A) He bullied them, he screamed at them, he mocked them. He underpaid them. But if they played a moving scene well he cried like a child, and when they said an amusing line as he wanted it said he bellowed with laughter. He would skip about the stage on one leg if he was pleased, and if he was angry would throw the script down and stamp on it while tears of rage ran down his cheeks. The company laughed at him and abused him and did everything they could to please him. He aroused a pro­tective instinct in them, so that one and all they felt that they couldn’t let him down. Though they said he drove them like slaves, and they never had a moment to them­selves, flesh and blood couldn’t stand it, it gave them a sort of horrible satisfaction to comply with his outra­geous demands. When he wrung an old trooper’s hand, who was getting seven pounds a week, and said, by God, laddie, you’re stupendous, the old trooper felt like Charles Kean. B) "All that's as it may be. But I don't know what the author'll say. He's a conceited little ape and it's not a bit the scene he wrote." "Oh, leave him to me. I'll fix him." There was a knock at the door and it was the author himself who came in. With a cry of delight, Julia went up to him, threw her arms round his neck and kissed him on both cheeks. "Are you pleased?" "It looks like a success," he answered, but a trifle coldly. "My dear, it'll run for a year." She placed her hands on his shoulders and looked him full in the face. "But you're a wicked, wicked man." "You almost ruined my performance. When I came to that bit in the second act and suddenly saw what it meant I nearly broke down. You knew what was in that scene, you're the author; why did you let us rehearse it all the time as if there was no more in it than appeared on the surface? We're only actors, how can you expect us to — to fathom your subtlety? It's the best scene in your play and I almost bungled it. No one in the world could have written it but you. Your play's brilliant, but in that scene there's more than brilliance, there's genius." The author flushed. Julia looked at him with veneration. He felt shy and happy and proud. ("In twenty-four hours the mug'll think he really meant the scene to go like that.") Michael beamed.

A) "I wonder if we could persuade you to come and eat a chop with us. Michael will drive you back after lunch”. - Может быть, вы не откажетесь поехать с нами перекусить? Майкл привезёт вас обратно после ленча. 1) What SD is used in the segment printed in bold type? 2) What transformation is used in the translation of the unit in bold type? 3) What is the implication of the second sentence that binds it logically to the first one? 4) What implications are carried by the use of verbs wonder and persuade? B) Notwithstanding her cropped peroxide hair and her heavily-painted lips she had the neutral look that marks the perfect secretary. Несмотря на коротко стриженные, обесцвеченные перекисью волосы и густо накрашенные губы, у неё был бесполый вид, отличающий идеальную секретаршу. 5) What qualities are implied in the contrast of the neutral look and her cropped peroxide hair and her heavily-painted lips? 6) What transformation is used in the translation of the unit in bold type? 7) What losses of information make the translation open to criticism? C) Althogh Julia was in a pitiable state of anxiety, so that she could hardly get the words out of her mouth, she almost smiled at his fatuous irony. He was a silly little thing (W. S. Maugham. Theatre). Хотя Джулия чуть не плакала от боли и тревоги и с трудом могла говорить, она невольно улыбнулась. Ну и глупыш! 8. What could have been the grounds for the omission of the epithet fatuous in the translation? 9. Does the noun thing carry connotations outside the epithets silly and little? Specify them if it does. D. "What is love beside steak and onions?" she asked. It was enchanting to be alone and allow her mind to wan­der. She thought once more of Tom and spiritually shrugged a humorous shoulder. "It was an amusing ex­perience." It would certainly be useful to her one of these days. "Что такое любовь по сравнению с бифштексом?" - спросила себя Джулия. Как восхитительно было сидеть одной и бесцельно переходить мыслями с предмета на предмет. Джулия вновь подумала о Томе и пожала в душе плечами. «Это было забавное приключение и кое-что мне дало». 10) How do you call an SD that combines peculiarities of direct and indirect speech? What is the main function of this device? 11) What is the function of bathos? What other stylistic devices does it interact with? 12) What transformation is used in the translation of the unit in bold type? 13) How would you define Julia’s turn of mind? 14) Why does the translator relinquish the Tense form of the original in кое-что мне дало? E) "Julia, dear, will you marry me? … Not immediately, I don’t mean. But when we’ve got our feet on the ladder. I know that you can act me off the stage, but we get on together like a house on fire, and when we do go into management I think we’d make a pretty good team. And you know I do like you most awfully. I mean I’ve never met anyone who’s a patch on you”. 15) What can you say about the man who makes a proposal in this way? 16) How can you characterize this proposal in terms of the principles of cooperation? F) "It's all very well, but where are the dramatists? Sarah had her Sardou, Duse her D' Annunzio. But who have I got? The Queen of Scots hath a bonnie bairn and I am but a barren stock.'" 17) What is meant by the allusion to the Queen of Scots? G) "And I was such a damned fool, I thought of giving her a contract," said Michael. "Why don't you?" "When you've got your knife into her? Not on your life. You're a naughty little thing to be so jealous. You don't really think she means anything to me, do you? You ought to know by now that you're the only woman in the world for me." 18) Who was jealous of whom? H) "Prudishness, that’s all it was.” She had a moment’s recollection of the Spaniard with the beard in the wagon-lit and she smiled roguishly at herself in the glass. "No damned modesty about him.” 19) What situation did Julia have in mind when she reflected on prudishness? I) "Sit down and make yourself comfy. Come to see that the old firm’s still raking in dividends for you?” 20) How does the choice of expressive means correlate with the context?

 A) 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 (1), seemed to sound all wrong when she spoke it (2). B) But his gravest fault as a juvenile lead (3) was that he could not make love. He was easy enough in ordinary dialogue and could say his lines with point (4), but when it came to making protestations of passion (5) something seemed to hold him back. He felt em­barrassed and looked it (6). C) Morally (7) she had the best of both worlds. D) "But I told you to go. I said I hoped you’d have a good time.” "I know you did, but your eyes were blazing with passion (8). E) Poor old girls, they couldn’t live much longer (9) and they led drab, monotonous lives. Of course it would be fearfully boring for her, but it would be a treat for them. F) He specialized in men about town, gentlemanly gamblers, guardsmen and young scamps with a good side to them (10). 4. Make a circle over the right answer: (30 points) 1. What did Julia think of men when she called them "mugs”? A) They are all alike. B) They can be deceived so easily. C) They are so primitive in their desires. 2. Julia remembers that the Spaniard was "a most agreeable lover”. What kind of lover was he? A) Pleasant, giving pleasure. B) Obeying her desires. C) Shy and inexperienced. 3. What is a curtain call? A) a telephone behind the curtain. B) an announcement of the start of the performance. C) the appearance of actors on the stage after a performance is over. 4. …but he thought that was only so that he shouldn’t feel left out in the cold. A) ignored; B) abandoned; C) frozen. 5. With his beautiful manners she could count upon him not making a nuisance of himself. A) boring her; B) behaving in an annoying or troublesome way; C) losing his heart. 6. Michael wished him to go into the army, but this he had set his face against. A) disliked; B) laughed at; C) was determined to oppose. 7. Well, I’ll cook his goose all right. A) make sure that he fails; B) make it hot for him; C) make him apologize. 8. What did Julia mean when remarked that the Edgware Road was obviously "a wash-out”? A) it was unusually clean; B) it was a business street; C) it did not turn out to be what she expected. 9. While talking to Roger, Julia asked him about his girl-friends in Vienna, "thinking to draw him out”. What was her intention? A) to confuse him; B) to humiliate him; C) to encourage him to talk. 10. Julia knew that women of high society were "as mean as cat’s meat”. What did she mean by that? A) they were malicious; B) they were not willing to spend money; C) contemptible.

 5. Use emphatization in translating the following units (30 points):

1) He knows a lot about income tax. 2) Is the young ruffian having an affair with this girl? 3) Once or twice at restau­rants she thought he undertipped the waiter, but he paid no attention to her when she ventured to remonstrate. 4) "And I was such a damned fool, I thought of giving her a contract," said Michael. "Why don't you?" "When you've got your knife into her?” 5) He bore Jimmie Langton’s abuse with equanimity. 6) When tempers grew frayed during a long rehearsal he remained serene. 7) "Don’t talk to me. You dirty little bitch, you’ve made me cry.” 8) "We’ve had some very jolly times together, but don’t you think the moment has come to call it a day?” 9) "He says you just eat out of his hand.” 10) Men were such fools; there wasn’t one of them who wouldn’t cut off his nose to spite his face.