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to dig or remove the earth; needles, pins, and thread; as for linen, I soon learned to
want that without much difficulty.
This want of tools made every work I did go on heavily; and it was near a
whole year before I had entirely finished my little pale, or surrounded my habitation.
The piles, or stakes, which were as heavy as I could well lift, were a long time in cutting and preparing in the woods, and more, by far, in bringing home; so that I spent
sometimes two days in cutting and bringing home one of those posts, and a third day
in driving it into the ground; for which purpose I got a heavy piece of wood at first,
but at last bethought myself of one of the iron crows; which, however, though I found
it, made driving those posts or piles very laborious and tedious work. But what need I
have been concerned at the tediousness of anything I had to do, seeing I had time
enough to do it in? Nor had I any other employment, if that had been over, at least
that I could foresee, except the ranging the island to seek for food, which I did, more
or less, every day.
I now began to consider seriously my condition, and the circumstances I was
reduced to; and I drew up the state of my affairs in writing, not so much to leave them
to any that were to come after me — for I was likely to have but few heirs — as to
deliver my thoughts from daily poring over them, and afflicting my mind; and as my
reason began now to master my despondency, I began to comfort myself as well as I
could, and to set the good against the evil, that I might have something to distinguish
my case from worse; and I stated very impartially, like debtor and creditor, the comforts I enjoyed against the miseries I suffered, thus:
Evil: I am cast upon a horrible, desolate island, void of all hope of recovery.
Good: But I am alive; and not drowned, as all my ship’s company were.
Evil: I am singled out and separated, as it were, from all the world, to be miserable.
Good: But I am singled out, too, from all the ship's crew, to be spared from
death; and He that miraculously saved me from death can deliver me from this condition.
Evil: I am divided from mankind — a solitaire; one banished from human society.
Good: But I am not starved, and perishing on a barren place, affording no sustenance.
Evil: I have no clothes to cover me.
Good: But I am in a hot climate, where, if I had clothes, I could hardly wear
them.
Evil: I am without any defence, or means to resist any violence of man or
beast.
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Good: But I am cast on an island where I see no wild beasts to hurt me, as I
saw on the coast of Africa; and what if I had been shipwrecked there?
Evil: I have no soul to speak to or relieve me.
Good: But God wonderfully sent the ship in near enough to the shore, that I
have got out as many necessary things as will either supply my wants or enable me to
supply myself, even as long as I live.
Upon the whole, here was an undoubted testimony that there was scarce any
condition in the world so miserable but there was something negative or something
positive to be thankful for in it; and let this stand as a direction from the experience of
the most miserable of all conditions in this world: that we may always find in it
something to comfort ourselves from, and to set, in the description of good and evil,
on the credit side of the account.
Having now brought my mind a little to relish my condition, and given over
looking out to sea, to see if I could spy a ship — I say, giving over these things, I begun to apply myself to arrange my way of living, and to make things as easy to me as
I could.
Задания и вопросы для обсуждения
Почему Робинзон принял решение вести письменный учет своего опыта?
Какая сила теперь является более доминирующей в Робинзоне: его разум
или его чувство безнадежности?
Когда Робинзон завершает составление своего списка «за» и «против»,
он делает общий вывод о своей жизни. Объясните его своими словами.
Найдите в тексте доказательства того, что Робинзон:
– является грамотным человеком;
– обладает глубокими религиозными убеждениями;
– верит в силу разума;
– знаком с миром торговли и коммерции;
– имеет практический подход к решению проблем.
К какой из следующих социальных категорий, по вашему мнению, с
наибольшей вероятностью принадлежит Робинзон? Приведите причины для
вашего выбора.
– неквалифицированный рабочий низшего класса;
– торговец / представитель профессии среднего класса;
– аристократ.
103
В своей колонке «Зло» Робинзон упоминает как психологические, так и
материальные потребности. Просмотрите эту колонку еще раз и определите,
какие из них являются психологическими, а какие — материальными.
Проделайте то же самое для колонки «Добро» в списке Робинзона. Отвечает ли Робинзон на какую-либо «психологическую потребность» «психологическим решением»?
Какие прилагательные наиболее точно описывают язык, который Робинзон использует для самовыражения?
– сбалансированный;
– запутанный;
– рациональный;
– поэтический;
– эмоциональный;
– точный;
– журналистский.
Что язык Робинзона раскрывает о его личности?
Когда Даниэль Дефо впервые написал «Робинзона Крузо», он представил
его публике как подлинную историю, а не как художественное произведение.
Выбранная им повествовательная техника помогла ему ввести читателей в заблуждение. Автор использовал повествование от первого лица, которое обычно
ассоциируется с нехудожественными литературными формами, такими как
биография, мемуары или дневники. При использовании в художественных произведениях это придает повествованию аутентичность, создавая иллюзию, что
рассказчик описывает события, свидетелем которых он лично являлся.
КРАСНАЯ-КРАСНАЯ РОЗА (Роберт Бернс)
A RED, RED ROSE (by Robert Burns)
O my Luve’s like a red, red rose,
That’s newly sprung in June:
O my Luve’s like the melodie,
That’s sweetly play’d in tune.
As fair art thou, my bonie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a’ the seas gang dry.
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Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun;
And I will luve thee still, my dear,
While the sands o’ life shall run.
And fare-thee-weel, my only Luve!
And fare-thee-weel, a while!
And I will come again, my Luve,
Tho’ ‘twere ten thousand mile!
Задания и вопросы для обсуждения
К кому обращается поэт в стихотворении? Что он собирается сделать?
Что он сообщает своей возлюбленной?
Во второй и третьей строфах поэт утверждает, что его любовь вечна.
Подчеркните яркие визуальные образы, которые он использует для подчеркивания силы своих чувств.
Стихотворение содержит множество черт средневековой баллады:
– повествует историю, начинающуюся in medias res (с середины действия);
– оставляет мотивы, стоящие за действиями персонажа, нераскрытыми;
– содержит мало описательных деталей;
– состоит из простых строф в две или четыре строки;
– имеет рифмовку на второй и четвертой строках;
– широко использует повторение;
– включает рефрен (припев).
Найдите примеры этих особенностей в тексте стихотворения, например:
оно рассказывает историю человека, который должен оставить свою возлюбленную; причина его отъезда не указана; отсутствует информация о мужчине и
девушке и т.д.
Найдите примеры аллитерации.
Найдите два примера гиперболы.
Какие прилагательные наиболее точно определяют язык стихотворения?
105
НАРЦИССЫ (Уильям Вордсворт)
DAFFODILS (by William Wordsworth)
I wandered lonely as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Outdid the sparkling leaves in glee;
A poet could not be but gay,
In such a jocund company!
I gazed — and gazed — but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
Задания и вопросы для обсуждения
Где находится поэт в первой строфе? Что он делает? С чем он внезапно
сталкивается? Найдите в стихотворении отсылки к цвету, местоположению, количеству и движению нарциссов.
Описание нарциссов контрастирует с меланхоличным настроением поэта.
Найдите в строках 3-6 слов, которые противопоставлены «одинокий» (lonely) и
«бродил и парил» (wondering and floating).
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Найдите примеры олицетворения во второй и третьей строфах. С чем
сравнивается движение нарциссов?
Как поэт описывает свою реакцию на увиденную картину?
Найдите в третьей строфе три синонима к словам «счастливый» и «счастье».
Изменились ли место действия и настроение в четвертой строфе? Какое
время глаголов используется для обозначения этих изменений?
Какие слова в заключительной строфе предполагают настроение, которое
является более статичным / меланхоличным / созерцательным?
Какие слова в заключительных строках стихотворения воссоздают эмоции и движение первых трех строф?
В стихотворении Уильям Вордсворт заново переживает ощущения изумления и радости, которые он испытал при виде нарциссов. Вспомните природный ландшафт, который вам особенно понравился, и напишите краткое описание эмоций, которые он в вас пробуждает.
АЙВЕНГО (Вальтер Скотт) (отрывок)
IVANHOE (by Sir Walter Scott) (extract)
CHAPTER 12
As yet the knights held their long lances upright, their bright points glancing to
the sun, and the streamers with which they were decorated fluttering over the plumage of the helmets. Thus they remained while the marshals of the field surveyed their
ranks with the utmost exactness, lest either party had more or fewer than the appointed number. The tale was found exactly complete. The marshals then withdrew from
the lists, and William de Wyvil, with a voice of thunder, pronounced the signal
words — “Laissez aller!” The trumpets sounded as he spoke — the spears of the
champions were at once lowered and placed in the rests — the spurs were dashed into
the flanks of the horses, and the two foremost ranks of either party rushed upon each
other in full gallop, and met in the middle of the lists with a shock, the sound of
which was heard at a mile's distance. The rear rank of each party advanced at a slower pace to sustain the defeated, and follow up the success of the victors of their party.
The consequences of the encounter were not instantly seen, for the dust raised
by the trampling of so many steeds darkened the air, and it was a minute ere the anxious spectator could see the fate of the encounter. When the fight became visible, half
107
the knights on each side were dismounted, some by the dexterity of their adversary's
lance, — some by the superior weight and strength of opponents, which had borne
down both horse and man, — some lay stretched on earth as if never more to rise, —
some had already gained their feet, and were closing hand to hand with those of their
antagonists who were in the same predicament, — and several on both sides, who had
received wounds by which they were disabled, were stopping their blood by their
scarfs, and endeavouring to extricate themselves from the tumult. The mounted
knights, whose lances had been almost all broken by the fury of the encounter, were
now closely engaged with their swords, shouting their war-cries, and exchanging buffets, as if honour and life depended on the issue of the combat.
The tumult was presently increased by the advance of the second rank on either
side, which, acting as a reserve, now rushed on to aid their companions. The followers of Brian de Bois-Guilbert shouted — “Ha! Beau-seant! Beau-seant!”
“For the Temple — For the Temple!” The opposite party shouted in answer —
“Desdichado! Desdichado!” — which watch-word they took from the motto upon
their leader's shield.
The champions thus encountering each other with the utmost fury, and with alternate success, the tide of battle seemed to flow now toward the southern, now toward the northern extremity of the lists, as the one or the other party prevailed. Meantime the clang of the blows, and the shouts of the combatants, mixed fearfully with
the sound of the trumpets, and drowned the groans of those who fell, and lay rolling
defenceless beneath the feet of the horses. The splendid armour of the combatants
was now defaced with dust and blood, and gave way at every stroke of the sword and
battle-axe. The gay plumage, shorn from the crests, drifted upon the breeze like
snow-flakes. All that was beautiful and graceful in the martial array had disappeared,
and what was now visible was only calculated to awake terror or compassion.
Yet such is the force of habit, that not only the vulgar spectators, who are naturally attracted by sights of horror, but even the ladies of distinction who crowded the
galleries, saw the conflict with a thrilling interest certainly, but without a wish to
withdraw their eyes from a sight so terrible. Here and there, indeed, a fair cheek
might turn pale, or a faint scream might be heard, as a lover, a brother, or a husband,
was struck from his horse. But, in general, the ladies around encouraged the combatants, not only by clapping their hands and waving their veils and kerchiefs, but even
by exclaiming, “Brave lance! Good sword!” when any successful thrust or blow took
place under their observation.
Such being the interest taken by the fair sex in this bloody game, that of the
men is the more easily understood. It showed itself in loud acclamations upon every
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change of fortune, while all eyes were so riveted on the lists, that the spectators
seemed as if they themselves had dealt and received the blows which were there so
freely bestowed. And between every pause was heard the voice of the heralds, exclaiming, “Fight on, brave knights! Man dies, but glory lives! — Fight on — death is
better than defeat! — Fight on, brave knights! — for bright eyes behold your deeds!”
Задания и вопросы для обсуждения
Обращены ли следующие описательные детали к чувству зрения или чувству слуха читателя?
ход битвы, казалось, перемещался то к южному, то к северному краю
ристалища;
лязг ударов;
крики сражающихся;
стоны падавших;
великолепные доспехи бойцов были теперь изувечены пылью и
кровью;
пестрые перья, срезанные с гребней шлемов, носились по ветру подоб-
но снежинкам.
Описательные отрывки воссоздают как визуальные, так и эмоциональные
элементы сцены, ситуации или персонажа. В описательных отрывках писатели
часто передают физические ощущения через выбор слов, которые передают
звуки, запахи, вкусы, зрительные или тактильные впечатления. К каким чувствам апеллирует Вальтер Скотт в представленном выше отрывке?
Какие звуки могли слышать зрители? Что произошло с цветными перьями, которые бойцы носили на своих шлемах?
Что из следующего Скотт пытается передать читателю в своем описании
сцены турнира?
ужас;
движение;
смятение;
ум;
технику боя;
изящество.
Какие реакции вызвало сражение у зрителей?
Как дамы и мужчины в толпе реагировали на зрелище? Как они проявляли свое восхищение зрелищем?
109
Автор использует метафоры и сравнения, чтобы сделать описание более
ярким. Найдите метафору для битвы и сравнение для срезанных перьев в приведенном выше тексте. Какие образы они создают?
Приведенный отрывок типичен для элегантного стиля Вальтера Скотта,
основанного на симметричных синтаксических структурах: utmost fury / alter-
nate success; now towards the southern / now towards the northern; the one / the other party. Найдите другие примеры симметричных паттернов в синтаксисе дан-
ного отрывка.
ГРОЗОВОЙ ПЕРЕВАЛ (Эмили Бронте) (отрывок)
WUTHERING HEIGHTS (by Emily Brontе) (extract)
“I’ll tell you what I did yesterday! I got the sexton, who was digging Linton’s
grave, to remove the earth off her coffin lid, and I opened it. I thought, once, I would
have stayed there: when I saw her face again — it is hers yet! — he had hard work to
stir me; but he said it would change if the air blew on it, and so I struck one side of
the coffin loose, and covered it up: not Linton’s side, damn him! I wish he’d been
soldered in lead. And I bribed the sexton to pull it away when I’m laid there, and
slide mine out too; I’ll have it made so: and then by the time Linton gets to us he’ll
not know which is which!”
“You were very wicked, Mr. Heathcliff!” I exclaimed; “were you not ashamed
to disturb the dead?”
“I disturbed nobody, Nelly,” he replied; “and I gave some ease to myself. I
shall be a great deal more comfortable now; and you’ll have a better chance of keep-
ing me underground, when I get there. Disturbed her? No! she has disturbed me,
night and day, through eighteen years — incessantly — remorselessly — till
yesternight; and yesternight I was tranquil. I dreamt I was sleeping the last sleep by
that sleeper, with my heart stopped and my cheek frozen against hers.”
“And if she had been dissolved into earth, or worse, what would you have
dreamt of then?” I said.
“Of dissolving with her, and being more happy still!” he answered. “Do you
suppose I dread any change of that sort? I expected such a transformation on raising
the lid — but I’m better pleased that it should not commence till I share it. Besides,
unless I had received a distinct impression of her passionless features that strange
feeling would hardly have been removed. It began oddly. You know I was wild after
110
she died; and eternally, from dawn to dawn, praying her to return to me her spirit! I
have a strong faith in ghosts: I have a conviction that they can, and do, exist among
us! The day she was buried, there came a fall of snow. In the evening I went to the
churchyard. It blew bleak as winter — all round was solitary. I didn’t fear that her
fool of a husband would wander up the glen so late; and no one else had business to
bring them there. Being alone, and conscious two yards of loose earth was the sole
barrier between us, I said to myself “I’ll have her in my arms again! If she be cold,
I’ll think it is this north wind that chills me; and if she be motionless, it is sleep.” I
got a spade from the tool-house, and began to delve with all my might — it scraped
the coffin; I fell to work with my hands; the wood commenced cracking about the
screws; I was on the point of attaining my object, when it seemed that I heard a sigh
from someone above, close at the edge of the grave, and bending down. “If I can only
get this off,” I muttered, “I wish they may shovel in the earth over us both!” and I
wrenched at it more desperately still. There was another sigh, close at my ear. I appeared to feel the warm breath of it displacing the sleet-laden wind. I knew no living
thing in flesh and blood was by; but, as certainly as you perceive the approach to
some substantial body in the dark, though it cannot be discerned, so certainly I felt
that Cathy was there: not under me, but on the earth. A sudden sense of relief flowed
from my heart through every limb. I relinquished my labour of agony, and turned
consoled at once: unspeakably consoled. Her presence was with me: it remained
while I re-filled the grave, and led me home. You may laugh, if you will; but I was
sure I should see her there. I was sure she was with me, and I could not help talking
to her. Having reached the Heights, I rushed eagerly to the door. It was fastened; and,
I remember, that accursed Earnshaw and my wife opposed my entrance. I remember
stopping to kick the breath out of him, and then hurrying upstairs, to my room and
hers. I looked round impatiently — I felt her by me — I could almost see her, and yet
I could not! I ought to have sweat blood then, from the anguish of my yearning —
from the fervour of my supplications to have but one glimpse! I had not one. She
showed herself, as she often was in life, a devil to me! And, since then, sometimes
more and sometimes less, I’ve been the sport of that intolerable torture! Infernal!
Keeping my nerves at such a stretch that, if they had not resembled catgut, they
would long ago have relaxed to the feebleness of Linton’s. When I sat in the house
with Hareton, it seemed that on going out I should meet her; when I walked on the
moors I should meet her coming in. When I went from home I hastened to return; she
must be somewhere at the Heights, I was certain! And when I slept in her chamber —
I was beaten out of that. I couldn’t lie there; for the moment I closed my eyes, she
was either outside the window, or sliding back the panels, or entering the room, or
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