b) Find the following words and word combinations. Give their Russian equivalents

1. 
   dismayed (p.52)
   
2. 
   to offend sb
   
3. 
   to get round
   
4. 
   to be bothered with sb
   
5. 
   to fidget (p.53)
   
6. 
   to make for sth
   
7. 
   to shake hands with sb (p.54, 58)
   
8. 
   bewildered
   
9. 
   past endurance (p.55)
   
10. 
    eligible
    
11. 
    to sympathize with sb
    
12. 
    to forbid sb do sth
    
13. 
    to be infatuated with sth/sb (p.56)
    
14. 
    sober (p.58)
    
15. 
    to get used to
    
16. 
    to be conscious of sth/ unconsciously (p.59, 62)
    
17. 
    compulsory (p.59)
    
18. 
    to get on well with/without sth (p.59, 60)
    
19. 
    to eliminate
    
20. 
    to tackle sth (p.61)
    
21. 
    to get rid of sth (p.62)
    
22. 
    to console/consolation
    

1. 
   [Author] …, and are much too handsome to be hidden by odds and ends of useless things. (p.51)
   
2. 
   [Author]…long past taking the trouble to dress out of the fashion, … (p.52)
   
3. 
   [Higgins] I know I have no small talk; but people dont mind.
   
4. 
   [Mrs. Higgins]…and though I like to get pretty postcards in your patent shorthand,…
   
5. 
   [Mrs. Higgins] Safe! To talk about our health! about our insides! perhaps about our outsides! How could you be so silly, Henry? (p.53)
   
6. 
   [Higgins] Oh, she'll be all right: dont you fuss.
   
7. 
   [Higgins] I started on her some months ago; and shes getting on like a house on fire.
   
8. 
   [Higgins] The daughter has acquired a gay air of being very much at home in society: the bravado of genteel poverty.
   
9. 
   [Mrs.Eynsford Hill] Your celebrated son! (p.54)
   
10. 
    [Higgins] Ive seen you before somewhere. I havnt the ghost of a notion where; but Ive heard your voice.
    
11. 
    [Mrs. Higgins] You mustnt mind him.
    
12. 
    [Clara] Such nonsense, all this early Victorian prudery! (p.59)
    
13. 
    [Mrs. Higgins] Well, you know my days.
    
14. 
    [Mrs.Eynsford Hill] We're so poor! and she gets so few parties, poor child! She doesnt quite know.
    
15. 
    [Higgins] Oh, well, if you say so, I suppose I dont always talk like a bishop. (p.60)
    
16. 
    [Higgins] But shes got some silly bee in her bonnet about Eliza.
    
17. 
    [Higgins] I'm worn out, thinking about her, and watching her lips and her teeth and her tongue, not to mention her soul, which is the quaintest of the lot. (p.61)
    

1. 
   [Higgins] …: some habits lie too deep to be changed. (p.52)
   
2. 
   [Miss Eynsford Hill] If people would only be frank and say what they really think! (p.55)
   
3. 
   [Higgins] You see, we're all savages, more or less. We're supposed to be civilized and cultured – to know all about poetry and philosophy and art and science, and so on; but how many of us know even the meanings of these names?
   
4. 
   [Clara] People will think we never go anywhere or see anybody if you are so old-fashioned. (p.58)
   
5. 
   [Pickering]… and manners have changed so much that I sometimes dont know whether I'm at a respectable dinner-table or in a ship's forecastle.
   
6. 
   [Pickering] Come, Higgins: you must learn to know yourself. (p.60)
   
7. 
   [Mrs. Higgins] You certainly are a pretty pair of babies, playing with your live doll. (p.61)
   
8. 
   [Higgins] But you have no idea how frightfully interesting it is to take a human being and change her into a quite different human being by creating a new speech for her. It's filling up the deepest gulf that separates class from class and soul from soul.
   
9. 
   [Mrs. Higgins] No, you two infinitely stupid male creatures: the problem of what is to be done with her afterwards. (p.62)
   

1. 
   Where do we find Professor Higgins at the beginning of Act III? What event is just about to start?
   
2. 
   What does Higgins ask his mother about?
   
3. 
   How does Higgins feel when the Eynsford Hills arrive? What can you say about his manners?
   
4. 
   How does Eliza behave? What impression does she produce at first?
   
5. 
   How does the conversation develop? Does Eliza give herself away?
   
6. 
   What if Freddy’s reaction to Eliza and her talk?
   
7. 
   What does Mrs. Higgins think of the experiment?
   

1. 
   The action of Act III takes place in Mrs. Higgins’s house. Is the interior décor of her house in some way different from Professor Higgins's home?
   
2. 
   Describe the relationship between Mrs. Higgins and her son.  Do you agree with her opinion about Higgins’s social skills? How would you characterize Higgins’s behaviour and manners during the "at-home"?
   
3. 
   Higgins is described by his mother as being "cynical" when he makes his "we're all savages" speech. Do you also think that he is too cynical? What makes you think so?
   
4. 
   As Professor Higgins and Colonel Pickering are discussing Eliza with Mrs. Higgins, do they realize all the seriousness of the situation? Is Mrs. Higgins right when she says that the two men treat Eliza as a "live doll"?
   
5. 
   When Eliza arrives at the "at-home," she is wearing a new dress. Is it possible to say that she is a "new" Eliza now? Are her values and self-identity also changing?
   
6. 
   During the "at-home" Eliza is limited to talking only about health and weather. Does she follow her mentor’s directions?   What aspects of her speech reveal that she is not a lady yet?
   
7. 
   What ideas about love, marriage, and social position do you find in Act III? How would you describe the expectations of women and their role in the family and society?
   
8. 
   What does it mean to be a lady or a gentleman? What has Eliza learned so far about being a lady?  Why does she fail to be a lady despite her perfect looks?
   

1. 
   Горькая правда о том, что Клара была обманута самым близким ей человеком, не просто обидела ее, а повергла в смятение.
   
2. 
   При встрече Эндрю крепко пожал руку своему будущему компаньону, мистеру Грину, и предложил ему присесть. Эндрю чувствовал себя вполне уверенно, в отличие от мистера Грина, который не мог спокойно усидеть на месте и явно был чем-то обеспокоен.
   
3. 
   Коллеги Джеймса уже давно привыкли к тому, что лишь он легко находит контакт с новыми партнерами.
   
4. 
   Красота и изящество Молли настолько вскружили голову Чарльзу, что он вздохнул, а потом поймал себя на том, что неосознанно улыбается ей вслед.
   
5. 
   Работая над этим важным проектом, мы не должны ни в чем ошибиться! Мы обязаны справиться со всеми поставленными задачами!
   
6. 
   Чтобы исключить риск возникновения пожара в доме, Ричард решил избавиться от давно накопившегося на чердаке хлама.
   
7. 
   Елена никогда не прекращает говорить о диетах: она просто помешана на этом! (use an idiom)
   
8. 
   Элли чувствовала, что за ней постоянно следят, и никто не мог разубедить ее в этом и успокоить.
   

A newspaper stand – provides an attractive convenient place for daily paper delivery.

HIGGINS [calling down to Pickering] I say, Pick: lock up, will you. I shant be going out again.

PICKERING. Right. Can Mrs. Pearce go to bed? We dont want anything more, do we?

HIGGINS. Lord, no!

PICKERING. I say: Mrs. Pearce will row if we leave these things lying about in the drawing-room.

HIGGINS. Oh, chuck them over the bannisters into the hall. She'll find them there in the morning and put them away all right. She'll think we were drunk.

PICKERING. We are, slightly. Are there any letters?

HIGGINS. I didnt look. [Pickering takes the overcoats and hats and goes down stairs. Higgins begins half singing half yawning an air from La Fanciulla del Golden West. Suddenly he stops and exclaims] I wonder where the devil my slippers are!

Eliza looks at him darkly; then rises suddenly and leaves the room.

Higgins yawns again, and resumes his song.

Pickering returns, with the contents of the letter-box in his hand.

PICKERING. Only circulars, and this coroneted billet-doux for you. [He throws the circulars into the fender, and posts himself on the hearthrug, with his back to the grate].

HIGGINS [glancing at the billet-doux] Money-lender. [He throws the letter after the circulars].

Eliza returns with a pair of large down-at-heel slippers. She places them on the carpet before Higgins, and sits as before without a word.

HIGGINS [yawning again] Oh Lord! What an evening! What a crew! What a silly tomfoollery! [He raises his shoe to unlace it, and catches sight of the slippers. He stops unlacing and looks at them as if they had appeared there of their own accord]. Oh! theyre there, are they?

PICKERING [stretching himself] Well, I feel a bit tired. It's been a long day. The garden party, a dinner party, and the opera! Rather too much of a good thing. But youve won your bet, Higgins. Eliza did the trick, and something to spare, eh?

HIGGINS [fervently] Thank God it's over!

PICKERING. Were you nervous at the garden party? I was. Eliza didnt seem a bit nervous.

HIGGINS. Oh, she wasnt nervous. I knew she'd be all right. No: it's the strain of putting the job through all these months that has told on me. It was interesting enough at first, while we were at the phonetics; but after that I got deadly sick of it. If I hadnt backed myself to do it I should have chucked the whole thing up two months ago. It was a silly notion: the whole thing has been a bore.

PICKERING. Oh come! the garden party was frightfully exciting. My heart began beating like anything.

HIGGINS. Yes, for the first three minutes. But when I saw we were going to win hands down, I felt like a bear in a cage, hanging about doing nothing. The dinner was worse: sitting gorging there for over an hour, with nobody but a damned fool of a fashionable woman to talk to! I tell you, Pickering, never again for me. No more artificial duchesses. The whole thing has been simple purgatory.

PICKERING. Youve never been broken in properly to the social routine. [Strolling over to the piano] I rather enjoy dipping into it occasionally myself: it makes me feel young again. Anyhow, it was a great success: an immense success. I was quite frightened once or twice because Eliza was doing it so well. You see, lots of the real people cant do it at all: theyre such fools that they think style comes by nature to people in their position; and so they never learn. Theres always something professional about doing a thing superlatively well.

HIGGINS. Yes: thats what drives me mad: the silly people dont know their own silly business. [Rising] However, it's over and done with; and now I can go to bed at last without dreading tomorrow.

Eliza's beauty becomes murderous.

PICKERING. I think I shall turn in too. Still, it's been a great occasion: a triumph for you. Good-night. [He goes].

HIGGINS [following him] Good-night. [Over his shoulder, at the door] Put out the lights, Eliza; and tell Mrs. Pearce not to make coffee for me in the morning: I'll take tea. [He goes out].

Eliza tries to control herself and feel indifferent as she rises and walks across to the hearth to switch off the lights. By the time she gets there she is on the point of screaming. She sits down in Higgins's chair and holds on hard to the arms. Finally she gives way and flings herself furiously on the floor raging.

HIGGINS [in despairing wrath outside] What the devil have I done with my slippers? [He appears at the door].

LIZA [snatching up the slippers, and hurling them at him one after the other with all her force] There are your slippers. And there. Take your slippers; and may you never have a day's luck with them!

HIGGINS [astounded] What on earth – ! [He comes to her]. Whats the matter? Get up. [He pulls her up]. Anything wrong?

LIZA [breathless] Nothing wrong – with y o u. Ive won your bet for you, havnt I? Thats enough for you. I dont matter, I suppose.

HIGGINS. Y o u won my bet! You! Presumptuous insect! I won it. What did you throw those slippers at me for?

LIZA. Because I wanted to smash your face. I'd like to kill you, you selfish brute. Why didnt you leave me where you picked me out of – in the gutter? You thank God it's all over, and that now you can throw me back again there, do you? [She crisps her fingers frantically].

HIGGINS [looking at her in cool wonder] The creature is nervous, after all.

LIZA [gives a suffocated scream of fury, and instinctively darts her nails at his face] !!

HIGGINS [catching her wrists] Ah! would you? Claws in, you cat. How dare you shew your temper to me? Sit down and be quiet. [He throws her roughly into the easy-chair].

LIZA [crushed by superior strength and weight] Whats to become of me? Whats to become of me?

HIGGINS. How the devil do I know whats to become of you? What does it matter what becomes of you?

LIZA. You dont care. I know you dont care. You wouldnt care if I was dead. I'm nothing to you – not so much as them slippers.

HIGGINS [thundering] T h o s e slippers.

LIZA [with bitter submission] Those slippers. I didnt think it made any difference now.

A pause. Eliza hopeless and crushed. Higgins a little uneasy.

HIGGINS [in his loftiest manner] Why have you begun going on like this? May I ask whether you complain of your treatment here?

LIZA. No.

HIGGINS. Has anybody behaved badly to you? Colonel Pickering? Mrs. Pearce? Any of the servants?

LIZA. No.

HIGGINS. I presume you dont pretend that I have treated you badly.

LIZA. No.

HIGGINS. I am glad to hear it. [He moderates his tone]. Perhaps youre tired after the strain of the day. Will you have a glass of champagne? [He moves towards the door].

LIZA. No. [Recollecting her manners] Thank you.

HIGGINS [good-humored again] This has been coming on you for some days. I suppose it was natural for you to be anxious about the garden party. But thats all over now. [He pats her kindly on the shoulder. She writhes]. Theres nothing more to worry about.

LIZA. No. Nothing more for y o u to worry about. [She suddenly rises and gets away from him by going to the piano bench, where she sits and hides her face]. Oh God! I wish I was dead.

HIGGINS [staring after her in sincere surprise] Why? in heaven's name, why? [Reasonably, going to her] Listen to me, Eliza. All this irritation is purely subjective.

LIZA. I dont understand. I'm too ignorant.

HIGGINS. It's only imagination. Low spirits and nothing else. Nobody's hurting you. Nothing's wrong. You go to bed like a good girl and sleep it off. Have a little cry and say your prayers: that will make you comfortable.

LIZA. I heard y o u r prayers. "Thank God it's all over!"

HIGGINS [impatiently] Well, dont you thank God it's all over? Now you are free and can do what you like.

LIZA [pulling herself together in desperation] What am I fit for? What have you left me fit for? Where am I to go? What am I to do? Whats to become of me?

HIGGINS [enlightened, but not at all impressed] Oh, thats whats worrying you, is it? [He thrusts his hands into his pockets, and walks about in his usual manner, rattling the contents of his pockets, as if condescending to a trivial subject out of pure kindness]. I shouldnt bother about it if I were you. I should imagine you wont have much difficulty in settling yourself somewhere or other, though I hadnt quite realized that you were going away. [She looks quickly at him: he does not look at her, but examines the dessert stand on the piano and decides that he will eat an apple]. You might marry, you know. [He bites a large piece out of the apple, and munches it noisily]. You see, Eliza, all men are not confirmed old bachelors like me and the Colonel. Most men are the marrying sort (poor devils!); and youre not bad-looking; it's quite a pleasure to look at you sometimes – not now, of course, because youre crying and looking as ugly as the very devil; but when youre all right and quite yourself, youre what I should call attractive. That is, to the people in the marrying line, you understand. You go to bed and have a good nice rest; and then get up and look at yourself in the glass; and you wont feel so cheap.

HIGGINS [a genial afterthought occurring to him] I daresay my mother could find some chap or other who would do very well.

LIZA. We were above that at the corner of Tottenham Court Road.

HIGGINS [waking up] What do you mean?

LIZA. I sold flowers. I didnt sell myself. Now youve made a lady of me I'm not fit to sell anything else. I wish youd left me where you found me.

HIGGINS. [slinging the core of the apple decisively into the grate] Tosh, Eliza. Dont you insult human relations by dragging all this cant about buying and selling into it. You neednt marry the fellow if you dont like him.

LIZA. What else am I to do?

HIGGINS. Oh, lots of things. What about your old idea of a florist's shop? Pickering could set you up in one: hes lots of money. [Chuckling] He'll have to pay for all those togs you have been wearing today; and that, with the hire of the jewellery, will make a big hole in two hundred pounds. Why, six months ago you would have thought it the millennium to have a flower shop of your own. Come! youll be all right. I must clear off to bed: I'm devilish sleepy. By the way, I came down for something: I forget what it was.

LIZA. Your slippers.

HIGGINS. Oh yes, of course. You shied them at me. [He picks them up, and is going out when she rises and speaks to him].

LIZA. Before you go, sir –

HIGGINS [dropping the slippers in his surprise at her calling him Sir] Eh?

LIZA. Do my clothes belong to me or to Colonel Pickering?

HIGGINS [coming back into the room as if her question were the very climax of unreason] What the devil use would they be to Pickering?

LIZA. He might want them for the next girl you pick up to experiment on.

HIGGINS [shocked and hurt] Is t h a t the way you feel towards us?

LIZA. I dont want to hear anything more about that. All I want to know is whether anything belongs to me. My own clothes were burnt.

HIGGINS. But what does it matter? Why need you start bothering about that in the middle of the night?

LIZA. I want to know what I may take away with me. I dont want to be accused of stealing.

HIGGINS [now deeply wounded] Stealing! You shouldnt have said that, Eliza. That shews a want of feeling.

LIZA. I'm sorry. I'm only a common ignorant girl; and in my station I have to be careful. There cant be any feelings between the like of you and the like of me. Please will you tell me what belongs to me and what doesn't?

HIGGINS [very sulky] You may take the whole damned houseful if you like. Except the jewels. Theyre hired. Will that satisfy you? [He turns on his heel and is about to go in extreme dudgeon].

LIZA [drinking in his emotion like nectar, and nagging him to provoke a further supply] Stop, please. [She takes off her jewels]. Will you take these to your room and keep them safe? I dont want to run the risk of their being missing.

HIGGINS [furious] Hand them over. [She puts them into his hands]. If these belonged to me instead of to the jeweler, I'd ram them down your ungrateful throat. [He perfunctorily thrusts them into his pockets, unconsciously decorating himself with the protruding ends of the chains].

LIZA [taking a ring off] This ring isnt the jeweler's: it's the one you bought me in Brighton. I dont want it now. [Higgins dashes the ring violently into the fireplace, and turns on her so threateningly that she crouches over the piano with her hands over her face, and exclaims] Dont you hit me.

HIGGINS. Hit you! You infamous creature, how dare you accuse me of such a thing? It is you who have hit me. You have wounded me to the heart.

LIZA [thrilling with hidden joy] I'm glad. Ive got a little of my own back, anyhow.

HIGGINS [with dignity, in his finest professional style] You have caused me to lose my temper: a thing that has hardly ever happend to me before. I prefer to say nothing more tonight. I am going to bed.

LIZA [pertly] Youd better leave a note for Mrs. Pearce about the coffee; for she wont be told by me.

HIGGINS [formally] Damn Mrs. Pearce; and damn the coffee; and damn you; and damn my own folly in having lavished hard-earned knowledge and the treasure of my regard and intimacy on a heartless guttersnipe. [He goes out with impressive decorum, and spoils it by slamming the door savagely].