case that were in the rack to the carriage madame had just left. 34 страница

manners of this generation (но, со сменой нравов нынешнего: «этого»

поколения) it had been treated from the standpoint of comedy (он трактовался с

точки зрения комедии; to treat — обращаться, рассматривать). Some of the

old characters were introduced (некоторые из старых героев были введены), and

Aubrey Tanqueray, now a very old man, appeared in the second act (и Обри

Тенкерей, теперь уже очень старый мужчина, появлялся во втором акте).

After Paula's death he had married for the third time (после смерти Полы он

женился в третий раз). Mrs. Cortelyon had undertaken to compensate him for his

unfortunate experience with his second wife (миссис Кортельон принялась

вознаграждать его за его несчастливый опыт с его второй женой; to undertake

— предпринимать, брать на себя), and she was now a cantankerous and insolent

old lady (и она сама была теперь сварливой и высокомерной пожилой дамой).

generation ["dZenq'reIS(q)n] cantankerous [kxn'txNk(q)rqs]

insolent ['Insqlqnt]

The play was a modern version of The Second Mrs. Tanqueray, but with the

change of manners of this generation it had been treated from the standpoint of

comedy. Some of the old characters were introduced, and Aubrey Tanqueray, now

a very old man, appeared in the second act. After Paula's death he had married for

the third time. Mrs. Cortelyon had undertaken to compensate him for his

unfortunate experience with his second wife, and she was now a cantankerous and

insolent old lady.

Ellean, his daughter (Эллин, его дочь), and Hugh Ardale had agreed to let

bygones be bygones (и Хью Ардейл решили забыть о прошлом; let bygones be

bygones — что прошло, то быльем поросло, bygone — пережитое, прошлые

обиды), for Paula's tragic death (так как трагическая смерть Полы) had seemed

to wipe out the recollection (казалось, стерла воспоминания) of his lapse into

extra-conjugal relations (о его «соскальзывании» во внебрачные отношения;

lapse — упущение, отклонение от правильного пути); and they had married (и

они поженились). He was now a retired brigadier-general (он был теперь

вышедшим в отставку бригадным генералом) who played golf and deplored the

decline of the British Empire (который играл в гольф и оплакивал: «сожалел о»

падение Британской империи) — "Gad (Бог мой), sir (сэр), I'd stand those

damned socialists against a wall (я бы поставил тех чертовых социалистов к

стенке: «напротив стенки») and shoot 'em if I had my way (и перестрелял бы

их, если бы я мог поступить по-своему)", whereas Ellean, by this time an elderly

woman (в то время как Эллин, к этому времени стареющая женщина), after a

prudish youth (после излишне скромной/излишне цепетильной/чопорной

молодости) had become gay, modern and plain-spoken (стала веселой,

современной и откровенной).

bygone ['baIgOn] conjugal ['kOndZVg(q)l] deplore [dI'plO:]

Ellean, his daughter, and Hugh Ardale had agreed to let bygones be bygones, for

Paula's tragic death had seemed to wipe out the recollection of his lapse into extra-

conjugal relations; and they had married. He was now a retired brigadier-general

who played golf and deplored the decline of the British Empire — "Gad, sir, I'd

stand those damned socialists against a wall and shoot 'em if I had my way",

whereas Ellean, by this time an elderly woman, after a prudish youth had become

gay, modern and plain-spoken.

The character that Michael played was called Robert Humphreys (героя, которого

играл Майкл, звали Роберт Хамфри), and like the Aubrey of Pinero's play he

was a widower with an only daughter (и, как Обри из пьесы Пинеро, был

вдовцом, с единственной дочерью); he had been a consul in China for many

years (он прослужил: «был» консулом в Китае долгие годы), and having come

into money (и, получив наследство; to come into money — получить деньги,

богатое наследство) had retired (вышел в отставку) and was settling on the

estate (и обосновался в поместье), near where the Tanquerays still lived (рядом с

которым семья Тенкереев все еще жила), which a cousin had left him (которое

/поместье/ кузен оставил ему). His daughter, Honor (его дочь, Онор) (this was

the part for which Avice Crichton had been engaged (это была та роль, на

которую Эвис Крайтон была ангажирована)), was studying medicine with the

intention of practising in India (изучала медицину, с тем намерением, чтобы

практиковать в Индии).

widower ['wIdqVq] consul ['kOns(q)l] medicine ['meds(q)n]

The character that Michael played was called Robert Humphreys, and like the

Aubrey of Pinero's play he was a widower with an only daughter; he had been a

consul in China for many years, and having come into money had retired and was

settling on the estate, near where the Tanquerays still lived, which a cousin had left

him. His daughter, Honor (this was the part for which Avice Crichton had been

engaged), was studying medicine with the intention of practising in India.

Alone in London (/будучи/ одиноким в Лондоне), and friendless after so many

years abroad (и, без друзей, после стольких многих лет за границей), he had

picked up a well-known woman of the town called Mrs. Marten (он познакомился

с хорошо известной дамой /сомнительного поведения/, по имени миссис

Мартен). Mrs. Marten belonged to the same class as Paula, but she was less

exclusive (миссис Мартен принадлежала к тому же классу: «категории», что и

Пола, но была менее взыскательной: «исключительной»); she "did" the

summer and the winter season at Cannes (она «работала» летний и зимний

сезоны в Каннах) and in the intervals lived in a flat in Albemarle Street (и в

промежутках жила на квартире на Элбемарл-стрит) where she entertained the

officers of His Majesty's brigade (где она развлекала офицеров бригады его

величества). She played a good game of bridge (она хорошо играла в бридж; to

play a good game — быть хорошим игроком) and an even better game of golf (и

даже еще лучше в гольф). The part well suited Julia (эта роль отлично

подходила Джулии).

friendless ['frendlIs] entertain ["entq'teIn] majesty ['mxdZIstI]

brigade [brI'geId]

Alone in London, and friendless after so many years abroad, he had picked up a

well-known woman of the town called Mrs. Marten. Mrs. Marten belonged to the

same class as Paula, but she was less exclusive; she "did" the summer and the

winter season at Cannes and in the intervals lived in a flat in Albemarle Street

where she entertained the officers of His Majesty's brigade. She played a good

game of bridge and an even better game of golf. The part well suited Julia.

The author followed the lines of the old play closely (автор точно следовал

тексту: «строкам» старой пьесы; closely — близко, тесно, внимательно).

Honor announced to her father (Онор объявила /своему/ отцу) that she was

abandoning her medical studies (что она забросила: «оставила» изучение

медицины) and until her marriage wished to live with him (и до момента своей

свадьбы, хочет жить с ним), for she had just become engaged to Ellean's son, a

young guardsman (так как она только что обручилась с сыном Эллин,

молодым гвардейцем). Somewhat disconcerted, Robert Humphreys broke to her

his intention of marrying Mrs. Marten (немного смущенный, Роберт Хамфри

открывает ей свое намерение жениться на миссис Мартен; to break (broke,

broken) — зд. сообщать известие). Honor took the information with composure

(Онор принимает эту информацию со спокойствием).

"Of course you know she's a tart, don't you (конечно же, ты знаешь, что она

уличная девка, не так ли)?" she said coolly (говорит она невозмутимо).

He, much embarrassed, spoke of the unhappy life she had led (он, еще более

смущенный, говорит о той несчастной жизни, которую она до этого вела) and

how he wanted to make up to her for all she had suffered (и как ему хотелось бы

компенсировать ей все, что она выстрадала).

author ['O:Tq] guardsman ['gQ:dzmqn] composure [kqm'pqVZq]

The author followed the lines of the old play closely. Honor announced to her

father that she was abandoning her medical studies and until her marriage wished

to live with him, for she had just become engaged to Ellean's son, a young

guardsman. Somewhat disconcerted, Robert Humphreys broke to her his intention

of marrying Mrs. Marten. Honor took the information with composure.

"Of course you know she's a tart, don't you?" she said coolly.

He, much embarrassed, spoke of the unhappy life she had led and how he wanted

to make up to her for all she had suffered.

"Oh, don't talk such rot (о, не говори такой чепухи)," she answered (ответила

она). "It's grand work if you can get it (это отличная работа, если ты можешь на

нее устроиться)."

Ellean's son had been one of Mrs. Marten's numerous lovers (сын Эллин был

одним из многочисленных любовников миссис Мартен) just as Ellean's

husband had been one of Paula Tanqueray's (так же, как муж Эллин был когда-

то одним из /любовников/ Полы Тенкерей). When Robert Humphreys brought

his wife down to his home in the country (когда Роберт Хамфри привозит свою

жену в свой загородный дом: «свой дом за городом») and this fact was

discovered (и этот факт раскрывается), they decided that Honor must be

informed (они решают, что надо сообщить /об этом/ Онор). To their

consternation Honor did not turn a hair (к их ужасу, Онор и глазом не моргнула;

not to turn a hair — не выказывать тревоги, hair — волос, волосинка). She

knew already (она уже знает).

"I was as pleased as Punch when I found out (я была рада-радешенька, когда

обнаружила это; as pleased as Punch — очень довольный, Punch — Панч,

Петрушка — балаганный персонаж)," she told her stepmother (говорит она

своей мачехе). "You see, darling, you can tell me if he's all right in bed (видите

ли, дорогая, вы сможете сказать мне, хорош ли он в постели)."

numerous ['nju:m(q)rqs] consternation ["kOnstq'neIS(q)n]

stepmother ['step"mADq]

"Oh, don't talk such rot," she answered. "It's grand work if you can get it."

Ellean's son had been one of Mrs. Marten's numerous lovers just as Ellean's

husband had been one of Paula Tanqueray's. When Robert Humphreys brought his

wife down to his home in the country and this fact was discovered, they decided

that Honor must be informed. To their consternation Honor did not turn a hair. She

knew already.

"I was as pleased as Punch when I found out," she told her stepmother. "You see,

darling, you can tell me if he's all right in bed."

This was Avice Crichton's best scene (это была самая лучшая сцена Эвис

Крайтон), it lasted a full ten minutes (она длилась целых десять минут), and

Michael had realized from the beginning that it was effective and important (и

Майкл понял с самого начала, что она была очень действенной и важной).

Avice's cold, matter-of-fact prettiness (холодная, прозаичная миловидность

Эвис) had been exactly what he had thought would be so telling in the

circumstances (была именно тем, что /как/ он думал, будет таким эффектным

при данных обстоятельствах). But after half a dozen rehearsals (но, после с

полдюжины репетиций) he began to think that that was all she had to give (он

начал думать, что это /ее внешность/ было все, на что она была способна:

«что она могла дать»). He talked it over with Julia (он обговорил это с

Джулией).

"How d'you think Avice is shaping (как тебе кажется, у Эвис получается; to

shape — придавать/принимать форму, выходить, формироваться)?"

"It's early days to tell yet (еще рано: «ранние дни» что-нибудь говорить)."

"I'm not happy about her (я не очень ей доволен; happy — счастливый,

благоприятный, веселый). You said she could act (ты сказала, что она может

играть). I've seen no sign of it yet (я не видел еще ни единого признака этого)."

"It's a cast-iron part (это готовая роль; cast-iron — чугунный, твердый,

непоколебимый). She can't really go wrong in it (не может же она, на самом

деле, испортить ее; to go wrong — сбиться с пути, не выйти, не получиться,

разладиться)."

"You know just as well as I do (ты знаешь так же хорошо как и я) that there's no

such thing as a cast-iron part (что нет такой вещи как готовая роль). However

good a part is (насколько бы не была роль хороша), it has to be acted for all it's

worth (ее надо сыграть, изо всех сил: «на все, чего она стоит»). I'm not sure if

it wouldn't be better (я не уверен, не будет ли лучше) to kick her out and get

somebody else (вышвырнуть ее и заполучить кого-нибудь еще; to kick —

давать пинок, лягаться, выгнать, выставить)."

prettiness ['prItInIs] matter-of-fact ["mxtq(r)qv'fxkt] shaping ['SeIpIN]

This was Avice Crichton's best scene, it lasted a full ten minutes, and Michael had

realized from the beginning that it was effective and important. Avice's cold,

matter-of-fact prettiness had been exactly what he had thought would be so telling

in the circumstances. But after half a dozen rehearsals he began to think that that

was all she had to give. He talked it over with Julia.

"How d'you think Avice is shaping?"

"It's early days to tell yet."

"I'm not happy about her. You said she could act. I've seen no sign of it yet."

"It's a cast-iron part. She can't really go wrong in it."

"You know just as well as I do that there's no such thing as a cast-iron part.

However good a part is, it has to be acted for all it's worth. I'm not sure if it

wouldn't be better to kick her out and get somebody else."

"That wouldn't be so easy (это будет не так-то просто /сделать/). I think you

ought to give her a chance (я думаю, что ты должен: «тебе следует» дать ей

шанс)."

"She's so awkward (она такая неуклюжая), her gestures are so meaningless (ее

движения такие бессмысленные)."

Julia reflected (Джулия размышляла). She had her reasons for wishing to keep

Avice in the cast (у нее были собственные причины, чтобы желать оставить

Эвис в труппе). She knew her well enough to be sure (она знала ее достаточно

хорошо, чтобы быть уверенной) that if she were dismissed (что, если бы ее

уволили; to dismiss — распускать, освобождать от работы, отвергать) she

would tell Tom that it was because Julia was jealous of her (он сказала бы Тому,

что это из-за того, что Джулия ревновала к ней). He loved her and would

believe anything she said (он любил ее и поверит во все, что она скажет). He

might even think that Julia had put this affront on her (он может даже подумать,

что Джулия нанесла ей такое оскорбление; affront — обида, унижение,

публичное оскорбление) in revenge for his desertion (из мести за то что он ее

бросил; desertion — дезертирство). No, no, she must stay (нет, нет, она

должна остаться). She must play the part, and fail (она должна сыграть эту роль

и провалиться); and Tom must see with his own eyes (и Том должен увидеть,

своими собственными глазами) what a bad actress she was (какой плохой

актрисой она была). They both of them thought the play would make her (они

оба думали, что этот спектакль устроит ее /карьеру/). Fools (дураки). It would

kill her (он похоронит: «убьет» ее).

meaningless ['mi:nINlIs] affront [q'frAnt] revenge [rI'vendZ]

desertion [dI'zq:S(q)n]

"That wouldn't be so easy. I think you ought to give her a chance."

"She's so awkward, her gestures are so meaningless."

Julia reflected. She had her reasons for wishing to keep Avice in the cast. She

knew her well enough to be sure that if she were dismissed she would tell Tom that

it was because Julia was jealous of her. He loved her and would believe anything

she said. He might even think that Julia had put this affront on her in revenge for

his desertion. No, no, she must stay. She must play the part, and fail; and Tom

must see with his own eyes what a bad actress she was. They both of them thought

the play would make her. Fools. It would kill her.

"You know how clever you are, Michael (ты же знаешь, как ты талантлив,

Майкл), I'm sure you can train her (я уверена, что ты можешь научить ее) if

you're willing to take a little trouble (если ты захочешь приложить усилия)."

"But that's just it (но в этом-то и дело: «но это как раз это»), she doesn't seem

able to take direction (она, кажется, неспособна следовать указаниям). I show

her exactly how to say a line (я показываю ей, как точно произносить реплику)

and then she goes and says it in her own way (и вот она идет и говорит ее

совершенно по-своему). You wouldn't believe it (ты не поверишь в это), but

sometimes I can hardly help thinking (но иногда я почти что уверен: «не могу

не думать») she's under the delusion (что она пребывает в уверенности: «под

заблуждением») that she knows better than I do (что она знает лучше, чем я)."

"You make her nervous (ты нервируешь ее). When you tell her to do something

(когда ты говоришь ей сделать что-то) she's in such a dither (она так дрожит;

dither — смятение, дрожание) she doesn't know what she's up to (что забывает:

«не знает», на что способна; to be up to — зд. быть способным)."

"Good lord (Господи), no one could be more easy than I am (никто не может

быть более снисходительным, чем я; easy — легкий, удобный, уживчивый).

I've never even been sharp with her (я никогда даже не был резок с ней)."

Julia gave him an affectionate smile (Джулия улыбнулась ему с нежностью).

"Are you going to pretend (ты что, собираешься делать вид) that you really don't

know (что ты действительно не знаешь) what's the matter with her (что с ней

такое)?"

"No, what (нет, а что)?"

delusion [dI'lu:Z(q)n] dither ['dIDq] sharp [SQ:p]

"You know how clever you are, Michael, I'm sure you can train her if you're

willing to take a little trouble."

"But that's just it, she doesn't seem able to take direction. I show her exactly how to

say a line and then she goes and says it in her own way. You wouldn't believe it,

but sometimes I can hardly help thinking she's under the delusion that she knows

better than I do."

"You make her nervous. When you tell her to do something she's in such a dither

she doesn't know what she's up to."

"Good lord, no one could be more easy than I am. I've never even been sharp with

her."

Julia gave him an affectionate smile.

"Are you going to pretend that you really don't know what's the matter with her?"

"No, what?"

He looked at her with a blank face (он взглянул на нее с ничего не

понимающим: «не выражающим» лицом).

"Come off it, darling (да брось ты, дорогой). Haven't you noticed (неужели ты

не заметил) that she's madly in love with you (что она безумно влюблена в

тебя)?"

"With me (в меня)? But I thought she was practically engaged to Tom (но я

думала, что она практически помолвлена с Томом). Nonsense (чепуха). You're

always fancying things like that (ты всегда выдумываешь подобные вещи)."

"But it's quite obvious (но это же совершенно очевидно). After all she isn't the

first who's fallen for your fatal beauty (в конце концов, она не первая, кто пал от

твоей роковой красоты; to fall (fell, fallen) for smth. — попасться на удочку),

and I don't suppose she'll be the last (и я так полагаю, что она и не последняя)."

"Heaven knows (видит Бог), I don't want to queer poor Tom's pitch (я не хочу

подложить бедняге Тому свинью; to queer smb.'s pitch — разрушить чьи-либо

планы, надежды)."

"It's not your fault, is it (это же не твоя вина, так)?"

"What d'you want me to do about it then (и что ты хочешь чтобы я сделал /с

этим/)?"

"Well, I think you ought to be nice to her (ну, я думаю, что тебе следует быть

милым с ней). She's very young, you know, poor thing (она очень молода, ты

знаешь, бедняжка). What she wants is a helping hand (что ей нужно — так это

рука помощи). If you took her alone a few times and went through the part with

her (если бы ты пригласил ее одну пару раз и прошел бы с ней роль; to go

through — зд. тщательно, пункт за пунктом разбирать что-либо) I believe

you could do wonders (я верю, что вы могли бы творить чудеса). Why don't you

take her out to lunch one day (почему бы тебе не пригласить ее к ланчу на

днях) and have a talk to her (и не поговорить с ней)?"

She saw the gleam in Michael's eyes (она увидела блеск в глазах Майкла) as he

considered the proposition (когда он обдумывал это предложение) and the

shadow of a smile that was outlined on his lips (и тень улыбки, что заиграла:

«наметилась» на его губах; to outline — нарисовать контур, оттенить).

blank [blxNk] fatal ['feItl] queer [kwIq] pitch [pItS]

He looked at her with a blank face.

"Come off it, darling. Haven't you noticed that she's madly in love with you?"

"With me? But I thought she was practically engaged to Tom. Nonsense. You're

always fancying things like that."

"But it's quite obvious. After all she isn't the first who's fallen for your fatal beauty,

and I don't suppose she'll be the last."

"Heaven knows, I don't want to queer poor Tom's pitch."

"It's not your fault, is it?"

"What d'you want me to do about it then?"

"Well, I think you ought to be nice to her. She's very young, you know, poor thing.

What she wants is a helping hand. If you took her alone a few times and went

through the part with her I believe you could do wonders. Why don't you take her

out to lunch one day and have a talk to her?"

She saw the gleam in Michael's eyes as he considered the proposition and the

shadow of a smile that was outlined on his lips.

"Of course the great thing is (конечно же, самое главное: «большое дело») to

get the play as well acted as we can (сыграть спектакль так хорошо, как только

возможно: «как мы можем»; to get smth. done — сделать что-либо, о

действии, совершаемым кем-то по приказу или указанию говорящего)."

"I know it'll be a bore for you (я знаю, тебе будет ужасно скучно; bore — скука,

зануда), but honestly, for the sake of the play (но честно, ради спектакля) I think

it'll be worth while (я думаю, это того стоит)."

"You know that I would never do anything to upset you, Julia (ты же знаешь, что

я никогда не сделаю ничего, что может расстроить тебя, Джулия). I mean, I'd

much sooner fire the girl (я имею в виду, что я бы скорее уволил девчонку) and

get someone else in her place (и взял бы кого-то еще на ее место)."

"I think that would be such a mistake (я думаю, что это будет /такой/ ошибкой).

I'm convinced that if you'll only take enough trouble with her (я убеждена, что

если бы ты только приложишь достаточно усилий, с ней /вместе/) she'll give a

very good performance (она даст очень хорошее представление)."

He walked up and down the room once or twice (он прошелся взад и вперед по

комнате пару раз: «один или два раза»). He seemed to be considering the matter

from every side (он, казалось, обдумывал эту проблему со всех сторон: «с

каждой стороны»).

honestly ['OnIstlI] enough [I'nAf] twice [twaIs]

"Of course the great thing is to get the play as well acted as we can."

"I know it'll be a bore for you, but honestly, for the sake of the play I think it'll be

worth while."

"You know that I would never do anything to upset you, Julia. I mean, I'd much

sooner fire the girl and get someone else in her place."

"I think that would be such a mistake. I'm convinced that if you'll only take enough

trouble with her she'll give a very good performance."

He walked up and down the room once or twice. He seemed to be considering the

matter from every side.

"Well, I suppose it's my job (ну, я полагаю это моя работа) to get the best

performance I can (добиться наилучшей игры, которой я только могу) out of

every member of my cast (от каждого члена моей труппы). In every case you

have to find out (в каждом случае приходится искать) which is the best method

of approach (какой самый лучший метод /подхода/; approach — зд. подход к

изучению, рассмотрению чего-либо)."

He threw out his chin (он выдвинул вперед подбородок) and drew in his belly (и

втянул живот). He straightened his back (он выпрямил спину). Julia knew that

Avice Crichton would hold the part (Джулия поняла, что Эвис Крайтон

останется: «удержится» в этой роли), and next day at rehearsal he took her aside

(и на следующий день, на репетиции, он отвел ее в сторону) and had a long

talk with her (и долго с ней беседовал). She knew by his manner exactly what he

was saying (она знала, по его поведению, что именно он ей говорил) and,

watching them out of the corner of her eye (и, наблюдая за ними краешком