Анализы форсайтов

Отрывок №1

She thought of June's father, young Jolyon, who had run away with that foreign girl. And what a sad blow to his father and to them all. Such a promising young fellow! A sad blow, though there had been no public scandal, most fortunately, Jo's wife seeking for no divorce! A long time

ago! And when June's mother died, six years ago, Jo had married that woman, and they had two children now, so she had heard. Still, he had forfeited his right to be there, had cheated her of the complete fulfilment of her family pride, deprived her of the rightful pleasure of seeing and kissing him of whom she had been so proud, such a

promising young fellow! The thought rankled with the bitterness of a long-inflicted injury in her tenacious old heart. A little water stood in her eyes. With a handkerchief of the finest lawn she wiped them stealthily.

Она подумала об отце Джун, молодом Джойлоне, кто сбежал с той иностранкой. Какой удар для отца и для всех. Какой он был многообещающий молодой  человек! Какой удар, хотя не было публичных скандалов, что самое приятное – жена Джо не подала на развод. А когда мама Джун все же подала, 6 лет назад, Джо уже женился на той женщине, и сейчас у них было двое детей, так она слышала. Все же он лишилcя права быть там, обманул ее о том, что она сберегла достоинство своей семьи,  отнял ее полнопраного удовольствия смотреть и целовать его, того, кем она так гордилась, такого многообещающего молодого человека! Эта мысль терзала его со всей горечью, которую приченяет давнишняя рана в ее крепком старом сердце. Ее глаза были полны слез. Платочком из чситого льна она вытирала их украдкой.

"Well, Aunt Ann?" said a voice behind.

Soames Forsyte, flat-shouldered, clean-shaven, flat-cheeked, flat-waisted, yet with something round and secret about his whole appearance, looked downwards and aslant at Aunt Ann, as though trying to see through the side of his own nose.

"And what do you think of the engagement?" he asked.

Тетушка Энн, произнес голос сзади.

Соамс Форсайт, узкоплечий, с выбритым узким  лицом, с узкой талией, но все же было что то таинственное в его облике, посмотрел на тетушку Энн искоса, пытаясь смотреть на нее через свой нос.

А что вы думаете насчет помолвки? – спросил он.

Aunt Ann's eyes rested on him proudly; of all the nephews since young Jolyon's departure from the family nest, he was now her favourite, for she recognised in him a sure trustee of the family soul that must so soon slip beyond her keeping.

"Very nice for the young man," she said; "and he's a good-looking young fellow; but I doubt if he's quite the right lover for dear June."

Soames touched the edge of a gold-lacquered lustre.

"She'll tame him," he said, stealthily wetting his finger and rubbing it on the knobby bulbs. "That's genuine old lacquer; you can't get it nowadays. It'd do well in a sale at Jobson's." He spoke with relish, as though he felt that he was cheering up his old aunt. It was seldom he was so confidential. "I wouldn't mind having it myself," he added; "you can always get your price for old lacquer."

Тетушка Энн остановила свой взгляд на нем с гордостью, из всех племянников, с тех пор, как молодой Джолион покинул родное гнездо, этот был ее любимчиком, т..к. в нем она видела надежного хранителя семейного духа, который совсем скоро уже она не станет хранить сама.

Очень хорошо для молодого человека, сказала  она, он прерансо выглядит, но я сомневаюсь, что он деальная паранашей дорогой  Джун.

Сомс  дотронулся до края позолоченной люстры.

Она приручит его, сказал он, украдкой облизнув свой палец и потерев им бугристые лампочки. Настоящий старинный лак, сейгодня такой уже не найти. У  джобсона он бы хорошо продавался. Он говорил это с удоволствием, чувствуя, что тем самым подбадривал свою тетушку. Он редко говорил с таким довернием. Я бы сам неотказался от такого, добавил он. Старинный лак всегда будет ценен.

"You're so clever with all those things," said Aunt Ann. "And how is dear Irene?"

Soames's smile died.

"Pretty well," he said. "Complains she can't sleep; she sleeps a great deal better than I do," and he looked at his wife, who was talking to Bosinney by the door.

Aunt Ann sighed.

"Perhaps," she said, "it will be just as well for her not to see so much of June. She's such a decided character, dear June!"

Soames flushed; his flushes passed rapidly over his flat cheeks and centered between his eyes, where they remained, the stamp of disturbing thoughts.

"I don't know what she sees in that little flibbertigibbet," he burst out, but noticing that they were no longer alone, he turned and again began examining the lustre.

Ты такой умный во всех этих делах, сказала тетушка Энн, Как там  дорогая Ирен?

Улыбка сошла с губ Соамса.

Неплохо, сказал он, Жалуется, что не может  спать, хотя спит больше и лучше, чем  я, и он посмотрел на свою жену, которая  разговаривала с Босини у двери.

Тетушка Энн вздохнула

Возможно, сказала она, будет лучше, если она  не будет видеться с Джун так часто. Она такая решительная, наша Джун.

Соамс покраснел, румянец быстро залил  его щеки и сконцентрировался  между глаз, будто бы отражение  его тревожных мыслей.

Не  знаю, что она находит в этой маленькой болтушке, выпалил он, но заметив, что они больше не одни, он отвернулся и снова принялся изучать  люстру.

Анализ к отрывку №1

       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 affair of young Jolyon and the engagement.

The suggested extract represents a 3rd person narration interlaced with dialogue. This fragment describes the relation towards the engagement of Forsyte’s family.

While describing the feelings of Aunt Ann the author uses such stylistic devices as enumeration (had forfeited, had cheated, deprived) for readers to understand what happened and what she felt, detachments (six years ago, such a promising young fellow!) in order to provide the reader with more detailed information. Such metaphors were used as (rankled with the bitterness, long-inflicted injury) in order for us to feel her sadness and her grief that she felt now. He was so promising (that was repeated several times in the abstract) and that was such a sad blow (also was twice used in this part of the novel). Epithet (tenacious) while describing Aunt’s heart is the most proper one in my opinion because the author wanted to disclose the fact, that she still had the reason to live after what had happened to her.  Personification (little water stood in … eyes) was used to accentuate the poignancy of the moment. She was actually crushed by his actions.

       The author uses dialogue in order for better understanding of the attitude towards the engagement. Such epithet (disturbing) and personification (smile died) was used to emphasize the feelings of the communicants.  To imagine Soames, author resorts to enumeration (flat-shouldered, clean-shaven, flat-cheeked, flat-waisted) again.

          The writer accentuates his attention on the fact that the opinions concerning the engagement were various. To show it the author uses the form of dialogue and represented speech.

           In my opinion the idea of this extract is to show the tragedy of Aunt’s Ann heart and soul. And the discussion towards engagement showed us that all the members of the family thought thу same but tried not to display it.

Отрывок №2

At five o'clock the following day old Jolyon sat alone, a cigar between his lips, and on a table by his side a cup of tea. He was tired, and before he had finished his cigar he fell asleep. A fly settled on his hair, his breathing

sounded heavy in the drowsy silence, his upper lip under the white moustache puffed in and out. From between the fingers of his veined and wrinkled hand the cigar, dropping on the empty hearth, burned itself out. The gloomy little study, with windows of stained glass to exclude the view, was full of dark green velvet and heavily-carved mahogany--a suite of which old Jolyon was wont to say: 'Shouldn't wonder if it made a big price some day!' It was pleasant to think that in the after life he could get more for things than he had given.

в 5 часов следующего дня, старый Джолион  сидел в одиночестве, покуривая, с чашкой чая на столике. Он устал, и уснул до того, как докурил  сигару. Муха села ему на голову, лишь его дыхание звучало в сонной тишине, а его верхняя губа с седыми усами двигалас туда-сюда. Сигара, выскользнув из его пальцев моршинистой и с вздувшимися венами руки,  упала в пустой камин и дотлела. Небольшой мрачный кабинет, с витражными окнами, чтобы не наблюдать вид из окна, был полон темно-зеленого бархата и красного дерева со сложной резьбой – гарнитур, про который старый Джолион говорил, что не удвится, когда продаст его за больше деньги.

Приятно осознавать, что за вещи можно  получить больше, чем было за них  отдано когда-то.

In the rich brown atmosphere peculiar to back rooms in the mansion of a Forsyte, the Rembrandtesque effect of his great head, with its white hair, against the cushion of his high-backed seat, was spoiled by the moustache, which imparted a somewhat military look to his face. An old clock that had been with him since before his marriage forty years ago kept with its ticking a jealous record of the seconds slipping away forever from its old master.

В богатой коричневой гамме, присушей задним комнатам в особняке Форсайтов, рембрантовский эффект его большой седой головы, лежавшей на подушечке кресла с высокой спинкой был испорчен только усами, которые делали его вид похожим на военного. Старинные часы, которые были с ним tof до его женитьбы сорок лет тому назад, продолжали вести ревностный счет секундам, улетающим навсегда от их хозяина.

He had never cared for this room, hardly going into it from one year's end to another, except to take cigars from the Japanese cabinet in the corner, and the room now had its revenge. His temples, curving like thatches over the hollows beneath, his cheek-bones and chin, all were sharpened in his sleep, and there had come upon his face the confession that he was an old man. He woke. June had gone! James had said he would be lonely. James had always been a poor thing. He recollected with satisfaction that he had bought that house over James's head.

Он никогда  не заботился о своей комнате, едва заходив в нее, за исключением  тех случаев, когда надо было взять  сигары из японского шкафчика в углу, и комната тепреь мстила ему. Его  выступавшие виски, скулы и подбородок, все было заострившееся ото сна, что выдавало признак того, что он состарился.

Он проснулся. Джун ушла! Джемс сказал однажды, что  одному ему будет очень одиноко. Джемс всегда был глупым. Он вспоминал  с удоветворением, что купил этот дом быстрее, чем Джемс успел  это сделать.

Serve him right for sticking at the price; the only thing the fellow thought of was money. Had he given too much, though? It wanted a lot of doing to--He dared say he would want all his money before he had done with this

affair of June's. He ought never to have allowed the engagement. She had met this Bosinney at the house of Baynes, Baynes and Bildeboy, the architects. He believed that Baynes, whom he knew--a bit of an old woman--was the young man's uncle by marriage. After that she'd been always running after him; and when she took a thing into her head there was no stopping her. She was continually taking up with 'lame ducks' of one sort or another. This fellow had no money, but she must needs become engaged to him--a harumscarum, unpractical chap, who would get himself into no end of difficulties.

Так и надо, слишком не подходила цена, единственное, о чем он думал –  были деньги. а может он слишком  много заплатил? Необходим был  ремонт. Можно смело заявить, что  ему понадобятся все деньги, пока дело с Джун не закончится. Не следовало  ему позволять эту помолвку. Она встретила Босини у Бейнзов, Бейнзов и Белдбой, архитекторы. Он считал, что Бейнз , которого он знал, похожий на старую женщину, приходился этому молодому человеку дядей по жене. После того случая, она всегда бегала за ним, а когда у нее что-то в голове, то ее уже никто не остановит. Она вечно имеет дело с плохо влияющими людьми. У этого парня не было денег, но ей просто было необходимо помолвиться с безрассудным, непрактичным парнем, который будет то и дело впутываться в трудности.

She had come to him one day in her slap-dash way and told him; and, as if it were any consolation, she had added:

"He's so splendid; he's often lived on cocoa for a week!" "And he wants you to live on cocoa too?" "Oh no; he is getting into the swim now." Old Jolyon had taken his cigar from under his white moustaches, stained by coffee at the edge, and looked at her, that little slip of a thing who had got such a grip of his heart. He knew more about 'swims' than his granddaughter. But she, having clasped her hands on his knees, rubbed her chin against him, making a sound like a purring cat. And, knocking the ash off his cigar, he had exploded in nervous desperation: "You're all alike: you won't be satisfied till you've got what you want. If you must come to grief, you must; I wash my hands of it." So, he had washed his hands of it, making the condition that they should not marry until Bosinney had at least four hundred a year.

Она однажды пришла к нему и с бухты-барахты  рассказала все, и добавила, будто  бы это было утешением:

Он  такой замечательный!он часто живет  на какао неделями!

И он хочет, чтоб ты тоже жила на одном  какао?

О нет, он скоро будет иметь успех!

Старый  Джолион вынул сигару из-под седых усов, кончики которых были темными из-за кофе, и посмотрел на нее, на эту малютку, которая завладела его сердцем. Он нал больше об «успехах», чем внучка. Но она/. Сложила руки на его коленях, потерлась подбородком об них, мурлыкая как кошк. И стряхнув пепел с сигары, он разразился нервным отчаянием:

Вы  все одинаковые, вы не успокоитесь/ пока не получите своего. Если тебе и  суждено жить в печали – так  и будет. Я умываю руки

И он умыл руки, поствив условие, что  жениться не стоит, пока Босини не будет зарабатывать как минимум 400 в год.

"I shan't be able to give you very much," he had said, a formula to which June was not unaccustomed." Perhaps this What's-his- name will provide the cocoa." He had hardly seen anything of her since it began. A bad business! He had

no notion of giving her a lot of money to enable a fellow he knew nothing about to live on in idleness. He had seen that sort of thing before; no good ever came of it. Worst of all, he had no hope of shaking her resolution; she was as obstinate as a mule, always had been from a child. He didn't see where it was to end. They must cut their coat according to their cloth. He would not give way till he saw young Bosinney with an income of his own. That June would have trouble with the fellow was as plain as a pikestaff; he had no more idea of money than a cow. As to this rushing down to Wales to visit the young man's aunts, he fully expected they were old cats. And, motionless, old Jolyon stared at the wall; but for his open eyes, he might have been asleep.... The idea of supposing that young cub Soames could give him advice! He had always been a cub, with his nose in the air! He would be setting up as a man of property next, with a place in the country! A man of property! H'mph! Like his father, he was always nosing

out bargains, a cold-blooded young beggar!

Я не смогу дать тебе много, сказал он, фраза, которая была знкома Джун. Возможно этого, как-его-звоут, будет достаточно на какао.

Он  едва видел ее? После того, как  это началось. Плохо дело. Он не имел ни малейшего намерения дать ей кучу денег, чтобы обеспечить парню, которого он даже не знал, праздную жизнь. Он видел подобное в жзни, ничего хорошего не происходило. Хуже всего, не было  надежды помешать ее решению, она была упряма как ослица, всегда, с самого детства. Он не представлял,ч ем это может закончиться. По одежке протягивай ножки. Он не даст разрешения, пока не увидит, что у Босини есть доход. У Джун будут проблемы с этим парнем – ясно как божий день, у него не было ни малейшего представления о деньгах. Что насчет ее быстрой поездки в Уэллс к тетушкам молодого человека, он был уверен, что они старые перечницы. И  без движений, старый Джолион утавился в стену и был похож на спящего, если бы не открытые глаза… идя того, что щенок Сомс может давать ему советы! Он всегда был щенком, с задравшимся носом. Скоро он уже будет собственником, у него будет местечко загородом. Собственник! Хм. Как и отец, всегда выискивал сделки повыгоднее, хлоднокровный плут!

Анализ отрывка №2

    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 attitude of old Jolyon towards the engagement of June.

     The suggested extract represents a 3rd person narration interlaced with dialogue. This fragment describes the relation of Jolyon towards the engagement of June and his relations with her.

      The abstract starts with the description of old Jolyon and the atmosphere around him, the room, the nature, the house. The author uses such stylistical devices as enumeration (temples, cheek-bones and chin, / his, his, his) for readers to imagine him more precisely. To describe the atmosphere around him, author uses epithets (drowsy, rich), metaphor (military look, a jealous record of the seconds slipping away), antonomasia (Rembrandtesque effect), personification (the room now had its revenge) in order to provide the reader with more detailed information. In order to empasise the controversial feelings of Jolyon to his granddaughter we can notice that the author uses hyperbole (exploded). The old Jolyon loves his granddaughter a lot, but he understood that the marriage won’t bring her to the happy life; he sees that the fellow cannot deal with money and hу is not the perfect one for her. His granddaughter knew how that old Jolyon adores her and she knew as well how to make her Grandfather follow her withes. To show it such stylistical devices were used: similes (like a purring cat, as obstinate as a mule, as plain as a pikestaff), enumeration (having clasped, rubbed, making).

     The author uses dialogue in order for better understanding of relations between relatives (grandfather and granddaughter).

      In my opinion the idea of this extract is to show the sad feelings of old Jolyon and bad attituse towars the engagement of his granddaughter because he understood that she won’t be happy with that fellow.

        He even called the fiancée of her granddaughter with negligibility, that is why the author uses hyphenation even (What's-his- name).

Отрывок №3

If Jo were only with him! The boy must be forty by now. He had wasted fourteen years out of the life of his only son. And Jo was no longer a social pariah. He was married. Old Jolyon had been unable to refrain from marking his appreciation of the action by enclosing his son a cheque for L500. The cheque had been returned in a letter from the 'Hotch Potch,' couched in these words.

Если бы Джо был только с ним! Парню должно быть уже 40 сейчас. Он потратил впустую 14 лет из жизни своего сына. И к тому же, Джо больше не был изгоем. Он был женат. Старый Джолион не мог сдерживаться, чтобы не отметить свою благодарность, вручая сыну чек на L500. чек был возвращен с письмом от «Хоч -поч» (винегрет, чепуха…), выраженным в нескольких словах:

'MY DEAREST FATHER,

'Your generous gift was welcome as a sign that you might think worse of me. I return it, but should you think fit to invest it for the benefit of the little chap (we call him Jolly), who bears our Christian and, by courtesy, our surname, I shall be very glad. 'I hope with all my heart that your health is as good as ever.

'Your loving son,'Jo.'

Дорогой отец,

Твой  щедрый подарок был знаком того, что ты плохо думаешь обо мне. Я возвращаю его, тебе следует подумать, чтобы вложить его в прибыль для нашего малыша (мы назваем его Джолли), кто носит наше Христианское и, с вашего позволения, нашу фамилию. Буду очень рад.

Надеюсь от всего сердца, что твое здоровье хорошо, как никогда.

Твой любящий сын

Джо.

The letter was like the boy. He had always been an amiable chap. Old Jolyon had sent this reply:

'MY DEAR JO,

'The sum (L500) stands in my books for the benefit of your boy, under the name of Jolyon Forsyte, and will be duly-credited with interest at 5 per cent. I hope that you are doing well. My health remains good at present.

'With love, I am, 'Your affectionate Father,

'JOLYON FORSYTE.'

Письмо  было как сам мальчишка. Он всегда был дружелюбным. Сарый Джолион послал ответ:

Дорогой Джо,

Эта сумма (L500) вписана в мою чековую книжку в прибыль твоему сыну, под именем Джолион Форсайт, и долным образом на нее будет начилсяться 5%. Надеюсь и ты хорошо поживаешь. Мое здоровье хорошо на данный момент C любовью, я. Твой любящий отец.

Джолио Форсайт.

And every year on the 1st of January he had added a hundred and the interest. The sum was mounting up--next New Year's Day it would be fifteen hundred and odd pounds! And it is difficult to say how much satisfaction he had got out of that yearly transaction. But the correspondence had ended. In spite of his love for his son, in spite of an instinct, partly constitutional, partly the result, as in thousands of his class, of the continual handling and

watching of affairs, prompting him to judge conduct by results rather than by principle, there was at the bottom of his heart a sort of uneasiness. His son ought, under the circumstances, to have gone to the dogs; that law was

laid down in all the novels, sermons, and plays he had ever read, heard, or witnessed.

И каждый год, первого января он добавлял 100 и процент. Сумма росла? И к  следющему новому году она уже  будет составлять 1500 с чем-то фунтов. И сложно было описать, сколько удовлетворения он получал от этой ежегодной денежной транзакции (денежного перечисления). Но переписка закончилась.

Несмотря  на любовь  сыну, несмотря на инстинкт, частично соответствующий системе,  частично благодаря результату, как  тысячам его занятиям, продолжительноq разработки и слежению за делами, подсказывая ему судить о поведении по результату, а не по принципам, где-то в глубине сердца он чувствовал тревогу. Его сыну следовало, в сложившихся обстоятельствах, разориться, таков закон, который во всех повестях, проповедях, пьесах, которые он когда либо чита, слышал или был свидетелем.

After receiving the cheque back there seemed to him to be something wrong somewhere. Why had his son not gone to the dogs? But, then, who could tell?

He had heard, of course--in fact, he had made it his business to find out--that Jo lived in St. John's Wood, that he had a little house in Wistaria Avenue with a garden, and took his wife about with him into society—a queer sort of society, no doubt-- and that they had two children--the little chap they called Jolly (considering the circumstances the name struck him as cynical, and old Jolyon both feared and disliked cynicism), and a girl called Holly, born since the marriage. Who could tell what his son's circumstances really were? He had capitalized the income he had inherited

from his mother's father and joined Lloyd's as an underwriter; he painted pictures, too--water-colours. Old Jolyon knew this, for he had surreptitiously bought them from time to time, after chancing to see his son's name signed at the bottom of a representation of the river Thames in a dealer's window. He thought them bad, and did not hang them because of the signature; he kept them locked up in a drawer.

После того, как он получил свой чек  назад, ему казалось, что что-то где  то не так. Почему его сын не разорился? Кто же мог ответить?

Он  слышал, конечно  же, он только и занимался  этим, что выяснял, что Джо живет  в Сейнт Джонс Вуд, что у  него есть дом на Вистариа Авеню с садом, и что он выводит жену в свет. Без сомнения у них было двое детей, парнишка/ которого назвали Джолли (в сложившихся обстоятельствах, это имя казалось ему циничным, а старый Джолион боялся и презирал циничность) и девочка, Холи, родившаяся после замужества. Кто мог сказать. Какими были обстоятельства для его сына? Он нажил капитал от того, что унаследовал он отца своей матери и стал, как Ллойд, страховщиком, а также он рисовал, акварелью. Старый Джолион все это знал, т.к. тайно покупал их, чтобы увидеть имя сына внизу картины реи Темзы в окне дельца. Он считал их неудачными/ и не вешал их, изза подписи, он хранил их в ящичке под замком.

Анализ отрывка №3

     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 relations between young Jolyon and old Jolyon – son and father.

       The suggested extract represents a 3rd person narration interlaced with correspondence. This fragment describes the relatioship between son and father, between two generations.

        The main theme of the fragment is the hard relationship. In the beginning of the abstract it is told about the cheque father gave to his son, because he thought his son “had gone to dogs”, but this cheque had been returned back with the letter in which young Jolyon asked his father to benefit it foк little Joly (the grnadson). The author uses the method of correspondence for us to see the way father and son had a converstion? Author also uses there such stylistic device as capitalization (MY DEAREST FATHER, MY DEAR JO,  JOLYON FORSYTE) to see that the heroes wanted to emphasise their pompous amiability. Enumerations (novels, sermons, and plays /read, heard, or

Witnessed) were used in the narration in order to show that father was looking for information about his son, he knew a lot about him (his address, his wife, his children, two of them: a boy and a girl, their names). The part with the name was also remarkable. Young Jolyon told his father that his son “by courtesy” bears their surname, and the moment where author shows that old Jolyon didn’t like the name Jolly. Usage of rethorical question (Who could tell?) in the abstract shows us theat there is no answer for all the questions old Jolyon had to ask his son.

        In my opinion the wish of the author was to emphasize the hard situation and difficult relation between the sonand the father, bu still the moment with the pictures that old Jolyon bought because of the name of his son written in the bottom of the picture, though he didn’ t like them, shows us the other side of their relations.

Отрывок №4

Young Jolyon could not help smiling. He was very well versed in irony, and everything that evening seemed to him ironical. The episode of the cat; the announcement of his own daughter's engagement. So he had no more part or parcel in her than he had in the Puss! And the poetical justice of this appealed to him.

"What is June like now?" he asked.

Молодой Джолион не мог не улыбаться. Ему  хорошо удаваись сатирические стишки, и все в тот вечер кахалось ему ироничным. Случай с кошкой, объявление ео помолвке его собственной дочери. Больше он не был неотъемлимой ее чатью, как они были с Пусс. И идеальная справделивость момента привлекала его.

Какая Джун сейчас, спросил он

"She's a little thing," returned old Jolyon; they say she's like me, but that's their folly. She's more like your mother--the same eyes and hair."

"Ah! and she is pretty?"

Old Jolyon was too much of a Forsyte to praise anything freely; especially anything for which he had a genuine admiration.

"Not bad looking--a regular Forsyte chin. It'll be lonely here when she's gone, Jo."

The look on his face again gave young Jolyon the shock he had felt on first seeing his father.

Она все такая же, ответил старый Джолион, они говорят она вся в меня, но это глупости. На как твоя мать. Те же волосы, глаза.

Ах, она хорошенькая?

В Старом Джолионе было слишком много  от Форсайтов, чтобы он оценил что  то свободно, особенно то, чем он действительно восхищался.

Ну  не дурнушка, присущий Форсайтам подбородок. Здесь будет очен тоскливо, когда  она уедет, Джо.

Это выражение лица вновь привело  молодого Джолиона в шок, как когда  он впервые увидел отца. 

"What will you do with yourself, Dad? I suppose she's wrapped up in him?"

"Do with myself?" repeated old Jolyon with an angry break in his voice.

"It'll be miserable work living here alone. I don't know how it's to end. I wish to goodness...." He checked himself, and added: "The question is, what had I better do with this house?" Young Jolyon looked round the room. It was peculiarly vast and dreary, decorated with the enormous pictures of still life that he remembered as a boy--sleeping dogs with their noses resting on bunches of carrots, together with onions and grapes lying side by side in mild surprise. The house was a white elephant, but he could not conceive of his father living in a smaller place; and all the more did it all seem ironical. In his great chair with the book-rest sat old Jolyon, the figurehead of his family and class and creed, with his white head and dome-like forehead, the representative of moderation, and order, and love of property. As lonely an old man as there was in London.

Что будешь делать, отец? Я полагаю, она  помешана на нем?

Что буду делать? Повторил старый Джолион  с горечью в голосе.

Будет ужасно жить здесь одному. Не знаю даже, чем это все может закончиться. Я уповаю добродетели… он одернулся  и добавил, вопрос в том, что мне лучше сделать с этим домом?

Молодой Джолион оглядел конату. Она была больше обычного просторной и сумрачной, украшенная огромными картинами  с изображением натюрмортов, которые  он помнил еще мальчишкой – спящие собаки на моркови, с луковицами и  винограде, лежащие рядом. Дом был обременительным имуществом, но он не мог представить себе отца, живущего в маленьком местечке. И это к тому же казалось ироничным.

В своем огромном кресле с подставкой для книг сидел старый Джолион, возглавляющий  свою семью, свой класс, свои принципы, со своей седой головой и куполообразным лбом, представитель сдержанности, порядка. Любви к имуществу. И не было человека более одинокого в Лондоне.

There he sat in the gloomy comfort of the room, a puppet in the power of great forces that cared nothing for family or class or creed, but moved, machine-like, with dread processes to inscrutable ends. This was how it struck young Jolyon, who had the impersonal eye.

The poor old Dad! So this was the end, the purpose to which he had lived with such magnificent moderation! To be lonely, and grow older and older, yearning for a soul to speak to!

Так он и сидел в мрачном покое  этой комнаты, кукла во власти величайших сил, которые не заботились ни о семье, ни о классе, ни о принципах, но надвигались, подобно заведенному механизму, этот грозный процесс к непостижимому  концу. Вот каким это показалось молодому Джолиону, имевшему беспристрастный взгляд.

Бедный  мой отец! Это был конец, цель, ради которой он жил с такой  сдержанностью! Чтобы в итоге  стать одиноким, старым, тоскующим  по человеческому вниманию!

In his turn old Jolyon looked back at his son. He wanted to talk about many things that he had been unable to talk about all these years. It had been impossible to seriously confide in June his conviction that property in the Soho quarter would go up in value; his uneasiness about that tremendous silence of Pippin, the superintendent of the New Colliery Company, of which he had so long been chairman; his disgust at the steady fall in American Golgothas, or even to discuss how, by some sort of settlement, he could best avoid the payment of those death duties which would follow his decease. Under the influence, however, of a cup of tea, which he seemed to stir indefinitely, he began to speak at last. A new vista of life was thus opened up, a promised land of talk, where he could find a harbour against

the waves of anticipation and regret; where he could soothe his soul with the opium of devising how to round off his property and make eternal the only part of him that was to remain alive.

В свою очередь старый Джолион взглянул на сына. Он хотел поговорить о стольких вещах, о которых не мог говорить все эти годы. Было невозможно посвятить  Джун в его убеждения, что имущество  в квартале Сохо подрастет в цене, его тревоги относительно чрезвычайного молчания Пиппин, о руководителе новой промышленной компании. Где он так долго был председателем, его отвращении к постепенному падению Американской Голгофы, или даже обсудить как? Каким образом урегулирования, он наилучшим образом сможет избежать платежа налогов на наследство, которые последуют за его болезнью. Под этим влиянием, однако, чашка чая/ который он помешивал равнодушно, он наконец то заговорил. Новые перспективы открылись, множестов тем для обсуждения, где он мог найти пристань своим волнам негодования и сожлений, где он сможет отвести душу, благодаря опиуму придумывания, как же ему свести все свои владения и сделать часть себя, которая должна остаться жить вечно.

Young Jolyon was a good listener; it was his great quality. He kept his eyes fixed on his father's face, putting a question now and then. The clock struck one before old Jolyon had finished, and at the sound of its striking his principles came back. He took out his watch with a look of surprise:

"I must go to bed, Jo," he said.

Young Jolyon rose and held out his hand to help his father up. The old face looked worn and hollow again; the eyes were steadily averted.

"Good-bye, my boy; take care of yourself."

A moment passed, and young Jolyon, turning on his, heel, marched out at the door. He could hardly see; his smile quavered. Never in all the fifteen years since he had first found out that life was no simple business, had he found it so singularly complicated.

Молодой Джолион был отличным слушателем, это было его отличительной чертой. Он продолжал смотреть в лицо отцу, вставляя там и тут вопросы. Часы пробили час,прежде чем старый Джолион закончил, и с ударом часов/ его приницпы вернулись. Он взглянул на часы с удивлением:

Я должен пойти спать, Джо, сказал он.

Молодой Джолион поднялся и протянул руку, чтобы помочь отцу. Старческое лицо выглядело усталым и исхудавшим. Его глаза были отведены в сторону. Прощай мальчик мой, позаботься о себе.

Мгновение спустя, молодой Джолион, повернувшись, зашагал прочь. Он едва мог видеть, его улыбка дрожала. Никогда за все 15 лет с тех пор как он однажды понял, что жизнь – непростая штука, он осознал, что она необыкновенно сложна.

Анализ отрывка №4

   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 relations between young Jolyon and old Jolyon – son and father.

       The suggested extract represents a 3rd person narration. This fragment describes the relationship between son and father, between two generations. They were together son and his father and the author tried to depict the emotions and the manner with which they treated each other. The son saw and old man, here to describe him, the author uses such stylistic devices as hyperbole (As lonely an old man as there was in London), metaphor (a puppet), and lots of exclamatory sentences (!) in order to show us the surprise of young Jolyon when he understood that life (no simple business, but singularly complicated) – the device as climax to show the suspense.