notes - МГИМО (students).doc · web viewprimarily the word ‘humour’ denoted...

Pelham Grenville WODEHOUSE

SHORT STORIES(Student’s File)

1

I. Jeeves Takes Charge

Proper names

Bertie ['bR:tI]Jeeves [dGi:vz]aunt Agatha ['WgRYR]Florence Craye ['flOrRns 'kreI]uncle Willoughby ['wIlRbI]Oakshott ['oukSOt]Edwin ['edwIn]Meadowes ['medouz]Easeby ['i:zbI]Shropshire ['SrOpSR]Worcester ['wustR]Lord Worplesdon ['wO:plzdRn]Aubrey Fothergill ['O:brI 'fOTRgIl]Meekyn ['mi:kIn]Stanby Gervase- Gervase ['stWnbI 'dGR:vRs 'dGR:vRs]Rosherville Gardens ['rOSRvIl 'gQ:dnz]Riggs and BallingerMurgratroyds’ dance ['mR:gItrOIdz 'dQ:ns]Berkely ['bQ:klI]Nietzsche

2

Notes

In the story you will come across some specific words and word-combinations. Note that the usage of such words is stylistically marked.

Eg:

to loot a lot of other things, p. 1 - прибрать что-либо к

рукам

blighter, p.1 - злодей

to leg it for France, p. 3 - рвануть во Францию

by Jove!, p. 5 - Черт подери!

Dash it!, p. 6 - Черт возьми!

Damn!, p. 12 - Черт возьми!

What absolute rot! p. 6 - Какая полнейшая

чушь!

Have a dash!, p. 9 - А вы попробуйте!

kind of, p. 11 - так сказать

the old bean, p. 3 - башка

the old lemon, p. 13 - черепушка

Very rum! p. 16 - странно

Where the dickens were my evening - Где, черт возьми, мой

things? p. 19 - вечерний костюм?

3

1. Think and debate.

1. What was the way things stood in the house-party at Easeby?

Strategy Points:

- Give facts from the story to points 1, 4

2. “Types of Ethical Theory” was/was not the sort of things to spring on a lad with a morning head.

- Give arguments for/against statement 2, 3, 5, 6, 8, 9.

- In point 7 bring out all the “acts of kindness” done by Edwin.

3. Is the world really small when it comes to the relations between Jeeves, Bertie and Florence Craye?

4. The old buster Worplesdon had the worst temper in the country.

5. The book “Recollections of a Long Life” by uncle

Willoughly is so unspeakable. Account for it.

6. Could we look on Florence’s request to destroy her uncle’s book as a resolution to test Bertie’s affection to her?

7. It was young blighted Edwin who …

8. Eventually the delivery of the parcel brought about a lucky escape for Bertie as it was such a catcher being engaged to Florence Craye.

4

2. Explain and paraphrase the following sentences. Suggest Russian equivalents.

1. “…I could not see eye to eye with his lordship in his desire to dine in dress trousers, a flannel shirt, and a shooting coat.” (p. 3)

2. “You have to work the good old iron-hand-in-the-velvet-glove wheeze.” (p. 6)

3. “He was always in a sort of fever because he was dropping behind schedule with his daily acts of kindness.” (p. 11)

4. “I found myself getting all on edge’. (p. 15)

5. “Bertie”, he said – he always spoke in a precise sort of pompous kind of way – “an exceedingly disturbing thing has happened.” (p. 15)

3. Explain the contextual meaning of the following phrasals and recall situations from the story to use them. Note that they are mostly used in casual style.

to get after smb., p. 4 -

to look on, p. 10 -

to carry through, p. 10 -

to hang about, p. 12 -

to pop out at smb., p. 14 -

to hear smb. out, p. 16 -

to buck smb. up a trifle, p. 18 -

to nose about, p. 20 -

to chuck away, p. 21 -

4. Dwell on the difference between the following synonyms. Recall situations from the story.

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- to sneak (p.1), to purloin (p.16), to snaffle (p.16), to pinch (p.19);- to stagger in (p.2), to stagger along (p.14);- to float noiselessly (p.2), to flicker (p.2), to shimmer out (p.4);- to totter forth (p.12), to toddle out of/off (p.12);- to rip upstairs (p.13), to charge in (p.13), to spring up to (p.19), to

leap at smth. (p.19);- to bound out and legg it for the table (p.13), to curvet out (p.14), to

sneak out of (p.19), to pop off (p.23).5. Find Russian or English equivalents and recall

situations from the story.

быть на голову выше всех (p.1) -

бросить злодею перчатку (p.1) -

to be one of the house-party at Easeby (p.1)

-

to sup with smb. (p.2) -

to tender one’s registration (p.3) -

to see eye to eye with smb. (p.3) -

a stripling of fifteen (p.4) -

to to call smb. chirpy (p.4) -

На мне в то утро был костюм в довольно веселенькую молодежную клетку. (p.5)

-

в молодости вести довольно разгульную жизнь (p.8)

-

6

to turn out smth. pretty fruity (p.8) -

This sounded rather sporting. (p.9) -

to cut smb. off with a bob (p.10) -

It sounded thin to me. (p.10) -

to be up to all sort of dodges (p.11) -

to care a snap of the fingers for smb. (p.11)

-

to call on smb. to rally round with smth. (p.12)

-

Life-saver, p.12 -

to know smb. to cut up rough (p.12) -

одержать верх над мальчишкой (p.14) -

to be getting all on edge (p.15) -

быть глубоко погруженным в высшие материи (p.2)

-

уцепиться за что угодно, что может служить спасением (p.3)

-

бузотер (p.3) -

вернуться в лоно семьи (p.3) -

7

изъян (p.4) -

так сказать (p.4) -

что-то (слегка) настораживающее (p.4) -

быть в услужении у кого-либо (p.4) -

наступить на мозоль (перен.) (p.4) -

в профиль хороша собой (p.4) -

костюм был недурен (p.5) -

собраться с силами, чтобы настоять на своем (p.5)

-

задушить в колыбели (p.5) -

заманить кого-либо с какой-либо целью (p.6)

-

ободрать до нитки (p.6) -

безвылазно сидеть в библиотеке (p.7) -

быть греховником (p.7) -

воплощение корректности (p.8) -

лоботряс и тупица (p.10) -

передо мной стояла задача попроще (p.12)

-

8

все еще сидеть в библиотеке (p.12) -

наткнуться на кого-либо (p.13) -

быть благодетелем (p.13) -

сунуть ключ в карман (p.14) -

выглядеть растерянно (p.15) -

к моему ужасу (p.16) -

благоухать (p.17) -

сделать как лучше (p.23) -

6. Fill in the gaps with a required preposition. Translate the sentences into Russian.

1. She was particularly keen on boosting me up a bit nearer her plane of intellect.

2. She was a girl with a wonderful profile, but steeped to the gills in serious purpose.

3. I was doing my best to skim through this bright little volume when the bell rang.

4. I would have clutched at anything that looked like a lifeline that morning.

5. Florence was a dear girl, and, seen sideways, most awfully good-looking; but if she had a fault it was a tendency to be a bit imperious with the domestic staff.

6. I’d seen so many cases of fellows who had become perfect slaves to their valets.

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7. He went away to collect his kit, while I started in again on “Types of Ethical Theory” and took a stab at a chapter headed “Idiopsychological Ethics”.

8. Easeby wasn’t one of those country houses you read about in the society novels, where young girls are lured on to play baccarat and then skinned to the bone of their jewellery, and so on.

9. Uncle Willoughby had been somewhat on the tobasco side as a young man.

10. I am horrified at the things he did when he was a young man!

11. I wanted to get at that chest of drawers quick, before anyone else came along.

7. Choose a required preposition. Explain the meaning of the prepositional phrase.

1. A kind of darkish sort of respectful Jonnie stood without.

2. He got after me with a hunting-crop just at the moment when I was beginning to realize that what I wanted most on earth was solitude and repose.

3. I was wondering what could be up at the other end.

4. You may look on it as a test, Bertie.

5. But suppose Uncle Willoughby catches me at it? He’d cut me off with a bob.

6. Once and for all, will you do me this quite simple act of kindness?

7. These Boy Scouts are up to all sorts of dodges.

8. I had a much simpler sort of job on hand.

9. I had to hang about waiting for the parcel to be put on the hall table.

10

10. Uncle Willoughby was a pretty mild sort of old boy, … but he was scheduled to extend himself if he caught me trying to get away with his life work.

11

8. On writing a Character Sketch.

Presenting a character sketch is an

art of transforming numerous data into

a laconic portrait of this or that

personage described by the author.

Thus, outlining the data requires

Strategy Points:

- factual data- language data- a draft sketch- a final sketch

distinguishing between factual data (direct characterization –

the author or another person defines the character for the reader

by describing or explaining it, offering his own interpretation

on account of some real facts) and language data (indirect

characterization through the action and conversation. The

author leaves it to the reader to judge the characters by what

they do and say). Both factual data and language data work for

the benefit of image-making of a personage.

To practise these techniques write out full sentences or short

phrases which will evolve into a draft sketch. Let’s take

Edwin, for instance, and make an attempt to select some most

telling facts connected with his personality.

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Factual data Language data

p. 1, 13 Edwin, the Boy Scout p. 1, 13, 18 young blighted Edwin

p. 11 Florence’s young brother, spending holidays at Easeby

a ferret-faced kid

p. 17 the loathsome voice of young Edwin caused all the unpleasantness

I disliked him since birth

now fourteen

took his responsibili-

p. 18

p. 11

spoors, takes cover, creeps about and what not

making Easeby aties pretty seriously

always in a sort of

perfect hell for man and beast

fever, he was dropping behind schedule with his daily acts of kindness

p. 13 Bertie:a) “This infernal kid must somehow be turned out eftsoons or right speedily”.

p. 13 to mess about with my ties

a search in Bertie’s

b) “You must be a comfort to one and all”.

room (“I’ve often done acts of kindness that way.”)

p. 14 c) “If he wanted to do a real act of kindness he would commit suicide.”

p. 18 reporting on Bertie

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In character-drawing the following expressions can be used to

connect facts and ideas into a final version of a character sketch:

a) to present factual data – to begin with, in the first/second place,

we first see/meet him/her, furthermore , further/on, the author passes on

to/goes on from…to/goes on to say, to cause, to bring about,

consequently, therefore, moreover, besides, nevertheless, after all, in

any case, although, in other words, after all, the story ends with, etc.;

b) to bring about language data – a realistic description, a

satirical/ironic/humorous background, a deep psychological analysis, to

get smth. across to the reader, traits of character complex personality,

convincing, in/consistent, symbolic, main character, minor character,

keen observation, the contradiction of, to arouse

sympathy/admiration/interest, etc.

Thus, we arrive at drawing a final sketch of Edwin, first relying on certain factual data which give us a realistic portrait of Edwin.

Edwin, a ferret-faced kid, the Boy Scout, Florence’s young

brother, now fourteen, spends his holidays at Easeby .

At first glance, he takes his responsibilities pretty seriously and is

always in a sort of fever to drop behind schedule with his daily acts

of kindness.

Although Edwin is a minor character, the author portrays him in an

absolutely bright and eye-catching way. The effect is gained by a

certain contrast of factual and language data. The factual aspect 14

presents all his actions in a neutral way but the language data give

an emotional assessment of this loathsome young person whose

mean principles bring about his devilish nature and an odd desire

to chase everybody around him across the whole story and to assert

himself at the expense of other characters’ repose.

The reader is horrified at Edwin’s messing about with Bertie’s ties,

collecting evidence against Bertie, at reporting on Bertie to Uncle

Willoughby. This sounds altogether incredible and that is why at

this stage factual and language data start to contradict and the

reader starts to perceive Edwin as a potential betrayer making

Easeby a perfect hell for man and beast. More sarcasm and irony

around Edwin is gained by the author’s expressing the directly

opposite of what Edwin’s acts denote and the only optimistic

conclusion the author draws is Bertie’s words, “If he wanted to do

a real act of kindness he would commit suicide.”

✍ 9. Write a character sketch on* a) Uncle Willoughbyb) Jeevesc) Bertied) Florence Craye

__________________________________________* Note that the main characters will get their evaluation in the coming stories.

✍ 10. Write an essay “Publicity, of whatever sort, is what nearly everybody desires”.

15

II. The Artistic Career of Corky

Proper names

Jeeves [dGi:vz]Aunt Agatha ['Q:nt 'WgRYR]Gussie* ['gAsI]Mr Bruce Corcoran (Corky) ['bru:s 'kO:kRrRn]Mr Alexander Worple [LWlIg'zQ:ndR 'wR:pl]Miss Muriel Singer ['mjuRrIRl 'sINgR]Bertram (Bertie) ['bR:trRm] (['bR:tI])Mr Digby Thistleton ['dIgbI 'YIsltRn](Lord Bridgworth) ['brIdGwRY]Sam Patterson ['sWm 'pWtRsn]Sargent ['sa:dGRnt]New York [Lnju: 'jO:k]America [R'merIkR]Washington Square ['wOSINtRn 'skwER]Shakespeare ['SeIkLspIR]‘American Birds’‘More American Birds’‘The Children’s Book of American Birds’‘Choose your Exit’ ['eksIt], ['egzIt]at the Manhattan [mWn'hWtn]‘The Adventures of Baby Blobbs’Park Row ['pQ:k 'rou]the ‘Sunday Star’ ['sAndeI 'stQ:]________________________________________________________________

* Gusta, Gussie (f.) – from Augusta [O:'gAstR]Gussy, Gussie (m.) - from Augustus [O:'gAstRs]

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NotesIn the story you will come across some specific words and word-

combinations. Note that the usage of such words is stylistically marked.

Eg :

a bloke, p. 27, p. 36 - тип, личность (небреж.)

a brainy cove, p. 27 - смышленый малый

to kick at smth, p. 28 - раздражаться, возму-

щаться

to cough up smth, p. 29 - выделить, “отстег-

нуть” (жарг.)

what the deuce to do with the body, - куда пристроить тело

p. 30

That’s the sort of pig-headed ass he is. - тупоголовый осел

p. 30

to strain the old bean, p. 31 - напрячь мозги

That’s absolutely ripping! p. 33 - Здорово! Потря-

сающе!

It was great stuff. p. 34 - Здорово!

How perfectly topping! p. 36 - Какая прелесть!

a cracker-jack, p. 37 - классная штука

18

to butter in, p. 39 - бесцеремонно вмеши-

ваться (жарг.)

little brat, p. 39 - отпрыск, отродье

How does it strike you? p. 40 - Как вы это находите?

twenty years in quod, p. 43 - двадцать лет тюрьмы

He’ll eat this thing. p. 44 - Оторвет с руками.

those poet Johnnies, p. 45 - поэтическая братия

clear up to the eyebrows in the soup, - погрязнуть в проб-

p. 45 лемах

19


1. What was Bertram doing so far from his beloved native land?

Strategy Points:

- Give answers to points 1, 5, 6, 7, 8, 9.

2. Corky’s score up to date had been nil since he had just been playing at painting.

3. Though Corky and Mr Worple would often have cosy chats, Mr Worple was peculiar in some respect. Many things were a matter of principle with him.

4. The image of a publisher according to Bertie.

- Give arguments for/against statements 2, 10.

- In point 3 complete the character study of Mr Worple.

- In point 4 give facts from the story.

- Reveal your understanding of 11.

5. What was the catch about Corky’s intentions to get Jeeve’s rallying round?

6. What circumstances made Corky get it off his chest?.

7. What instance of the irony of fate did Corky bring round? What other instances of the irony of Corky’s fate can you reveal?

8. What was the heat of the moment for Mr Worple when he came to see the portrait?

9. How did it work out that Corky put the child’s soul on canvas?

20

10. Corky’s talent had always been for the humorous and that was going to make a hit some day.

11. What you loose on the swings, you make on the roundabouts.


1. “I’m a bit foggy as to what jute is, but it’s apparently something the populace is pretty keen on, for Mr Worple had made quite an indecently large stack out of it. ” (p. 28)

2. “I felt like the proprietor of a performing dog on the vaudeville stage when the tyke had just pulled off his trick without a hitch.” (p. 33)

3. “I saw what he meant. I don’t know why it is – one of these psychology sharps could explain it, I suppose – but uncles and aunts, as a class are always dead against the drama, legitimate or otherwise. They don’t seem able to stick it at any price.” (p. 33)

4. “You see. A boost for the uncle right away. And only a few pages later there he was in the limelight again in connection with the yellow-billed cuckoo. It was great stuff.” (p. 34)

5. “But after a month or so I began to hesitate again. It struck me that it was playing it a bit low-down on the poor chap, avoiding him like this just when he probably wanted his pals to surge round him most.” (p. 38)

6. If Mr Corcoran will allow me to make the suggestion, his talent has always been for the humorous. (p. 44)

7. “I’m an optimist. I always have been. The older I get, the more I agree with Shakespeare and those poet Jonnies about it always being darkest before the dawn and there’s a silver lining and what

21

you lose on the swings you may make up on the roundabouts.” (p. 45)

3. Explain the contextual meaning of the following phrasals and prepositional phrases. Recall situations from the story to use them. Note that they are mostly used in casual style.

to flit through, p. 27 -

to bring smth off, p. 31 -

to boil down into, p. 31 -

to pull off, p. 33 -

to hang around, p. 33 -

to bob up, p. 34 -

to rub in, p. 39 -

to cut up rough, p. 40 -to leer at smb/smth, p. 41 -

4. Dwell on the difference between the following words and expressions. Recall situations from the story.

- It’s a cert! (p.35), an absolute cinch! (p.35);

- to meander (up) (p.35), to stagger about (p.44);

- to leer at (p.41), to glare at (p.44);

5. Find Russian equivalents and recall situations from the story.

22

разумный план, p.27

a

не иметь четког

t

cosy chats, p.27 -

to settle down for a spell of exile, p.27

- вынужденно обосновать-ся где-то на короткий пе-риод

take it for all in all, p.27 - в общем и целом

his score up to date had been nil, p.28

- его шансы на успех были равны нулю

to be a pretty soft snap, p.28 - выгодное дело, большая удача

to shoo smb in front of oneself, p.29 - вталкивать кого-то

to meet this emergency, p.31 - осмыслить непредвиден-ную ситуацию

to spot smb in the offing, p.31 - невдалеке увидеть кого-то

to amount to smth, p.31 - быть равнозначным, рав-носильным; означать что-то

to dish the whole thing, p.32 - испортить, загубить что-то

it beats me sometimes, p.33 - иногда выше моего пони-мания, не могу понять

to stick smth at any price, p.33 - терпеть, выносить что-то любой ценой

to pop into some place, p.35 - неожиданно заглянуть куда-то

to put the lid on smth, p.37 - положить конец чему-то, быть последней каплей

to skid into the ditch, p. 37 - потерпеть провал

to begin to get it off one’s chest, p.38

- начать изливать душу

to bounce smb out of smth, p.39 - выманить хитростью, ли-шить

to hit on the greatest idea, p. 44 - неожиданно пришла ве-ликолепная мысль

to get it right in the neck, p.45 - получить по заслугам

23

о понимания чего-то, p.28

извлечь большую выгоду из чего-то, p.28

- to make a large stack out of smth

соответствовать стандарту, быть в хорошей форме, p.28

- to go to par

что-то слишком ужасное, чтобы об этом говорить, p.28

- smth too beastly for words

впасть в состояние комы, p.29 - to relapse into a state of coma

выйти из состояния комы, p.29 - to emerge from coma

завести с кем-то разговор на любимую тему, p.29

- to give smb his/her head on his/her pet subject

неуравновешенный характер, p.29 - to be of extremely uncertain temper

невесело, безрадостно рассмеяться, p.30

- to give a mirthless laugh

дело принципа с чьей-то стороны, p.30

- a matter of principle with smb

не может не увенчаться успехом, p.32

- cannot fail of success

изюминка, прелесть, привлекательная сторона, p.32

- the pippin of smth

24

полагаться на кого-то, p.32 - to count on smb

без сучка, без задоринки, p.33 without a hitch

наугад, p.34 - at random

научить кого-то уму-разуму, p.36 - to knock a little sense into smb

немного перекусить, p.37 - to have a bite to eat

быть в более спокойном располо-жении духа, p.37

- to be in a calmer fame of mind

надеяться на что-то, предвкушать, p.37

- to relish the idea of doing smth

осмелиться сделать что-то, p.38 -

-

to have the heart to do smth

to have the nerve to do smth

продемонстрировать бесчестное отношение к кому-то, p.38

- to play low-down on smb

ирония судьбы, p.39 - the irony of fate

пустой, бессмысленный, отсутствующий взгляд, p.39

- a vacant eye

быть на волосок (на грани) от чего-то, p.39

- within an ace of (doing) smth

не был готовым к удару, p.42 - wasn’t set for the punch

пожаловать титул пэра за заслуги перед партией, p.43

- to be elevated to the peerage for services to his

25

Party

привлекать внимание, p.44 - to arrest the attention

стать чрезвычайно популярным, p.45 - to make a big hit


1. Well, it’s a fairly longish story; but, reefing it down a bit and turning it for the nonce into a two-reeler, what happened was...

2. Corky managed to get along by drawing an occasional picture for the comic papers.

3. A little thing like this would be nothing to him. I’ll get after him right away.

4. All a publisher has to do is to write cheques at intervals, while a lot of deserving and industrious chappies rally round and do the real work.

5. The more I read, the more I admired the chap who had written it and Jeeve’s genius in putting us on to the wheeze.

6. I wish you would try to knock a little sense into him and make him quit this playing at painting. But I have an idea that he is steadying down. I noticed it first that night he came to dinner with us… Something seemed to have sobered him.

7. I was beginning to think I might safely pop down in that direction and gather up the dropped threads...

7. I began to see that I was letting myself in for something. The sympathetic cooperation of Jeeves seemed to me to be indicated.

9. All I tried to do was to give the little brute a cheerful expression. But, as it has worked out, he looks positively dissipated.

10. You know, Jeeves, you’re a genius. You ought to be drawing a commission on these things.

26


1. When he had finished that, the presumption was that he would begin a third and keep on till the supply of American birds gave out.

2. Muriel Singer was one of those very quiet, appealing girls who have a way of looking at you with their big eyes as if they thought you were the greatest thing on earth and wondered that you hadn’t got on to it yet yourself.

3. She gave a fellow a protective kind of feeling, made him want to stroke her hand and say, “There, there, little one!” or words to that effect.

4. The moment I saw the man standing there, registering respectful attention, a weight seemed to roll off my mind.

5. I had betted on Jeeves all along, and I had known that he wouldn’t let me down.

6. If I had half Jeeve’s brain I should have a stab at being Prime Minister or something.

7. I simply sat tight in the old flat with a fountain pen, and in due season a topping, shiny book came along.

8. What I needed then was air, not dinner. I felt that I wanted to get into the open and think this thing out.

9. I was bowled over. Absolutely. It was the limit.

10. My sympathy for the poor old scout was too deep for words.

11. It seems to me that, if Mr Corcoran looks into the matter, he will find, like Mr Thistleton, that there is always a way.

9. On Irony.

Aesthetico-Literary ApproachStrategy Points:

27

for Studying Irony.

Irony as an object of Aesthetics

and Literary Criticism is characterised

by a greater diversity of means of its

expressing compared with irony as an

object of linguistic analysis that is

largely expressed by a separate word, a

word-combination, a sentence, etc.

- irony as well as humour and satire are parts of a category of the comic;

- irony as a stylistic device has a diverse structural nature;

- irony has a number of stylistic functions.

There are two treatments of the term ‘irony’: 1) irony as one of the

components of the category of the comic; 2) irony as a name of a certain

stylistic device.

The birthplace and time of the notion of irony goes back to ancient

times. It was already mentioned in the ancient Roman Literature and

Philosophy. It appealed to the Greek and Roman orators (Plato,

Aristotle, and others). Socrates used to turn to the device of irony as a

means of argumentation and evidence of the truth in his heated debates

with Plato. The latter considered irony to be a mockery containing a

deep intellectual and moral matter. Aristotle treated irony as a pretence

and included it into the inventory of expressive means of the language.

Thus, we can point out that in ancient Rhetorics there already

existed two approaches for studying irony: as a thin and hidden mockery

and as a trope used by ancient orators in their speeches.

28

Some German romanists attached a unificatory meaning to irony.

They defined irony not only as an artistic means but also as a special

way of thinking, a philosophical attitude to the reality. Thus, F.Schlegel,

for instance, in his article on the theory of German Romanticism wrote

that in irony everything should be a joke and serious at the same time,

everything in it should be sincere and marked by pretence. Irony is

considered to be a mask hiding deep feelings. Some English scientists

(N.Knox, A.Read, for instance) also stick to this treatment of irony.

The Russian aesthetic school considers irony to be one of the

components of the general category of the comic. In the works by

A.F.Losev and V.P.Shestakov irony is treated alongside the phenomena

of humour, satire and sarcasm. They point out that any irony contains an

element of allegory in itself. Surprise, perplexity, laughter turn out to be

the result of that allegory. But laughter occupies a peculiar place here: it

unites all the components of the category of the comic, but the sources

of laughter may vary. Thus, on this basis the category of the comic is

subdivided into its composite elements: humour, irony, satire.

The sense of the comic is complicated. It arises as a result of

interrelation of both positive and negative feelings. Joy, delight,

pleasant surprise are positive feelings, and disappointment,

dissatisfaction, displeasure make up negative feelings. At the same time

each feeling contains a number of shades and colourings that add much

to the diversity of means in the structure of the category of the comic.

29

Sometimes positive feelings prevail, and sometimes the predominance

of negative feelings is so great that the comic might not cause laughter.

So, it is necessary to consider each component of the category of the

comic separately.

Humour, as a rule, causes positive feelings, a light, friendly

laughter. G.A.Budagov gives an interesting fact of the evolution of the

word ‘humour’. He says that it used to be a physiological notion that

later on creeped into Aesthetics, Literary Criticism and Linguistics.

Primarily the word ‘humour’ denoted ‘humidity’, ‘liquid’, then –

‘humidity from tears caused by a kind laughter’.

As for the word irony, it is characterised by its semantic stability

throughout ages. Compared with humour irony is characterized by a

critical nature. It is a kind of hidden mockery. So, a peculiar feature of

the phenomenon of irony will be vested in a dual sense where an

implicatory meaning will make up a true sense. And this implicatory

meaning is always opposed to the direct one. Another peculiarity about

the phenomenon of irony is that laughter in this case is not so bitter as in

satire, but it is not so good-natured as it is in humour either.

Satire is an insulting, pitiless mockery where feelings are based on

antipathy and avertion. Laughter in satire causes negative feelings, i.e.

disappointment, irritation, annoyance.

30

So we can arrive at a general conclusion that the difference

between humour, irony and satire is in the nature, aim and direction of

laughter which unites all the phenomena. Thus they make up the

category of the comic. We have also pointed out that irony is an element

of this category. But irony is a name of a certain stylistic device as well.

Now let’s have a look at irony as a stylistic device.

x Н.И.Кондаков. Логический словарь-справочник. Москва, 1975 г.,

с. 212: «Иронизировать (греч. – притворство) – тонко, скрыто или

лукаво высмеивать, вышучивать, но при этом вполне

положительно, одобрительно относиться к тому, о ком идет речь».хх Энциклопедический словарь. Том II, Москва, 1964 г., с. 351:

«Сатира … - в литературе и искусстве резкое обличение, гневное

осмеяние отрицательных явлений действительности и

общественных пороков».

Linguistic Approach for Studying the Stylistic Device of Irony

Some generalisation on the linguistic nature of irony was already

made by M.V.Lomonosov who treated irony as a trope (when a word is

used in the opposite meaning). In a number of works by French and

English linguists (K.Kerbrat-Orecchoni, D.C.Muecke and others) irony

is also considered to be a trope based on the controversy of form and

content. Irony is also included in a group of lexico-stylistic devices

connected with the semantic structure of a word based on the realisation 31

of two meanings: dictionary and contextual. This idea is developed by

I.R.Galperin: ‘Irony is a stylistic device … based on the simultaneous

realisation of two logical meanings: dictionary and contextual, but the

two meanings stand in opposition to each other’. This definition fully

reflects the language nature of irony as a stylistic device because a new

contextual meaning of a word does not specify its dictionary meaning

but exists alongside it in such a way that this contextual meaning is

filled with ironical content, i.e. makes an ironical background for the

dictionary one and makes for increasing the range of meanings and,

consequently, for the appearance of connotations of words.

E.S.Aznaurova defines a stylistic connotation as an additional content of

a word that is based on the associative bonds caused by a material

meaning of the word.

Structurally the stylistic device of irony can be expressed by a

separate word, a word-combination. It may also be realised in a

microcontext (a sentence, a number of sentences), in a macrocontext (a

passage), or in a megacontext (a number of passages, a chapter, the

whole story/novel).

The functional nature of irony is characterised by a certain effect

produced by the device. The degree of this effect can vary. Thus, the

following functions of the stylistic device of irony can be pointed out:

a) a characterizing function (it gives certain characteristics of things,

persons mainly through speech);

32

b) a function of false surprise (it may give the author’s negative

attitude to certain personages);

c) a function of annoyance. (This function stands closely to satire as a

means of exposing evils of the reality and is marked by a critical

character).

So, we can say that the stylistic device of irony is one of the

strongest language means that express a person’s attitude towards the

subject of his speech. Thus it seems possible to speak about one more,

attitudinal, function of irony which is mainly realised on the prosodic

(intonational) level. Kenneth L.Pike, for instance, claims that ‘an

extraordinary characteristic of intonation contours is the tremendous

connotative power of their elusive meanings… We often react more

violently to the intonational meanings than to the lexical ones’. He also

defines the attitudinal function of intonation as a lack of balance

between content and attitude, ‘…Usually the speaker’s attitude is in

balance with the words he chooses… Various types of word play,

however, depend on their success upon the exact opposite, i.e. a lack of

balance between content and intention or attitude. If one says something

insulting, but smiles in face and voice the utterance may be a great

compliment; but if one says something very complimentary, but with an

intonation of contempt, the result is an insult. A highly forceful and

exciting statement in a very matter-of-fact intonation may, in fact, by its

lack of balance produce one type of irony. Lack of balance between

33

intonation and word content may be deliberated for special speech

effects’. So, Kenneth L. Pike distinguishes between the lexical meaning

of a word and its intonational meaning, and believes that it is the latter

that conveys the speaker’s attitude.

10. Work through the information on irony in point 9 and define the type of irony used in each of the following extracts

1) p. 28 ’Corky’s uncle, you see, didn’t want him to be an artist. He

didn’t think he had any talent in that direction. He was always

urging him to chuck Art and go into the jute business and start at the

bottom and work his way up. And what Corky said was that, while

he didn’t know what they did at the bottom of a jute business,

instinct told him that it was something too beastly for words. Corky,

moreover believed in his future as an artist. Some day, he said, he

was going to make a hit.

E.g.: in this extract irony can be classified:

34

a) as hidden mockery based on the contradiction of the

factual information (the opinion of Corky’s uncle who didn’t

think him to have any talent in that direction and Corky’s

definite belief in his future as an artist who was going to make

a hit some day);

b) as a trope based on the dual sense of the word ‘bottom’

where two opposite meanings, direct and implicatory, are

opposed each other. The implicatory meaning is the

dominating one. It makes up a true sense hiding deep

emotions and feelings in Corky’s soul.

Thus, structurally irony in this extract, on the one hand,

is revealed in a microcontext and expressed by a separate

word. On the other hand, it is also revealed in a

macrocontext, a whole passage, gained by a contradiction of

some factual data. Being one of the strongest language means,

functionally irony here has a certain degree of annoyance.

35

2) p. 29 ‘…Mr Worple in his spare time was what is known as an

ornitologist. He had written a book called “American Birds”, and

was writing another, to be called “More American Birds”. When he

had finished that, the presumption was that he would begin a third, a

keep on till the supply of American birds gave out.’ ‘…But…there

was the frightful suspense … that birds, except when broiled and in

the society of a cold bottle, bored him stiff.’

3) p. 33 ‘I saw what he meant. I don’t know why it is – one of these

psychology sharps could explain it, I suppose – but uncles and aunts,

as a class are always dead against the drama legitimate or otherwise.

They don’t seem able to stick it at any price.’

4) p. 39 ‘If you want an instance of the irony of fate, Bertie, get

acquainted with this. Here’s the first commission I have ever had to

paint a portrait, and the sitter is that human poached egg that has

butted in and bounced me out of my inheritance. Can you beat it! I

call it rubbing the thing in to expect me to spend my afternoons

gazing into the ugly face of a little brat who to all intents and

purposes has hit me behind the ear with a black-jack and swiped all I

possess.’

✍ 11. Write a character sketch on a) Jeevesb) Bertie

36

c) Corkyd) Mr Worplee) Muriel Singerf) Aunt Agatha

✍ 12. Choose one of Oscar Wilde’s paradoxes to write an essay.

1. ‘To reveal art and conceal the artist is art’s aim.’

2. ‘The morality of art consists in the perfect use of an imperfect medium.’

3. ‘Vice and virtue are to the artist materials for an art.’

4. ‘All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril.

5. ‘Beauty, real beauty, ends where an intellectual expression begins. Intellect is in itself a mode of exaggeration, and destroys the harmony of any face.’

6. ‘One owes to one’s self.’

37

III. Jeeves and the Unbidden Guest

Proper names

Jeeves [dGi:vz]Lady Malvern ['leIdI 'mO:lvR(:)n]Lord Wilmot Pershore (Motty) ['lO:d 'wIlvmRt 'pR:SO:] (['mOtI])Mr. Wooster (Bertie) ['wustR] (['bR:tI])Aunt Agatha ['Q:nt 'WgRYR]cousin Gussie* ['kAzn 'gAsI]Sir Rodger Cremorne ['sR:r 'rOdGR krI'mO:n]Daniel ['dWnjRl]Mr. Rocky Todd ['rOkI 'tOd]Johnnie ['dGOnI]Rollo ['rOlou]New York [Lnju: 'jO:k]the White House ['waIt Lhaus]President Coolidge ['prezIdRnt 'ku:lIdG]Broadway ['brO:dLweI]America [R'merIkR]London ['lAndRn]India ['IndIR]the Durbar ['dR:bQ:]England ['INglRnd]Sing-Sing prison ['sIN 'sIN 'prIzn]the United States [ju:'naItId 'steIts]Gingery Stories ['dGIndGRrI 'stO:rIz]Much Middlefold ['mAtS 'mIdlfould]

38

Shakespeare ['SeIkLspIR]Shropshire ['SrOpSR]Washington Square ['wOSINtRn 'skwER]Hawaiian [hR'waIIRn]Long Island ['lON 'aIlRnd]Boston ['bOstRn]the Niagara Falls [naI'WgRrR 'fO:lz]Yellowstone Park ['jeloustoun 'pa:k]the Grand Canyon ['grWnd 'kWnjRn]Blackwell’s Island prison ['blWkwRlz 'aIlRnd 'prIzn]______________________________________

* Gusta, Gussie (f.) – from Augusta [O:'gAstR]Gussy, Gussie (m.) - from Augustus [O:'gAstRs]

39

NotesIn the story you will come across some specific words and word-

combinations. Note that the usage of such words is stylistically marked.

Eg:

brainy bird, p. 46 - умник

to feel like a million dollars, p. 46 - чувствовать себя пре-

восходно

jolly well, p. 46 - ужасно

the Younger Set, p. 47 - молодежь (чьего-то круга)

What ho, without there! p. 47 - Что там (в чем дело)?

Who the deuce is Lady Malvern? p. 47 - Кто такая леди Малверн?

I’ve placed her, Jeeves. p. 48 - Я вспомнил ее, Дживс!

Dashed unpleasant, p. 48 - До чего неприятно, черт

подери!

Rather! Oh, rather. Absolutely. p. 50 - О чем речь! Непременно!

That pill is coming to stay here. p. 52 - Этот кошмарный тип

собирается у нас

поселиться

He’s had some sort of dashed fit. p. 54 - Вот черт, у него,

наверное, припадок.

Jeeves is a corker. p. 55 - Дживс – малый не

промах.

I must see more of that lad. p. 55 - Мне надо почаще об-

40

щаться с этим парнем.

old top, p. 55 - старина

I’m apt to get in the soup somewhat. p. 55 - Меня ждут крупные

неприятности.

old sport, p. 56 - старина

41


1. Bertie was rapidly becoming a dashed serf before he assorted himself with Jeeves who tried to tread on Bertie like a worm.

Strategy Points:

- Give facts from the story to points 4, 5, 6, 8, 9.

2. England is a jolly sight too small for anyone to live in with Aunt Agatha, if she is really on the war-path.

3. It was rather a solemn moment in Bertie’s life when

- Give arguments for/against statement 1, 2, 3, 7, 11, 12.

- In point 10 bring out all possible measures for Motty to recover from the effects of Lady Malvern’s system of bringing up.

Lady Malvern turned to Bertie for his rallying round.

4. There was something about Lady Malvern that sapped one’s will-power.

5. Duty first for Lady Malvern, when it comes to securing material for her books.

6. Till you’ve been cooped up in Much Middlefold you don’t know what cooping is.

7. We’re only young once. Why interfere with life’s morning?

8. Being put up at Bertie’s, Wilmot seems to have chucked all the principles of a well-spent boyhood. He has got it up his nose.

9. Being left flat, Motty finds it judicious to prevaricate a little and makes an obstinate blighter for the whole party.

42

10. To remedy the defects of his mother’s system of bringing up Motty should…

11. It was a consolation for Bertie to realize that he was not cut out for a village life.

12. Jeeves’s most suitable method of unducing Motty to abandon his mode of living stood alone and made a special effect on Motty.


1. “…It’s always just when a fellow is feeling particularly braced with things in general that Fate sneaks up behind him with the bit of lead piping.” (p. 46)

2. “I was just starting to say that the shot wasn’t on the board at any price, and that the first sign Motty gave of trying to nestle into my little home I would yell for the police, when she went on, rolling placidly over me, as it were.” (p. 50)

3. “And no sympathy from Jeeves. That was what cut me to the quick. The man was still thoroughly pipped about the hat and tie, and simply wouldn’t rally round. One morning I wanted comforting so much that I sank the pride of the Woosters, and appealed to the fellow direct. “Jeeves,” I said, “this is getting a bit thick!” (p. 57)

4. “The management was extremely terse over the telephone at breakfast-time, and took a lot of soothing.” (p. 59)

5. “A fellow has to be a lot broader about the forehead than I am to handle a jolt like this. I strained the old bean till it creaked, but between the collar and the hair parting nothing stirred.” (p. 64)

43

3. Explain the contextual meaning of the following fhrasals and recall situations from the story to use them. Note that they are mostly used in casual style.

to be driving at smth, p. 46 - клонить к чему-то

to mix up with smth, p. 46 - попасть в переделку

to come round, p. 49 - идти на мировую

to trickle out of, p. 50 - произнести (слова)

to howl for smb, p. 52 - в ужасе воззвать к кому-

либо

to brood on smb, p. 52 - размышлять о ком-то

to simmer down, p. 56 - приостыть, придержать норов

to be cooped up, p. 56 - быть взаперти

to rally round, p. 58 прийти на помощь

to pull smb up, p. 62 сдержать, обуздать (to stop what one was doing)


- to shimmer off to some place (p.58), to tumble out into (the hall)

(p.59);

- to flow in (p.63), to float into (p.64);

- to toddle along to (p.64), to dodge all over the place (p.64);

5. Find Russian equivalents and recall situations from the story.

44

to feel particularly braced with things (p.46)

- все в ажуре

what was bucking me up more (p.46)

- что особенно меня нас-лаждало

to tread on smb like a worm (p.2) - раздавить кого-то, как червя

the nub of the thing was (p.47) - соль была в том, что…

heather-mixture lounge (p.48) - пиджачный костюм из твида сиреневого оттен-ка

to weaken (p.48) - спасовать

meek-looking (p.49) - смиренный на вид

this was far from the case (p.49) - далеко от истины

to smile genially on the assemblage (p.50)

- сердечно улыбнуться гостям

to give smb the swift east-to-west (p.50)

- окинуть кого-то быстрым взглядом

to have smth planted on smb (p.50)

- подсунуть что-то кому-то

to put the lid on smth (p.52) - быть последней каплей

to treat smb like a bally one-man chain-gang (p.52)

- обращаться с кем-то как с жалким рабом

I had a kind of foreboding (p.54) - У меня возникло дурное предчувствие.

to give smb a chance to slide out of it (p.55)

- дать кому-то шанс выйти из неловкого положения

sooner or later I was scheduled to get it behind the ear (p.57)

- рано или поздно я дол-жен был стать козлом от-пущения

to cut smb to the quick (p.57) - задеть кого-то за живое

He has got it up his nose. (p.58) - Он знать ничего не желает.

to leave smb flat (p.58) - бросить кого-то на произвол судьбы

to lead smb astray (p.65) - толкнуть кого-то на путь порока

to be look-proof (p.65) - взглядом не проймешь

to stand alone (p.68) - быть неподражаемым

45

6. Find English equivalents and recall situations.одержать сокрушительную победу над кем-то (p.46)

- to assert oneself with smb

превратиться в жалкого раба (p.46) - to become a dashed serf

знать толк в чем-то (p.46) - sound judgement about smth

недвусмысленно дать понять, кто есть кто (p.46)

- to show smb in no uncertain manner who is who

чувствовать себя отважным (p.47) - to feel manly

опомниться (зд.) (p.47) - to pull oneself together

шутить шутки (p.47) - to bar practical jokes

поставить кого-то на место (p.48) - to quell smb

Я не хотел, чтобы въезд в Англию мне был заказан до конца дней моих (p.50)

- I didn’t want to have Eng-land barred to me for the rest of my natural

ступить на тропу войны (p.50) - to be on the war-path

быть совершенно домашним ребенком (p.50)

to be essentially a home bird

призвать полицию - to yell for the police

в этой женщине было нечто такое, что парализует волю (p.51)

- there was smth about this woman that sapped one’s will-power

46

быть в довольно подавленном состоянии (p.52)

- to be in a pretty reduced sort of state

нажаловаться кому-то (p.52) - to report to smb

завалиться спать (зд.) (p.53) - to call it a day

выдающаяся личность (p.55) - to be one of the ones

исправить промах (p.55) - to remedy the defect

быть душой компании (p.56) - to be the life and soul of a party

привлекать к себе ненужное внимание (p.57)

- to make oneself conspicuous

поступиться фамильной гор-достью Вустеров (p.58)

to sink the pride of the Woosters

быть чудаком (p.60) to be a rummy sort of chap

недооценивать кого-то (p.61 to misjudge smb

напасть на кого-то (p.61 to assault smb

завладеть разговором (p.65) to collar the conversation

совершить преступление против закона (p.66)

to commit some breach of the law

быть несправедливым к кому-то (p.66)

to do smb an unjustice

47


1. After that I work my way gradually across to the coast, visiting the points of interest on the journey.

2. My publishers are anxious for me to write a companion volume on the United States.

3. It seemed to me that I had let myself in for something pretty rocky.

4. I mean to store up a few happy memories for the long winter evenings.

5. Directly I managed to tear myself away that night and get home.

6. Absolutely becoming the good old shadow I give you my honest word. Starting at sudden noises and what not.

7. “Jeeves”, I said, “haven’t you any scheme up your sleeve for coping with this blighter?”.

8. Yet directly he caught sight of me again, he got all worked up and seemed to have only one idea in life – to start chewing me where he had left off.

9. I don’t think I’ve ever been so bucked by a bit of news.

10. I called out to Jeeves, who was now messing about in the next room with forks and so forth.

11. Something seemed to tell me that this was an occasion that called for rich rewards.

12. His lordship was a little over-excited at that time and I fancy that he mistook me for a friend of his.

48


1. - Who the deuce is Lady Malvern, Jeeves?- Her ladyship did not confide in me, sir.

2. I want you to put dear Motty up for a little while.

3. I felt certain that he would have been able to think of some way of putting a stop to this woman.

4. If I slung Motty out, he would report to his mother, and she would pass it on toAunt Agatha, and I didn’t like to think what would happen then.

5. I dined at the club and looked in at a show afterwards, and it wasn’t till fairly late that I got back to the flat.

6. When Motty turned up at three in the morning with a collection of hearty lads, they started singing “The Old Oaken Bucket”.

7. Correct the impression that I intend to hang about in the hall while life slips by.

8. You were dodging all over the place like a snipe…, and we couldn’t get at you.

9. His lordship had gone to prison voluntarily and from the best motives.

10. Nothing would have convinced my Aunt Agatha, that I hadn’t lured that blighter into riotous living.

11. I hope Wilmot was not in your way, Mr Wooster?

49

9. On Metaphor.

Metaphor as a speech figure is

very common in English and in other

languages. People often think of it as

being a typical feature of poetry and

literature. But, in fact, many ordinary

familiar words and phrases have

metaphorical meanings, although we do

not usually realize this when we use

Strategy Points:- a common speech figure

- a type of comparison

- a connection between the literal and indirect meaning

- idioms and similes are of metaphorical character

them.

What is a metaphor?

Let’s have a look at the following sentences:

1. She flew past me on her bicycle.

2. She gave me a cold look.

3. Turing was the father of the modern computer.

In all these sentences, the word in bold type is not in its basic or

literal meaning – it is used in a metaphorical way.

A metaphor is a type of comparison: when you use a word or

phrase metaphorically, you are using a meaning that has developed from

the literal (direct) meaning and has some of the same features. For

example, if you say someone ‘flies past’ on a bicycle or in a car, they

are not really flying through the air; but the speed of their movement

reminds you of a plane or a bird. This is a natural thing for a word

50

meaning to develop, and when a word has several different meanings,

some of those meanings are usually metaphorical.

How do metaphors work?

Every metaphorical word or phrase contains a ‘key idea’. This is

the connection or similiarity between the literal (direct) meaning and

metaphorical (indirect) meaning. Sometimes, the same key idea is

expressed in several different words and phrases. For example, when we

talk about conversations and discussions, we often use words whose

literal meanings are about journeys or movement:

1. Let’s go back to what you were saying earlier.

2. We eventually arrived at a conclusion.

3. The conversation drifted aimlessly.

Idioms often contain metaphorical ideas: for example, expressions

like spill the beans and give someone a hand are metaphorical.

Similes are very like metaphors. The difference is that they include

words such as like or as, which make it clear that two things are being

compared. For example, he is a pig is a metaphor, and he behaves like

a pig is a simile.

51

10. Work through the story to complete the list with as many bright metaphors and similes as you can.

Ex. 1. brainy bird, p. 46

2. fate sneaks up behind, p. 46

3. what I’m driving at is…, p. 46

4. one of the scalliest affairs came into my life, p. 46

5. it was one of those topping mornings, p. 46

6. feel like a million dollars, p. 46

7. I loved like a couple of brothers (of boots), p. 46

8. to tread on smb like a worm, p. 46

9. I had set my heart on the Broadway Special, p. 47

10. …

11. Read the story for more cases of irony or humour. Interpret the extracts.

12. Account for the difference between irony and metaphor.

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✍ 13. Write a character sketch on

a) Jeevesb) Bertiec) Lady Malvernd) Mottye) Aunt Agathaf) Rocky Todd

✍ 14. Choose one of the points to write an essay.1. “One’s home is not always a fortress.”

2. “Youth is the one thing worth having.” (O.Wilde)

3. “…Realise your youth while you have it. Don’t squander the gold of your days…” (O.Wilde)

4. “Nowadays people know the price of everything and the value of nothing.” (O.Wilde)

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IV. Jeeves and the Hard-Boiled Egg

Proper names

Jeeves [dGi:vz]Bertie (Mr Wooster) ['bR:tI] (['wustR])Reggie Foljambe ['redGI 'fuldGRm]Alistair Bingham-Reeves ['WlIstER 'bINRm 'rI:vz]Mr Francis Bickersteth (Bicky) ['frQ:nsIs 'bIkRsteY] (['bIkI])Rollo Bickersteth ['rOlou 'bIkRsteY]Rockefeller ['rOkRfRlR]Duke of Chiswick ['dju:k Rv 'tSIzIk]Simms ['sImz]New York [Lnju: 'jO:k]America [R'merIkR]Washington Square ['wOSINtRn 'skwER]Colorado [LkOlR'rQ:dou]Grant’s Tomb ['grQ:nts 'tu:m]Birdsburg ['bR:dzbR:g]Missouri [mI'zuRrI], [mI'suRrI]London ['lAndRn]Picadilly [LpIkR'dIlI]

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Notes


Eg:

What the deuce I should do..? p. 69 - И что я, к дьяволу, буду делать..?

low blighters, p. 69 - пройдохи

Bally pirates! p. 69 - Ну не шакалы!

How the deuce do you know anything - Что за чертовщина? about it? p. 72 Как вы узнали?

old thing, old man, p. 73 - старина


the old boy, p. 74 - старикан

quite the nib, p. 76 - тот еще пройдоха

Great Scott! p. 77 - Вот те на!

I’m done, Bertie! p. 78 - Я пропал, Берти!

At how much a head? p. 82 - Сколько же они платят с носа?

Right, ho! p. 83 - Правда-правда.

I won’t go to that bally ranch. p.88 - Да не поеду я на ваше дурацкое ранчо!

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1. Bertie and Bicky’s friend-ship doesn’t call for mutual expression of goodwill and good faith.

Strategy Points:

- Give answers to points 2, 3, 4, 5, 6, 8.

2. What circumstances did Ber-tie have the privelege of me-eting Duke of Chiswick in?

- Give arguments for/against statement 1.

- In points 7 and 8 draw facts from the story.

3. What was Bicky’s dilemma?

4. What suggestion did Jeeves make to get Bicky out of the whole he was in?

5. According to a maxim, there is always a way. Was there any way discovered to solve Mr Bickersteth’s difficulty?

6. In Jeeves’s opinion His Grace’s potentialities may serve as a source of revenue for Bicky. What was the brainy wheeze about it?

7. Outline the hand-shaking scheme.

8. How did Duke of Chiswick mean to utilize Bicky’s servi-ces? What were Bicky’s terms?

9. Jeeves is dashed competent, has absolutely sound judgement and is in a class of his own.

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1. “What I mean is, while there’s no doubt that in certain matters of dress Jeeves’s judgement is absolutely sound and should be followed, it seemed to me that it was getting a bit too thick if he was going to edit my face as well as my costume.” (p. 70)

2. “I went and dressed sadly. It will show you pretty well how pipped I was when I tell you that I as near as a toucher put on a white tie with a dinner-jacket. I sallied out for a bit of food more to pass the time than because I wanted it. It seemed brutal to be wading into the bill of fare with poor, old Bicky headed for the bread-line.”(p. 78)

3. “I was obliged to agree to a reduction for quantity, sir. The terms finally arrived at were one hundred and fifty dollars for the party.” (p. 82)

4. “…The poor old lad is absolutely dependent on that remittance of yours, and when you cut it off, … he was pretty solidly in the soup and had to think of some way of closing in on a bit of the ready pretty quick…”. (p. 87)

3. Explain the contextual meaning of the following phrasals and recall situations from the story to use them. Note that they are mostly used in casual style.

to turf smb out, p. 73 - вышвырнуть, выбросить, спровадить

to drop into smth, p. 73 - затеять что-то

to buck at smth, p. 77 - оживиться, обрадоваться чему-то

to bowl over, p. 77 - расстроить, огорчить

to sally out, p. 78 - отправиться, выбраться

to flit about, p. 79 - порхать

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to pop out, p. 84 - заехать, выбраться куда-то

to jump at smth, p. 88 - с руками оторвать что-то


- valet, butler ;

- to trot off (p.77), to flit out (p.81);

- to shimmer into (p.79), to slide into (p.84).

5. Give Russian equivalents and recall situations from the story.

to be on the rocks, p.71 - быть на мели

a hard-boiled egg, p.71 - жмот (жарг.)

to take (have) a stab at smth / doing smth, p.75, p.78

- приложить усилие для чего-то, постараться

to square smth with smth, p.76 - соотносить, увязывать что-то с чем-то

to be pipped, p.78 - быть в растрепанных чувствах

as near as a toucher, p.78 - чуть не, едва, на волосок от чего-то

to get quite worked up at the thought of, p.78

- оживиться при мысли о…

to scatter largesse to blighters, p.79 - осыпать щедротами проще-лыг

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to be on one’s uppers, p.79 - в карманах ветер гуляет

to make smb take a flutter on smb/smth, p.81

- подогреть чей-то интерес к кому-то (чему-то)

to be in a class of his own, p.81 - быть в своем роде единствен-ным, неповторимым

to speak at some length of smth, p.82 - говорить пространно о чем-то

to give tongue, p.85 - подать голос

to be hot stuff among smth, p.87 - далеко пойти

6. Find English equivalents and recall situations from the story.

переманить кого-то, p.69 - to sneak smb away from smb

вдевать запонки, p.69 - to shove studs into a shirt

быть встревоженным, p.70 - to be agitated

терпеть, выносить, p.70 - to stick smth

стать закадычными друзьями, p.71 - to become extremely pally

высылать денежные переводы, p.71 - to send smb monthly remit-tances

незачем темнить, p.73 - there’s no need to keep it dark

прибыть в порт, p.74 - to fetch up at a dock

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размышлять о жизни, p.75 - to brood on life

быть пораженным, ошеломлен-ным, p.77

- to be taken aback

приложить все силы, p.78 - to spare no pains

заработать уйму денег, p.78 - to make a dashed amount of money

очистить карманы, p.79 - to lift the specie out of your pockets

на дух не переносить кого-то, p.79 - not to care a hang for smb

поднять чей-то престиж в глазах соседей, p.80

- to give smb social standing among the neighbours

стоящая затея, p.80 - a brainy wheeze

пусть все идет своим чередом, p.81 - let things take their course

вполне разумно, p.89 - it stands to reason


1. And, what more, he can always be counted on to extend himself on behalf of any pal of mine who happens to be to all appearances knee-deep in the bouillon.

2. If Bicky’s people hadn’t left him anything and he depended on what he could prise out of the old duke, he was in a pretty bad way.

3. He thinks I’m doing well at something or other over here.

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4. It wasn’t much after nine by the time I’d dressed and had my morning tea and was leaning out of the window, watching the street for Bicky and his uncle.

5. The old boy said that in London the trip would have set him back a shilling; and the cabby said he should worry.

6. It was latish in the evening when I looked in at the flat to dress for dinner.

7. He had another go at the glass. It didn’t seem to do him any good.

8. The whole thing, I’m inclined to think, would have been off if it hadn’t been for Jeeves.

9. “Uncle”, he said, “are you doing anything special tomorrow afternoon? I mean to say, I’ve asked a few of my pals in to meet you, don’t you know”.


1. …When it comes to a valet’s staking out a claim on your upper lip you’ve simply got to have a bit of the good old bulldog pluck and defy the blighter.

2. A taxi had driven up, and an old boy in a top hat got out and was kicking up a frightful row about the fare.

3. By the end of a week the only name we had on our list was a delicatessen-store keeper down in Bicky’s part of the town, and as he wanted us to take it out in sliced ham instead of cash that didn’t help much.

4. There was a gleam of light when the brother of Bicky’s pawnbroker offered ten dollars, money down, for an introduction to old Chiswick, but the deal fell through, owing to its turning out that the chap was an anarchist and intended to kick the old boy instead of shaking hands with him.

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5. At that, it took me the deuce of a time to persuade Bicky not to grab the cash and let things take their course.

6. - Might I speak to you with regard to that matter of His Grace, sir?- It’s all off. We’ve decided to chuck it.

9. On Euphemism.

Euphemism is a word or phrase

used to replace an unpleasant word or

expression by a conventionally more

acceptable one, for example, the word

‘to die’ has bred the following

euphemisms:

Strategy Points:

- a stylistic device aimed at breeding a more pleasant form,

- always calls up a definite synonym (dominant)

to pass away,

to depart,

to join the majority,

to be gone;

more casual ones:

to kick the bucket,

to give up the ghost,

to go west.

The origin of the term ‘euphemism’ discloses the aim of this stylistic device very clearly, i.e. speaking well (from Greek – eu = well + -pheme = speaking). Euphemism is sometimes figuratively called ‘a whitewashing device’. The linguistic peculiatiry of euphemism lies in the fact that every euphemism must call up a definite synonym

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(dominant) in the mind of the reader or listener. This synonym must follow the euphemism like a shadow, as ‘to possess a vivid imagination’, or ‘to tell stories’ in the proper context will call up the unpleasant verb ‘to lie’.

10. Jeeves’s speech is abundant in euphemisms. Look through the story to find the most evident euphemisms.

Eg: p.77 Bertie – Great Scott, Jeeves! This is awful!Jeeves – Somewhat disturbing, sir.Bertie – I never expected anything like this!Jeeves – I confess I scarcely anticipated the contingency

myself, sir.Bertie - I suppose it bowled the poor blighter over

absolutely?Jeeves - Mr Bickersteth appeared somewhat taken aback,

sir.

Eg: p.80 – ‘I do not allude, sir,’ explained Jeeves ‘to the possibility of inducing His Grace to part with money, I am taking the liberty of regarding His Grace in the light of an at present – if I may say so – useless property, which is capable of being developed.’

12. Going back to the previous stories what euphemisms can we regard as the best of Jeeves’s?

13. Recall patterns of irony, humour, metaphor and simile from the story. Interpret the peculiarities.

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✍ 14. Write a character sketch on:a) Jeevesb) Bertiec) Bickyd) Duke of Chiswick

✍ 15. Choose one of the statements to write an essay.

1. ‘Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.’ (O.Wilde)

2. ‘Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.’ (O.Wilde)

3. ‘The value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it.’ (O.Wilde)

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V. The Aunt and the Sluggard

Proper names

Mr Wooster (Bertie) ['wustR] (['bR:tI])Rockmetteller [' 'tQd] (['rQkI])Isabel Rockmetteller ['IzRbRl ']Jeeves [dGrI:vz]Bicky ['bIkI]Duke of Chiswick ['dju:k Rv 'tSIzIk]Corky ['kO:kI]Alexander Worple [LWlIg'zQ:ndR 'wR:pl]Oliver Sipperley ['OlIvR]Jimmy Mundy ['dGImI 'mAndI]Freddy ['fredI]George M. Cohan ['dGO:dG 'kovRn]Willie Collier ['wIlI 'kQlIR]Fred Stone ['fred 'stoun]Doug Fairbanks ['dAg 'fERbWNks]Ed Wynn ['ed 'wIn]Laurette Taylor [lO:'retR 'teIlR]David Belasco ['deIvId]Jim Corbett ['dGIm 'kO:bIt]Reigelheimer’s [' ']Frolics on the Roof ['frQlIks Qn TR 'ru:f]The Midnight Revels ['mIdnaIt 'revlz]Long Island ['lQN 'aIlRnd]New York [Lnju: 'jO:k]America [R'merIkR]Illinois [LIlI'nQI]Madison Square Garden ['mWdIsn 'skER 'gQ:dn]

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Broadway ['brO:dweI]The St Aurea ['snt 'O:rIR]Peale’sThe Maison Pierrethe Hippodrome ['hIpRdroum]Yorkshire ['jO:kSR]the Highlands ['haIlRndz]London ['lAndRn]Hamlet ['hWmlIt]Gehenna [gI'henR]St VitusNinevehBabylon ['bWbIlRn]

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Notes


Eg:

the chumps of this world, p. 93 - слухи царя небесного


old scout, p. 94 - дружище

the reformer bloke, p. 96 - тот самый парень, кото-рый ратует за реформы в обществе

by Jove, p. 96 - ей-богу

She seemed tickled to death, p. 100 - Казалось, она была на седьмом небе.

to show up, p. 101 - заявиться

and that sort of tosh, p. 101 - и прочий вздор

to rest the old bean, p. 101 - бить баклуши

to be put upon, p. 102 - навешать лапшу на уши

not to have a care in the world, p. 104 - и в ус не дуть

it’s pretty rotten, p. 104 - это просто отвратительно

those poet-and-philosopher Jonnies, - философско-поэтическаяp. 108 братия

This is pure Hades! p.110 - Это сущий ад!67

It’s too bally awful! p. 111 - Это уж слишком, черт по-дери!

for the love of Mike, p. 114 - ради Бога

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1. Rocky had his scheme of life worked out to a fine point.

Strategy Points:

- Draw facts from the story to points 4, 6.

2. Was is pretty soft for Rocky to get aunt Isabel’s allowan-ce? Present the terms of this allowance.

- Give arguments for/against statements 1, 3, 5, 7.

- Give answers to point 2.

3. Jeeves’s brainy schemes were/were not touch and go.

4. Having resigned herself to ending her life where she was, aunt Isabel wanted Rocky to appreciate the frightful privations she had to stick and to see him become the hub of New York life.

5. Rocky didn’t crack under strain when he had to take a whirl at beginning a new life in New York.

6. Rocky vs Bertie’s attitude to New York. Aunt Isabel’s attitude to New York.

7. Mr Mundy, like some prophet of old, scouring the sins of the people, made aunt Isabel, who had just sipped of the evil cup, come away a changed woman.

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1. “I didn’t know there was enough money in poetry to support a chappie, even in the way in which Rocky lived; but it seems that, if you stick to exhortations to young men to lead the strenuous life and don’t shove in any rhymes, American editors fight for the stuff.” (p. 91)

2. “What I’m driving at is that Providence seems to look after the chumps of this world; and, personally, I’m all for it. I suppose the fact is that, having been snootered from infancy upwards by my own aunts. I like to see that it is possible for these relatives to have a better and a softer side.” (93)

3. “You know, I rather think I agree with those poet-and-philosopher Jonnies who insist that a fellow ought to be devilish pleased if he has a bit of trouble . All that stuff about being refined by suffering, you know. Suffering does give a chap a sort of broader and more sympathetic outlook. It helps you to understand other people’s misfortunes if you’ve been through the same thing yourself.” (p. 108)

4. “And so the merry party began. It was one of those jolly, happy, bred-crumbling parties where you cough twice before you speak, and then decide not to say it after all.” (p. 115)

3. Explain the contextual meaning of the following phrasals and set phrases. Recall situations from the story to use them. Note that they are mostly used in casual style.

to surge round with smth., p. 93 - приставать с чем-то, докучать

to be pretty soft for smth., p. 96 - здорово повезти кому-то

to pop in at some place, p. 96 - появиться где-то

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to stand on smb, p. 98 - положиться на кого-то

to buck smb up, p. 100 - подбодрить кого-то

to get off a story, p. 101 - отмочить шутку, анекдот

to rally round smb, p. 102 - помочь кому-то

to hang about, p. 104 - околачиваться

to get back at smth, p. 109 - отыграться на чем-то

4. Fire Russian equivalents and recall situations from the story.

to restore the physique, p.91 - восстанавливать силы

to hit on a walk in life, p.91 - найти себе подходящее за-нятие

from a blue sky, p.96 - нежданно-негаданно

to come to some place on a hit-the-trail campaign, p. 96

- отправиться в предвыбор-ное турне

to be on to smb’s curves, p. 98 - съесть пуд соли с кем-то

to have a corking time, p. 99 - развлекаться напропалую

to do smb a good turn, p. 100 - оказать кому-то услугу

to be getting smth at pretty long range, p. 100

- насмотреться чего-то вдоволь

to put a bit of a punch into a letter, p. 101

- написать занятное письмишко

to be hot stuff, p. 101; to floor smb, p. 102; to have smb with the first shot, p. 102

- сразить наповал

to pull a game on smb, p. 102 - затеять что-то в отношении кого-то

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the good old stand-by, p. 103 - надежное, испытанное средство, палочка-выруча-лочка

this is a bit thick, p. 104 - это уж чересчур

it was brought home to me, p. 106 - мне ясно дали понять

to be right in the soup, p. 106 - (зд.) окончательно про-пасть

to be a fixture for the might, p. 109 - просидеть где-то всю ночь

it was touch and go, p. 110 - это была рискованная ситуация

to have a dash at doing smth, p. 113 - понемногу начинать делать что-то

I’d do you a good turn, p. 114 - ради тебя я готов на все

I’d take a nickel for my chance of (doing smth), p. 114

- готов поспорить на что угодно

to see it coming, p. 116 - понимать, что все кончено

to go to perdition, p. 116 - губить себя

to give smb a withering up and down, p. 116

- посмотреть на кого-то ис-пепеляющим взглядом

to be like some prophet of old, p. 117 - быть подобным библейско-му пророку

5. Give English equivalents and recall situations. жить далеко от Нью-Йорка, p. 91 - to live miles away from |New

York

полностью предаваться чему-то,p. 91

- to go to the limit in smth

иметь богатую тетушку, p. 92 - to have a moneyed aunt

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пыхать здоровьем, p. 94 - to be bursting with health

окунуться в шумную, веселую жизнь Нью-Йорка, p.95

- to plunge into the gay, pris-matic life of New York

быть душой компании на званных вечерах, p. 95

- to be the life and soul of brilliant supper parties

на этом городе порча, p. 97 - there’s a blight on it

лишить наследства, p. 98 - to cut smb out of one’s will

суть дела, p. 98 - the crux of the matter

дело привычки, p. 101 - it’s just a knack

умный замысел, p. 104 - a brainy scheme

взять на себя смелость сделать что-то, p. 105

- to take the liberty of doing smth

невзлюбить кого-то, p. 105 - to take a dislike to smb

завязать разговор, p. 105 - to crank a conversation up

произносить слова в час по чайной ложке, p. 106

- to let it go a word at a time

выгонять на улицу, p. 107 - to drive smb out of the old homestead

немного вздремнуть, p. 109 - to snatch a wink of sleep

иметь успех, p. 111 - to make a hit

много думать о чем-то, p. 111 - to give the matter conside-rable thought

с головой окунуться в новую жизнь, p. 112

- to take a whirl at beginning a new life

не выдержать испытаний, p. 113 - to crack under the strain

быть озабоченным чем-то, p. 114 - to be brooding about smth

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поддержать беседу, p. 115 - to supply dialogue

мы не очень-то были разговорчивы, p. 115

- we weren’t a chatty party

такой человек, как вы, p. 116 - a man of your stamp

погрязнуть в грехе, p. 117 - to be dead in sin

доставлять неудобства кому-то,p. 117

- to inconvenience smb

6. Fill in the gap with a required preposition. Translate the sentences into Russian.

1. He told me once that he could sit on a fence, watching a worm and wondering what on earth it was up to for hours at stretch.

2. Jeeves flowed in with the tray, like some silent stream meandering over it’s mossy bed; and I saw daylight.

3. As you know, you will have my money when I am gone; but until now I have never been able to see my way to giving you an allowance. I have now decided to do so on one condition.

4. To my mind it was an occasion for the beaming smile and the joyous whoop; yet here the man was, looking and talking as if Fate had swung on his solar plexus.

5. He had certainly told New York some pretty straight things about itself, having apparently taken a dislike to the place.

6. - You might write and explain to your aunt.- I might - if I wanted her to get round to her lawer’s in two rapid leaps and cut me out of her will.

7. Hamlet must have felt much as I did when his father’s ghost bobbed up in the fairway.

8. Rocky’s aunt looked less like an invalid than anyone I’ve ever seen, except my aunt Agatha. She had a good deal of Aunt Agatha about her, as a matter of fact.

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9. She raised her eyebrows and drank me in a bit more through her glasses.

10. The full horror of the situation rolled over me like a wave.

11. And on the top of that I almost got brain fever inventing lies to tell Aunt Isabel. And then I had to cram myself into these confounded evening clothes of yours.

12. Something’s got to be done, Bertie! You’ve got to think up some way of getting me out of this mess. It was you who got me into it.


1. It was only then that I really got on to the extremely rummy attitude of the chappie, in view of the fact that a quite unexpected mess of good cash had suddenly descended on him from a blue sky.

2. Not that I cared about old Ted; but if I hadn’t dragged him in I couldn’t have got the confounded thing on to the second page.

3. And there’s another thing: What are we to do about Mr Todd? We’ve got to get him up here as soon as ever we can.

4. There’s nothing like having a bit of business arranged for one when one isn’t certain of one’s lines. With the teapot to fool about with I felt happier.

5. I’ve told Aunt Isabel I’ve gone out to call up a friend to join us. She’s glued to a chair, with this-is-the-life written all over her, taking it in through the pores.

6. Next morning Jeeves came round. It was all so home-like when he floated noiselessly into the room that I nearly broke down.

7. A few night ago I happened to run into two newspaper men I used to know fairly well… I introduces them to Aunt Isabel as David Belasco and Jim Corbett, and it went well. But the effect has worn of now, and she’s beginning to wonder again. Something’s got to be done, or she will find out everything...

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8. It must have brought home to him the realization that a miracle had come off and saved him from being cut out of Aunt Isabel’s.

✍ 8. Write a character sketch on:a) Bertieb) Jeevesc) Rockyd) Aunt Isabel

✍ 9. Choose one of the points to write an essay.

1. Bertie as a typical specimen of a useless and decaying aristocracy and a useless blot on the fabric of Society.

2. How often in this life a mere accident may shape our whole future!

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notes - МГИМО (students).doc · web viewprimarily the word ‘humour’ denoted...

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