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«УДК 373.167.1 ББК 81.2Англ-923 Б44 Белякова Е. И. ...»

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Тут Соня встрепенулась и запела сквозь сон:

Чая — чая — чая.

22. Прочтите следующий отрывок и переводы к нему:

"Well, I'd hardly finished the first verse," said the Hatter, "when the Queen bawled out 'He's murdering the time! Off with his head!'" В. Набоков — Он губит время! Отрубите ему голову!

Я. Демурова — Только я кончил первый куплет, как кто-то сказал: "Ко нечно, лучше б он помолчал, но надо же как-то убить время!" Королева как закричит: "Убить время! Он хочет убить время!

Рубите ему голову!" Л. Щербаков Королева вскочит, да как взвоет: "Вы что! Не понимаете?

Он же не умеет петь! Он только время изводить мастер. Снять с него голову!" Вл. Орел "Он губит время!" Л. Яхнин Разбойник! Он крадет наше время! Этого нельзя снести!

Снести ему голову!

Б. Заходер Он у нас только время отнимает! Отрубить ему голову.

23. Какие два значения выражения "to murder the time" вы знаете?

Как игра значений обыгрывается в переводах?

24. Найдите в следующем отрывке перверзию. Какой образ создает этот прием? Как его перевели на русский?

Dormouse:

"Once upon a time there were three little sisters and their names were Elsie, Lacie and Tillie;

and they lived at the bottom of a well —" "What did they live on?" said Alice, who always took a great interest in questions of eating and drinking.

"They lived on treacle," said the Dormouse, after thinking a minute or two.

"They couldn't have done that, you know.... They'd have been ill."

"So they were," said the Dormouse, "very ill."

"Why did they live at the bottom of a well?" "It was a treacle-well".

'And so these three little sisters — they were learning to draw, you know...."

"What did they draw?"...

"Treacle," said the Dormouse, without considering at all this time.

"But I don't understand. Where did they draw the treacle from?" "You can draw water out of a water-well," said the Hatter, "so I should think you could draw treacle out of a treackle-well - eh, stupid?" "But they were in the well."...

"Of course they were... well in."

The answer so confused poor Alice, that she let the Dormouse go on for some time without interrupting it.

"They were learning to draw... and they drew all manner of things — everything that begins with an M —" "Why with an M?" "Why not?" "That begins with an M, such as mousetraps, and the moon, and memory and muchness — you know you say things are 'much of a muchness' - did you ever see such a thing as a drawing of a muchness?" "... It's the stupidest tea-party I ever was at in all my life!" В. Набоков — Жили-были три сестрички, и звали их: Мася, Пася и Дася.

И жили они в глубине колодца.

— Чем они питались? — спросила Аня.

— Они питались сиропом.

— Это, знаете, невозможно, ведь они же были бы больны.

— Так они и были очень больны.

— Почему же они жили в глубине колодца?

— Это был сироповый колодец. Итак, эти три сестрички, которые, знаете, учились черпать.

— Что они черпали?

— Сироп.

— Но я не понимаю, откуда же они черпали сироп?

Тут заговорил Шляпник:

— Воду можно черпать из обыкновенного колодца? Мож но. Отчего же нельзя черпать сироп из колодца сиропового — а, глупая?

— Но ведь они были в колодце.

— Конечно, на самом дне.

Это так озадачило Аню, что она несколько минут не преры вала его.

— Они учились черпать и чертить, — продолжал он, зевая и потирая глаза (ему начинало хотеться спать). — Черпали и чертили всякие вещи, все, что начинается с буквы М, как, на пример, мышиловки, месяц, и мысли, и маловатости... Видели ли вы когда-нибудь чертеж маловатости?...

— Это был самый глупый чай, на котором я когда-либо присутствовала.

Н. Демурова — Жили-были три сестрички.... Звали их Элси, Лэси и Тил ли, а жили они на дне колодца.

— А что они ели? — спросила Алиса. Ее всегда интересова ло, что люди едят и пьют.

— Кисель....

— Все время один кисель? Это невозможно,... они бы тогда заболели.

— Они и заболели, — сказала Соня. — И очень серьезно....

— А почему они жили на дне колодца?

— Потому что в колодце был кисель.... И надо вам сказать, что эти три сестрички жили припивают....

— Припеваюги? — переспросила Алиса. — а что они пели?

— Не пели, а пили. Кисель, конечно.

Я не понимаю... Как же они там жили?...

— Чего там не понимать, — сказал Болванщик. — Живут же рыбы в воде. А эти сестрички жили в киселе!

— Но почему? — спросила Алиса Соню, сделав вид, что не слышала Болванщика.

— Потому что они были кисельные барышни.

Этот ответ так смутил Алису, что она замолчала.

— Так они и жили,... как рыбы в киселе. А еще они рисова ли... всякую всячину... все, что начинается на М....

— Мне бы тоже хотелось порисовать, — сказала Алиса на конец. — У колодца.

— Порисовать и уколоться? — переспросил Заяц.

—... В жизни не видела такого глупого чаепития.

А. Щербаков — Давным-давно жили-были три сестрички. Их звали Чар лора, Аилса и Тилли. Они жили под ключом.

— Чем же они питались?

— Они ели сироп.

— Но ведь этого же нельзя делать. Так и заболеть недолго.

— А они и болели. Очень болели.

— А почему они жили под ключом?

— Чтобы сироп к ним капал сверху. Это был сиропный ключ.

— И вот, значит, эти три сестрички, они, так сказать, ели или пили.

— И лепили? Что?

— Сироп.

— Я не поняла. И лепили сироп или пили сироп?

— Из обычного ключа воду можно набирать с собой или пить сразу, как хотите, — сказал Шляпочник. — И, по-моему, сироп из сиропного ключа точно так же можно набирать или пить сразу.

— И как они там жили? Там что, было какое-нибудь строение?

— Конечно, строение. Их же было трое....

— Какая все это глупость, самая глупейшая из всех глу пость! В жизни такой не встречала.

Вл. Орел — Жили-были три маленькие сестрички. И жили они на дне одного колодца...

— Чем же они питались? — спросила Алиса, которая очень серьезно относилась к еде.

— Чаем да сахаром, — подумав, проговорила Соня. — А что?

— Но этого просто не может быть! Они бы заболели.

— Они и болели, — ответила Соня, — разными болезнями.

— Почему же они жили на дне колодца?

— Это был чрезвыЧАЙный колодец. Он был полон чая. А на дне лежал сахар.

— Не бывает таких колодцев! — вспылила Алиса. Соня на пыжилась и сказала:

— Вести вы себя не умеете, вот что! Сами теперь досказы вайте, вот что!... Ну, сестрички эти время зря не теряли — спер ва тянули, потом гоняли, а после хлестать начали.

— Кого же они хлестали? — испуганно спросила Алиса.

— Чай, — мрачно ответила Соня.

— А тянули?

— Тоже чай, — еще мрачнее ответила Соня.

— А гоняли?...

— Я все-таки не поняла. Откуда они этот чай тянули?

— Из обычного колодца ты достаешь воду, — назидательно изрек Шляпник. — Ну а тут они натаскают чаю да сахару и тянут сколько влезет. И так — тридцать раз на дню. Понима ешь, балда?

— Да как же они могли таскать чай из колодца? Ты же сама сказала, что они жили на дне.

— Не на дне, а на дню, — ответила Соня. — Шляпник верно говорит.

— Жили они были, чай распивали. И вообще распевали про всякие пустяки, особенно про те, которые начинаются на бук ву М...

— Почему на М?

— А почему бы нет?

—... про мышеловку, про месяц, про момент, про мыло, про множество. Ты когда-нибудь слыхала, как поют про множе ство?...

— Ну, нет, сюда я больше ни ногой. Называется, попила чаю!

Л. Яхнин — Жили-были три сестрички — Элси, Лэси и Тилли. Жили они были на дне колодца.

— А что же они там ели? — перебила Алиса, которая про еду никогда не забывала...

— Они ели желе.

— Только желе? Так и заболеть можно!

— Они и болели. Все тяЖЕЛЕе и тяЖЕЛЕе. И все их очень ЖЕЛЕли.

— А почему они жили на дне?

— Не нравится на дне, пускай будет на утре.

— На утре колодца? Это чепуха.

— Пусть хоть на утре, хоть на вечере колодца живут.

— На вечере? Хорошо, будь по-твоему. Итак, на вечере ко лодца была ужасная тьма...

— Вы сказали, там была тьма, — осторожно напомнила Алиса.

— Там была тьма-тьмущая риса. И три сестрички без конца рис совали.

— Что они рисовали? — не расслышала Алиса.

— Рис. Рис совали за щеку.

— А иногда они не рис совали, а все, что попало. Но им попадалось все на М. На М все, что ем: масло, мясо, молоко, морковка, мандарины, апельсины.

— Апельсины на А, — поправила Алиса.

— Их я тоже ем, — сказала Соня...

— Ноги моей больше здесь не будет! С ненормальными и чаю нормально не попьешь....

Б. Заходер — В некотором царстве, в некотором государстве, — скоро говоркой начала Соня, — жили-были три сестрички, три бед ных сиротки, звали их Элси, Лэси и Тилли, и жили они в ко лодце на самом дне.

— А что же они там ели и пили? — спросила Алиса, кото рую всегда весьма интересовали проблемы питания.

Соня долго думала, — наверное, целую минуту, — а потом сказала:

— Сироп.

— Что вы! Этого не может быть, они бы заболели.

— Так и было, — сказала Соня, — заболели, да еще как! Жи лось им не сладко. Их все так и звали: Бедные Сиропки!

Алиса попыталась себе представить, что ей самой вдруг при шлось вести такую странную жизнь. Но у нее что-то ничего не получилось. Тогда она возобновила распросы.

— А зачем они поселились в колодце, да еще на самом дне?

Соня опять долго думала, во всяком случае долго молча ла, — а потом сказала:

— Потому что там было повидло!

— Какое повидло? — возмутилась Алиса, — вы говорили там был... Но тут Шляпа и Заяц ужасно зашикали на нее, а Соня надулась и сказала:

— Не умеешь прилично себя вести — тогда досказывай сама.

— Ой, простите пожалуйста, — взмолилась Алиса, — пожа луйста, рассказывайте, я вас больше ни разу не перебью! Вы говорили, что там что-то было... — напомнила она.

— Мало ли что там было, — сказал Заяц. — Что было, то сплыло.

— Кто старое помянет, тому глаз вон! — поддержал Шляпа.

— Так вот, — наконец возобновила свой рассказ Соня, — они таскали мармелад оттуда.

— Откуда взялся мармелад? — начала было Алиса, забыв о своем торжественном обещании, но тут же осеклась. Но Соня, казалось, ничего не заметила.

— Это был мармеладный колодец.

— Я не понимаю, — очень робко, боясь рассердить Соню, начала Алиса. — Как же они таскали оттуда мармелад?

— Из обыкновенного колодца таскают воду, — сказал Шля па, — а из мармеладного колодца всякий может, я надеюсь, таскать мармелад. Ты что — совсем дурочка?

— Я говорю, как они могли таскать мармелад оттуда? Ведь они же там жили, — сказала Алиса, решив оставить без ответа последние слова Шляпы.

— Не только жили! — сказала Соня. — Они жили-были. И этот ответ настолько ошеломил бедную Алису, что она позво лила Соне некоторое время продолжать рассказ без вынуж денных остановок. Это было весьма кстати, так как рассказчи ца отчаянно зевала и усиленно терла глаза.

— Так вот, — продолжила Соня, — этот самый мармелад они ели или пили — делали что хотели. Тут Алиса не выдержала.

— Как же это они пили мармелад?! — закричала она. — Это го не может быть!

— А кто сказал, что они его пили? — спросила Соня.

— Как-кто? Вы сами сказали.

— Я сказала они его ели! Ели и лепили. Лепили из него все, что хотели — все, что начинается на букву М.

— Почему на букву М? — только и могла спросить Алиса.

— А почему нет? — сказал Заяц.

Алиса прикусила язычок. "Хотя да, мармелад ведь тоже на М", мелькнуло у нее в голове.

Соня к этому времени успела закрыть глаза и основательно задремать, но Шляпа снова ущипнул ее, и она с легким писком пробудилась и продолжала рассказ.

— На букву М: мышеловки и морковки, и мартышки, и маль чишки, и мораль, и даже мурашки... Ты видела мурашки, хотя бы на картинках?...

— Никогда с такими дураками чаю не пила!

25. Какие приемы использует автор в этом отрывке, и с какой целью?

Достигается ли аналогичная цель в русских переводах?

The Duchess: 'And the moral of that is - 'Oh, 'tis love, 'tis love, that makes the world go round!'" Alice: "Somebody said that it's done by everyhody minding their own business!" The Duchess: 'Ah well! It means much the same thing and the moral of that is — 'Take care of the sense and the sounds will take care of themselves.'" Alice: "He might bite."

The Duchess: "Very true, flamingoes and mustard both bite. And the moral of that is - 'Birds of a feather flock together.'" Alice: "Only mustard isn't a bird. It's a mineral, I think."

The Duchess: "Of course it is. There is a large mustard-mine near here. And the moral of that is — 'The more there is of mine, the less there is of yours.'" В. Набоков — И вот мораль этого: любовь, любовь, одна ты вертишь миром!

— Кто-то говорил, — ехидно шепнула Аня, — что мир вер тится тогда, когда каждый держится своего дела.

— Ну что ж, значение более или менее то же. И мораль этого: слова есть — значенье темно иль ничтожно.

— Он может укусить.

— Справедливо. Фламинго и горчица — оба кусаются. Мо раль: у всякой пташки свои замашки.

— Но ведь горчица не птица, горчица ископаемое.

— Ну, конечно, тут недалеко производятся горчичные рас копки. И мораль этого: не копайся!

Я. Демурова — А мораль тут такова: любовь, любовь, ты движешь ми ром....

— А мне казалось, кто-то говорил, будто самое главное — не соваться в чужие дела.

— Так это одно и то же. А мораль отсюда такова: думай о смысле, а слова придут сами!

— Он может и укусить.

— Фламинго кусаются не хуже горчицы. А мораль отсюда такова: это птицы одного полета!

— Только горчица совсем не птица. По-моему, горчица — минерал.

— Конечно, минерал. Минерал огромной взрывчатой силы.

Из нее делают мины и закладывают при подкопах... А мораль отсюда такова: хорошая мина при плохой игре — это самое главное.

А. Щербаков Герцогиня была как раз такого роста, чтобы иметь возмож ность упираться подбородком Алисе в плечо.

— Любовь, любовь, ты вертишь всем!

— А кто-то говорил, что все завертелось бы только дер жись, если все начнут думать, что делают.

— Это то же самое. А мораль отсюда такова: "Думай, что делаешь — сделаешь, что думаешь".

— У фламинго острый клюв.

— Совершенно справедливо. Остер клюв у птицы и вкус у горчицы. А мораль отсюда такова: "Птички, в стайку собирай тесь!" — Но горчица не птица. По-моему, это ископаемое.

— Ну конечно же. Ее добывают в копях неподалеку от этих мест. И мораль отсюда такова: "Копь не копьё, моё не твоё!" Вл. Орел — А выводы из этого такие: "Не суйте нос не в свой воп рос!" — Вот-вот! Мне даже кто-то говорил, что если сунуть нос не в свой вопрос, от этого земля будет вертеться в два раза медленнее.

— Ну конечно... Не вижу здесь ничего странного. А выводы из этого такир- "Береги платье снову, а честь смолоду"....

— Верная мысль! Горчица и фламинго кусаются. А выводы из этого такие: "У каждой пташки свои замашки".

— Горчица — никакая не пташка, — заметила Алиса.

— Ты и на этот раз права! О, как ясно ты мыслишь.

— По-моему, горчица — это полезное ископаемое.

— Совершенно справедливо! Тут неподалеку есть бога тые горчичные залежи. А выводы из этого такие: "Горчи ца — не птица, фламинго — не человек, судьба — индейка, а жизнь — злодейка".

Л. Яхнин — Прелесть моя, ты неприлично долго молчишь. А здесь прочитывается мораль.

— А может быть, не надо мне читать мораль? — робко ска зала Алиса.

— Ах, моя прелесть, ничего кроме морали я не читаю ни когда. Я тебе советую запомнить мораль: люби меня, как я тебя, и мир будет до тех пор, пока вертится Земля.

— А кто-то как-то на кухне говорил, что кое-кому следует приберечь свои советы.

— А это одно и то же. А мораль такова: жди совета, как соловей лета.

— Он и вправду может клюнуть.

— И то правда! — подхватила Герцогиня. — Клюв у птицы острей горчицы. И из этого следует мораль: у каждой птички свои привычки.

— Птица не горчица, а горчица не птица. Интересно, где добывают горчицу?

— В горах, конечно. Отсюда мораль: умный в гору не пойдет.

— А может быть, ее выращивают? — не унималась Алиса — Ага, в горшках. Отсюда: название гор-чица. А мораль такова: хоть горшком назови, только в печку не ставь.

Б. Заходер — А отсюда мораль: вот на чем вертится свет.

— Недавно кто-то говорил, что свет вертится оттого, что некоторые люди не суют нос в чужие дела.

— Ах, душечка, это одно и то же. А отсюда мораль: не сме ши языком, смеши делом.

— Он ведь может ущипнуть!

— Совершенно верно! Фламинго щиплются не хуже горчи цы. Отсюда мораль: видно птицу по полету.

— А горчица-то не птица! Горчица — это, кажется, минерал.

— Вот именно, минерал! Тут недавно что-то минировали горчичными минами, совсем на днях. А отсюда мораль: чему быть, того не миновать.

— Ой, вспомнила! — закричала Алиса (последние слова Гер цогини ее миновали), — это фрукт!

— И еще какой фрукт! — радостно согласилась Герцогиня.

26. Какие два характерных стилистических приема использует Кэр рол, называя своего героя "Mock Turtle"? Удалось ли кому-нибудь из пе реводчиков передать смысл этого имени?

The Mock Turtle: "We had the best of education — in fact, we went to school every day —" "I've been to a day-school too," said Alice;

"You needn't be so proud as all that."

"With extras?" asked the Mock Turtle a little anxiously.

"Yes," said Alice, "we learned French and music."

'And washing?" said the Mock Turtle.

"Certainly not!" said Alice indignantly.

'Ahl then yours wasn't a really good school," said the Mock Turtle in a tone of great relief. "Now at ours they had, at the end of the bill, 'French, music, and washing — extra.'" 27. Найдите в данном отрывке зевгму. Для создания какого образа она используется? Как перевели этот прием на русский язык разные пе реводчики?

В. Набоков — А какие были у вас предметы? — спросила Чепупаха с тревогой.

— Да всякие, — ответила Аня, — география, французский...

— И поведение?

— Конечно нет!

— Ну, так ваша школа была не такая хорошая, как наша. У нас на листке с отметками стояло между прочими предметами и "поведение".

Я. Демурова — А у нас в школе к счету всегда приписывали: "Плата за французский, музыку и стирку дополнительно".

А. Щербаков — В объявлении о нашей школе было написано: "Допол нительно: французский, музыка и ежедневное купание в ванне".

Вл. Орел — Мы получили замечательное, из ряда вон выходящее образование. Нас каждый день воспитывал Морской Ёж. По этому школа называлась ежедневной. У нас в расписании пря мо так и было написано:

ДОПОЛНИТЕЛЬНЫЕ ЗАНЯТИЯ:

Музыка — Морская Корова Труд - Рыба-Пила Прыжки с вышки Л. Яхнин — И каждый день у вас были мороки?

— Не мороки, а уроки.

— Мороки — это морские уроки, на них нам основательно морочили голову.

Б. Заходер — А на каком уровне твоя школа, от поверхности моря, поняла?

— Там моря нет. Она стоит в городе. Но я думаю, все-таки выше моря, конечно, над водой.

— Выше? Над водой? Ты серьезно?

Алиса молча кивнула.

— Ну, тогда это несерьезно, — с облегчением сказал Дели катес. — Какое же тогда может быть сравнение с нашей шко лой. Это верхоглядство, а не образование, вот что это такое.

Грифон фыркнул.

— Да уж воображаю, какие вы там получили поверхност ные знания. У нас мальков и тех учат гораздо глубже. А уж кто хочет по-настоящему углубиться в науку, тот должен добрать ся до самого дна. Вот это и называется Законченное Низшее Образование! Но, конечно, это не каждому дано!

28. Какую импликацию несут названия перечисленных предметов?

Какова роль антитезы "laughing and greef?" Какой образ создают данные приемы? Удалось ли кому-нибудь из переводчиков передать данную ин формацию?

The Mock Turtle said: "I only took the regular course: Reeling and Writhing, Ambition, Distraction, Uglificatlon, Derision, Myste ry, ancient and modern, Laughing and Grief."

В. Набоков Служение, выметание, уморжение и пиление, лукомория древ няя и новая, затем арфография (мы учились на арфе играть).

Н. Демурова Скольжение, пригитание, умиление, изнеможение. Учитель классики преподавал латунь, драматику и Мексику.

А. Щербаков Хроматика, Лавиратура, Солжение, Непочитание, Глупол жение и Беление. И еще Трясование. Учителем был Старый угорь. Он преподавал Ляпку и Сжимопись.

Л. Яхнин Лево и Право Плясание, Свежение, Тепление, Вылетание.

А уроки Пруда у нас вела Рыба Молот.

Б. Заходер Почитание, Уважение, Давление и Искажение. Я увлекался литературой, изучал классиков. Помнишь нашего словесника?

Порядочный был жук, ничего не скажешь!

— Ну, как же! — со вздохом сказал Деликатес. — Древний Грим, Древняя Грация, эта — или Ада, или Рая, или как ее там звали... Смех — и Грехческий язык. Все от Арфы до Онеги.

29. Охарактеризуйте каждый перевод. Какой перевод вам понравил ся больше всего?

30. Как вы думаете, в чем принципиальное отличие "Алисы" от "Вин ни-Пуха"?

31. В чем, на ваш взгляд, главная трудность перевода "Алисы" на русский язык?

ПРАКТИЧЕСКИЕ ЗАНЯТИЯ I. ТЕКСТЫ, В КОТОРЫХ ПРЕОБЛАДАЕТ ИНФОРМАЦИЯ ПЕРВОГО РОДА (общественно-политические и научные) J. H. В. Peel "Who are the English?" Who are the English? They are the descendants of Celts, Romans, Saxons, Jutes, Angles, Vikings, Normans;

that being more or less the sequence of invaders who left their indelible mark1 upon the roads, fields, buildings, dialects, and place-names of England. Why were these hybrid people called English? The answer to that ques tion is complex because the word England is a corruption of Engle land, the land of the Engle or Angles. Why then did these Engle give their name to their new home? Nobody knows. The Engle themselves came from Slesvig in Germany. They were neither more numerous nor more gifted than any other of the permanent settlers.

And yet, for reasons unknown to us, the land was named after them. As early as the year 897 the word Englisc was used both of the people and of their language. Mourning the decay of scholarship in a country harried by warfare, King Alfred reported that few men south of Lincolnshire could translate a Latin letter into English (of Laedene on Englisc).

Even today an Englishman is surprised — and overseas visitors bewildered — by the variety of English dialects;

but in Chaucer's time a Kentish man would have sounded almost unintelligible to a Cumbrian, and each would have failed to understand a Devonian.

Nor was this Babel based solely on differences in pronunciation;

many of the commonest words varied with the regions. Cornwall, who left their indelible mark - которые оставили незабываемые меты indeed, spoke its own Celtic language, and continued to speak it until the eighteenth century.

Both Scotland and Wales had their regionalism, but it was simple and clear-cut, being between the north and the south of those two countries. Moreover, the regionalism was curbed by the need to unite against England. The English, by contrast, had no such permanent stimulus, at any rate after the Norman conquest.

Edwin Emery What is the Mass Media?

A message can be communicated to a mass audience by many means;

hardly an American lives through a day without feeling the impact of at least one of the mass media. The oldest media are those of the printed word and picture which carry their message through the sense of sight: the weekly and daily newspapers, ma gazines, books, pamphlets, direct mail circulars, and billboards.

Radio is the mass communication medium aimed at the sense of sound, whereas television and motion pictures appeal both to the visual and auditory senses.

The reader turns to his newspaper for news and opinion, enter tainment, and the advertising it publishes. In the weekly the focus is upon the reader's own community;

in the daily the focus is upon the nation and the world as well. Magazines give him background information, entertainment, opinion, and the advertising;

books offer longer range and more detailed examination of subjects, as well as entertainment;

pamphlets, direct mail pieces, and billboards bring the views of commercial and civic organizations. Films may inform and persuade as well as entertain. Television and radio offer entertainment, news and opinion, and advertising messages and can bring direct coverage of public events into the listener's home.

There are important agencies of communication which are ad juncts of the mass media. These are (1) the press associations, which collect and distribute news and pictures to the newspapers, television and radio stations, and news magazines;

(2) the syn dicates, which offer background news and pictures, commentary, and entertainment features to newspapers, television and radio, and magazines;

(3) the advertising agencies, which serve their business clients, on the one hand, and the mass media, on the other;

(4) the advertising departments of companies and insti tutions, which serve in merchandising roles;

and the public relations departments, which serve in information roles;

(5) the public re lations counselling firms and publicity organizations, which offer information on behalf of their clients, and (6) research individuals and groups, who help gauge the impact of the message and guide mass communicators to more effective paths.

Who are the communicators who work for and with these mass media? We think of the core as being the reporters, writers, editors, announcers, and commentators for newspapers, news magazines, television and radio, press associations, and syndicates. But there are many others: news photographers;

book and publication editors and creative personnel in the graphic arts industry;

advertising personnel of all types;

public relations practitioners and information writers;

business management personnel for the mass media;

radio, television script and continuity writers;

film producers and writers;

magazine writers and editors;

trade and business paper publication writers and editors;

industrial publication editors;

technical writers in such fields as science, agriculture, and home economics;

spe cialists in mass communications research.

з The New York Times (The United States) In several respects, the New York Times ranks as the best or near best newspaper in the United States. Certainly the biggest in total operations among American elite papers, it is, with 854,000 copies daily, along with the New York News and the Los Angeles Times, among the nation's top three in circulation. Although in recent years it has cut down on full texts of speeches and documents, the Times does publish the total transcripts of most presidential press conferences and thus comes closest of all American dailies to being a newspaper of record.

In a nation where no true national daily flourishes, the presti gious New York Times comes closest to the claim of being nationally read. A 1965 West Coast edition failed because most American newspaper advertising is local and out-of-state circulation does not seem to attract advertisers. But, despite that and the paper's pre occupation with the populous metropolitan East Coast, over one fourth of its readers live more than 100 miles from New York. The Times manages to have readers in 10,651 towns in every state and in nearly all countries. Because of its thoroughness, it is highly respected in the nation's colleges and universities, found in prac tically every academic library and widely read by college presidents, professors and students. Its thick Sunday edition, sometimes con taining 400 pages and weighing four pounds, finds its way into pace-setting homes across the face of the nation, with at least one third of the copies going outside New York City.

Freud's Followers Although Freud's theories were initially rejected by the scientific community, he attracted a number of distinguished followers. Some of his students diverged from his phychoanalytic theories and started schools of their own.

The Swiss psychiatrist Carl Gustav Jung, who Freud hoped would take over his leadership in the psychoanalytic movement, eventually developed his own psychology, called analytical psycho logy. Borrowing heavily from Hindu1 mysticism, analytical psycho logy stresses the collective unconscious, in which the unconscious contains symbols from humanity's collective past and not just from the individual's own past. For Jung, many neuroses occur because individuals fail to realize all aspects of their personalities.

Jung introduced the terms introversion and extroversion as basic personality orientations. He was also one of the first to discuss what is now known as developmental psychology. Jung found that many of his patients underwent significant personality changes when they reached the middle years of life. He argued that those parts of the personality that were unrealized in early years would demand expression in maturity. Such a conflict is known as a mid Hindu - индуистский life crisis. For example, an aggressive businessman experiencing a mid-life crisis might, in his later years, feel an unrealized need to stay home and nurture his family.

Another of Freud's followers who eventually started his own school of psychology was the Austrian psychiatrist Alfred Adler. In his theory of individual psychology, Adler argued that the problem at the core of neurosis was a feeling of inferiority. He suggested, for example, that a short man with an aggressive personality may be compensating for a feeling of inferiority.

In contrast to Jung and Freud, both of whom placed great emphasis on unconscious inner forces in human development, Adler was more concerned with the influence of social experience. Adler was also the first to point out the significance of a child's order of birth in personality development.

A follower who did not break from Freud, the Austrian psycho analyst Otto Rank, suggested that the basis of anxiety neurosis is a psychological trauma occurring during birth. His theories had a great influence on delivery-room practices;

out of concern for the effect of excessive stimuli on newborns, noise and light levels were reduced.

Kubie S. Lawrence The Exploratory and Creative Functions of Free Associations There is an important analogy between the creative process in the sciences and the arts and the processes of free association: an analogy which is so close as to be almost an identity. This arises from the fact that it is impossible to produce free associations, to be freely imaginative, to be freely creative if at the same time and in the very moment of "freedom" one attempts to maintain a watch ful, critical scrutiny1 of what one is producing. The person who is producing free associations with least internal friction and inter ference is unable subsequently to retrace the path of his associations, unable usually to remember many of the items of their sequence.

scrutiny - исследование, изучение (This is analogous to the difficulty one has in recalling a list of nonsense syllables, which, rearranged to form words and sentences, would be easily remembered as a single unit.) Therefore any retrospective inspection of free associations must depend upon a detached observer who notes and records their sequence, or upon some automatic recording device. Similarly, the creative scientist or the creative artist, writer, or musician, has to set down his productions, put them aside, and let time elapse, before he will be able to turn back to them with objective scrutiny, with lessened identification and less personalized defense of them, than is pos sible at the moment of creating or immediately thereafter. This ability to get outside of one's own skin, to view one's own pro ductions as though one were a third person, involves a transition from preconscious symbolic functions and preconscious identifi cations to conscious and objective self-criticism. At the same time it requires a purging of conscious and preconscious processes of the unconscious ax-grinding which arises out of deeper levels of conflict and pain.

Willem van der Eyken The Developing Child A human being is the most complicated piece of biological engineering in the world, and its development, from the first fer tilisation1 of the female egg through to the incredibly long growth period of some eighteen years to the full-grown adult, is one that baffles imagination.

The complexity of the human brain, in particular, is one to inspire awe. It has been described as equivalent to a computer with elements contained in a package occupying about one-tenth of a cubic foot weighing only three and a half pounds. But the now common practice of comparing the human brain to a computer is a scandalous exercise in oversimplification2. For the brain's elements provide biological factory that not only gives off continuous power fertilisation - оплодотворение oversimplification - чрезмерное упрощение but which feeds in a constant and diverse array of information for sorting, analysis and action. Moreover, the brain, unlike any com puter, has the whole history of its development wrapped up in itself. It is as if the Concord airliner1 had built into its own structure not only the airframes of earlier airliners, but the wooden struts used by the Wright brothers as well.

Not only does the brain contain a vast number of elements or brain cells, many of which have very special function, but each of these cells can, in theory, communicate with its neighbour to form a pathway and so create a network whose range defies calculation.

It has been worked out that if the elements were limited to a million, the number of different two-cell links that could be formed would amount to Ю2.783.00, a number so vast that it would fill several books of this size just to write down. But the actual number of nerve cells is nearer 10,000 million!

In a famous quotation, Sir Charles Sherrington, one of the great research workers on the brain, once described it as 'an enchanted loom, where millions of flashing shuttles weave a dissolving pattern, always a meaningful pattern, though never an abiding one. Only eight weeks after conception, the rudiments of this loom are at work, and by the seventh foetal month, it is possible to record some electrical activity from the growing brain. Because the evi dence from these electrical impulses may in time lead to a greater understanding of the development of what we call intelligence and the phenomenon of learning, it is worthwhile considering them in greater detail.' Z. Harris Discourse Analysis Discourse analysis performs the following operations upon any single connected text. It collects those elements (or sequences of elements) which have identical or equivalent environments within a sentence, and considers these to be equivalent to each other (i. e.

Concord airliner - самолет Конкорд members of the same equivalence class). Material which does not belong to any equivalence class is associated with the class member to which it is grammatically most closely tied. The sentences of the text are divided into intervals, each a succession1 of equivalence classes, in such a way that each resulting2 interval is maximally similar in its class composition to other intervals of the text. The succession of intervals is then investigated for the distribution of classes which it exhibits, in particular for the patterning of class occurrence. The operations make no use of any knowledge concerning the meaning of the morphemes or the intent or conditions of the author.

They require only a knowledge of morpheme boundaries, including sentence junctures4 and other morphemic intonations (or punc tuation). Application of these operations can be furthered by ma king use of grammatical equivalences (or individual morpheme occurrence relations) from the language as a whole, or from the linguistic body5 of which the given text is a part. In that case it is necessary to know the grammatical class of the various morphemes of the text.

Discourse analysis yields considerable information6 about the structure of a text or the type of a text, and about the role that each element plays in such a structure. Descriptive linguistics, on the other hand, tells only the role that each element plays in the structure of its sentences. Discourse analysis tells, in addition, how a discourse can be constructed to meet various specifications. It also yields information about streches of speech longer than one sentence, thus it turns out that while there are relations among successive sentences, these are not visible in sentence structure (in terms of what is subject and what is predicate, or the like), but in the pattern of occurrence of equivalence classes through successive sentences.

each a succession n соответствии с последовательностью resultinrg - зд. последующий occurrence - зд. распределение sentence junctures - соединение отдельных предложений linguistic body - лингвистическое целое Discourse analysis yields considerable information анализ текста дает значительную информацию Otto Jespersen Growth and Structure of the English Language Loan-words have been called the milestones of philology, because in a great many instances they permit us to fix approximately the dates of linguistic changes. But they might with just as much right be termed some of the milestones of general history, because they show us the course of civilization and the wanderings of intentions and institutions, and in many cases give us valuable information as to the inner life of nations. When in two languages we find no trace of the exchange of loan-words one way or the other, we are safe to infer2 that the two nations have had nothing to do with each other. But if they have been in contact, the number of the loan words and still more the quality of the loan-words, rightly in terpreted, will inform us of their reciprocal relations, they will show us which of them has been the more fertile in ideas and on what domains of human activity each has been superior to the other. If all other sources of information were closed to us except such loan words in our modem North-European languages as "piano," "soprano," "opera," "libretto," "tempo," "adagio" etc., we should still have no hesitation in drawing the conclusion that Italian music has played a great role all over Europe. Similar instances might easily be multiplied, and in many ways the study of language brings home to us the fact that when a nation produces something that its neighbours think worthy of imitation these will take over not only the thing but also the name. This will be the general rule, though exceptions may occur, especially when a language possesses a native word that will lend itself without any special effort to the new thing imported from abroad. But if a native word is not ready to handle it is easier to adopt the ready-made word used in the other country;

this foreign word is very often imported even in cases where it would seem to offer no great difficulty to coin an adequate expression by means of native word-material. As, on the other hand, 'just as much right - по справедливости we are safe to infer - мы вправе сделать вывод there is generally nothing to induce one to use words from foreign languages for things one has just as well at home, loan-words are nearly always "technical" words belonging to one special branch of knowledge or industry, and may be grouped so as to show what each nation has learnt from each of the others.

Hamlin Garland Local Color in Art Local color in fiction is demonstrably the life of fiction. It is the native element, the differentiating element. It corresponds to the endless and vital charm of individual peculiarity. It is the differences which interest us1;

the similarities do not please, do not forever stimulate and feed as do the differences. Literature would die of dry rot if it chronicled the similarities only, or even largely.

Historically, the local color of a poet or dramatist is of the greatest value. The charm of Horace is the side light he throws on the manners and customs of his time. The vital in Homer lies, after all, in his local color, not in his abstractions. The sagas of the North delineate more exactly how men and women lived and wrought in those days, therefore they have always appealed to me with infinitely greater power than Homer.

Similarly, it is the local color of Chaucer that interests us today.

We yawn over his tales of chivalry which were in the manner of his contemporaries, but the Miller and the Priest interest us. Wherever the man of the past in literature shows us what he really lived and loved, he moves us. We understand him, and we really feel an interest in him.

Every great moving in literature today is full of local color. It is this element which puts the Norwegian and Russian almost at the very summit of modern novel writing, and it is the comparative lack of this distinctive flavor which makes the English and French take a lower place in truth and sincerity.

It is the differences which interest us - ведь нас интересуют именно раз личия Everywhere all over the modern European world, men are writing novels and dramas as naturally as the grass or corn or flax grows.

The Provencal, the Gatalonian, the Norwegian is getting a hearing.

This literature is not the literature of scholars1;

it is the literature of lovers and doers, of men who love the modern and who have not been educated to despise common things.

These men are speaking a new word. They are not hunting themes, they are struggling to express.

Frank Norris The Novel with a "Purpose" After years of indoctrination and expostulation on the part of the artists, the people who read appear at last to have grasped this one precept2 — "the novel must not preach" but "the purpose of the story must be subordinate to the story itself." It took a very long time for them to understand this, but once it became apparent they fastened upon it with a tenacity comparable only to the tenacity of the American schoolboy to the date "1492." "The novel must not preach," you hear them say.

As though it were possible to write a novel without a purpose, even if it is only the purpose to amuse. One is willing to admit that this savours a little of quibbling3, for "purpose" and purpose to amuse are two different purposes. But every novel, even the most frivolous, must have some reason for the writing of it, and in that sense must have a "purpose."

Every novel must do one of three things — it must (1) tell something, (2) show something, or (3) prove something. Some novels do all three of these;

some do only two, all must do at least one.

The ordinary novel merely tells something, elaborates a compli cation, devotes itself primarily to things. In this class comes the novel of adventure, such as "The Three Musketeers."

scholars - зд. теоретики precept — заповедь savours a little of quibbling - имеет некий привкус двусмысленности The second and better class of novel shows something, exposes the workings of a temperament, devotes itself primarily to the minds of human beings. In this class falls the novel of character, such as "Romola."

The third, and what we hold to be the best class1, proves so mething, draws conclusions from a whole congeries of forces, social tendencies, race impulses, devotes itself not to a study of men but of man. In this class falls the novel with the purpose, such as "Les Miserables."

And the reason we decide upon this last as the highest form of the novel is because that, though setting a great purpose before it as its task, it nevertheless includes, and is forced to include, both the other classes. It must tell something, must narrate vigorous incidents and must show something, must penetrate deep into the motives and character of type-men, men who are composite pictures of a multitude of men. It must do this because of the nature of its subject, for it deals with elemental forces, motives that stir whole nations. These cannot be handled as abstractions in fiction.

II. ТЕКСТЫ, В КОТОРЫХ ПРЕОБЛАДАЕТ ИНФОРМАЦИЯ ВТОРОГО РОДА Alan Marshall How My Friends Keep Me Going It is 10 a. m. and I have just taken the liver oil recommended by my grandmother. In two hours I shall take four concentrated liver pills and a spoonful of digestive powder, all supplied by my friends. I shall then lunch on nuts and raisins and finish up with what we hold to be the best class - который мы считаем лучшим to keep going - укреплять здоровье a teaspoonful of my after-meals digestive powder and a wineglass of tonic1.

I blame my friends for my sad condition.

A few weeks ago I could eat pork chops and cucumber salad.

Now these dishes cause a state of seasickness.

It is all due to my desire to "keep going."

George started it: "You look white. You must eat plenty of raw liver. It makes blood." "I don't like the taste of raw liver," I said.

"You take it in pills," he said. "It's concentrated. Each pill represents half a pound of liver, and you take four before each meal."

"That makes six pounds of liver a day, "I said. "Isn't it too much?" "I think not," said George.

Next day I met Bill. He recommended me the tonic.

George gave me the powder2 to be taken after meals and Alf the powder to be taken before eating. My grandmother re commended the liver oil. I followed the advice of my friends.

Now I had to prepare for bed an hour earlier to get through all the things I had to take. But I got worse and worse. Then I couldn't sleep.

I told George: "I can't sleep."

He took me aside and gave me some tablets. They were the smallest tablets I had ever seen. You've never seen such small tablets.

"Take one when you get into bed," he said, "but don't tell anyone that I gave them to you. They are prohibited," he said. "I got them from a chap that knows a doctor and they're only to be taken when you can't possibly sleep."

I took two on Sunday night. When I woke up the house was full of my friends. There was a doctor standing by my bed and it was Tuesday afternoon. Well! I must have slept. All my friends had their hats off and they are the sort of friends who wear their hats anywhere.

Keeping going is too dangerous.

tonic - укрепляющее средство powder — порошок W.Jacob Fair Emily A few days passed, and Captain Brisket came to Mr. Chalk's house.

Mr. and Mrs. Chalk were talking with Captain Bowers who had come with the hope to find out something about the stolen map.

"Captain Brisket," said the maid, opening the door.

Having shaken hands with everybody, Captain Brisket said: "Mr.

Chalk, the Fair Emily is waiting for you."

"The fair who?" cried Mrs. Chalk in a terrible voice.

Captain Brisket turned and looked at her in amazement.

"Emily who?" "Emily what!" "Why, it's a..."

"Hush!" said Mr. Chalk in fear. "It's a secret."

"It's a secret," said Captain Brisket, nodding calmly at Mrs.

Chalk.

'A... secret?" cried Mrs Chalk. "You sit there and dare to tell me that?" "It isn't my secret," said the frightened Mr. Chalk.

"It isn't his secret," repeated Captain Brisket.

"What has she got to do with my husband?" asked Mrs. Chalk.

There was no answer. Mrs. Chalk sat helplessly in her chair, looking from her husband to Captain Brisket. Captain Bowers suddenly broke the silence.

"What's her tonnage?" he asked, turning to Brisket.

"Two hundred and forty..."

Captain Brisket stopped dead, then said looking at Mrs. Chalk:

"The Fair Emily is a ship."

"It's a ship," repeated Captain Bowers, "a shipl For some reason, best known to himself, Mr. Chalk wants to keep the matter secret."

"Is this true, Thomas?" asked Mrs. Chalk.

"Yes, my dear," was the reply.

"Then, why didn't you tell me about it at once?" "I... I wanted to give you a surprise... I have bought a ship to go for a little cruise, just for pleasure."

"With Tredgold and Stobell," said Captain Bowers, very loudly and distinctly. Mrs. Chalk paid no attention to what he said.

Speaking about the schooner as "our yacht," she at once began to discuss the voyage, the dresses she would take with her and so on.

Mr. Chalk kept silent. Then Captain Bowers rose thoughtfully, shook hands and left.

W. S. Maugham Foinet's Advice Philip knew that Foinet lunched at a little restaurant in the Rue d' Odessa, and he hurried his own meal so that he could go and wait outside till the painter came out. Philip walked up and down the crowded street and at last saw Monsieur Foinet walking towards him;

Philip was very nervous, but he made himself go upto him. "I should like to speak to you for one moment," he began. Foinet gave him a quick look, recognized him, but he did not smile a greeting. "Speak," he said.

"I've been working at the studio nearly two years now under you1.I want to ask you to tell me frankly if you think it worth while for me to continue," Philip's voice was shaking a little. Foinet walked on without looking up.

"I'm very poor," Philip continued. "If I have no talent I would rather do something else." Foinet turned round. "Let us go to your studio. You shall show me your works." "Now?" cried Philip. "Why not?" Philip had nothing to say. He felt terribly frightened. In his heart he hoped that Foinet would look at his pictures, would shake his hand and say: "Not bad. Go on, my boy. You have talent, real talent."

They arrived at the house. Philip suddenly felt that he did not want to know the truth;

if he could he would have asked Foinet to go away. In the room Foinet sat down;

and Philip without a word placed before him two portraits, two or three landscapes, and a number of sketches. "That's all," he said with a nervous laugh.

Foinet lit a cigarette. "You have very little money?" he asked at last. "Very little," answered Philip, with a sudden feeling of cold at his heart. "Not enough to live on."

to work under smb. - работать под чьим-либо руководством "With hard work there is no reason why you should not become a painter. You would find hundreds who painted worse than you, hundreds who painted as well. I see no talent in anything you have shown me. You will never be anything but mediocre. But if you were to ask me my advice, I should say: try your luck at something else. It sounds very hard but let me tell you this: I would give all I have in the world if someone had given me this advice when I was your age and I had taken it."

Philip looked up at him with surprise.

"It's cruel to discover one's mediocrity only when it is too late."

He gave a little laugh as he said the last words and quickly walked out of the room.

Alfred Coppard Tribute Two honest young men, Tony Vassal and Nathan Regent1, lived in Braddle and worked together at the factory at Braddle. Tony married Patience Smith and Nathan married a rich girl.

About that time, you must know, the country started a war. The war demanded much money of Braddle. The workers of the Braddle factory worked day and night to provide money for the war. Almost everybody in Braddle became white and thin because they worked from morning till night. Not quite everybody, for the Regents' wealth increased so much that they did not know what to do with it;

their faces were neither white nor thin!

"In times like these," said Nathan's wife, "we must help our country still more, still more we must help;

let us lend our money to the country."

"Yes," said Nathan.

So they lent their money to their country. The country paid them tribute. And as their wealth continued to increase, they helped their country more and more, and received more tribute for that.

"In times like these," said the country, "we must have more men, more men we must have."

обратите внимание на говорящие имена и фамилии персонажей "What can we do to help our country?" asked Tony Vassall of his master, "we have no money to lend."

"But you can give your strong son Dan," answered his master.

Tony gave his son Dan to the country.

"Good-bye, dear son," said his father, and his brother, and his sister Nancy said "Good-bye." His mother kissed him.

Dan fell in battle;

his sister Nancy took his place at the factory.

Soon the neighbours said to Tony Vassal, "What a fine strong son is your young Albert Edward!" And Tony gave his son Albert Edward to the country.

"Good-bye, dear son," said his father;

his sister kissed him, his mother cried.

Albert Edward fell in battle;

his mother took his place at the factory. But the war did not stop. And Tony Vassal went to battle and fell too. The country gave Patience a pension;

but she died of grief. Many people died in those days, it was not strange at all.

Nathan and his wife got so rich that after the war they died of over-eating, and their daughter Olive got great wealth, P. G. Wodehouse Deep Waters According to some historians, there was a young man in Rome who was a brilliant swimmer. When people said "he swims like a fish," others used to answer, "no, the strongest fish swim like him!" George Callender was such a swimmer too. George moved through the sea as silently and as powerfully as a torpedo. When he swam the crawl, people opened their mouths and forgot to close them.

George came to Marvis Bay on the sea coast one evening in July. Marvis Bay is a pleasant place, visited by many tourists and people on vacation. George stood on the pier looking down into the water when he noticed a beautiful girl swimming in the water near the pier. She swam well. As a specialist, George could see that immediately. He watched with admiration, as she moved easily and quickly over the waves towards the pier. As she came nearer, he leaned over the rail to see her better. At that moment, the girl turned to swim on her back;

and her eyes met his. Then she turned over again and disappeared under the pier. Now George leaned over still farther, so far that his hat fell off his head. He tried to catch his hat with one hand — and lost his balance and fell into the water. George shook the water out of his eyes and was about to begin swimming to the shore, but at this moment, he felt two strong hands under his back and a voice in his ear said: "Don't be afraid;

don't struggle;

there is no danger."

George did not struggle, he was working out a plan of action.

For a young man one of the most difficult things in the world is to be introduced to the girl of his dreams. What a wonderful oppor tunity this was for George! They were not yet friends, but they had met. A girl who has saved a man from death in the sea cannot pass by him the next day without speaking to him.

"It was wonderful!" George said with deep feeling. "You are the bravest, the finest, the best..." He saw that she was smiling.

"You must learn to swim," the girl said. "I can teach you in a week." Like all decent people, George didn't like liars, and ordinarily he didn't tell lies. But this time the struggle between George and George's conscience was short. His conscience had no chance to win from the beginning.

"I'll be glad and thankful if you will," said George. And even before he finished saying the words, he knew that he would have to continue telling lies for many days. The true explanation was impos sible. But his heart was not heavy;

it even sang a little.

F. R. Barratt The Sad Story of a Lost Memory I had not noticed the man sitting beside me in the bus until he addressed me.

"Excuse me, sir," he said, "but is my face familiar to you by any chance?" I turned and studied him for a second or two. I was able to assure him that he was an entire stranger to me. He did not seem at all surprised. "It was just a chance," he said. "You see, sir. I am under the disadvantage of not knowing who I am."

"I have just returned from a voyage," he continued, "during the course of which I had the misfortune to lose my memory. I under stand from received information that 1 was sitting one fine day on the deck of the ship, when suddenly the ship gave a lurch and I fell on to my head and was unconscious for three days. During this period all my possessions on the ship were stolen and all trace of my identity removed. Even the name of my tailor was cut out from the suit I was wearing. I didn't know anything about myself and I was unknown to any of my fellow-passengers. Everyone agreed that there was only one possible remedy, namely, that I should receive another violent blow on the head, which would, as all the authorities say, restore my memory to its former state.

The idea was taken up enthusiastically, and I gladly admitted that all the ship's crew and also the passengers did what they could for me in this respect.

It became quite customary for everyone who met me to hit me playfully over the head with all possible weapons.

With all these helps I received a great many blows on the head, but my memory stubbornly refused to return."

The stranger paused in his recital.

I raised my walking stick. "This is but a poor weapon, I'm afra id," I said. "Still, any little service I can render..."

"No, no," said the stranger hurriedly, "the time for that is past.

I am now gathering funds to enable me to prosecute inquiries at the port from which the boat sailed, and should you, kind sir..."

Irving Stone At the Art Dealer's The little bell on the front door rang. A stranger walked in. "That picture you have in the window," he said "That still life. Who is it by?" "Paul Cezanne."

"Cezanne? I have never heard of him. Is it for sale?" 'Ah, no, alas, it is already..."

Madame Tanguy saw her chance. She quickly rose from the chair, pushed Tanguy out of the way, and ran up to the man eagerly.

"But of course it is for sale. It is a beautiful still life, is it not, Monsieur? Have you ever seen such apples before? We will sell it to you cheap, if you admire it."

"How much?" "How much, Tanguy?" asked Madame Tanguy raising her voice, Tanguy swallowed hard. "Three hundred..."

"Tanguy!" "Well, one hundred francs!" 'A handred francs? I wonder..." said the stranger. "For an unk nown painter... I'm afraid that's too expensive. I don't think I can afford it. I was only prepared to spend about twenty five."

The canvas was immediately taken out of the window and put before the customer, "See, Monsieur, it is a big picture. There are four apples. Four apples are a hundred francs. You only want to spend twenty five.

Then why not take one apple? The price is only twenty five francs."

When the price was mentioned the man began to study the canvas with new interest. "Yes, that's all right. Just cut this apple the full length of the canvas and I'll take it."

Madame Tanguy hurried to her apartment and returned with a pair of scissors. The end apple was cut off, wrapped in a piece of paper and handed to the man. He paid the money and walked out with the canvas under his arm. The spoiled masterpiece lay on the counter.

"My favorite Cezanne," cried Tanguy unhappily. "I'll miss it so!

I put it in the window. I wanted people to see it for a moment and go away happy."

Madame Tanguy interrupted him. "Next time someone wants a Cezanne and hasn't much money, sell him an apple. Take anything you can get for it. They are worthless anyway, he paints so many of them."

Frank J. Hardy Looking for Work A man stopped near a large plant. He had an old coat, old shoes, and no socks on. The man wanted to get some work. He was out of work. He could not buy bread, milk, and new clothes for his children. He went to the door, stopped and looked at his old coat and shoes, coughed and then opened the door.

He came into a room, where he saw an old man.

"What can I do for you?" asked the old man.

"I want some work, please," said the poor man.

"We have no work now," said the old man. "But when we have work, we give it only to people who have been at the war."

"I have been at the front. I have got a medal," said the poor man quickly. "Can you give me some work? I have been out of work for three years. I have done my best to get work, but I could not. They did not give us work when we came back from the front."

"I am sorry. We have no work now. Come later."

"I see," said the poor man, "I am sorry," and he left the room.

He went into the street. He wanted to have a rest. He wanted some hot soup and some bread. He went to other plants. Every day he went and asked for work. But he got no work. Every day they told him that there was no work. He could not go home and tell his wife that he could not get any work. He came to a fine house with a garden around it. He went into the garden. A woman came out of the house.

"Could you give me some work?" the man asked. "I have done different garden work. Will you give me work in your garden?" The woman looked at his poor clothes, and at his old shoes. She was frightened.

"Why have you come into the garden?" she cried. "I do not want a worker in the house or in the garden. Go away! Leave the garden!" "I have been at the front," cried the man. "I have fought for the country, for you, and now I have no work, no bread, no clothes!" "Leave the garden! Quick!" shouted the woman and closed the door. The man went out into the street again. Evening came. It became colder, and it rained and rained. He began to cough. After a time the man came to a bridge. He stopped there and looked at the river. Then he took his medal out of his pocket, looked at it and dropped it into the river.

O. Henry At the Doctor's My doctor took me to see a consulting physician. I liked him immensely. "Have you a pain in the back of your head?" he asked.

I told him I had not.

"Shut your eyes," he ordered, "put your feet close together, and jump backward as fast as you can."

I always was a good jumper with my eyes shut, so I obeyed. My head struck the edge of the bathroom door, which had been left open and was only three feet away. The doctor was sorry. He had overlooked the fact that the door was open. He closed it.

"Now touch your nose with your right forefinger," he said.

"Where is it?" I asked. "On your face," said he.

"I mean my right forefinger," I explained.

"Oh, excuse me," he said. He reopened the bathroom door, and I took my finger out of the crack of it. "Now," he said, "gallop like a horse for about five minutes around the room." I gave the best imitation I could of a disqualified horse. Then he listened to my chest again. The physician held up his forefinger within three inches to my nose. "Look at my finger," he commanded.

He explaied that this was a test of the action of the brain. It seemed easy to me. I never once mistook his finger.

After asking me if I had a crazy grand-uncle or a cousin, the two doctors, the casual physician and the regular doctor, retired to the bathroom and sat on the edge of the bathtub for their consultation.

The doctors came out looking grave. They wrote out a diet list to which I was to be restricted. It had everything that I had ever heard of to eat on it except snails.

"You must follow this diet strictly," said the doctors.

"I'd follow it a mile if I could get one-tenth of what's on it," I answered.

"Of next importance," they went on, "is outdoor air and exercise.

And here is a prescription that will be of great benefit to you."

Then all of us took something. They took their hats, and I took my departure. I went to a druggist and showed him the prescription.

"It will be two dollars 87 cents for an ounce bottle," he said.

"Will you give me a piece of your wrapping cord?" said I.

I made a hole in the prescription, ran the cord through it, tied it around my neck, and went out.

W. Saroyan Old Country Advice to the American Traveller One day my Uncle Melik traveled from Fresno to New York.

Before he got aboard the train his Uncle Garro paid him a visit and told him about the dangers of travel.

"When you get on the train," the old man said, "choose your seat carefully, sit down and do not look about."

"Yes, sir," my uncle said.

"Several moments after the train begins to move," the old man said, "two men wearing uniforms will come down the aisle and ask you for your ticket. Ignore them. They will be impostors1. On your way to the diner a very beautiful young woman will run into you on purpose and almost embrace you," the old man said. "She will be extremely apologetic and attractive, and your natural wish will be to become friends with her. Don't do this, go into the diner and eat. The woman will be an adventuress. If she speaks, pretend to be deaf. That is the only way out of it. I have traveled. I know what I'm talking about. On your way back to your seat from the diner," the old man said, "you will pass through the smoker. There you will find a game of cards in progress. The players will be three middle-aged men with expensive-looking rings on their fingers.

They will nod at you pleasantly and one of them will invite you to join the game. Tell them you don't speak English."

"Yes, sir," my uncle said.

"One thing more," the old-man said. "When you go to bed at night, take your money out of your pocket and put it in your shoe.

Put your shoe under the pillow, keep your head on the pillow all night, and don't sleep."

"Yes, sir," my uncle said.

The old man went away and the next day my Uncle Melik got aboard the train and went to New York. The two men in uniform were not impostors, the beautiful young woman did not sit at his table in the diner, and there was no card game in progress in the smoker. My uncle put his money in the shoe and put his shoe under the pillow and didn't sleep all night the first night, but the second night he abandoned the whole ritual.

The second day in the diner my uncle went to sit at a table with a young lady. He started a poker game in the smoker, and long before the train got to New York my uncle knew everybody aboard the train and everybody knew him. While the train was travelling through Ohio, my uncle and two young ladies sang American songs together.

The journey was a very pleasant one.

impostor — мошенник J. Webster Daddy-Long-Legs 215 Fergussen Hall, September 24th Dear Kind-Trustee-Who-Sends-Orphans-to-College, Here T am! I travelled yesterday for four hours in a train. It's a funny sensation, isn't it? I never rode in one before.

College is the biggest, most bewildering place — I get lost whene ver I leave my room. I will write you a description later when I'm feeling less confused;

also I will tell you about my lessons. Classes don't begin untill Monday morning, and this is Saturday night. But I wanted to write a letter first just to get acquainted.

It seems strange for me to be writing letters to somebody you don't know. It seems strange to be writing letters at all -- I've never written more than three or four in my life, so please excuse me if these are not a model kind.

Before leaving yesterday morning, Mrs. Lippett and I had a very serious talk. She told me how to behave all the rest of my life, and especially how to behave toward the kind gentleman who is doing so much for me. I must take care to be Very Respectful.

But how can one be very respectful to a person who wishes to be called John Smith? Why couldn't you have picked out a name with a little personality?

I have been thinking about you a great deal this summer;

having somebody take an interest in me after all these years makes me feel as though I have found a sort of family. It seems as though I belonged to somebody now, and it's a very comfortable feeling. I must say, however, that when I think about you, my imagination has very little to work upon. There are just three things that I know:

I. You are tall.

II. You are rich.

III. You hate girls.

Книга Джин Уэбстер "Дядюшка Коси-Коса" — роман в письмах, кото рые посылает воспитанница сиротского приюта 18-ти летняя Джеруша Эб бот члену опекунского совета этого приюта, давшему деньги на ее обучение в колледже.

I suppose I might call you Dear Mr. Girl-Hater. Only that's sort of insulting to me. Or Dear Mr. Rich-Man, but that's insulting to you, as though money were the only important thing about you.

So I've decided to call you Dear Daddy-Long-Legs1.I hope you won't mind. It's just a private pet name we won't tell Mrs. Lippett.

The ten o'clock bell is going to ring in two minutes. Our day is divided into sections by bells. We eat and sleep and study by bells.

It's very enlivening;

I feel like a fire-horse all of the time. There it goes! Lights out. Good night.

Observe with what precision I obey rules — due to my training in the John Grier Home2.

Yours most respectfully, Jerusha Abbott October 10th Dear Daddy-Long-Legs, Did you ever hear of Michael Angelo?

He was a famous artist who lived in Italy in the Middle Ages.

Everybody in English Literature3 seemed to know about him and the whole class laughed because I thought he was an archangel.

He sounds like an archangel, doesn't he? The trouble with college is that you are expected to know such a lot of things you've never learned. It's very confusing at times. But now, when the girls talk about things that I've never heard of, I just keep still and look them up in the encyclopedia.

I made an awful mistake the first day. Somebody mentioned Maurice Maeterlinck, and I asked if she was a Freshman4. That joke has gone all over college. But anyway, I'm just as bright in class as any of the others — and brighter than some of them!

Sallie is the most amusing person in the world — and Julia Rutledge Pendleton the least so. It's strange what a mixture the registrar can make in the matter of roommates. Sallie thinks every thing is funny — even flunking — and Julia is bored at everything.

She never makes the slightest effort to be pleasant. She believes daddy-long-legs - паук коси-коса название сиротского приюта English Literature - зд. Занятия по английской литературе "freshman - первокурсница that if you are a Pendleton, that fact alone admits you to heaven without any further examination. Julia and I were born to be enemies.

Jerusha Abbott Michael Bond A Bear from Peru in England Please Look After this Bear Mr and Mrs Brown first met Paddington on a railway platform.

In fact, that was how he came to have such an unusual name for a bear, for Paddington was the name of the station.

The Browns were there to meet their daughter Judy, who was coming home from school for the holidays. It was a warm summer day and the station was crowded with people on their way to the seaside. Trains were whistling, taxis hooting, porters rushing about shouting at one another, and altogether there was so much noise that Mr Brown, who saw him first, had to tell his wife several times before she understood.

'A bear? On Paddington station?" Mrs Brown looked at her husband in amazement. "Don't be silly, Henry. There can't be!" Mr Brown adjusted his glasses. "But there is," he insisted. "I distinctly saw it. Over there — behind those mailbags. It was wearing a funny kind of hat."

Withuut waiting for a reply he caught hold of his wife's arm and pushed her through the crowd, round a trolley laden with chocolate and cups of tea, past a bookstall, and through a gap in a pile of suitcases towards the Lost Property Office.

"There you are," he announced, triumphantly, pointing towards a dark corner. "I told you so!" Mrs Brown followed the direction of his arm and dimly made out a small, furry object in the shadows. It seemed to be sitting on some kind of suitcase and around its neck there was a label with some writing on it. The suitcase was old and battered and on the side, in large letters, were the words WANTED ON VOYAGE1.

Mrs Brown clutched at her husband. "Why, Henry," she exclai med. "I believe you were right after all. It is a bear!" wanted on voyage - ручная кладь She peered at it more closely. It seemed a very unusual kind of bear. It was brown in colour, a rather dirty brown, and it was wearing a most odd-looking hat, with a wide brim, just as Mr Brown had said. From beneath the brim two large, round eyes stared back at her.

Seeing that something was expected of it the bear stood up and politely raised its hat, revealing two black ears. "Good afternoon," it said, in a small, clear voice.

"Er... good afternoon," replied Mr Brown, doubtfully. There was a moment of silence.

The bear looked at them inquiringly. "Can I help you?" Mr Brown looked rather embarrassed. "Well... no. Er... as a matter of fact, we were wondering if we could help you."

Mrs Brown bent down. "You're a very small bear," she said.

The bear puffed out its chest. "I'm a very rare sort of bear," he replied, importantly. "There aren't many of us left where I come from."

"And where is that?" asked Mrs Brown.

The bear looked round carefully before replying. "Darkest Peru.

I'm not really supposed to be here at all. I'm a stowaway1!" 'A stowaway?" Mr Brown lowered his voice and looked anxiously over his shoulder. He almost expected to see a policeman standing behind him with a notebook and pencil, taking everything down.

"Yes," said the bear. "I emigrated, you know." A sad expression came into its eyes. "I used to live with my Aunt Lucy in Peru, but she had to go into a home for retired bears."

"You don't mean to say you've come all the way from South America by yourself?" exclaimed Mrs Brown.

The bear nodded. 'Aunt Lucy always said she wanted me to emigrate when I was old enough. That's why she taught me to speak English."

"But whatever did you do for food?" asked Mr Brown. "You must be starving."

Bending down, the bear unlocked the suitcase with a small key, which it also had round its neck, and brought out an almost empty glass jar. "I ate marmalade," he said, rather proudly. "Bears like marmalade. And I lived in a lifeboat."

stowaway - безбилетный пассажир, "заяц" "But what are you going to do now?" said Mr Brown. "You can't just sit on Paddington station waiting for something to happen."

"Oh, I shall be all right... I expect." The bear bent down to do up its case again. As he did so Mrs Brown caught a glimpse of the writing on the label. It said, simply, PLEASE LOOK AFTER THIS BEAR, THANK YOU.

She turned appealingly to her husband. "Oh, Henry, what shall we do? We can't just leave him here. There's no knowing what might happen to him. London's such a big place when you've nowhere to go. Can't he come and stay with us for a few days?" Mr Brown hesitated. "But Mary, dear, we can't take him... not just like that. After all..."

'After all, what?" Mrs Brown's voice had a firm note to it. She looked down at the bear. "He is rather sweet. And he'd be such company for Jonathan and Judy. Even if it's only for a little while.

They'd never forgive you if they knew you'd left him here."

"It all seems highly irregular," said Mr Brown, doubtfully. "I'm sure there's a law about it." He bent down. "Would you like to come and stay with us?" he asked. "That is," he added, hastily, not wishing to offend the bear, "if you've nothing else planned."

The bear jumped and his hat nearly fell off with excitement.

"Oooh, yes, please. I should like that very much. I've nowhere to go and everyone seems in such a hurry."

"Well, that's settled then," said Mrs Brown, before her husband could change his mind. 'And you can have marmalade for breakfast every morning, and —" she tried hard to think of something else that bears might like.

"Every morning?" The bear looked as if it could hardly believe its ears. "I only had it on special occasions at home. Marmalade's very expensive in Darkest Peru."

"Then you shall have it every morning starting tomorrow," continued Mrs Brown. 'And honey on Sunday."

A worried, expression came over the bear's face. "Will it cost very much?" he asked. "You see, I haven't very much money."

"Of course not. We wouldn't dream of charging you anything.

We shall expect you to be one of the family, shan't we, Henry?" Mrs Brown looked at her husband for support.

"Of course," said Mr Brown. "By the way," he added, "if you are coming home with us you'd better know our names. This is Mrs Brown and I'm Mr Brown."

The bear raised its hat politely — twice. "I haven't really got a name," he said. "Only a Peruvian one which no one can understand."

"Then we'd better give you an English one," said Mrs Brown. "It'll make things much easier." She looked round the station for inspiration.

"It ought to be something special," she said thoughtfully. As she spoke an engine standing in one of the platforms gave a loud whistle and let off a cloud of steam. "I know what!" she exclaimed. "We found you on Paddington station so we'll call you Paddington!" "Paddington!" The bear repeated it several times to make sure.

"It seems a very long name."

"Quite distinguished," said Mr Brown. "Yes, I like Paddington as a name. Paddington it shall be."

Mrs Brown stood up. "Good. Now, Paddington, I have to meet our little daughter, Judy, off the train. She's coming home from school.

I'm sure you must be thirsty after your long journey, so you go along to the buffet with Mr Brown and he'll buy you a nice cup of tea."

Paddington lacked his lips. "I'm very thirsty," he said. "Sea water makes you thirsty." He picked up his suitcase, pulled his hat down firmly over his head, and waved a paw politely in the direction of the buffet. 'After you, Mr Brown."

"Er... thank you, Paddington," said Mr Brown.

"Now, Henry, look after him," Mrs Brown called after them.

'And for goodness' sake, when you get a moment, take that label off his neck. It makes him look like a parcel. I'm sure he'll get put in a luggage van or something if a porter sees him."

The buffet was crowded when they entered but Mr Brown ma naged to find a table for two in a corner. By standing on a chair Paddington could just rest his paws comfortably on the glass top.

He looked around with interest while Mr Brown went to fetch the tea. The sight of everyone eating reminded him of how hungry he felt. There was a half-eaten bun on the table but just as he reached out his paw a waitress came up and swept it into a pan.

"You don't want that, dearie," she said, giving him a friendly pat. "You don't know where it's been."

Paddington felt so empty he didn't really mind where it had been but he was much too polite to say anything.

"Well, Paddington," said Mr Brown, as he placed two steaming cups of tea on the table and a plate piled high with cakes. "How's that to be going on with?" Paddington's eyes glistened. "It's very nice, thank you," he exclaimed, eyeing the tea doubtfully. "But it's rather hard drinking out of a cup. I usually get my head stuck, or else my hat falls in and makes it taste nasty."

Mr Brown hesitated. "Then you'd better give your hat to me. I'll pour the tea into a saucer for you. It's not really done in the best circles, but I'm sure no one will mind just this once."

Paddington removed his hat and laid it carefully on the table while Mr Brown poured out the tea. He looked hungrily at the cakes, in particular at a large cream-and-jam one which Mr Brown placed on a plate in front of him.

"There you are, Paddington," he said, "I'm sorry they haven't any marmalade ones, but they were the best I could get."

"I'm glad I emigrated," said Paddington, as he reached out a paw and pulled the plate nearer. "Do you think anyone would mind if I stood on the table to eat?" Before Mr Brown could answer he had climbed up and placed his right paw firmly on the bun. It was a very large bun, the biggest and stickiest Mr Brown had been able to find, and in a matter of moments most of the inside found its way on to Paddingston's whiskers. People started to nudge each other and began staring in their direction. Mr Brown wished he had chosen a plain, ordinary bun, but he wasn't very experienced in the ways of bears. He stirred his tea and looked out of the window, pretending he had tea with a bear on Paddington station every day of his life.

"Henry!" The sound of his wife's voice brought him back to earth with a start. "Henry, whatever are you doing to that poor bear? Look at him! He's covered all over with cream and jam."

Mr Brown jumped up in confusion. "He seemed rather hungry," he answered, lamely.

Mrs Brown turned to her daughter. "This is what happens when I leave your father alone for five minutes."

Judy Happed hpr hands pxritedly. "Oh, Daddy, is he really going to stay with us?" "If he does," said Mrs Brown, "I can see someone other than your father will have to look after him. Just look at the mess he's in!" Paddington, who all this time had been too interested in his bun to worry about what was going on, suddenly became aware that people were talking about him. He looked up to see that Mrs Brown had been joined by a little girl, with laughing blue eyes and long, fair hair. He jumped up, meaning to raise his hat, and in his haste slipped on a patch of strawberry jam which somehow or other had found its way on to the glass table-top. For a brief moment he had a dizzy impression of everything and everyone being upside down. He waved his paws wildly in the air and then, before anyone could catch him, he somersaulted backwards and landed with a splash in his saucer of tea. He jumped up even quicker than he had sat down, because the tea was still very hot, and promptly stepped into Mr Brown's cup.

Judy threw back her head and laughed until the tears rolled down her face. "Oh, Mummy, isn't he funny!" she cried.

Paddington, who didn't think it at all funny, stood for a moment with one foot on the table and the other in Mr Brown's tea. There were large patches of white cream all over his face, and on his left ear there was a lump of strawberry jam.

"You wouldn't think," said Mrs Brown, "that anyone could get in such a state with just one bun."

Mr. Brown coughed. He had just caught the stern eye1 of a waitress on the other side of the counter. "Perhaps," he said, "we'd better go. I'll see if I can find a taxi." He picked up Judy's belongings and hurried outside.

Paddington stepped gingerly off the table and, with a last look at the sticky remains of his bun, climbed down on to the floor.

Judy took on of his paws. "Come along, Paddington. We'll take you home and you can have a nice hot bath. Then you can tell me all about South America. I'm sure you must have had lots of wonderful adventures."

"I have," said Paddington, earnestly. "Lots. Things are always happening to me. I'm that sort of bear."

When they came out of the buffet, Mr Brown had already found a taxi and he waved them across. The driver looked hard at Pad dington and then at the inside of his nice, clean taxi.

"Bears is sixpence extra," he said, gruffly. "Sticky bears is nine pence!" "He can't help being sticky, driver," said Mr Brown. "He's just had a nasty accident."

caught the stern eye - заметил суровый взгляд The driver hesitated. 'All right, 'op in1. But mind none of it comes off on me interior. I only cleaned it out this morning."

The Browns trooped obediently into the back of the taxi. Mr and Mrs Brown and Judy sat in the back, while Paddington stood on a tip-up seat behind the driver so that he could see out of the window.

The sun was shining as they drove out of the station and after the gloom and the noise everything seemed bright and cheerful.

They swept past a group of people at a bus stop and Paddington waved. Several people stared and one man raised his hat in return.

It was all very friendly. After weeks of sitting alone in a lifeboat there was so much to see. There were people and cars and big, red buses everywhere — it wasn't a bit like Darkest Peru.

Paddington kept one eye out of the window in case he missed anything. With his other eye he carefully examined Mr and Mrs Brown and Judy. Mr Brown was fat and jolly, with a big moustache and glasses, while Mrs Brown, who was also rather plump, looked like a larger edition of Judy. Paddington had just decided he was going to like staying with the Browns when the glass window behind the driver shot back and a gruff voice said, "Where did you say you wanted to go?" Mr Brown leaned forward. "Number thirty-two, Windsor Gardens."

The driver cupped his ear with one hand. "Can't 'ear2 you," he shouted.

Paddington tapped him on the shoulder. "Number thirty-two, Windsor Gardens," he repeated.

The taxi driver jumped at the sound of Paddington's voice and narrowly missed hitting a bus. He looked down at his shoulder and glared. "Cream!" he said, bitterly. 'All over me new coat!" Judy giggled and Mr and Mrs Brown exchanged glances. Mr Brown peered at the meter. He half-expected to see a sign go up saying they had to pay another sixpence.

"I beg your pardon," said Paddington. He bent forward and tried to rub the stain off with his other paw. Several bun crumbs and a smear of jam added themselves mysteriously to the taxi driver's coat.

The driver gave Paddington a long, hard look. Paddington raised his hat and the driver slammed the window shut again.

'op in = hop in 'ear = hear "Oh dear," said Mrs Brown. "We really shall have to give him a bath as soon as we get indoors. It's getting everywhere."

Paddington looked thoughtful. It wasn't so much that he didn't like baths;

he really didn't mind being covered with jam and cream.

It seemed a pity to wash it all off quite so soon. But before he had time to consider the matter the taxi stopped and the Browns began to climb out. Paddington picked up his suitcase and followed Judy up a flight of white steps to a big green door.

"Now you're going to meet Mrs Bird," said Judy. "She looks after us. She's a bit fierce sometimes and she grumbles a lot but she doesn't really mean it. I'm sure you'll like her."

Paddington felt his knees begin to tremble. He looked round for Mr and Mrs Brown, but they appeared to be having some sort of argument with the taxi driver. Behind the door he could hear footsteps approaching.

"I'm sure I shall like her, if you say so," he said, catching sight of his reflection on the brightly polished letter-box. "But will she like me?" James Thurber University Days Another course that I didn't like, but somehow managed to pass was economics. I went to that class straight from the botany class, which didn't help me any in understanding either subject. I used to get them mixed up. But not as another student in my economics class who came there direct from a physics laboratory. He was a tackle1 on the football team, named Brown. At that time Ohio State University had one of the best football teams in the country, and Brown was one of its outstanding stars. In order to have the right to play it was necessary for him to keep up in his studies, a very difficult matter, for while he was not dumber than an ox he was not any smarter. Most of his professors were lenient2 and helped him along. None gave him more hints in answering questions, or asked him simpler ones than the economics professor, a thin, timid man tackle — полузащитник lenient — снисходительный named Bassum. One day we were on the subject of transportation and distribution, it came Brown's turn to answer a question. "Name one means of transportation," the professor said to him. No light came into the fellow's eyes. "Just any means of transportation," said the professor. Brown sat staring at him. "That is," pursued the professor, "any medium, agency, or method of going from one place to another. Brown had the look of a man who is being led into a trap. "You may choose among steam, horse-drawn or electrically propelled vehicles," said the instructor. "I might suggest the one commonly taken in making long journeys across land." There was a profound silence in which everybody moved uneasily, including Brown and Mr. Bassum. Mr. Bassum suddenly broke the silence in an amazing manner. "Choo-choo-choo," he said, in a low voice, and turned instantly scarlet. He glanced appealingly around the room. All of us, of course, shared Mr. Bassum's desire that Brown should stay abreast of the class in economics, for the Illinois game, one of the hardest and most important of the season, was only a week off. "Toot, toot, too-tooooooooooooot!" some student with a deep voice moaned, and we all looked encouragingly at Brown.

Somebody else gave a fine imitation of a locomotive letting off steam. Mr. Bassum himself rounded the little show. "Ding, ding, ding," he said, hopefully. Brown was staring at the floor now, trying to think, his great brow furrowed, his huge hands rubbing together, his face red. "How did you come to college this year, Mr. Brown?" asked the professor. "Chuffa chuffa, chuffa chuffa." "My father sent me," said the football player. "What on?" asked Bassum. "I got an allowance," said the football player, in a low, husky voice, obviously embarrassed. "No, no," said Bassum. "Name a means of transportation. What did you ride in?" "Train," said Brown. "Quite right," said the professor...

H. Munro Mrs. Packletide's Tiger It was Mrs. Packletide's pleasure and intention that she should shoot a tiger. Not that the desire to kill had suddenly come to her.

The compelling motive for the intention was the fact that Loona Bimberton had recently been carried eleven miles in an airplane and talked of nothing else;

only a personally procured tiger skin and a heavy harvest of press photographs could successfully counter that sort of thing. Mrs. Packletide had already arranged in her mind the lunch she would give in her house in Curzon Street, in Loona Bimberton's honour, with a tiger skin occupying most of the foreground and all the conversation.

Circumstances proved favourable. Mrs. Packletide had offered a thousand rupees for the opportunity of shooting a tiger, and it so happened that an old tiger was in the habit of coming to a neigh bouring village at night. He was so old that he had to abandon game-killing and confine his appetite to the smaller domestic ani mals. The prospect of getting the thousand rupees stimulated the commercial instincts of the villagers;

children were posted night and day in the jungle to watch the tiger, and the cheaper kind of goats were left about to keep him satisfied with his present quar ters. The one great anxiety was lest he should die of old age1 before the day of Mrs. Packletide's shoot.

The great night arrived. A platform had been constructed in a comfortable big tree, and on it sat Mrs. Packletide and her paid companion, Miss Mebbin. A goat, with a loud bleat, such as even a partially deaf tiger might be expected to hear on a still night, was tied down at a correct distance.

"I suppose we are in some danger?" said Miss Mebbin.

She was not really afraid of the wild beast, but she did not wish to perform an atom more service than she had been paid for.

"Nonsense," said Mrs. Packletide, "it's a very old tiger. It couldn't spring up here even if he wanted to."

"If it is an old tiger I think you ought to get it cheaper. A thousand rupees is a lot of money."

Their conversation was cut short by the appearance of the animal itself.

As soon as it saw the goat it lay flat on the earth for the purpose of taking a short rest before beginning the attack.

"I believe it is ill," said Louisa Mebbin, loudly.

"Hush!" said Mrs. Packletide, and at that moment the tiger began moving towards the goat.

The one great anxiety was lest he should die of old age - беспокоило толь ко, не умрет ли он от старости "Now, now!" urged Miss Mebbin with some excitement, "if he doesn't touch the goat we needn't pay for it."

The rifle flashed out with a loud report, and the great yellow beast rolled over in the stillness of death. In a moment a crowd of excited villagers appeared on the scene, and their triumph found a ready echo in the heart of Mrs. Packletide;

already that lunch in Gurzon Street seemed much nearer.

It was Louisa Mebbin who drew attention to the fact that the goat was dying from a bullet wound;

while no trace of the rifle's work could be found on the tiger. Evidently the wrong animal had been hit, and the tiger had died of heart failure, caused by the sudden report of the rifle. Mrs. Packletide did not like the discovery, but the villagers gladly supported the fiction that she had shot the beast. And Miss Mebbin was a paid companion. Therefore, Mrs. Packletide faced the cameras with a light heart, and her picture appeared on the pages of all papers in England and America. As for Loona Bimberton, she refused to look at a paper for weeks. The lunch-party she declined.

The tiger skin was inspected and admired, and Mrs. Packletide went to a costume ball in the character of Diana1.

"How amused everyone would be if they knew what really happened," said Louisa Mebbin a few days after the ball.

"What do you mean?" asked Mrs. Packletide quickly.

"How you shot the goat and frightened the tiger to death," said Miss Mebbin, with her disagreeably pleasant laugh.

"No one would believe it," said Mrs. Packletide, her face chan ging colour.

"Loona Bimberton would," said Miss Mebbin. Mrs. Packletide's face settled on an ugly shade of greenish white.

"You surely wouldn't give away?" she asked.

"I've seen a week-end cottage near Dorking2 that I should like to buy," said Miss Mebbin. "Six hundred and eighty. Quite cheap, only I don't happen to have the money."

Louisa Mebbin's pretty week-end cottage is the wonder and admiration of her friends.

Mrs. Packletide does no more shooting.

"The incidental expenses are so heavy," she says to inquiring friends.

Diana - римская богиня, покровительствующая охоте городок в графстве Суррей IS Hector Munro The Mouse Theodoric Voter had been brought up, from infancy to the middle age, by a fond mother whose chief wish had been to keep him away from what she called the coarser realities of life. When she died she left Theodoric alone in a world that was as real as ever, and a good deal coarser than he had thought. To a man of his tempera ment and upbringing even a simple railway journey was an annoying experience, and as he settled himself down in a second-class com partment one September morning he felt very uneasy. He had been staying at a country house. The pony carriage that was to take him to the station had never been properly ordered and when the moment for his departure drew near, the coachman was nowhere to be found. In this emergency Theodoric, to his disgust, had to harness the pony himself in an ill-lighted outhouse called a stable, and smelling very like one — except in patches where it smelt of mice. Theodoric was not actually afraid of mice, yet classed them among the coarser incidents of life. As the train glided out of the station Theodoric's nervous imagination accused him of smelling of stable-yard, and possibly of having a straw or two on his usually well-brushed garments. Fortunately the only other occupant of the compartment, a lady of about the same age as himself, was sleeping;

the train was not due to stop till the terminus1 was reached, in about an hour's time, and the carriage was of the old-fashioned sort, that had no communication with a corridor, therefore nobody could intrude on Theodoric's semi-privacy. And yet the train had scarcely gained speed before be became aware that he was not alone with the sleeping lady;

he was not even alone in his own clothes. A warm, creeping movement over his flesh betrayed the unwelcome presence of a strayed mouse, that had evidently got in during the episode of the pony harnessing. Shakes and wildly di rected pinches failed to drive out the intruder, and soon Theodoric understood that nothing but undressing would save him of his tormentor, and to undress in the presence of a lady, even for so excusable a purpose, was an idea that made him blush. He had never been able to bring himself even to the mild exposure of socks terminus - вокзал in the presence of the fair sex. And yet — the lady in this case was to all appearances soundly asleep;

the mouse, on the other hand, seemed to be trying to crowd a Wanderjahr into a few minutes1.

Theodoric decided on the bravest undertaking in his life. Blushing like a beetroot and keeping an agonized watch on his sleeping fellow-traveller, he swiftly and noiselessly fastened the ends of his railway-rug2 to the racks on either side of the carriage, so that a substantial curtain hung across the compartment. In the narrow dressing-room that he had thus improvised he began with violent haste to extricate himself and the mouse from his clothes. As the mouse jumped wildly to the floor, the rug, slipping its fastenings at either end, also came down with a flap, and almost simul taneously the awakened sleeper opened her eyes. With a move ment almost quicker than the mouse's, Theodoric seized the rug and hid himself under it in the further corner of the carriage. The blood raced and beat in the veins of his neck and forehead, while he waited dumbly for the lady to speak. She, however, continued staring at him in silence. How much had she seen, Theodoric asked himself, and in any case what on earth must she think of his present position?

"I think I have caught a chill," he said desperately.

"Really, I'm sorry," she replied. "I was just going to ask you to open the window."

"I fancy it's malaria," he added;

his teeth were chattering slightly, as much from fright as from a desire to support his theory.

"I've got some brandy in my bag, if you kindly reach it down for me," said his companion.

"No — I mean, I never take anything for it," he assured her earnestly.

"I suppose you caught it in the Tropics?" Theodoric, whose acquaintance with the Tropics was limited to Ceylon tea, felt that even the malaria was slipping from him. Would it be possible, he wondered, to disclose the real state of affairs to her?

"Are you afraid of mice?" he asked, growing more scarlet in the face.

"Not unless they come in quantities. Why do you ask?" to crowd a Wanderjahr into a few minutes - совершить длительное путе шествие за несколько минут railway-rug — плед "I had one crawling inside my clothes just now," said Theodoric in a voice that hardly seemed his own. "It was a most awkward situation."

"It must have been, if you wear your clothes very tight," she observed;

"but mice have strange ideas of comfort."

"I had to get rid of it while you were asleep," he continued;

then, with a gulp, he added, "and getting rid of it brought me to to this."

"Surely one small mouse wouldn't cause a chill," she exclaimed gaily.

Evidently she had detected something in his situation and was enjoying his confusion. All the blood of his body seemed to have mobilized in one blush. And then, as he thought of it, he was seized with terror. With every minute that passed the train was rushing nearer to the crowded terminus where he would be watched by dozens of eyes instead of the one paralysing pair that watched him from the further corner of the carriage. There was a chance that his fellow-traveller might fall asleep again, but every time Theodoric stole a glance at her he saw her open unwinking eyes.

"I think we must be getting near now," she presently observed.

The words acted like a signal. Like a hunted beast he threw aside the rug and struggled frantically into his clothes. He saw small suburban stations racing past the window and felt an icy silence in that corner towards which he dared not look. Then as he sank back in his seat, dressed and almost delirious, the train slowed down, and the woman spoke.

"Would you be so kind," she asked, "as to get me a porter to put me into a cab? It's a shame to trouble you when you're feeling unwell, but my blindness makes me so helpless at railway stations."

Ring Lardner Too Much of a Good Thing My husband has to spend almost all his time in the theater and that leaves me alone in a hotel, if his musical is running out-of • town, and pretty soon people find out whose wife I am and intro duce themselves, and the next thing you know they are inviting us for a week or a weekend. Then it's up to me to think of some reason why we can't come. Ben absolutely hates visiting and thinks there ought to be a law against invitations. After a couple of visits Ben thought of a method of putting off people1. He would write himself a telegram and sign it with the name of one of the famous producers, and leave the telegram with his secretary with the in structions to send it to us twenty-four hours later. When it arrived at whatever place we were, we would put on long faces and say how sorry we were, but of course business was business, so good bye. There was never any suspicion even when the telegrams were ridiculous, like this one:

Both the leading actors have laryngitis Stop2 Score must be rewritten half a tone lower Stop Come at once Stop С. В. Dillingham However, if we happened to be enjoying ourselves, then Ben would say to our hosts that he wasn't going to let any theatrical producer spoil his fun.

Last September we were invited to come and spend a week with a nice, intelligent couple, the Thayers. "I promise you," Mrs. Thayer said, "that you won't be disturbed at all;

we won't invite people in.

I won't allow Mr. Drake to even touch the piano. All day he can do nothing or anything, just as he pleases."

We accepted the invitation. "If they stick to their promise, it may be a lot better than staying in New York where my producer won't give me a minute's peace," said Ben. 'And if things aren't as good as they look, we always have that telegram."

The Thayers met us at the station in an expensive-looking limousine. "Ralph," said Mrs. Thayer to her husband, "you sit in one of the little seats and Mr. and Mrs. Drake will sit back here with me."

"I'd rather have one of the little seats myself," said Ben and he meant it.

"No, sir!" said Mrs. Thayer. "You came to us for a rest, and we're not going to start you off uncomfortable." It was no use arguing.

a method of putting off people - способ, как избавляться от людей Stop — зд. точка All through the drive Ben was unable to think of anything but how terrible his coat would look when he got out.

After luncheon we had coffee.

"Don't you take cream, Mr. Drake?" Mrs. Thayer asked.

"No. Never."

"But that's because you don't get good cream in New York."

"No. It's because I don't like cream in coffee."

"You would like our cream. We have our own cows. Won't vou try just a little?" "No, thanks."

"But just a little, to see how rich it is." She poured some cream into Ben's coffee-cup and for a second I held my breath and closed my eyes for fear of seeing Ben throwing the cup in her face.

After luncheon we were sitting in the living-room when Ben rose and went straight to the piano.

"None of that!" said Mrs. Thayer. "I haven't forgotten my pro mise."

"But there is a melody in my head that I'd like to try."

"Oh, yes, I know all about that. You just think that you MUST play to us! We invited you here for yourself, not to enjoy your talent."

Ben walked over to the book-case and took a book out.

"What book is that?" asked Mrs. Thayer.

"The Great Gatsby," said Ben. "I've always wanted to read it."

"Heavens!" said Mrs. Thayer as she took it away from him.

"That's old! You'll find the newest ones there on the table. We keep pretty well up to date. Ralph and I are both great readers. Just try one of those books in that pile. They're all good."

Ben took a book, sat down and opened it.

"Man! Man!" exclaimed Mrs. Thayer. "You've picked the most uncomfortable chair in the house."

"He likes straight chairs," I said.

"It makes me uncomfortable just to look at you. You'd better take this chair here. It's the softest, nicest chair you've ever sat on."

"I like hard straight chairs," said Ben, fighting down his annoyance1, but he sank into the soft, nice one and again opened the book.

"Oh, you never can see there!" said the fussy Mrs. Thayer. "You'll ruin your eyes. Get up just a minute and let Ralph move your chair to that lamp."

fighting down his annoyance - борясь с раздражением "I don't believe I want to read just now," said Ben.

And so it went on all through the afternoon and evening.

Just as we were getting to sleep, Mrs. Thayer knocked on our door. "I'm afraid you haven't covers enough," she called.

"Thanks," I said. "We're quite warm."

"I'm afraid you aren't," continued Mrs. Thayer to whom it never occurred how annoying she was.

"Lock the door," said Ben ill-temperedly, "before she comes in and feels our feet."

All through breakfast next morning we waited for the telephone call about the telegram. The phone did ring once and Mrs. Thayer answered, but we couldn't hear what she said.

After breakfast Ben told Mrs. Thayer that he had a feeling that he must be back in New York.

"That's very strange," said Mrs. Thayer, "because a telegram came to you at breakfast time. I wasn't going to tell you about it because I had promised that you wouldn't be disturbed. I remember the telegram by heart. It ran:

Bass drum part all wrong. Would like you to come to the theater tonight.

Gene Buck" Just as the trainmen were shouting "Board!" Mrs. Thayer said:

"Please forgive me if I have done something terrible, but I answered Mr. Buck's telegram. I wired: "Mr. Ben Drake resting at my home. Must not be bothered. Suggest that you keep bass drums still for a week. And I signed my name."

Damon Runyon Sense of Humour One night I am standing1 in front of Mindy's restaurant on Broadway, thinking of practically nothing whatever, when all of a sudden I feel a very terrible pain in my left foot.

здесь и далее настоящее время используется для актуализации инфор мации In fact, this pain is so very terrible that it causes me to leap up and down like a bullfrog, and to let out loud cries of agony, and to speak some very profane language, which is by no means my custom, although of course I recognize the pain as coming from a hot foot, because I often experience this pain before.

Furthermore, I know Joe the Joker must be in the neighbour hood, as Joe the Joker has the most wonderful sense of humour of anybody in this town, and is always around giving people the hot foot, and gives it to me more times than I can remember. In fact, I hear Joe the Joker invents the hot foot, and it finally becomes a very popular idea all over the country.

The way you give a hot foot is to sneak up behind some guy who is standing around thinking of not much, and stick a paper match to his shoe between the sole and the upper along about where his little toe ought to be, and then light the match. By and by the guy will feel a terrible pain in his foot and will start stamping around, and hollering, and carrying on1 generally, and it is always a most comical sight and a wonderful laugh to one and all to see him suffer.

No one in the world can give a hot foot as good as Joe the Joker, because it takes a guy who can sneak up very quiet on the guy who is to get the hot foot, and Joe can sneak up so quiet many guys on Broadway are willing to lay you odds2 that he can give a mouse a hot foot if you can find a mouse that wears shoes. Furthermore, Joe the Joker can take plenty of care of himself in case the guy who gets the hot foot feels like taking the matter up3, which sometimes happens, especially with guys who get their shoes made to order at forty bobs per copy and do not care to have holes burned in these shoes.

But Joe does not care what kind of shoes the guys are wearing when he feels like giving out hot foots, and furthermore, he does not care who the guys are, although many citizens think he makes a mistake the time he gives a hot foot to Frankie Ferocious. In fact, many citizens are greatly horrified by this action, and go around saying no good will come of it.

to carry on — беситься are willing to lay you odds - готовы держать пари to take the matter up — разобраться This Frankie Ferocious comes from over in Brooklyn, where he is considered a rising citizen in many respects, and by no means a guy to give hot foots to, especially as Frankie Ferocious has no sense of humour whatever. In fact, he is always very solemn, and nobody ever sees him laugh, and he certainly does not laugh when Joe the Joker gives him a hot foot one day on Broadway when Frankie Ferocious is standing talking over a business matter with some guys from the Bronx.

He only scowls at Joe, and says something in Italian, and while I do not understand Italian, it sounds so unpleasant that I guarantee I will leave town inside of the next two hours if he says it to me.

Of course Frankie Ferocious's name is not really Ferocious, but something in Italian like Feroccio, and I hear he originally comes from Sicily, although he lives in Brooklyn for quite some years, and from a modest beginning, he builds himself up until he is a very large operator in merchandise of one kind and another, especially alcohol. He is a big guy of maybe thirty-odd, and he has hair blacker than a yard up a chimney, and black eyes, and black eyebrows, and a slow way of looking at people.

Nobody knows a whole lot about Frankie Ferocious, because he never has much to say, and he takes his time saying it1, but every body gives him plenty of room when he comes around, as there are rumours that Frankie never likes to be crowded. As far as I am concerned, I do not care for any part of Frankie Ferocious, because his slow way of looking at people always makes me nervous, and I am always sorry Joe the Joker gives him a hot foot, because I figure Frankie Ferocious is bound to consider it a most disrespectful action, and hold it against everybody that lives on the Island of Manhattan.

But Joe the Joker only laughs when anybody tells him he is out of line in giving Frankie the hot foot, and says it is not his fault if Frankie has no sense of humour. Furthermore, Joe says he will not only give Frankie another hot foot if he gets a chance, but that he will give hot foots to the Prince of Wales or Mussolini, if he catches them in the right spot, although Regret, the horse player, states that Joe can have twenty to one any time that he will not give Mussolini any hot foots and get away with it.

he takes his time saying it - он не уставал повторять об этом Anyway, just as I suspect, there is Joe the Joker watching me when I feel the hot foot, and he is laughing very heartily, and furthermore, a large number of other citizens are also laughing heartily, because Joe the Joker never sees any fun in giving people the hot foot unless others are present to enjoy the joke.

Well, naturally when I see who it is gives me the hot foot I join in the laughter, and go over and shake hands with Joe, and when I shake hands with him there is more laughter, because it seems Joe has a hunk of Limburger cheese in his duke, and what I shake hands with is this Limburger. Furthermore, it is some of Mindy's Limburger cheese, and everybody knows Mindy's Limburger is very squashy, and also very loud.

Of course I laugh at this, too, although to tell the truth I will laugh much more heartily if Joe the Joker drops dead in front of me, because I do not like to be made the subject of laughter on Broadway. But my laugh is really quite hearty when Joe takes the rest of the cheese that is not on my fingers and smears it on the steering-wheels of some automobiles parked in front of Mindy's, because I get to thinking of what the drivers will say when they start steering their cars.

Then I get to talking to Joe the Joker, and I ask him how things are up in Harlem, where Joe and his younger brother Freddy, and several other guys have a small organization operating in beer, and Joe says things are as good as can be expected considering business conditions. Then I ask him how Rosa is getting along, this Rosa being Joe the Joker's ever-loving wife, and a personal friend of mine, as I know her when she is Rosa Midnight and is singing in the old Hot Box before Joe hauls off and marries her.

Well, at this question Joe the Joker starts laughing, and I can see that something appeals to his sense of humour, and finally he speaks as follows:

"Why," he says, "do you not hear the news about Rosa? She takes the wind on1 me a couple of months ago for my friend Frankie Ferocious, and is living in an apartment over in Brooklyn, right near his house, although," Joe says, "of course you understand I am telling you this only to answer your question, and not to holler copper on2 Rosa."

to take the wind on — бросить to holler copper on - зд. настучать Then he lets out another large ha-ha, and in fact Joe the Joker keeps laughing until I am afraid he will injure himself internally.

Personally, I do not see anything comical in a guy's ever-loving wife taking the wind on him for a guy like Frankie Ferocious, so when Joe the Joker quiets down a bit I ask him what is funny about the proposition.

"Why," Joe says, "I have to laugh every time I think of how the big greaseball is going to feel when he finds out how expensive Rosa is. I do not know how many things Frankie Ferocious has running for him in Brooklyn," Joe says, "but he better try to move himself in on the mint1 if he wishes to keep Rosa going."

Then he laughs again, and I consider it wonderful the way Joe is able to keep his sense of humour even in such a situation as this, although up to this time I always think Joe is very daffy indeed about Rosa, who is a little doll, weighing maybe ninety pounds with her hat on and quite cute.

Now I judge from what Joe the Joker tells me that Frankie Ferocious knows Rosa before Joe marries her and is always pitching to her when she is singing in the Hot Box, and even after she is Joe's ever-loving wife, Frankie occasionally calls her up, especially when he commences to be a rising citizen of Brooklyn, although of course Joe does not learn about these calls until later. And about the time Frankie Ferocious commences to he a rising citizen of Brooklyn, things begin breaking a little tough for Joe the Joker, what with the depression and all, and he has to economize on Rosa in spots, and if there is one thing Rosa cannot stand it is being economized on.

Along about now, Joe the Joker gives Frankie Ferocious the hot foot, and just as many citizens state at the time, it is a mistake, for Frankie starts calling Rosa up more than somewhat, and speaking of what a nice place Brooklyn is to live in — which it is, at that — and between these boosts for Brooklyn and Joe the Joker's econo my, Rosa hauls off leaving Joe a note telling him that if he does not like it he knows what he can do.

"Well, Joe," I say, after listening to his story, "I always hate to hear of these little domestic difficulties among my friends, but maybe this is all for the best. Still, I feel sorry tor you, if it will do you any good," I say.

J to move himself in on the mint - заработать денег "Do not feel sorry for me," Joe says, "If you wish to feel sorry for anybody, feel sorry for Frankie Ferocious, and," he says, "if you can spare a little more sorrow, give it to Rosa."

And Joe the Joker laughs very hearty again and starts telling me about a little scatter that he has up in Harlem where he keeps a chair fixed up with electric wires so he can give anybody that sits down in it a nice jolt, which sounds very humorous to me.

Finally Joe says he has to get back to Harlem, but first he goes to the telephone in the corner cigar store and calls up Mindy's and imitates a doll's voice, and tells Mindy he is Peggy Joyce, or so mebody, and orders fifty dozen sandwiches sent up at once to an apartment in West Seventy-Second Street for a birthday party, although of course there is no such number as he gives, and nobody there will wish fifty dozen sandwiches if there is such a number.

Then Joe gets in his car and starts off, and while he is waiting for the traffic lights at Fiftieth Street, I see citizens on the sideways making sudden leaps and looking around very fierce, and I know Joe the Joker is plugging them with pellets made out of tin foil, which he fires from a rubber band hooked between his thumb and forefinger.

Joe the Joker is very expert with this proposition, and it is very funny to see the citizens jump, although once or twice in his life Joe makes a miscue and knocks out somebody's eye. But it is all in fun, and shows you what a wonderful sense of humour Joe has.

Well, a few days later I see by the papers where a couple of Harlem guys Joe the Joker is mobbed up with1 are found done up in sacks over in Brooklyn, very dead indeed, and the coppers say it is because they are trying to move in on certain business enterprises that belong to nobody but Frankie Ferocious. But of course the coppers do not say Frankie Ferocious puts these guys in the sacks, because in the first place Frankie will report them to Headquarters if the coppers say such a thing about him and in the second place putting guys in sacks is strictly a St Louis idea and to have a guy put in a sack properly you have to send to St Louis for experts in this matter.

Now, putting a guy in a sack is not as easy as it sounds, and in fact it takes quite a lot of practice and experience. To put a guy in to mob up with — тусоваться Headquarters - главное полицейское управление a sack properly, you first have to put him to sleep, because naturally no guy is going to walk into a sack wide awake unless he is a plumb sucker1. Some people claim the best way to put a guy to sleep is to give him a sleeping powder of some kind in a drink, but the real experts just tap the guy on the noggin with a blackjack, which saves the expense of buying the drink.

Anyway, after the guy is asleep, you double him up like a pocket knife, and tie a cord or a wire around his neck and under his knees. Then you put him in a gunny sack, and leave him some place, and by and by when the guy wakes up and finds himself in the sack, naturally he wants to get out and the first thing he does is to try to straighten out his knees. This pulls the cord around his neck up so tight that after a while the guy is out of breath.

So then when somebody comes along and opens the sack they find the guy dead, and nobody is responsible for this unfortunate situation, because after all the guy really commits suicide, because if he does not try to straighten out his knees he may live to a ripe old age, if he recovers from the tap on the noggin.

Well, a couple of days later I see by the papers where three Brooklyn citizens are scragged as they are walking peaceably along Clinton Street, the scragging being done by some parties in an automobile who seem to have a machine gun and the papers state that the citizens are friends of Frankie Ferocious, and that it is rumoured the parties with the machine gun are from Harlem.

I judge by this that there is some trouble in Brooklyn, especially as about a week after the citizens are scragged in Clinton Street, another Harlem guy is found done up in sack like a Virginia ham near Prospect Park, and now who is it but Joe the Joker's brother, Freddy, and I know Joe is going to be greatly displeased by this.

By and by it gets so nobody in Brooklyn will open as much as a sack of potatoes without first calling in the gendarmes for fear a pair of No. 8 shoes will jump out at them.

Now one night I see Joe the Joker, and this time he is all alone, and I wish to say I am willing to leave him all alone, because something tells me he is hotter than a stove. But he grabs me as I am going past, so naturally I stop to talk to him, and the first thing I say is how sorry I am about his brother.

a plumb sucker - болван, простофиля "Well," Joe the Joker says, "Freddy is always a kind of a sap.

Rosa calls him up and asks him to come over to Brooklyn to see her. She wishes to talk to Freddy about getting me to give her a divorce," Joe says, "so she can marry Frankie Ferocious, I suppose.

Anyway," he says. "Freddy always likes Rosa, and thinks maybe he can patch it up between us. So," Joe says, "he winds up in a sack.

They get him after he leaves her apartment. I do not claim Rosa will ask him to come over if she has any idea he will be sacked," Joe says, "but," he says, "she is responsible. She is a bad-luck doll."

Then he starts to laugh and at first I am much horrified thinking it is because something about Freddy being sacked strikes his sense of humour, when he says to me like this.

"Say," he says, "I am going to play a wonderful joke on Frankie Ferocious."

"Well, Joe," I say, "you are not asking me for advice, but I am going to give you some free gratis, and for nothing. Do not play any jokes on Frankie Ferocious, as I hear he has no more sense of humour than a nanny goat. In fact," I say, "I hear he is a tough audience."

"Oh," Joe the Joker says, "he must have some sense of humour somewhere to stand for2 Rosa. I hear he is daffy about her. In fact, I understand she is the only person in the world he really likes and trusts. But I must play a joke on him. I am going to have myself delivered to Frankie Ferocious in a sack."

Well, of course I have to laugh at this myself, and Joe the Joker laughs with me. Personally, I am laughing just at the idea of anybody having themselves delivered to Frankie Ferocious in a sack, and especially Joe the Joker, but of course I have no idea Joe really means what he says.

"Listen," Joe says, finally. 'A guy from St Louis who is a friend of mine is doing most of the sacking for Frankie Ferocious. His name is Ropes McGonnigie. In fact," Joe says, "he is a very dear old pal3 of mine, and he has a wonderful sense of humour like me.

Ropes McGonnigie has nothing whatever to do with sacking Freddy," Joe says, "and he is very indignant about it since he-finds tough - зд. неблагодарный to stand for — терпеть J pal — друг out Freddy is my brother, so he is anxious to help me play a joke on Frankie."

"Only last night," Joe says, "Frankie Ferocious sends for Ropes and tells him he will appreciate it as a special favour if Ropes will bring me to him in a sack. I suppose," Joe says, "that Frankie Ferocious hears from Rosa what Freddy is bound to tell her about my ideas on divorce. I have very strict ideas on divorce," Joe says, "especially where Rosa is concerned. I will see her in what's-this before I ever do her and Frankie Ferocious such a favour as giving her a divorce."

'Anyway," Joe the Joker says, "Ropes tells me about Frankie Ferocious propositioning him, so I send Ropes back to Frankie Ferocious to tell him he knows I am to be in Brooklyn tomorrow night, and furthermore, Ropes tells Frankie that he will have me in a sack in no time. And so he will," Joe says.

"Well," I say, "personally, I see no percentage in being delivered to Frankie Ferocious in a sack, because as near as I can make out from what I read in the papers, there is no future for a guy in a sack that goes to Frankie Ferocious. What I cannot figure out," I say, "is where the joke on Frankie comes in."

"Why," Joe the Joker says, "the joke is, I will not be asleep in the sack, and my hands will not be tied, and in each of my hands I will have a John Roscoe, so when the sack is delivered to Frankie Ferocious and I pop out blasting away, can you not imagine his astonishment?" Well, I can imagine this, all right. In fact, when I get to thinking of the look of surprise that is bound to come to Frankie Ferocious's face when Joe the Joker comes out of the sack I have to laugh, and Joe the Joker laughs right along with me.

"Of course," Joe says, "Ropes McGonnigle will be there to start blasting with me, in case Frankie Ferocious happens to have any company."

Then Joe the Joker goes on up the street, leaving me still laughing from thinking of how amazed Frankie Ferocious will be when Joe bounces out of the sack and starts throwing slugs around and about. I do not hear of Joe from that time to this, but I hear the rest of the story from very reliable parties.

It seems that Ropes McGonnigle docs not deliver the sack himself, after all, but sends it by an expressman to Frankie Fero cious's home. Frankie Ferocious receives many sacks such as this in his time, because it seems that it is a sort of passion with him to personally view the contents of the sacks and check up on them before they are distributed about the city, and of course Ropes McGonnigle knows about this passion from doing so much sacking for Frankie.

When the expressman takes the sack into Frankie's house, Frankie personally lugs it down into his basement, and there he outs with a big John Roscoe and fires six shots into the sack because it seems Ropes McGonnigle tips him off1 to Joe the Joker's plan to pop out of the sack and start blasting.

I hear Frankie Ferocious has a very strange expression on his pan and is laughing the only laugh anybody ever hears from him when the gendarmes break in and put the arm on him for murder, because it seems that when Ropes McGonnigle tells Frankie of Joe the Joker's plan, Frankie tells Ropes what he is going to do with his own hands before opening the sack. Naturally, Ropes speaks to Joe the Joker of Frankie's idea about filling the sack full of slugs, and Joe's sense of humour comes right out again.

So, bound and gagged, but otherwise as right as rain2 in the sack that is delivered to Frankie Ferocious, is by no means Joe the Joker, but Rosa.

to tip off — выдать as right as rain - целая и невредимая ЛИТЕРАТУРА 1. Арнольд И. В. Семантика современного агнлийского языка. Л., 1981.

2. Чуковский К. Высокое искусство. М., 1968.

3. Флорин С. Муки творческие. М„ 1983.

4. Гинзбург Л. Разбилось лишь сердце мое. "Новый мир", 1981, № 8.

5. Лилова А. Введение в общую теорию перевода М., 1985.

6. Поповиг А. Проблемы художественного перевода. М., 1980.

7. Комиссаров В. Н. Слово о переводе. М., 1973.

8. Комиссаров В. Н. Общая теория перевода. М., 1999.

9. Комиссаров В. Н. Современное переводоведение. М., 2000.

10. История русской переводной художественной литературы. СПб, 1995.

11. Финкель А. 66-ой сонет в русских переводах // Мастерство перевода.

М., 1968.

12. Брандес М. П. Стиль и перевод. М., 1988.

13. Латышев Л. К. Перевод: проблемы теории, практики и методики пре подавания. М., 1988.

14. Рецкер Я. И. Теория перевода и переводческая практика. М., 1974.

15. Бархударов Л. С. Язык и перевод. М., 1975.

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