Анализы форсайтов

      The other point of the narration was – old Jolyon’s one, the way he felt so lonely, so did the whole place. Here author describes the room as well, to help the readers imagining the whole picture of it. Such devices as epithets (miserable, vast and dreary, enormous, inscrutable), metaphor (white elephant) were used. While describing the loneliness of old Jolyon such metaphors were used as (promised land of talk, the waves of anticipation).

     Most of all them was a remarkable moment of the abstract where the writer describes death, he uses various definitions but the most impressive was similie (machine-like).

      The repetition (ironical, ironical, irony) was used on purpose, in order to show the whole meaning of the fragment.

 

 

 

 

Отрывок №5

 

The object alluded to was an elaborate group of statuary in Italian marble, which, placed upon a lofty stand (also of marble), diffused an atmosphere of culture throughout the room. The subsidiary figures, of which there were six, female, nude, and of highly ornate workmanship, were all pointing towards the central figure, also nude, and female, who was pointing at herself; and all this gave the observer a very pleasant sense of her extreme value. Aunt Juley, nearly opposite, had had the greatest difficulty in not looking at it all the evening. Old Jolyon spoke; it was he who had started the discussion. "Four hundred fiddlesticks! Don't tell me you gave four hundred for that?" Between the points of his collar Swithin's chin made the second painful oscillatory movement of the evening.

Вещь, о которой  шла речь – замысловатая группа фигурок из итальянского мрамора, которая  была установлена на постамент (тоже из мрамора), распространяла атмосферу  культуры в комнате. Второстепенные фигурки, шесть женщин, обнаженных, зателивой работы , все указывали на центральную фигуру, тоже обнаженной женщины, котоаря указывала на себя, все это давало зрителям приятное чуство ее ценности и значимости. Тетушка Джулии, весь вечерприлалагла огромные усилия не смотреть на нее.

Старый Джолон заговорила, он и начал спор.

400 фунтов! Не  говори мне, что отдал 400 фунтов  за это! Сузин во второй раз  за вечер почувтвовал, что воротничок  впивается ему в шею.

"Four-hundred-pounds, of English money; not a farthing less. I don't regret  it. It's not common English--it's genuine modern Italian!" Soames raised the corner of his lip in a smile, and looked across at Bosinney. The architect was grinning behind the fumes of his cigarette. Now, indeed, he looked more like a buccaneer. "There's a lot of work about it," remarked James hastily, who was really moved by the size of the group. "It'd sell well at Jobson's." "The poor foreign dey-vil that made it," went on Swithin," asked me five hundred--I gave him four. It's worth eight. Looked half-starved, poor dey-vil!

4 сотни фунтов, английских денег,  и не на фатинг меньше! И  не жалею. Это тебе не английская, а настоящая современная итальянская  работа.

Соамс ухмыльнулся и помотрел на Босини. Архитектор усмехался в клубах сигаретного  дыма. Сейчас он выглядел как пират.

Очень сложная  работа, поторопился заметить Джеймс, он был действительно потрясен размерами  статуи. У Джобсонса хорошо бы продавалась.

Ох уж этот итальянский злодей, кто это сделал, продолжал Сузин, попросил меня 500, я  дал 400, а вообще это стоит 800. выглядел голодным, этот итальянский злодей.

"Ah!" chimed in Nicholas suddenly, "poor, seedy-lookin' chaps, these artists; it's a wonder to me how they live. Now, there's young Flageoletti, that Fanny and the girls are always hav'in' in, to play the fiddle; if he makes a hundred a year it's as much as ever he does!" James shook his head. "Ah!" he said, "I don't know how they live!" Old Jolyon had risen, and, cigar in mouth, went to inspect the group at close quarters.

Ах. Вдруг откликнулся нИколас. Все они бедняжки, эти художники. Удивляюьс, как они живут? Например этот Флаголетти, каоторого Фанни и Девочки всегда зовут поиграть на скрипке, если у него и получсается сделать 100 за год, то это просто максимум!

Джеймс покачал  головой. Ах, сказал он, не знаю, на что они живут!

Старый Джолион  полнялася и, прямо с  сигарой, подошел, чтобы изучить группу фигурок.

"Wouldn't have given two for it!" he pronounced at last. Soames saw his father and Nicholas glance at each other anxiously; and, on the other side of Swithin, Bosinney, still shrouded in smoke. 'I wonder what he thinks of it?' thought Soames, who knew well enough that this group was hopelessly vieux jeu; hopelessly of the last generation. There was no longer any sale at Jobson's for such works of art. Swithin's answer came at last. "You never knew anything about a statue. You've got your pictures, and that's all!" Old Jolyon walked back to his seat, puffing his cigar. It was not likely that he was going to be drawn into an argument with an obstinate beggar like Swithin, pig-headed as a mule, who had never known a statue from a---straw hat. "Stucco!" was all he said.

Даже 200 бы не дал за такое! Произнес он наонец.

Соамс видел, как его отец и Николас переглянулись  обеспокоенно, и посмотрел на Сузина и Босини, который был в дыму, которые были на другой стороне.

Хотелось бы знать,ч то он об этом думает. – подумал  Соамс, кто знал, что эта группа безнадежно устарела, уже на целое  поколение. И у Джобсонса она  бы была продана за бесценок.

Наконец отвеил Сузин. Ты ничего не понимаешь в скульптурах. Ты только картины рисуешь и все.

Старый Джолион  обратно подошел к своему креслу, двмя сигарой. Не  было желания вступать в спор с таким упрямым плутом, как Сузин, тпоголовым как осле, который  бы не отличил статую от соломенной шляпы.

Гипс! Все, что  н сказал.

It had long been physically impossible for Swithin to start; his fist came down on the table. "Stucco! I should like to see anything you've got in your house half as good!" And behind his speech seemed to sound again that rumbling violence of primitive generations. It was James who saved the situation. "Now, what do you say, Mr. Bosinney? You're an architect; you ought to know all about statues and things!" Every eye was turned upon Bosinney; all waited with a strange, suspicious look for his answer. And Soames, speaking for the first time, asked: "Yes, Bosinney, what do you say?" Bosinney replied coolly: "The work is a remarkable one." His words were addressed to Swithin, his eyes smiled slyly at old Jolyon; only Soames remained unsatisfied. "Remarkable for what?" "For its naivete" The answer was followed by an impressive silence; Swithin alone was not sure whether a compliment was intended.

Сузин долгое время просто физически не мог начать, ударил кулаком по столу.

Гипс! Хотелось бы мне посмотреть на что  то похожее в твоем доме!

В его речи послышалась ярость предшествющих  поколений.

Джеймс  спас ситуацию.

Что вы скажете, мистер Босини? Вы архитектор/ вы должны разбираться в статуэтках и всяких таких вещах.

Все посмотрели на Босини.все ждали ответа, подозрительно поглядывая.

И Соамс, заговоривший первм спросил:

Да, босини, а вы что скажете?

Эта работа восхитительна.

Его слова были обращены Сузину, а глаза  хитро улыбались старому Джолиону, и только Соамс остался неудовлетворенным.

Восхитительна чем?

Своей наивностью.

За  ответом последовала выразительная  тишина. Только Сузин не понимал, комплимент это или нет.

 

 

 

 

 

Анализ отрывка № 5

 

       John Galsworthy was an English novelist and playwright. He won the Nobel Prize in Literature in 1932. He is now far better known for his novels, particularly The Forsyte Saga, his trilogy about the eponymous family and connected lives. These books, as with many of his other works, deal with social class, upper-middle class lives in particular. The Man of Property (1906), the first in the Forsyte trilogy The represented passage from «The man of property»

      This extract is about the statute of Italian marble. The main accentuation of this fragment is devoted to the different views concerning the group of statutes. The author gives such a detailed description of it (how many figures, what kind of figures, which were subsidiary and which was the central). 

The suggested extract represents a 3rd person narration interlaced with dialogue.

      Most of this abstract is devoted to the description of the sculpture, that is why there are epithets (remarkable, , highly-ornate , impressive), metaphor (atmosphere of culture). The writer described every detail, every figure, all the parts of the sculpture for us to imagine it and to make our own attitude towars the beauty, sophistication and delicacy of the statute.

The main point of the abstract is the argument about the quality and price of the sculpture, so the author uses such stylistical devices as repetition (Four hundred fiddlesticks, four hundred, Four-hundred-pounds), similies (like a buccaneer, pig-headed as a mule), understatement (half as good), epithet (rumbling), metaphor (poor dey-vil) to display the different opinions. The form of the dialogue was used in my opinion to show us the different points of view of the family members more precisely.              The way the abstract is ended shows the readers that James was a fellow that can retrieve a situation.

        That is why I think that the sense of this abstract was the attitude of members of the family to one thing. In this particular moment it was the marble sculpture.

 

 

 

Отрывок №6

 

James reflected sourly that they had a nice house (rather small) in an excellent position, no children, and no money troubles. Soames was reserved about his affairs, but he must be getting a very warm man. He had a capital income from the business--for Soames, like his father, was a member of that well-known firm of solicitors, Forsyte, Bustard and

Forsyte--and had always been very careful. He had done quite unusually well with some mortgages he had taken up, too--a little timely foreclosure--most lucky hits! There was no reason why Irene should not be happy, yet they said she'd

been asking for a separate room. He knew where that ended. It wasn't as if Soames drank.

Джеймс с  горечью размышлял, что у них  был милый дом (довольно крошечный) но в отличном месте, нет детей, и  нет проблем с деньгами. Соамс  был сдержан в рассказах о  своих делах. Он становился дружелюбным. У него был доход от капитала от бизнеса, т.к. Соамс, как и отец, был членом известной в свое коллегии адвокатов, Форсайтов, Бустардов и Форсайтов. И всегда был очень осторожен. Также ему довольно необычно везло с ипотечными кредитами, которыми он занимлся, изъятие банком заложенного под ипотечный кредит имущества – его конек.

Не было причины, по которой Ирен могла бы быть несчастна. Но поговаривали, она просила себе отдельную комнату. Он знал, чем это  закончится. Не было бы так, если бы Соамс  не пил.

James looked at his daughter-in-law. That, unseen glance of his was cold and dubious. Appeal and fear were in it, and a sense of personal grievance. Why should he be worried like this? It was very likely all nonsense; women were funny things! They exaggerated so, you didn't know what to believe; and then, nobody told him anything, he had to find out everything for himself. Again he looked furtively at Irene, and across from her to Soames. The latter, listening to Aunt Juley, was looking up, under his brows in the direction of Bosinney.

'He's fond of her, I know,' thought James. 'Look at the way he's always giving her things.'

And the extraordinary unreasonableness of her disaffection struck him with increased force.

Джеймс  посмотрел на свою сноху. Этот холодный взгляд был ледяным и подозрительным. Мольба и страх были в нем, и чувство собственного недовольства. Почему он так переживает? Это все было похоже на чепуху. Женщины так забавны. Они так преувеличивают, ты не знаешь чему верить, и потом никто му ничего не рассказывает и ему самому приходится все узнавать. И снова он украдкой взгляну на Ирен. И потом на Соамса. Последний, слушавший тетушку Джулии, смотрел по направлению Босини.

Он  без ума от нее, я знаю, подумал  Джеймс, посмотреть даже на то, как он все преподносит.

И удивительная неблагоразумность ее недовольства поразили его с огромной силой.

It was a pity, too, she was a taking little thing, and he, James, would be really quite fond of her if she'd only let him. She had taken up lately with June; that was doing her no good, that was certainly doing her no good. She was getting to have opinions of her own. He didn't know what she wanted with anything of the sort. She'd a good home, and everything she could wish for. He felt that her friends ought to be chosen for her. To go on like this was dangerous.

June, indeed, with her habit of championing the unfortunate, had dragged from Irene a confession, and, in return, had preached the necessity of facing the evil, by separation, if need be. But in the face of these exhortations, Irene had kept a brooding silence, as though she found terrible the thought of this struggle carried through in cold blood. He would never give her up, she had said to June.

Также было жалко, что она была такой штучкой  и он Джеймс, любил бы ее сильно, если б она только позволила. Она была поглащена Джун, что неприносило ей пользы, действительно, никакой пользы. Она стала высказыаать свое мнение. Он не знал, чего она тем самым хочет добиться. У нее был отличный дом и все, чего она могла желать. Он понимал, что друзей необходимо было выбирать для нее. А так – было слишком опасно.

Джун же, с  ее привычкой защищать несчастных, вымолила признание у Ирен, и в  ответ, выступила в защиту необходимости  отвечать злодею, хотябы  тем, чобы отделиться от него. Но ввиду такого наставления, Ирен хранила навсишее молчание, т.к. она находила ужасной мысль борьбы  в своем хладнокровии. Он никогда не сдастся, сказала она Джун.

"Who cares?" June cried; "let him do what he likes--you've only to stick to it!" And she had not scrupled to say something of this sort at Timothy's; James, when he heard of it, had felt a natural indignation and horror.

What if Irene were to take it into her head to--he could hardly frame the thought--to leave Soames? But he felt this thought so unbearable that he at once put it away; the shady visions it conjured up, the sound of family tongues buzzing in his ears, the horror of the conspicuous happening so close to him, to one of his own children! Luckily, she had no money—a beggarly fifty pound a year! And he thought of the deceased Heron, who had had nothing to leave her, with contempt. Brooding over his glass, his long legs twisted under the table, he quite omitted to rise when the ladies left the room. He would have to speak to Soames- -would have to put him on his guard; they could not go on like this, now that such a contingency had occurred to him. And he noticed with sour disfavour that June had left

her wine-glasses full of wine.

Кому какая  разница? Вскликнула Джун. Пусть делает, что ему нравится,  ты только придерживайся  того же. На не постеснялась сказать  что-то в этом роде у Тимоти. Джеймс, услышав это, почувствовал негодование  и ужас. Что если Ирен вобьет себе это в голову? Он едва мог сформулировать мысль, идею оставить Соамса? Но он посчитал эту мысль такой нестерпимой, что тут же оставил ее, тень видений она воскресила в памяти, звук семенных разговоров раздавался в его ушах, ужас того он так ясно представил себе, что могло случиться с одним из его детей. К счастю  унее совсем не было денег, какие то насчастные, 50 фунтов в год. И он подумал об умершей Херон, которая не оставила ничего кроме презрения. Погруженный в раздумья над своим бокалом, его ноги были скрчены под столом, он едва не упустил момент,ч тобы подняться, когда дамы покинули комнату. Ему необходимо было поговорить с Соамсом, следовао предостеречь его, так не могло больше продолжаться, когда с ним может такое случиться. И он заметил с горьким осуждением тот факт, что Джун оставила бокал с вином нетронутым.

'That little, thing's at the bottom of it all,' he mused; 'Irene'd never have thought of it herself.' James was a man of imagination. The voice of Swithin roused him from his reverie.

"I gave four hundred pounds for it," he was saying. "Of course it's a regular work of art."

"Four hundred! H'm! that's a lot of money!" chimed in Nicholas.

Самая малость, то, что находится очень  глубоко, он размышлял, Ирен никогда  бы сама об этом не подумала. Джеймс был  человеком с богатым воображением. Голос сузина вернул его из грез.

Я заплатил 400 фунтов за это, говорил он, естественно это обычное произведение искусства.

400!хм. это много, повторял Николас.

 

 

 

Анализ отрывка № 6

 

       John Galsworthy was an English novelist and playwright. He won the Nobel Prize in Literature in 1932. He is now far better known for his novels, particularly The Forsyte Saga, his trilogy about the eponymous family and connected lives. These books, as with many of his other works, deal with social class, upper-middle class lives in particular. The Man of Property (1906), the first in the Forsyte trilogy The represented passage from «The man of property»

       This extract is about the fears and the troubles of the relations between Soams and Iren, and friendship between June and Irene.

        The suggested extract represents a 3rd person narration. This fragment describes the fact that James understood that the relationship between Soams an Irene were not happy at all. The thing that Iren asked for separation was uneasy. In order to describe the situation and the emotions in a proper way, the author uses such stylistic devices as epithets (cold and dubious, extraordinary, brooding, terrible, unbearable), litotes (no reason ….should not be happy). The way Irene started behaving that way he found in her friendship with June, who actually was always at the side of unfortunate, so the writer uses the repetition of one phrase (doing her no good, certainly doing her no good). Such enumeration of feelings he felt (indignation and horror) are best examples to show the reader the whole depression of the situation.

      The whole abstract is written in an oppressive manner, by this way the author tried to deliver the mood to the readers.

 

 

 

 

 

Отрывок №8