The British Character

Britain differs from continental Europe in its cultural, political and social heritage, these differences shaped due to some geographical and historical factors: 1) the British Isles are separated from the rest of Europe by a wide stretch of water, which made the access to the country difficult. Britain could not be invaded as easily as any other Eu­ropean country, so the British developed a sense of security, which can easily slide into superiority; 2) Britain is a country with no geographical extremes. So British love of compromise is a result of the country's geography and climate; 3) the last successful invasion in Britain was in the 11^th century. For nearly one thousand years Britain has not been invaded by foreigners. This gave the British a sense of serf-confidence, which developed through this time; 4) England became one of the richest European countries in the High Middle Ages: this process was a result of the wool-trade, cloth-making, merchant adventure, and exploration. In 1497, Andrea Trevisano, Venetian ambas­sador to the court of Henry VII wrote, "The riches of England are greater than those of any country of Europe... there is no small innkeeper, how­ever poor and humble he may be, who does not serve his table with silver dishes and drinking cups... From time immemorial the English wear fine clothes". Many travellers also noticed British egocentrism, self-confidence, pride and contempt for foreigners. 5) the Reformation of the Church and separation from Rome gave rise to many other protestant movements that spread all over the globe. People believed in the main doctrine of Protestant­ism — predestination. The life of every person was considered to be predestined by God, so people had to work hard to become what they were created to be. The Bible was considered to be the only source of understanding God. 6) the Industrial Revolution of the 18^th—19-th centuries: invention of new machines and building, a big number of mills and factories made the country "the world workshop" and developed the British feeling of independence and uniqueness. 7) the process of colonisation: the British felt the necessity to bring their culture to the rest of the world as a model of development for the colo­nies; 7) the formation of the biggest empire in the world added to the feeling of superiority and independence, which was expressed in the policy of "brilliant isolation", which Britain followed up to WWI.

Додаток № 26

Though they had to cook on the fire, the lunch was very tasty, and everybody liked it.

Kate joined Michael and Alan Post for coffee, and Alan started speaking about his work. He had come to London to attend a conference - or, to be exact, a committee of that conference. They needed translators. It was easy to find people who knew French, German or Spanish well - but it was а problem to find a person who spoke good Portuguese as well as English and who was educated enough for this important job. Alan Post and Michael were both looking at Kate waiting to her to say that she would be happy to do it. Kate had always been good at languages. Her knowledge of French and Italian was good; her Portuguese was perfect, as her father was a Portuguese.

After finishing school, she did not go to the University — she married Michael instead. If she had not married, she would probably have become something special in her field. A lecturer perhaps? Women do not often become professors. But Kate did not think about it often: she liked her family, her children... Michael and Alan Post were drinking coffee, waiting for her answer. Kate felt something like a panic.

"But I don't see how I can," she said. "Tim is going to be here all summer."

She could see that her husband was dissatisfied: he thought that his youngest son was over-protected.

"But the committee won't be going on very long — how long did you say?" Michael asked Alan.

Додаток № 27

I always thought of her as of some beautiful butterfly — very rare and very refined.

The year she was still at school I didn't know who she was, only that her father was Doctor Grey and some talk about her mother, who drank. I heard her mother speak once in a shop, she had a strange voice and you could see she was the type to drink, too much make-up, etc,

Well, there was the information in the local newspaper about the scholarship she had won and how clever she was, and her name as beautiful as herself, Miranda. So I knew she was in London studying art. After this article I had a feeling that we knew each other, — not in the ordinary way, of course.

I can't say what it was, the very first time I saw her, I knew she was the only one. Of course I am not mad, I knew it was just a dream and it always would have been if it hadn't been for the money¹. I used to dream about her, I used to think of stories where I met her, did things she admired, married her, and all that. Nothing nasty, that was never until what I'll explain later.

She drew pictures and I looked after my collection (in my dreams). It was always she loving me and my collection, drawing and colouring them; working together in a beautiful modern house in a big room with one of those huge glass windows; she all pretty with her pale blonde hair and grey eyes and of course the other men all green with jealousy.

The only times I didn't have nice dreams about her were when I saw her with a certain young man, a noisy public-school type who had a sports car. I saw her climb in his car sometimes, or them out together in the town in it, and those days I was very angry and rude with the others in the office. Those were days I let myself have the bad dreams. She usually cried or knelt.² Once I let myself dream I hit her across the face³ as I saw it done once by an actor in a telly play. Perhaps that was when it all started...

¹ if it hadn't been for the money - якби не гроші (йдеться про грошовий виграш в 73 000 фунтів стерлінгів)

² She usually cried or knelt. — Вона звичайно плакала або стояла на колінах.

³ І hit her across the face — як я ударив її в обличчя

Додаток № 28

(In the centre of the novel The Collector is Frederick Clegg, a lonely young man who collects butterflies: catches them, breeds them, pins them in display cases. He admires their beauty in private. It is his only interest, until he wins £ 73,000. Then he captures a more exciting specimen to add to his collection — a beautiful young woman. The novel is a duel between primitive, nasty and aggressive Frederick and emotionally rich, clever and beautiful Miranda.)

… She stood up and walked round the armchair looking at me all the time. She was very beautiful, and she looked brave. Suddenly I said: "I love you. It's driven me mad”

She said, "I see," and she didn't look at me any more then.

I know it's old-fashioned to say you love a woman, 1 never meant to do it then. But when she stood opposite me there, my head went round, so I said it.

"Do you think you'll make me love you by keeping me prisoner?" she asked.

"I want you to know me better."

"As long as I'm here you'll be a kidnapper to me. Do you know that?"

I got up. I didn't want to stay with her any more.

"Wait," she said, coming towards me, "I'll make a promise. I understand you. Really. Let me go. I'll tell no one, and nothing will happen."

It was the first time she gave me a kind look. A little smile touched her lips: "You can do this. We could be friends. I could help you. It's not too late."

I couldn't say what I felt, I just had to leave her, she was really hurting me. So I closed the door and left her. I didn't even say good night. I understood that Miranda didn't like me and soon I began to feel that I hated her. I did not let her out of my house. I kept her locked in the room like a butterfly on a pin. She refused to eat but it did not help her as I was not going to let her out. After some time she died. In her room I found the diary she'd been keeping which shows that she never loved me. She only thought of herself and the other man all the time.

It was difficult to get rid of the body¹ but I made a box and buried Miranda under the apple-tree.

¹ to get rid of the body — позбутися трупа

Додаток № 29

"Didn't you telephone to me, not five minutes ago, and tell me that Mr. Ackroyd had been found murdered?"

"Me, sir? Oh! No indeed, sir. I wouldn't dream of doing such a thing."

"Do you mean tо say it's all a trick?" That there is nothing the matter with Mr. Ackroyd?"

"Excuse me, sir, did the person telephoning use my name?"

"I'll give you the exact words I heard: 'Is that Dr. Sheppard? Parker, the butler at Fernly¹, speaking. Will you please come at once, sir? Mr. Ackroyd has been murdered.'"

Parker and I stared at each other.

"A very wicked joke to play, sir," he said at last, in a shocked tone.

"Where is Mr. Ackroyd?" I asked suddenly.

"Still in the study, I think, sir. The ladies have gone to bed, and Major Blunt and Mr. Raymond are in the billiard room."

"I think I'll just look in and see him for a minute," I said. "I know he didn't want to be disturbed again, but this odd joke has made me uneasy². I'd just like to satisfy myself that he's all right."

"Quite so, sir. It makes me feel uneasy myself. If you don't object to my accompanying you as far as the door, sir, ...?"

"Not at all," I said. "Come along."

I passed through the door on the right, Parker on my heels³, and tapped on the study door. There was no answer. I turned the handle, but the door was locked.

"Allow me, sir," said Parker.

He dropped on one knee and applied his eye to the keyhole.

"Key is in the lock all right, sir," he said, rising. "On the inside. Mr. Ackroyd must have locked himself in and possibly just fell asleep."

I bent down and verified Parker's statement.

"It seems all right," I said, "but all the same, Parker, I'm going to wake your master up. I shouldn't be satisfied."

Fernly — Фeрнлі (назва маєтку Роджера Екройда); has made me uneasy — занепокоїв мене;

Parker on my heels — Паркер ішов слідом за млою по п'ятах

Додаток № 30

Не hesitated a little before he spoke again, as if he had to make аn effort over himself to continue.

"When I was just a kid, I was fourteen, I was standing one night in the wings¹ watching you act. It must have been a very good scene, you said the things so sincerely, and what you were saying was so moving, I couldn't help crying, I felt a little hero; I felt I'd never do anything bad again. And then you had to come to the back of the stage, near where I was standing, the tears were streaming down your face; you stood with your back to the audience and in your ordinary voice you said to the stage manager: "What the bloody hell is that electrician doing with the lights? I told him to leave out the blue.² And then you turned round and faced the audience with a great cry of anguish³ and went on with the scene."

"But, darling, that was acting. If an actress felt the emotions she represented she'd tear herself to pieces. I remember the scene well — I've never heard such applause in my life."

"I suppose I was a fool. I believed you meant what you said. When I saw it was all pretence it ruined something in me. I've never believed in you since. I'd been made a fool of once; I made up my mind that I wouldn't ever be made a fool or again."

Julia gave him her delightful and disarming smile. "Darling, I think you're talking nonsense."

"Of course you do. You don't know the difference between truth and make-believe. You never stop acting. It's second nature to you. You act when there's a party here. You act to the servants, you act to father, you act to me. To me you act the role of the loving mother. You don't exist, you're only the innumerable parts you've played. I've often wondered if there was ever a real you or there were only all these other people that you've pretended to be. When I've seen you go into an empty room I've sometimes wanted to open the door suddenly, but I've been afraid that I'd find nobody there."

¹ in the wings — за кулісами (в театрі); ² What the bloody hell is that electrician doing with the lights? I told him to leave out the blue. — Що цей чортів електрик робить з освітленням? Я ж казала йому не давати синього кольору.

³ a great cry of anguish — вигук, сповнений болю

Додаток № 31