- •Immensely solid. On it stood in a massive silver frame a photograph of herself
- •In which he kept his private paper in case he wanted to write a letter in his
- •In point of fact there was grilled sole, grilled cutlets and spinach, and stewed
- •Italian chairs, and the young man in the middle on a chair that was not at all
- •Very different play we produced from the one the author submitted to us."
- •Very well play young lovers, and authors don't seem to write the parts they
- •In the same cupboard.
- •Very beginning pasted in a series of large books.
- •In the papers.
- •It was a pity she had never had a chance of playing Rosalind, she would have
- •Verse. Her voice, her rather low rich voice, with that effective hoarseness,
- •Very different matter when he rehearsed his cast; then he would suffer
- •It happened that when Michael kept the appointment he had asked for,
- •In love with her. Feel as if your bones were melting inside you and if an
- •It was two years later that Jimmie Langton discovered her. She was on tour in
- •In my life."
- •Information.
- •It was a well-known fact that it was one of the best houses of its period, one
- •Insisted on this.
- •It gave Julia a good deal of satisfaction to discover that Michael's father was a
- •In Benson's company, and golf when he got the chance, and that sort of thing
- •I wrote poetry."
- •Views on marriage.
- •Inspiration.
- •It was getting on for Easter, and Jimmie Langton always closed his theatre
- •Ingenuous girl who had lived a quiet country life.
- •In a moment the Colonel and Mrs. Gosselyn came in. They bore a look of
- •Indeed, that she was quite willing to become his mistress, but this he refused.
- •It was quite clear that he had accepted with alacrity. The thought of refusing
- •I'd go and live at home so as not to spend any money."
- •Very clever little trick.
- •Indifferent acting was little noticed, and in this he finished the season. There
- •Into the carriage he took her hand and patted it.
- •In the empty carriage and looked at herself in the glass.
- •It took Julia a second or two to understand what he meant.
- •It infuriated her that when she worked herself up into a passion of tears he
- •Italian organ-grinder."
- •Illustrated papers.
- •It was just before the end of the war that she fell out of love with him.
- •Very small, but taken altogether they amounted, in her shrewd, calculating
- •It were rather a joke, or a declaration as though he were laughing at himself,
- •In a manner that the audience found engaging. He never attempted to play
- •Inherited nearly four thousand pounds, and this with his own savings and
- •It was a warm beautiful night. Michael had bought options, though it wrung
- •It was disconcerting the way Julia knew what he was thinking. You couldn't
- •Vernon. And we can get him. I'll play George."
- •Ingenuity in disguising old sets so that they looked new, and by ringing the
- •Very profitable discoveries.
- •Interested in management.
- •Intolerable. He could describe nothing without circumstantial detail. Nor was
- •Into it.
- •It made Julia a little sad to think how much she had loved him. Because her
- •In a vase.
- •It. The only foundation for it was that Charles had been madly in love with
- •It was a large party and she was being made much of Lady Charles, a woman
- •Very good-looking but of distinguished appearance. He looked very well-bred,
- •Vitality which were outside his experience. He went to see her act several times
- •In love with Michael. When Charles realized that he loved her his manner
- •It's only common sense that we shouldn't see one another any more."
- •Into the bathroom to wash her face and eyes. She felt wonderfully exhilarated.
- •Idea of appearing as intervener. For two or three weeks she was very jittery.
- •It was a little more difficult when Charles, with his fine sensitiveness, saw that
- •In some hole in Italy!"
- •It had been long agreed, with all the delicacy that might be expected from his
- •It was nice of him to have suggested that. He might so easily have mentioned
- •In her life. She was so taken aback that she never thought of doing anything.
- •Incident would have no sequel.
- •I'm forty and I don't care who knows it."
- •Into her dressing-room.
- •Inquiry the whole story and gave him her opinion of the travel agency, the
- •It gave him a curious look. With his black hair, drooping eyelids and rather
- •In a quarter of an hour with a conductor and told her that he had got her a
In love with Michael. When Charles realized that he loved her his manner
changed a little, he seemed struck with shyness and when they were together
was often silent.
"Poor lamb (бедный ягненок = бедняжка)," she said to herself (говорила она
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себе), "he's such a hell of a gentleman (он, черт возьми, слишком уж
джентльмен; hell — ад) he doesn't know what to do about it (он не знает, что
поделать с этим)."
But she had already prepared her course of conduct (но она уже
/заблаговременно/ подготовила линию: «курс» поведения) for the declaration
(для /его/ объяснения в любви), which she felt (которое, как она чувствовала)
he would sooner or later bring himself to make (он, раньше или позже, заставит
себя сделать). One thing she was going to make quite clear to him (одно она
собиралась ему дать ему понять /совершенно точно/; to make it clear —
высказаться ясно и определенно). She wasn't going to let him think (она не
позволит ему думать) that, because he was a lord and she was an actress (что из-
за того, что он был лордом, а она актрисой) he had only to beckon (ему стоит
только поманить) and she would hop into bed with him (и она прыгнет в
постель с ним). If he tried that sort of thing (если он попытается /выкинуть/
такую штуку) she'd play the outraged heroine on him (она разыграет перед ним
оскорбленную героиню), with the outflung arm and the index extended in the
same line (с выброшенной вперед рукой и указательным пальцем /вытянутым
по той же линии/), as Jane Taitbout had taught her to make the gesture (как
Жанна Тэбу учила ее делать этот жест), pointed at the door (укажет /ему/ на
дверь).
outrage ['aVtreIdZ] heroine ['herqVIn] taught [tO:t]
"Poor lamb," she said to herself, "he's such a hell of a gentleman he doesn't
know what to do about it."
But she had already prepared her course of conduct for the declaration,
which she felt he would sooner or later bring himself to make. One thing she
was going to make quite clear to him. She wasn't going to let him think that,
because he was a lord and she was an actress he had only to beckon and she
would hop into bed with him. If he tried that sort of thing she'd play the
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outraged heroine on him, with the outflung arm and the index extended in the
same line, as Jane Taitbout had taught her to make the gesture, pointed at the
door.
On the other hand (с другой стороны) if he was shattered and tongue-tied (если
он будет колебаться и мямлить; tongue-tied — косноязычный, лишившийся
дара речи; tongue — язык; to tie — связывать), she'd be all tremulous herself
(она сама будет трепетной), sobs in the voice and all that (/с/ рыданиями в
голосе, и все такое), and she'd say it had never dawned on her (и она скажет ему,
что ей никогда и в голову не приходило) that he felt like that about her (что он
испытывал такие чувства к ней), and no, no, it would break Michael's heart (но,
нет, нет, это разобьет сердце Майкла). They'd have a good cry together (они
хорошенько поплачут вместе; to have a good cry — выплакаться) and then
everything would be all right (и потом все /опять/ будет хорошо). With his
beautiful manners (с его-то хорошими манерами) she could count upon him (она
может рассчитывать на него) not making a nuisance of himself (что он не будет
навязчив; to make a nuisance of oneself — надоедать, досаждать) when she
had once got it into his head (когда она один раз объяснит ему; to get smth. into
one's head — вбить что-либо в голову) that there was nothing doing (что ничего
из этого не выйдет; nothing doing — ничего не получается, ничего не
попишешь).
tongue-tied ['tANtaId] tremulous ['tremjVlqs] nuisance ['nju:s(q)ns]
On the other hand if he was shattered and tongue-tied, she'd be all tremulous
herself, sobs in the voice and all that, and she'd say it had never dawned on
her that he felt like that about her, and no, no, it would break Michael's heart.
They'd have a good cry together and then everything would be all right. With
his beautiful manners she could count upon him not making a nuisance of
himself when she had once got it into his head that there was nothing doing.
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But when it happened (но когда оно /объяснение/ случилось) it did not turn out
(оно оказалось; to turn out — зд. закончиться каким-либо результатом) in the
least as she had expected (совсем не таким, как она ожидала). Charles Tamerley
and Julia had been for a walk in St. James's Park (Чарльз Тэмерли и Джулия
были на прогулке в Сент-Джеймс-парке), they had looked at the pelicans (они
уже посмотрели пеликанов), and the scene suggesting it (и так как увиденное
навело на /эту/ мысль), they had discussed the possibility of her playing
Millamant on a Sunday evening (то они обсуждали возможность /того, что/ она
будет играть Милламант в воскресном спектакле: «в воскресенье вечером»).
They went back to Julia's flat (они вернулись назад в квартиру Джулии) to have
a cup of tea (чтобы выпить по чашке чая). They shared a crumpet (они съели
пополам сдобную лепешку). Then Charles got up to go (после этого Чарльз
поднялся, чтобы уйти). He took a miniature out of his pocket (он вытащил из
/своего/ кармана миниатюрный портрет: «миниатюру») and gave it to her (и
дал его ей).
pelican ['pelIkqn] crumpet ['krAmpIt] miniature ['mInI(q)tSq]
But when it happened it did not turn out in the least as she had expected.
Charles Tamerley and Julia had been for a walk in St. James's Park, they had
looked at the pelicans, and the scene suggesting it, they had discussed the
possibility of her playing Millamant on a Sunday evening. They went back to
Julia's flat to have a cup of tea. They shared a crumpet. Then Charles got up
to go. He took a miniature out of his pocket and gave it to her.
"It's a portrait of Clairon (это портрет Клэрон). She was an eighteenth-century
actress (она была актрисой восемнадцатого века) and she had many of your
gifts (и у нее были многие из ваших талантов; gift — подарок, дар, дарование;
способность)."
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Julia looked at the pretty, clever face (Джулия взглянула на хорошенькое, умное
личико), with the powdered hair (с напудренными волосами), and wondered
whether the stones that framed the little picture (и думала о том, были ли камни,
которые окружали портрет) were diamonds or only paste (настоящими
бриллиантами или только стразами; paste — тесто, макаронные изделия; зд.
страз).
"Oh, Charles, how can you (о, Чарльз, зачем же: «как вы можете»)! You are
sweet (вы /такой/ милый)."
"I thought you might like it (я думал, что он /портрет/ может вам понравиться).
It's by way of (это в некотором роде) being a parting present (прощальный
подарок)."
"Are you going away (вы уезжаете)?"
She was surprised (она была удивлена), for he had said nothing about it (так как
он ничего не сказал об этом). He looked at her with a faint smile (он посмотрел
на нее со слабой улыбкой).
"No. But I'm not going to see you any more (нет. Но я не увижу вас больше)."
"Why (почему)?"
century ['sentSqrI] paste [peIst] present ['prez(q)nt]
"It's a portrait of Clairon. She was an eighteenth-century actress and she had
many of your gifts."
Julia looked at the pretty, clever face, with the powdered hair, and wondered
whether the stones that framed the little picture were diamonds or only paste.
"Oh, Charles, how can you! You are sweet."
"I thought you might like it. It's by way of being a parting present."
"Are you going away?"
She was surprised, for he had said nothing about it. He looked at her with a
faint smile.
"No. But I'm not going to see you any more."
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"Why?"
"I think you know just as well as I do (я думаю, что вы знаете это также
хорошо, как и я)."
Then Julia did a disgraceful thing (тогда Джулия поступила бесчестно:
«сделала бесчестную вещь»). She sat down (она присела) and for a minute
looked silently at the miniature (и где-то с минуту смотрела молча на
миниатюрный портрет). Timing it perfectly (идеально чувствуя время:
«идеально рассчитав время»), she raised her eyes (она подняла /свои/ глаза) till
they met Charles's (пока они не встретились /с глазами/ Чарльза). She could cry
almost at will (она умела: «могла» заплакать почти по желанию; will — воля,
желание, завещание), it was one of her most telling accomplishments (это было
одним из ее наиболее эффектных достоинств), and now without a sound (и
теперь, без единого звука), without a sob (без единого всхлипа), the tears
poured down her cheeks (слезы полились /вниз/ по ее щекам). With her mouth
slightly open (с чуть приоткрытым ртом), with the look in her eyes (с
выражением глаз: «с взглядом в ее глазах») of a child that has been deeply hurt
(ребенка, который чувствовал себя глубоко обиженным) and does not know
why (и не понимал, за что), the effect was unbearably pathetic (/она
производила/ эффект, который был невыносимо трогательным). His face was
crossed by a twinge of agony (его лицо исказилось: «его лицо было
перечеркнуто» от приступа мученической боли). When he spoke (когда он
заговорил) his voice was hoarse with emotion (его голос был хриплым от
/нахлынувших/ эмоций).
timing ['taImIN] accomplishment [q'kAmplISInqnt] hoarse [hO:s]
"I think you know just as well as I do."
Then Julia did a disgraceful thing. She sat down and for a minute looked
silently at the miniature. Timing it perfectly, she raised her eyes till they met
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Charles's. She could cry almost at will, it was one of her most telling
accomplishments, and now without a sound, without a sob, the tears poured
down her cheeks. With her mouth slightly open, with the look in her eyes of a
child that has been deeply hurt and does not know why, the effect was
unbearably pathetic. His face was crossed by a twinge of agony. When he
spoke his voice was hoarse with emotion.
"You're in love with Michael, aren't you (ты любишь Майкла, так ведь)?"
She gave a little nod (она легко кивнула головой). She tightened her lips (она
сжала губы) as though (как будто) she were trying to control herself (она
пыталась контролировать /свои чувства/; to control oneself — сдерживаться,
сохранять самообладание), but the tears rolled down her cheeks (но слезы
струились: «скатывались» по щекам).
"There's no chance for me at all (и у меня нет никакого шанса)?" He waited for
some answer from her (он ждал хоть какой-то ответ от нее), but she gave none
(но она ничего не отвечала), she raised her hand to her mouth (она поднесла:
«подняла» руку ко рту) and seemed to bite a nail (и, казалось, кусала ноготь),
and still she stared at him (и она продолжала пристально смотреть на него) with
those streaming eyes (мокрыми от слез глазами; streaming eyes — слезящиеся
глаза). "Don't you know (неужели вы не видите: «не знаете») what torture it is
(что это за пытка) to go on seeing you (продолжать встречаться: «видеться» с
вами)? D'you want me (вы хотите, чтобы я) to go on seeing you (продолжал
встречаться с вами)?"
Again she gave a little nod (снова она слегка кивнула головой).
control [kqn'trqVl] tighten ['taItn] torture ['tO:tSq]
"You're in love with Michael, aren't you?"
She gave a little nod. She tightened her lips as though she were trying to
control herself, but the tears rolled down her cheeks.
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"There's no chance for me at all?" He waited for some answer from her, but
she gave none, she raised her hand to her mouth and seemed to bite a nail,
and still she stared at him with those streaming eyes. "Don't you know what
torture it is to go on seeing you? D'you want me to go on seeing you?"
Again she gave a little nod.
"Clara's making me scenes about you (Клара устраивает мне сцены из-за вас).
She's found out (она догадалась, что) I'm in love with you (я люблю вас). It's
only common sense (это будет очень разумным: «это просто здравый смысл»)
that we shouldn't see one another any more (что мы не будем видеть друг друга
больше)."
This time (на этот раз) Julia slightly shook her head (Джулия слегка покачала
головой). She gave a sob (она всхлипнула). She leant back in the chair (она
откинулась /назад/ в кресле) and turned her head aside (и отвернулась:
«повернула голову в сторону»). Her whole body (все ее тело) seemed to express
the hopelessness of her grief (казалось выражало безысходность:
«безнадежность» ее горя). Flesh and blood couldn't stand it (/ни один/ живой
человек не мог вынести этого; flesh and blood — люди, род человеческий,
плоть и кровь). Charles stepped forward (Чарльз сделал шаг вперед) and
sinking to his knees (и, опустившись на колени) took that broken woebegone
body in his arms (обнял ее: «то» разбитое /горем/, безутешное тело; to take
smb. in one's arms — брать кого-либо на руки, обнимать кого-либо).
"For God's sake (/о,/ ради Бога) don't look so unhappy (не будь: «не выгляди»
так несчастна). I can't bear it (я не могу этого вынести). Oh, Julia, Julia, I love
you so much (о, Джулия, Джулия, я так сильно тебя люблю), I can't make you
so miserable (я не могу делать тебя такой несчастной). I'll accept anything (я
согласен на все = я приму все). I'll make no demands on you (я ничего не
потребую от тебя /взамен/; demand — требование, настойчивая просьба)."
grief [gri:f] woebegone ['wqVbIgOn] miserable ['mIz(q)rqb(q)l]
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"Clara's making me scenes about you. She's found out I'm in love with you.