SOME PHRASES, WHICH MAY BE HELPFUL WHILE PREPARING THE ANALYSIS

1. The story is written in a matter-of-fact (tragic, ironic, humorous, epic, satirical, elevated, etc.) tone (style, key). История написана в прозаическом (трагическом, ироническом, юмористическом, эпическом (героическом), сатирическом (насмешливом), благородном и т.п.) тоне (стиле, ключе).

2. The story is written with a touch of irony/The story is tinged with irony (tragedy, sadness, humour, epos, satire, etc.). История написана с оттенком иронии (трагедии, печали, юмора, эпоса, сатиры и т.п.).

3. The text/passage under analysis presents ...Текст/Отрывок в рамках данного анализа представляет ...

4. The author employs a number of stylistic devices that produce ... effect. Автор использует ряд стилистических приёмов, которые производят ... эффект.

5. The author links ... to ...; the author likens ... to a human being. Автор связывает ... с ...; автор уподобляет ... человеку.

6. The author employs ... Автор употребляет ...

7. The author enhance the desired effect with the help of ...Автор усиливает желаемый эффект с помощью ...

8. The author imposes his perception of the thing described on the reader. Автор навязывает своё восприятие вещей читателю.

9. These epithets daze the emotional force they carry. Эти эпитеты ошеломляют своей эмоциональной силой.

10. The powerful effect produced by these expressive means is unquestionable. Мощный эффект, производимый этими выразительными средствами, не подлежит сомнению.

11. The author's object in employing these stylistic devices is quite evident. При использовании этих приёмов, цель автора вполне очевидна.

12. ... is described in a few masterful strokes. ... описан несколькими мастерскими штрихами/в нескольких чертах.

13. Due to the vivid stylistic colouring ...Благодаря яркой стилистической окраске ...
14. ... draws the reader's attention to ... ... привлекает внимание читателя к ...

15. The author emphasizes ... Автор подчёркивает ...

16. The author lends some stylistic colouring to the description of the man's portrait.
Автор прибегает к использованию некоторых стилистических окрасок для описания портрета человека.

17. ... contribute largely to the vividness of ... representation. ... в значительной степени способствуют живости (яркости) ... представления.

18. This device colours the utterance emotionally. Этот приём подчёркивает эмоциональность высказывания.

19. This stylistic device aims at a mocking effect. Этот стилистический приём направлен на эффект насмешки.

20. The humorous effect is achieved by ... Юмористически эффект достигается путем ...
21. The metaphor strikes the reader with its vividness and makes him feel ... Эта метафора поражает читателя своей живостью (яркостью) и заставляет его чувствовать ...

22. The desired effect is strengthened by ... (is more enchanted by ...) Желаемый эффект усиливается путем ... (становится сильнее за счет ...).

23. The similes the author resorts to make the description far too picturesque and very llustrative. Сравнениями автор добивается очень живописного и показательного описания.

24. This metonymy may be interpreted as the author's attempt to ...Данная метонимия может быть истолкована как попытка автора ...

25. These devices help to depict ...Эти приёмы помогают изобразить ...

26. The author's irony is directed at ...Авторская ирония направлена на ...

27. Within this phrase we can see some other expressive means...В рамках данной фразы мы можем видеть некоторые другие выразительные средства ...

28. The author strives for a ... effect. Автор стремится к ... эффекту.

29. The humorous effect is achieved by the incongruous combination of the solemn form and insignificant meaning. Юмористический эффект достигается путём нелепого сочетания торжественных и маловажных форм.

30. Here the author bursts with emotions. He is unable to conceal his feelings towards his own creation and pours on him the full measure of his disgust (sympathy, love, etc.) Здесь автор взрывается эмоциями. Он не в силах скрывать свои чувства по отношению к своему собственному творению и выплескивает их на него в полной мере (сочувствие, любовь.)
31. This is the case of climax. The sentences are so arranged that each of the consecutive sentences is more important, more significant and more emotionally coloured than the preceding one, all of them forming a chain of interdependent elements. Это момент кульминации. Предложения расположены таким образом, что каждое последующее из них является более важным, более значительным и более эмоционально окрашенным, чем предыдущее, все они формируются в цепочку зависимых друг от друга элементов.

32. The starting point of the climax is .../the peak of the climax is .../the climax serves to ...
Отправной точкой кульминации является .../пиком кульминации является ../кульминацией служит ...
33. The denouement is unexpected. Развязка неожиданная.

34. The idea of the passage is as follows / may be summed up in the following words). Идея текста (отрывка) выглядит следующим образом .../может быть выражена следующими словами ...

35. The idea lies on the surface. Идея лежит на поверхности.

36. The analysis would be incomplete if we did not touch upon man's individual speech.
Анализ был бы неполным, если бы мы не коснулись индивидуальной речи человека.
37. The author individualizes his character's speech for a definite purpose. By doing this he gives us some additional information concerning his character. It shows ... Автор индивидуализирует речь своего персонажа для определенной цели. Делая это, он даёт нам некоторую дополнительную информацию о его характере. Он показывает ...

38. The syntax of the dialogue is very simple; plenty of ... make the speech expressive and emotionally coloured. Синтаксис диалога очень прост; большинство ... делает речь выразительной и эмоционально окрашенной.

39. The narrative part of the story is illustrative of literary-bookish English. It contains bookish words (ex.), long sentences with different participial and gerundial constructions (ex.). Повествовательная часть истории иллюстрирует литературный английский язык. Она содержит книжные слова (например), длинные предложения с различными причастиями и герундиальными конструкциями (например).

40. The speech of the characters is full of colloquial words (ex). The author's aim is ...
Речь персонажей наполнена разговорной речью (например: ...). Здесь целью автора является ...
41. The text contains some terms (ex.), professionalism (ex). They make us feel (understand) ...
Текст содержит некоторые, способы выражения (например), профессионализм (например). Они заставляют нас чувствовать (понимать) ...
42. The passage (story) is wholly narrative; wholly a dialogue; partially narrative and partially a dialogue.
Вся история представлена в виде повествования; диалога; частично повествования и частично диалога.

43. The plot of the passage (story) is built around (is unfolded around; deals with) ... Часть истории построена вокруг (разворачивается вокруг, имеет дело с) ...

44. By the way of conclusion I'd like to… В заключении я хотел бы ...

 

 

Some more phrases:

to have a keen eye for details иметь острый глаз на детали/подробности
to make ample use of широко использовать
to bring forth the idea "родить" идею
to convey the idea сообщать/выражать идею
to manifest itself проявлять себя
to be used to convey использованы для передачи
to expose подвергать
to have a great emotional impact on the reader иметь большое эмоциональное воздействие на читателя
to produce a powerful effect on the reader производить сильное воздействие на читателя
to resort to прибегать к
to draw the reader's attention to обращать внимание читателя на
to open with начинать с
to impart an idea сообщать идею
to be concerned with иметь дело с
to be akin to poetry быть сродни поэзии
to describe sth. with great intensity описывать что-либо с большой интенсивностью/с яркостью
to alternate with чередоваться с
to be emotionally coloured быть эмоционально окрашенным

The text under analysis/study is taken from the novel ...

The author is the master of psychological analysis.

At (in) the beginning of the text the author describes (depicts, dwells on, touches upon, explains, introduces, mentions, characterizes, analyses, comments on, points out, reveals), etc.

The extract opens with ...

The matter stood like this (stood thus).

The action (scene) is laid in.

The opening scene shows (reveals)...

Then (after that, further (on), next) the author passes on to ... (goes on from to, goes on to say that..., gives a detailed (thorough) description (analysis, etc.) of..., digresses from the subject, etc.

As the story unfolds (as the action develops) we obtain further information about the characters.

From (in) the next paragraph we learn that...

Here the extract reaches its culminating point (climax).

In conclusion the author describes (touches upon, etc.)

The author concludes with the description (explanation, mentioning the fact that ...)

To finish with, the author describes...

At the end of the extract (story, text) the author draws the 'conclusion that ... (comes to the conclusion that...)

At the end of the story (extract, text) the author sums it all up by saying that .., etc. The concluding words are...

The extract can be subdivided into ... logically complete parts.

The extract is practically wholly a narrative (a dialogue, a description), mostly a dialogue and partially a narrative, mostly a description and partially a dialogue, etc.

The general atmosphere (tone, slant) of the extract is...

The choice of words, syntactical patterns, some expressive means and stylistic devices help the author to create this atmosphere, to enhance the effect of gloom (dramatic tension, irony, to express his sympathetic /scornful, ironical/ attitude to the characters, to show the misery /wretchedness, blissful happiness, etc./ of the main characters, to accentuate tense relations between the characters, to make the description more vivid, to make the narration and characters more creditable and true-to-life.)

I sympathize with..., I fully support and understand...

My attitude to this character can't be expressed in a couple of words, because it is a very complex character. On the one hand, he seems to me..., on the other hand, I think that...

The author’s treatment of his characters seems to me brilliant (superb, perfect, unsurpassed, poor, /un/convincing, true-to-life, realistic), etc.

The author lets the reader form his notion (opinion, judgment) of the characters by himself.

To my mind (in my opinion) the message (main idea) of the extract is the following...

It seems to me that by this extract (story) the author wanted to convey to the reader the following message (ideas, thoughts):...

I fully /dis/agree with the author in that...

As far as my evaluation of the text is concerned I want to say that (it seems to me that..., I found the text interesting, not very interesting, gripping/thrilling, entertaining, merely amusing, sparkling with brilliant humor and wit, thought-provocative, too far-fetched and not very true-to-life, dull, boring, slow-moving), etc.

The ideas expressed by the author are very close to me because...

His ideas concerning ... are still important, vital and urgent.

 

CHAPTER 2.

Text №1

Cat in the Rain

By E. Hemingway

There were only two Americans stopping at the hotel. They did not know any of the people they passed on the stairs on their way to and from their room. Their room was on the second floor facing the sea. It also faced the public garden and the war monument. There were big palms and green benches in the public garden. In the good weather there was always an artist with his easel. Artists liked the way the palms grew and the bright colors of the hotels facing the gardens and the sea. Italians came from a long way off to look up at the war monument. It was made of bronze and glistened in the rain. It was raining. The rain dripped from the palm trees. Water stood in pools on the gravel paths. The sea broke in a long line in the rain and slipped back down the beach to come up and break again in a long line in the rain. The motor cars were gone from the square by the war monument. Across the square in the doorway of the cafe a waiter stood looking out at the empty square.

The American wife stood at the window look­ing out. Outside right under their window a cat was crouched under one of the dripping green tables. The cat was trying to make herself so compact that she would not be dripped on.

"I'm going down and get that kitty," the Ameri­can wife said.

"I'll do it," her husband offered from the bed.

"No, I'll get it. The poor kitty out trying to keep dry under a table."

The husband went on reading, lying propped up with the two pillows at the foot of the bed.

"Don't get wet," he said.

The wife went downstairs and the hotel owner stood up and bowed to her as she passed the office. His desk was at the far end of the office. He was an old man and very tall.

"II piove,"* the wife said. She liked the hotel-keeper.

"Si, si, Signora, brutto tempo/'" It's very bad weather."

He stood behind his desk in the far end of the dim room. The wife liked him. She liked the dead­ly serious way he received any complaints. She liked his dignity. She liked the way he wanted to serve her. She liked the way he felt about being a hotel-keeper. She liked his old, heavy face and big hands.

Liking him she opened the door and looked out. It was raining harder. A man in a rubber cape was crossing the empty square to the cafe. The cat would be around to the right. Perhaps she could go along under the eaves. As she stood in the doorway an umbrella opened behind her. It was the maid who looked after their room.

"You must not get wet," she smiled, speaking Italian. Of course, the hotel-keeper had sent her. With the maid holding the umbrella over her, she walked along the gravel path until she was under their window. The table was there, washed bright green in the rain, but the cat was gone. She was suddenly disappointed. The maid looked up at her.

"Ha perduto qualque cosa, Signora?"*

"There was a cat," said the American girl.

"A cat?"

"Si, ilgatto."*

"A cat?" the maid laughed. "A cat in the rain?"

"Yes," she said, "under the table." Then, "Oh, 1 wanted it so much. I wanted a kitty."

When she talked English the maid's face lightened.

"Come, Signora," she said. "We must get back inside. You will be wet."

''I suppose so," said the American girl.

They went back along the gravel path and passed in the door. The maid stayed outside to close the umbrella. As the American girl passed the office, the padrone bowed from his desk. Some­thing felt very small and tight inside the girl. The padrone made her feel very small and at the same time really important. She had a momentary feel­ing of being of supreme importance. She went on up the stairs. She opened the door of the room. George was on the bed, reading.

"Did you get the cat?" he asked, putting the book down.

"It was gone."

"Wonder where it went to," he said, resting his eyes from reading.

She sat down on the bed.

"I wanted it so much," she said. "I don't know why 1 wanted it so much. I wanted that poor kit­ty. It isn't any fun to be a poor kitty out in the rain."

George was reading again.

She went over and sat in front of the mirror of the dressing table looking at herself with the hand glass. She studied her profile, first one side and then the other. Then she studied the back of her head and her neck.

"Don't you think it would be a good idea if I let my hair grow out?" she asked, looking at her pro­file again.

George looked up and saw the back of her neck, clipped close like a boy's.

"I like it the way it is."

"I get so tired of it," she said. "I get so tired of looking like a boy."

George shifted his position in the bed. He hadn't looked away from her since she started to speak.

"You look pretty darn nice," he said.

She laid the mirror down on the dresser and went over to the window and looked out. It was getting dark.

"I want to pull my hair back tight and smooth and make a big knot at the back that I can feel," she said. "I want to have a kitty to sit on my lap and purr when I stroke her."

"Yeah?" George said from the bed.

"And I want to eat at a table with my own sil­ver and I want candles. And I want it to be spring and I want to brush my hair out in front of a mir­ror and I want a kitty and I want some new clothes."

"Oh, shut up and get something to read," George said. He was reading again.

His wife was looking out of the window. It was quite dark now and still raining in the palm trees.

"Anyway, I want a cat," she said, "I want a cat. I want a cat now. If I can't have long hair or any fun, I can have a cat,"

George was not listening. He was reading his book. His wife looked out of the window where the light had come on in the square.

Someone knocked at the door.

"Avanti,"* George said. He looked up from his book.

In the doorway stood the maid. She held a big tortoise-shell cat pressed tight against her and swung down against her body.

"Excuse me," she said, "the padrone asked me to bring this for the Signora."

http://www.projectedu.com/cat-in-the-rain-by-ernest-hemingway/reading-cat-in-the-rain-by-ernest-hemingway/

II piove(итал.} — Дождь идет

Si, si, Signora, brut to tempo,(итал.)— Да, да, синьо­ра, погода скверная.

На perduto qualque cosa, Signora? —Вы потеряли что-нибудь, синьора?

Si, il gatto.(итал.) — Да, кошка.

Avanti(итал.) — Войдите

Assignment 1.