XIII. Render into English:

1. "Свадьба Фигаро" произвела сенсацию в Праге. Все горели желанием познакомиться с господином Моцартом (Herr Mozart). Граф Тун (Count Thun), гордившийся своим музыкальным вкусом, сказал Вольфгангу:. "Это самое примечательное событие в жизни Праги, с тех пор как я приехал сюда". Он оказал Моцартам радушный прием и предоставил в их распоряжение несколько комнат во дворце. Отведенные им апартаменты были просторны, и им хотелось отдохнуть и насладиться покоем; но у хозяина была большая программа для почетных гостей.

2. На балу в тот же вечер Вольфганг был центром внимания. Он вошел в зал под гром аплодисментов. Многие молодые красавицы горели желанием потанцевать с прославленным композитором. Разговор вертелся исключительно вокруг "Фигаро", другие темы никого не интересовали. Граф Тун познакомил его с синьором Бондини, антрепренёром пражского театра, который поставил "Фигаро" на пражской сцене. Бондини воскликнул: "Господин Моцарт! Во всем мире нет оперы, равной "Фигаро"! Спектакль спас наш театр! И при этом опера написана немцем. Невероятно!" Вольфганг поклонился. Ему было приятно, хотя эти слова показались ему немного забавными.

3. Где бы Вольфганг ни появлялся в Праге, повсюду говорили только о "Фигаро". Ничего другого не исполняли, не пели и не насвистывали, кроме мотивов из его оперы. Он узнал, что "Фигаро" шел в Праге беспрерывно весь зимний сезон и спас Национальный театр от разорения.

Однажды Вольфганг сидел в городском парке и долго слушал, ,как слепой арфист играл мелодии из "Фигаро". Вольфганг подал

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бродячему арфисту гульден, а ему сказали: "Зачем так много! Бедняга не оценит Вашу щедрость". Но Вольфганг лишь горько улыбнулся про себя. Он знал, что это значило, когда твой труд оценивали слишком низко. Успех "Фигаро" в Праге пока что не принес ему ни единого крейцера.

XIV. Read the following excerpt and retell it in brief:

The funeral took place the afternoon after Wolfgang died. The small coffin was carried out of the house on the Rauhensteingasse, and borne on a small cart to St. Stephen's. There were only a few mourners. Constanze was unable to come, she was still in bed suffering from shock.

It was a quiet day and there were the usual monks and nuns from the provinces visiting the wonder of Christendom, the most famous church in the Empire, and none of them turned a head as the coffin was borne inside. Funerals were commonplace and this was that of a poor, unimportant person, that was obvious from the bare wooden box and the lack of mourners.

After the corpse was blessed, the coffin was put back on the little open cart and the driver and his horse turned towards the cemetery.

St. Marx's was just five years old, an insignificant cemetery that had been created by the parish of St. Stephen's for those who could not afford a churchyard for the mourners - that would have been an extra expense - and, by the-time the cart reached the cemetery there was no one with it. The sky had grown dark, there was the threat of snow in the air, and it was far to walk.

There was only one grave-digger in the cemetery. It was a slow day, he explained to the driver, and he was finishing the common grave.

The grave-digger was elderly, hard of hearing, and he had a number of coffins stacked in the long, narrow, straight pit. He was proud that he was neat and orderly. He didn't hear the name, but he knew it was a little man, he could tell by the smallness of the coffin, and that it was a third-class funeral. Only such a funeral would have no mourners. No one wanted to pay for anything. Not a gulden.

The driver dumped the coffin onto the ground alongside a number of other coffins, and hurried away. He detested this kind of funeral, it barely paid for the cost of the horse and the cart.

Wolfgang's body went into the common grave, stacked three deep with a hundred other corpses.

(From "Sacred and Profane" by David Weiss)

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ADDITIONAL TEXTS

I

JAZZ, SOUND OF SURPRISE

Jazz is a rhythmic, vital music that originated in the United States towards the end of the nineteenth century. Two main characteristics define jazz: the use of improvisation, and a unique rhythmic

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propulsion or drive called 'swing'. Unlike classical music, jazz is a performer's music; every piece is a personal statement by the musician playing it. Composers do exist in jazz, writing complete pieces of music, but they are always personally involved in the performance of their music.

Beyond basic musical considerations, jazz has few rules; it is, as jazz writer Whitney Balliett aptly put it, 'the sound of surprise'. This is why jazz and modern classical music have had practically no influence on each other. The formal classical musician and composer cannot function in the freer atmosphere of jazz, and he does not appreciate the rhythmic qualities needed for swing. The jazz musician and composer cannot tolerate the rigidity and lack of rhythmic vitality of most classical music.

Jazz is associated with commercial popular music by most people, in spite of the fact that it has been a remarkably unpopular music for much of its life and (like classical music) is essentially uncommercial. The ability to play jazz is a very rare quality, probably because it demands a good musical ear and feeling for rhythm.

Jazz differs from other kinds of music in its sound, its structure, and in its use of improvisation and rhythm. But jazz also sounds different, because several different instruments are used, and in different combinations. The wind instruments of jazz play the melody - the trumpet, trombone, saxophone, the clarinet and flute. The other instruments to be heard are the piano, guitar (usually amplified), double bass, vibraphone and drums. These instruments form the rhythm section of the band, and are played percussively to create swing, although all of them except the drums may also be played melodically. Instruments such as the oboe, bassoon, harp, and the violin, viola, and cello are rarely heard in jazz.

Most jazz pieces have a very simple structure. A theme or tune is played at the beginning; improvised solos by the musicians follow, and the theme is repeated to end the piece. These themes are of two basic lengths. Many are blues (characteristic Negro melodies), which are 12 bars long; others are 32 bars long, often songs from musical shows of the 1920s and 1930s. Musicians also compose their own themes, but many stick to the 12 or 32 bar formula. In traditional jazz, marches or hymns form a staple part of the repertoire.

The improvised solos make up the central and longest part of a performance. Musicians improvise in turn, and every member of a band may play a solo. Sometimes the length of the solo is determined beforehand, and the order in which the soloists play is also often worked out in advance. In traditional jazz and in the most recent form of jazz, free jazz, soloists often improvise together, but in other forms this collective improvisation is only occasionally practised by the players.

(From "Music, Song and Dance". The Marshall Cavendish Learning System. London, 1969)

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II

FOLK MUSIC

What exactly is folk music?

Answer: Simple answers that come to me are: folk music is of the folk. It is by and for the people, ordinary people, you and me. After that the answers get more complicated, more qualified.

Folk music is often thought of as basically rural and therefore peasant or country music. But today we also speak of urban folk music and songs. Folk music is said to be music and song which has anonymous authorship and is performed informally, essentially for social employment of the participants. In this sense it can be thought of as being in contrast to concert music, piano, orchestra, violin, etc, major compositions such as symphonies, operas, ballets, instrumental and vocal "recitals" of formally highly developed works.

But there are also, obviously, folk-song and folk-music performers, playing folk instruments (in solo or in groups), and singing rural and urban songs, topical and love songs, labor songs, songs of sorrow, of celebration of events, of tragedies, of struggle, of defeats and of victories. This could be described as folk music at the "first remove". For it to be worthy of the designation of true folk music it must be performed either by folk musicians, or by performers who have absorbed and identified themselves with complete honesty to being people's artists.

In Germany there is generally (I believe) a broader view of the term "Folks Musik" or "Folklied" which doesn't worry so much about whether the music of the song is composed by a famous musician or poet, or whether it is an anonymous product, rural or city, but just that it is music that people want to identify themselves with, to whistle, hum, and call their own. So for them it can be said that Mozart or Shubert or Brahms may be the composer of a "folklied", or again a famous poet like Heinrich Heine. Who is to deny that many of today's topical songs, blues and jazz are not folk music and songs? For me the determining guidelines could be:

1. That it be a relatively simple music or song."

2. That it express or convey honest sentiments - that we can readily identify ourselves with if we are genuine folk.

3. That the music or song not be commercially motivated in its origin (this is not to say that it may or may not be commercially used - or even successful).

4. That it be performed by a capable artist who understands and is able to protect the true meanings of the music and (or) song.

(From "Moscow News", No. 18, 1978)

Topics for Discussion

1. A British or American composer.

2. Episodes from the life of your favourite composer.

3. Your favourite kind of music (classical music, jazz, folk, pop).

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Read the following excerpts. How do the authors express their appreciation of music?

THE MERCHANT OF VENICE

W. Shakespeare (1564-1616)

The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for teason, stratagems and spoils; The motions of his spirit are dull as night. …………………………………… Let no such man be trusted.*

MUSIC

By P. B. Shelley (1792-1822)

I pant for the music which is divine, My heart in its thirst is a dying flower; Pour forth the sound like enchanted wine, Loosen the notes in a silver shower; Like a herbless plain for a gentle rain I gasp, I faint, till they wake again.

* * *

Let no drink of the spirit of that sweet sound, More, of more, - I am thirsting yet; It loosens the serpent which care has bound Upon my heart to stifle it; The dissolving strain, through every vein, Passes into my heart and brain.

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^*See p. 378.

UNIT THIRTEEN

TEXT

AUGUTE RODIN - EARLY YEARS

School settled into a pattern the next few months: mornings were spent at the Petite Ecole; afternoons Auguste and the others were encouraged to visit the Louvre, to study and copy the drawings and engravings of Michelangelo and Rembrandt, to become acquainted with the other masters; and two evenings a week were devoted to drawing from life with a nude model.

Auguste was fascinated by the Louvre - a new universe flowered before his hungry eyes. Fantin-Latour said, "The Louvre is the greatest art school of all," and the blossoming Auguste agreed, for he was seeing for the first time original Leonardos, Titians, Raphaels, Ruben-ses, Rembrandts, and Michelangelos, and he was delighted that he could choose his own masters. The vast gallery of the Louvre was filled

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with paintings he liked. Auguste didn't know where to start. He was. attracted by Delacroix's "Dante and Virgil", Leonardo's "Madonna on the Rocks", Raphael's "La Belle Jardiniere", but it was Michelangelo and Rembrandt who were his men. Suddenly tears filled his eyes, he had an overwhelming wish to have better eyesight.

He stood before their drawings and etchings and resolved to remember these as long as he lived. He thought Michelangelo's work vigorous, muscular, and powerful, Rembrandt's rude, jarring, and full of human feeling. He noticed also that Michelangelo's designs were vivid, with rapid lines, that the Florentine often used exaggeration and deliberate distortion, while Rembrandt created his own reality, without drapes, ornaments, or intricate embellishments, but with known faces, known love, using pen, pencil, and crayon to strike with all his might.

Many days he copied or drew from memory, it didn't seem to matter which any more, for he drew equally well either way now. He continned to carry his sketch-book with him everywhere, and he did hundreds of drawings.

He also fell in love with water color and oils in this first real experience with them. Wherever he gazed in the Louvre, his blood raced through his body. He had not known there was such splendor. Everything about the Louvre - the galleries, the students and artists studying, observing, and copying, the constant conversation about art - stimulated him to draw and paint. He had an enormous eagerness to learn and to discover more and more.

Day by day his drawings grew better. Auguste knew he would never know enough about the human body, but he found himself devoting most of his energy to torsos and heads.

"Why don't you come to the painting class?" Lecoq asked one day. "You are about ready for it, Rodin."

Auguste looked up but didn't answer.

"Are you afraid?"

Auguste grew red.

"Oh, you have no paint."

Auguste said hurriedly, "You told us to draw with all our might, that one can never know much about it."

"True, true, but you should start to work seriously with water color and oils. Unless you want to remain just an etcher."

"No, I -" Auguste paused.

"You can't afford paint. Too bad."

"How are my drawings?"

"A little too Rembrandtish, and they smell of the Louvre."

"But you sent me there!"

"1 sent you to the Louvre to use your eyes and hands, and to be independent enough to depend only upon yourself."

"What should I do?"

"Do? You have no paint. We are a free school and the state cannot afford to supply everyone with paint. You will end up an artisan or an ornament maker. Too bad. You draw well."

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"I can sketch Michelangelo's figures from memory."

"I know," sighed Lecoq. "I see it in your work. Try to get paint, and I will put you in the painting class and we will see what you can do."

The next day Auguste was moved into this class, to work with pastels, water colors, oils, copying the model or doing an invention of his own - there was complete freedom of method and experimentation - but he could not afford it. He told Aunt Therese about this advancement, and she said she would get paint from Drolling^* no matter what, even if she had to steal it. Several days later she handed him a slightly used box of paints.

The colors were beautiful, he thought. In a festive mood he experimented with different colors on the palette, sucking in his breath with pleasure. He had also measured himself this morning and he had reached five feet four, a two-inch gain in the last year - perhaps he should do a portrait of himself, many painters did. He went to look for an empty canvas. He found none that were usable, but finally there was one that could be scraped. He returned with this battered canvas and felt struck dumb. His paints were gone. He looked on his chair, behind his easel, but there was no trace of the precious box of paints. Someone had stolen them. He sat there blinking back his tears. Suddenly the studio was desolate.

Auguste sat there all that night without drawing a line.

The next few painting classes Auguste was able to work occasionally, when he found a tube of paint discarded by a more prosperous student. Only it was rarely a color he needed: the best colors were already squeezed to the last drop, or other students got to the discarded tubes ahead of him. It. became hopeless. Finally he just sat unable to quit, but unable to work. He tried to sketcn, but it was senseless to go on, Papa was right, he was a poor boy who could never be anything but a workman - a cabinetmaker, perhaps, or an ornament worker. There was no alternative. He wiped the tears from his eyes. He could not draw, there was no purpose to it now. He dried his eyes and decided to tear up his drawings. He had them between his hands when Lecoq halted him.

Lecoq insisted on seeing them.

"Why?"

"Don't ask why, idiot!" He had never seen Lecoq so irritated. "I'm the one to decide what's to be done with your drawings!" Lecoq stared at them, not really seeing them, thought Auguste, and said, "I'll keep them."

"Why? - I ..."

"Is that all you can say - why?"

Auguste stood up. "I don't have to stay here."

"No, топ ami, you don't. You don't have to do anything. You don't even have to draw, paint, eat, sleep. But you can't sit here all night and do nothing."

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"I can go."

"And give up art?"

"I cannot afford paint or canvas."

"I know." Lecoq saw the boy standing bereaved, ready to ruin his life for the lack of a few sous,^* but no, it was more than that, it was a matter of very hard-to-earn francs, the common ailment of the student and the artist, so common no one cared about it. But this boy was one of his best pupils, and he had an enormous eagerness to learn. Lecoq said suddenly, abruptly, "I'll think of something, Rodin. But you cannot just sit here. Go to the modeling room. At least it will keep you occupied."

"Maltre, I don't know anything about sculpture."

"You can learn. You learn very well when you are interested."

"I'm tired." He meant sick at heart, defeated.

"And don't you think I am!" Lecoq shouted. "Do you think you are the first promising student I have lost for a few francs? Teach you what I know, get you to where you can draw a decent line, where you can see for yourself! Go, I can't keep you here!"

Auguste, shaken by Lecoq's emotion, didn't know what to do.

"But Michelangelo was a great sculptor, too. It will not hurt you to learn. And it will help your figure drawing while we find a way to keep you in the painting class. Come on, I will go with you."

Auguste went hesitantly to the sculpture room. He stared at the wet clay, the heavy loads of plaster, terra cotta, and marble, the ladders, the stands, more tools than he could count. Most of it was a world new to him.

Lecoq said, "You are a strong lad, with fine fingers. At least if you don't succeed as an artist you will make a good molder or caster some day."

There were only a few students in the sculpture room, but suddenly Auguste was glad that Lecoq had brought him. He felt drawn to the stone by a force outside himself. There were completed statues, and copies of famous works, and they were so beautiful and potent he wanted to caress them. He felt the clay under his strong fingers and he was full of new sensations. He wanted to shout "I love this!" but he was afraid it would sound sentimental. Yet there was no need to feel handicapped here because he had to strain to see pictures on account of his nearsightedness. Now that was an advantage, for he didn't have to see but feel - the closer he was to the clay the better.

Day after day he found excuses to work in the statuary room. He lost track of time, he forgot about paints and canvases. It seemed to him that this work, unlike the drawing and painting, passed not through his mind but through his body. In spite of the hardness and the coldness of the stone, there was a soft, enticing warmth to it. He was full of a new, unbreakable desire - to hold the stone, carve it, shape it.

(From "Naked Came I" by David Weiss)

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^*Drolling - the painter Aunt Therese worked for

^*sou [su:] - the smallest French coin

COMMENTARY

NOTES

1. Auguste Rodin [’gjust rou'dæn] (1840-1917), a celebrated French sculptor

The Petite Ecole [,ptit ə'kol], an art school in Paris where tuition was free

The Louvre ['lu:vr], one of the largest picture galleries of the world, especially rich in masterpieces of Italian, Dutch and French art

Michelangelo Buonarooti [,markəl'ændჳlou: bwnə'rാ:ti] (1475-1564), an Italian sculptor, painter, architect and poet

Rembrandt van Rijn ['rembrænt væn 'rain] (1606-1669), a Dutch painter

Delacroix [delə'krwാ:] (1798-1863), a French painter

Leonardo da Vinci [li:ə'na:do də'vint∫i:] (1452-1519), a Florentine painter, sculptor, architect and engineer

Raphael ['ræfeiəl] (1483-1520), an Italian painter

"La Belle Jardiniere" [lə'bel ჳardiŋ'jεr] - "Прекрасная садовница"

2. Auguste looked up but didn't answer.

• "You will end up an artisan or ornament maker."

• He ... decided to tear up his drawings.

• Auguste stood up.

• "And give up art?"

The verbal phrases look up, end up, tear up, stand up, give up are all built on one and the same pattern: verb + postpositive, but semantic relations between their components are different in character.

In give up - отказываться, бросать - the verb and the postpositive are semantically indivisible and the meaning of the whole phrase cannot be derived from the meanings of its separate elements.

Phrases of this kind can be classified as phraseological units. Here are some other examples of such verb postpositive phrases: to find out - узнавать; to turn up - появляться; to take in - обманывать.

In all other cases (look up - поднимать глаза, stand up - встать, tear up - разорвать, end up - закончить) the semantic relations between the components are not so close. The verb doesn't change its meaning and the postpositive serves only to modify or intensify it. The postpositive may show direction (look up), change the aspect of the verb (stand is a non-terminative verb, whereas stand up is a terminative one) or intensify the meaning of the verb (tear up, end up).

Such phrases can be referred to as free word combinations.

There are also cases in which it is difficult to distinguish between phraseological units and free word combinations, as both components partly retain their meaning and at the same time make up a semantically integral whole, e. g. to drop in - заглядывать; to put on - надевать.

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Such boundary cases make the problem of verb-postpositive phrases a debatable point with many linguists. So far there is no unanimity of opinion as to the character of such phrases and the nature of their second element.^*

STRUCTURAL PATTERN

Article + Proper Name

a) ... were encouraged to visit the Louvre.

Names of picture galleries, museums, theatres, concert halls, cinemas and hotels are used with the definite article: The Hermitage, the Tate Gallery, the Russian Museum, the British Museum, the Chaikovski Hall, the Carnegie Hall, the Forum, the Odeon.

b) ... and the blossoming Auguste agreed ...

The definite article is used with a name modified by a descriptive attribute when the attribute indicates a comparatively permanent quality of the person in question and not a passing state.

"Charlie," the irresponsible Emily broke in, "I tried to reach you this morning."

"Чарли, - прервала его безответственная Эмили, - я пыталась дозвониться до тебя . сегодня утром".

с) ... he was seeing for the first time original Leonardos, Titians, Raphaels ...

A proper name becomes a common noun when the name of a painter, writer, sculptor, etc is used to denote his work. The articles with such nouns are used in accordance with the general rules for countable nouns.

I never knew you had a Rembrandt in your collection.	Я не знал, что в вашей коллекции есть Рембрандт (картина Рембрандта).
The Leonardo sent to the exhibition is considered one of the best.	Картина Леонардо да Винчи, посланная на выставку, считается одной из его лучших картин.

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^*Arnold 1. V. The English Word. Moscow 1973, pp. 185-187.;Амосова Н. Н. Основы английской фразеологии. ЛГУ, 1963, с. 131-135.;Kashcheyeva M. A., Potapova I. A., Tuyrina N. S. Practical Lexicology.;Leningrad, 1974, pp. M9-I50.

EXERCISES