- •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
It was a pity she had never had a chance of playing Rosalind, she would have
looked all right in boy's clothes, of course it was too late now, but perhaps it
was just as well she hadn't risked it. Though you would have thought, with
her brilliance, her roguishness, her sense of comedy she would have been
perfect. The critics hadn't really liked her Beatrice. It was that damned blank
Verse. Her voice, her rather low rich voice, with that effective hoarseness,
which wrung your heart in an emotional passage or gave so much humour to
a comedy line, seemed to sound all wrong when she spoke it.
And then her articulation (и, кроме того, ее дикция; articulation —
членораздельное произношение, артикуляция); it was so distinct that (она была
настолько четкой, что), without raising her voice (не повышая: «не поднимая»
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голоса), she could make you hear her every word (она могла заставить /вас/
услышать каждое ее слово) in the last row of the gallery (в последнем ряду
галерки; gallery — галерея, балкон, галерка); they said (говорили) it made verse
sound like prose (что это заставляло стихи звучать подобно прозе). The fact
was (дело было в том; the fact is that — дело в том, что), she supposed (она
предполагала), that she was much too modern (что она была слишком
современной).
Michael had started with Shakespeare (Майкл начал с Шекспира). That was
before she knew him (это было до того, как она познакомилась с ним: «узнала
его»). He had played Romeo at Cambridge (он играл Ромео в Кембридже), and
when he came down (и когда он оставил университет; to come down — падать,
рушиться; оставить университет до или после окончания курса, особенно
Оксфорд или Кембридж), after a year at a dramatic school (после года в школе
актерского мастерства; dramatic — драматический, театральный,
актерский), Benson had engaged him (его пригласил Бенсон; to engage —
нанимать, привлекать, ангажировать). He toured the country (он ездил на
гастроли по стране; to tour — путешествовать, театр. показывать
спектакль на гастролях) and played a great variety of parts (и играл много
различных ролей; variety — разнообразие, ряд, множество). But he realized
(но он понял), that Shakespeare would get him nowhere (что Шекспир никуда
его не приведет; to get nowhere — ничего не достигнуть, не сдвинуться с
мертвой точки) and that if he wanted to become a leading actor (и что если он
хочет стать ведущим актером; a leading actor — исполнитель главных ролей,
актер на первые роли) he must gain experience in modern plays (он должен
набраться опыта в современных пьесах).
articulation [Q:"tIkjV'leIS(q)n] gallery ['gxlqrI] verse [vq:s] variety [vq'raIqtI]
And then her articulation; it was so distinct that, without raising her voice,
she could make you hear her every word in the last row of the gallery; they
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46
said it made verse sound like prose. The fact was, she supposed, that she was
much too modern.
Michael had started with Shakespeare. That was before she knew him. He had
played Romeo at Cambridge, and when he came down, after a year at a
dramatic school, Benson had engaged him. He toured the country and played
a great variety of parts. But he realized that Shakespeare would get him
nowhere and that if he wanted to become a leading actor he must gain
experience in modern plays.
A man called James Langton (человек по имени Джеймс Лэнгтон) was running a
repertory theatre at Middlepool (управлял репертуарным театром в Миддлпуле;
repertory theatre — театр с постоянной труппой и с определенным
репертуаром, часто без собственного здания театра) that was attracting a
good deal of attention (который привлекал достаточно много внимания); and
after Michael had been with Benson for three years (и после того, как Майкл
провел с Бенсоном три года), when the company was going to Middlepool
(когда /его/ труппа отправилась: «собиралась» в Миддлпул; company —
общество, компания, собеседник, театр. постоянная группа актеров,
ансамбль, труппа) on its annual visit (с ежегодным визитом; annual —
годовой, годичный), he wrote to Langton (он написал Лэнгтону) and asked
whether he would see him (и спросил, сможет ли тот принять его; whether —
зд. косвенный вопрос: не может ли?; to see — видеть, смотреть,
встречаться). Jimmie Langton (Джимми Лэнгтон), a fat (толстый), bald-
headed (лысый; bald (лысый, плешивый)-headed (a head — голова)), rubicund
man of forty-five (румяный мужчина сорока пяти лет), who looked like one of
Rubens' prosperous burghers (который выглядел как один из процветающих
бюргеров /с картин/ Рубенса; prosperous — преуспевающий, богатый), had a
passion for the theatre (обожал театр; to have passion — обожать, обладать
страстью к чему-либо). He was an eccentric (он был эксцентричный), arrogant
(высокомерный), exuberant (жизнерадостный), vain (тщеславный) and
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charming fellow (и очаровательный малый; fellow — человек, парень, собрат).
He loved acting (он обожал актерство; acting — театр. игра, притворство),
but his physique (но его телосложение) prevented him from playing (не
позволяло ему играть; to prevent from — предотвращать, мешать, не
допускать) any but a few parts (большинство ролей: «никакие, кроме
нескольких ролей»), which was fortunate (что было /большой/ удачей;
fortunate — счастливый, удачливый), for he was a bad actor (так как он был
плохой актер).
repertory ['repqt(q)rI] annual ['xnjVql] rubicund ['ru:bIkqnd]
exuberant [Ig'zju:b(q)rqnt] physique [fI'zi:k]
A man called James Langton was running a repertory theatre at Middlepool
that was attracting a good deal of attention; and after Michael had been with
Benson for three years, when the company was going to Middlepool on its
annual visit, he wrote to Langton and asked whether he would see him.
Jimmie Langton, a fat, bald-headed, rubicund man of forty-five, who looked
like one of Rubens' prosperous burghers, had a passion for the theatre. He
was an eccentric, arrogant, exuberant, vain and charming fellow. He loved
acting, but his physique prevented him from playing any but a few parts,
which was fortunate, for he was a bad actor.
He could not subdue (он не мог подавить) his natural flamboyance (свою
природную: «натуральную» чрезмерную пышность /манер/), and every part he
played (и каждую роль, которую он играл), though he studied it with care (хотя
он и изучал ее тщательно; with care — с заботой, тщательно, осторожно)
and gave it thought (и обдумывал ее), he turned into a grotesque (он превращал:
«поворачивал» в гротеск). He broadened every gesture (он утрировал:
«расширял» каждое движение), he exaggerated every intonation (он
преувеличивал каждую интонацию). But it was a very different matter (но /это
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было/ совершенно другое дело) when he rehearsed his cast (когда он
репетировал со своим актерским составом; cast — театр. распределение
ролей, список действующих лиц и исполнителей); then he would suffer nothing
artificial (тогда он не терпел ничего фальшивого; to suffer — страдать,
испытывать, терпеть, artificial — искусственный, поддельный). His ear was
perfect (у него был совершенный слух), and though he could not produce the
right intonation himself (и, хотя он не мог воспроизвести правильную
интонацию сам) he would never let a false one pass (он никогда не позволял
фальшивой /интонации/ проскользнуть; to pass — идти, проходить,
проезжать) in anyone else (у кого-либо еще).
"Don't be natural (не будьте естественными; natural — природный,
натуральный, прирожденный)," he told his company (говорил он своей
труппе). "The stage isn't the place for that (на сцене этому не место: «сцена не
место для этого»). The stage is make-believe (сцена — это фантазия; make-
believe — притворство, выдумка, «понарошку»). But seem natural (но
кажитесь естественными)."
subdue [sqb'dju:] flamboyance [flxm'bOIqns] grotesque [grqV'tesk]
gesture ['dZestSq] artificial ["Q:tI'fIS(q)l]
He could not subdue his natural flamboyance, and every part he played,
though he studied it with care and gave it thought, he turned into a grotesque.
He broadened every gesture, he exaggerated every intonation. But it was a