 2. First arrange in your mind all you are going to say. 3. Don't monopolize the discus­sion! 4. You are too subdued. 5. What do you think on the point? 6. Do you share her view? 7, Give your reasons, etc.

Dear Ellen,^*

It's FTG (Friday Thank God), which means I need not set the alarm for 6:30 tomorrow morning; I can wash a blouse, think a thought, write a letter.

Congratulations on the baby's new tooth. Soon there is bound to be another tooth and another and another, and before you know it, little Suzie will start going to school, and her troubles will just begin.

Though I hope that by the time she gets into the public high school system, things will be different. At least, they keep promising that things will be different. I'm told that since the recent strike threats, negotiations with the United Federation of Teachers, and greater public interest, we are enjoying "improved conditions". But in the two weeks that I have been here, conditions seem greatly unimproved.

You ask what I am teaching. Hard to say. Professor Winters advised teaching "not the subject but the whole child". The English Syllabus urges "individualization and enrichment" — which means giving individual attention to each student to bring out the best in him and enlarge his scope beyond the prescribed work. Bester says "to motivate and distribute" books — that is, to get students ready and eager to read. All this is easier said than done. In fact, all this is plain impossible.

Many of our kids — though physically mature — can't read beyond 4th and 5th grade level. Their background consists of the simplest comics and thrillers. They've been exposed to some ten years of schooling, yet they don't know what a sentence is.

The books we are required to teach frequently have nothing to do with anything except the fact that they have always been taught, or that there is an oversupply of them, or that some committee or other was asked to come up with some titles.

I've been trying to teach without books. There was one heady moment when I was able to excite the class by an idea: I had put on the blackboard Browning's¹ "Aman's reach should exceed his grasp, or what's a heaven for? " and we got involved in a spirited discussion of aspiration vs.² reality.'Is it wise, I asked, to aim higher than one's capacity? Does it not doom one to failure? No, no, some said, that's ambition and progress! No, no, others cried, that's frustration and defeat! What about hope? What about despair? — You've got to be practical! — You've got to have a dream! They said this in their own words, you understand, startled into discovery. To the young, cliches seem freshly minted. Hitch your wagon to a star! And when the dismissal bell rang, they paid me the highest compliment: they groaned! They crowded in the doorway, chirping like agitated sparrows, pecking at the seeds I had strewn — when who should materialize but Admiral Ass.³

"What is the meaning of this noise?"

"It's the sound of thinking, Mr. McHabe," I said.

The cardinal sin, strange as it may seem in an institution of learning, is talking. There are others, of course — sins, I mean, and I seem to have committed a good number. Yesterday I was playing my record of Gielgud⁴ reading Shakespeare. I had brought my own phonograph to school (no one could find the Requisition Forms for "Audio-Visual Aids" — that's the name for the school record player) and I had succeeded, I thought, in establishing a mood. I mean, I got them to be quiet, when — enter Admiral Ass,⁵ in full regalia, epaulettes quivering with indignation. He snapped his fingers for me to stop the phonograph, waited for the turntable to stop turning, and pronounced:

"There will be a series of three bells rung three times indicating Emergency Shelter Drill. Playing records does not encourage the orderly evacuation of the class."

I mention McHabe because he has crystallized into The Enemy...

Chaos, waste, cries for help — strident, yet unheard. Or am I romanticizing? That's what Paul says; he only shrugs and makes up funny verses about everyone. That's Paul Barringer — a writer who teaches English on one foot, as it were, just waiting to be published. He's very attractive: a tan crew cut, a white smile with lots of teeth; one eyebrow higher than the other. All the girls are in love with him.

There are a few good, hard-working, patient people... who manage to teach against insuperable odds; a few brilliantly endowed teachers who — unknown and unsung — work their magic in the classroom; a few who truly love young people. The rest, it seems to me, have either given up, or are taking it out on the kids. "Those who can, do, those who can't, teach." Like most sayings, this is only half true. Those who can, teach; those who can't — the bitter, the misguided, the failures from other fields — find in the school system an excuse or a refuge. ...

And Dr. Bester, my immediate supervisor, Chairman of the English Department, I can't figure out at all. He is a dour, desiccated little man, remote and prissy.⁶ Like most chairmen, he teaches only one class of Seniors; the most experienced teachers are frequently promoted right out of the classroom! Kids respect him; teachers dislike him — possibly because he is given to popping up, unexpectedly, to observe them. "The ghost walks" is the grape-vine signal for his visits. Bea⁷ told me he started out as a great teacher, but he's been soured by the trivia-in-triplicate⁸ which his administrative duties impose. I hope he doesn't come to observe me until I get my bearings.