Ulalume

She walks in beauty – like the night
Of cloudless climes and starry skies,
And all that's best of dark and bright
Meet in her aspect and her eyes;
Thus mellowed to the tender light
Which heaven to gaudy day denies.

One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress
Or softly lightens o'er her face –
Where thoughts serenely sweet express
How pure, how dear their dwelling place.

And on that cheek and o'er that brow
So soft, so calm yet eloquent,
The smiles that win, the tints that glow
But tell of days in goodness spent
A mind at peace with all below,
A heart whose love is innocent. (G. Byron)

14. Актуалізуйте знання, отримані на лекціях та семінарах (ключові терміни виділені жирним шрифтом). Визначте тип рими, тропи та фігури.

15. Актуалізуйте знання, отримані на лекціях та семінарах (ключові терміни виділені жирним шрифтом). Визначте основні жанрові ознаки поеми. Поясніть, чому поема Дж. Г. Байрона «Паломництво Чайльд Гарольда» належить до тих творів, які руйнують усталені межі жанрів. Проаналізуйте строфи 2-13. Спробуйте визначити ознаки посилення ліричного начала. Зверніть увагу на особливості художнього перекладу.

ІІ Whilome in Albion's isle there dwelt a youth, Who ne in Virtue's ways did take delight; But spent his days in riot most uncouth, And vexed with mirth the drowsy ear of Night. Ah me! in sooth he was a shameless wight, Sore given to revel, and ungodly glee; Few earthly things found favour in his sight Save concubines and carnal companie, And flaunting wassailers of high and low degree. ІІІ Childe Harold was he hight: — but whence his name And lineage long, it suits me not to say <...> IV Childe Harold basked him in the Noontide sun, Disporting there like any other fly; Nor deemed before his little day was done One blast might chill him into misery. But long ere scarce a third of his passed by, Worse than Adversity the Childe befell; He helt the fulness of Satiety: Then loathed he his native land to dwell, Which seemed to him more lone than Eremite's sad cell. V For he through Sin's long labirinth had run, Nor made atonement when he did amiss, Had sighed to many though he loved but one, And that loved one, alas! could ne'er be his <...> VI And now Childe Harold was sore sick at heart, And from his fellow Bacchanals would flee; Tis said, at times the sullen tear would start, But Pride congealed the drop within his ее: Apart he stalked in joyless reverie, And from his native land resolvet to go, And visit scorching climes beyond the sea; With plesure drugged, he almost longed for moe, And e'en for change of scene would i seek the shades below. VIII Yet oft-times in his maddest mirthful mood Strange pangs would flash along Childe Harold's brow, As if the Memory of sone deadly feud Or disappointed passion lurked below: But this none knew, nor haply cared to know; For his was not that open, artless soul That feels relief by bidding sorrow flow, Nor sought he friend to counsel or condole, Whate'er this grief mote be, which he could not control. IX And none did love him! <...> XII His house, his home, his heritage, his lands, The laughing dames in whom he did delight, Whose large blue eyes, fair locks, and snowy hands, Might shake the Saintship of an Anchorite, And long had fed his youthful appetite; His goblets brimmed with every costly wine, And all that mote to luxury invite, Without a sigh he left, to cross the brine, And traverse Paynim shores, and pass Earth's central line.

Жил в Альбионе юноша. Свой век Он посвящал лишь развлеченьям праздным. В безумной жажде радостей и нег Распутством не гнушаясь безобразным, Душою предан низменным соблазнам, Но равно чужд и чести и стыду, Он в мире возлюбил многообразном — Увы! — лишь кратких связей череду Да собутыльников веселую орду. Он звался Чайльд Гарольд. Не все равно ли, Каким он вел блестящим предкам счет! <...> Вступая в девятнадцатый свой год, Как мотылек, резвился он, порхая, Не помышлял о том, что день пройдет И холодом повеет тьма ночная. Но вдруг, в расцвете жизненного мая, Заговорило пресыщенье в нем, Болезнь ума и сердца роковая, И показалось мерзким все кругом: Тюрьмою — родина, могилой — отчий дом.

Он совести не знал укоров строгих И слепо шел дорогою страстей. Любил одну — прельщал любовью многих, Любил, но не назвал ее своей. Но в сердце Чайльд глухую боль унес, И наслаждений жажда в нем остыла, И часто блеск его внезапных слез Лишь гордость уязвленная гасила. Меж тем тоски язвительная сила Звала покинуть край, где вырос он, — Чужих небес приветствовать светила; Он звал печаль, весельем пресыщен, Готов был в ад бежать, чтоб бросить Альбион. Но часто в блеске, в шуме людных зал Лицо Гарольда муку выражало. Отвергнутую страсть он вспоминал Иль чувствовал вражды смертельной жало — Ничье живое сердце не узнало. Ни с кем не вел он дружеских бесед. Когда смятенье душу омрачало, В часы раздумий, в дни сердечных бед Презреньем он встречал сочувственный совет. И в мире был он одинок. <...> Наследство, дом, поместья родовые, Прелестных дам, чей смех он так любил, Чей синий взор, чьи локоны златые В нем часто юный пробуждали пыл — Здесь даже и святой бы согрешил, — Вином бесценным полные стаканы — Все то, чем роскошь радует кутил, Он променял на ветры и туманы, На рокот южных волн и варварские страны. Переклад В. Лєвіка

16. Актуалізуйте знання, отримані на лекціях та семінарах (ключові терміни виділені жирним шрифтом). Визначте основні жанрові ознаки балади. Ознайомтесь з оригінальним текстом англійської середньовічної фольклорної балади. Порівняйте текст оригіналу з двома варіантами перекладу. Доведіть, що відповідні тексти належать до жанру балади.

– Вон там, на берегу крутом
Убитый рыцарь под щитом.
Да свора верная его

17. Пригадайте, які художні засоби може використовувати автор, характеризуючи персонажа. Перекладіть уривки з текстів, які наведені нижче, та визначте художні засоби.

The human figures which completed this landscape were in number two, partaking, in their dress and appearance, of that wild and rustic character which belonged to the woodlands of the West Riding of Yorkshire at that early period. The eldest of these men had a stern, savage, and wild aspect. His garment was of the simplest form imaginable, being a close jacket with sleeves, composed of the tanned skin of some animal, on which the hair had been originally left, but which had been worm off in so many places that it would have been difficult to distinguish, form the patches that remained, to what creature the fur belonged. This primeval vestment reached from the throat to the knees, and served at once all the usual purposes of bodyclothing; there was no wider opening at the collar than was necessary to admit the passage of the head, from which it may be inferred that it was put on by slipping it over the head and shoulders, in the manner of a modern shirt, or ancient hauberk. Sandals, bound with thongs made of boar's hide, protected the feen, and a roll of thin leather was twined artificially round the legs, and ascending above the calf, left the knees bare, like those of a Scottish Highlander. To make the jacket sit yet more close to the body, it was gatnered at the middle by a broad leathern belt, secured by a brass buckle; to one side of which was attached a sort of scrip, and to the other aram's horn, accoutred with amouthpiece, for the purpose of blowing. In the same belt was stuck one of those long, broad, sharp-pointed, and twoedged knives, with a buck's-horn handle, which were fabricated in the neighbourhood, and bore even at this early period the name of a Sheffield whittle. The man had no covering upon his head, which was only defended by his own thick hair, matted and twisted together, and scorched by the influence of the sun into a rusty dark-red colour, forming a contrast with the overgrown beard upon his cheeks, which was rather of a yellow or amber hue. One part of his dress only remains, but it is too remarkable to be suppressed; it was a brass ring, resembling a dog's collar, but without any opening, and soldered fast round his neck, so loose as to form no impediment to his breathing, yet so tight as to be incapable of being removed, excepting by the use of the file. On this singular gorget was engraved, in Saxon characters, an insription of the followong purport: «Gurth, the son of Beowulph, is the born thrall of Cedric of Rotherwood».

— Thou dost me injustice, — said the Templar. — By eart, sea, and sky, thou dost me injustice! I am not naturally that which you have seen me — hard, selfish, and relentless. It was women that taught me cruelty, and on women therefore I have excercised it; but not upon such as thou. Hear me, Rebecca. Never did knight take lance in his hand with a hear more devoted to the lady of his love that Brian de Bois-Guilbert. She, the daughter of a petty baron, who boasted for all his domains but a ruinous tower and an unproductive vineyard, and some few leagues of the barren Landes of Bourdeaux, her name was known wherever deds of arms were done, known wider than that of many a lady's that had a county for a dowry. Yes, he continued, pacing up and down the little platform, with an animacion in which be seemed to lose all consciousness of Rebecca's presence — yes, my deeds, my danger, my blood made the name of Adelaide de Montemare known from the court of Castile to that of Byzantium. And how was I required? When I returned with my dear-bought honours, purchased by toil and blood, I found her wedded to a Gascon squire, whose name was never heard beyond the limits of his own paltry domain! Truly did I love her, and bitterly did I revenge me of her broken faith!

Dombey was about eight-and-forty years of age. Son about eight-and-forty minutes. Dombey was rather bald, rather red, and though a handsome well-made man, too stern and pompous in appearance, to be prepossessing. Son was very bald, and very red, and though (of course) an undeniably fine infant, somewhat crushed and spotty in his general effect, as yet. On the brow of Dombey, Time and his brother Care had set some marks, as on a tree that was to come down in good time — remorseless twins they are for striding through their human forests, notching as they go — while the countenance of Son was crossed with a thousand little creases, which the same deceitful Time would take delight in smoothing out and wearing away with the flat part of his scythe, as a preparation of the surface for his deeper operations.

The candles lighted up Lord Steyne's shining bald head, which was fringed with red hair. He had thick bushy eyebrows, with little twinkling bloodshot eyes, surrounded by a thousand wrinkles. His jaw was underhung, and when he laughed, two white buckteeth protruded themselves and glistened savagely in the midst of the grin.

For she could not only sing like a lark, or a Mrs Billington, and dance like Hillisberg or Parisot; and embroider beautifully; and spell as well as a Dixonary itself; but she had such a kindly, smiling, tender, gentle, generous heart of her own, as won the love of everybody who came near her, from Minerva herself down to the poor girl in the scullery and the one-eyed tart-woman's daughter who was permitted to vend her wares once a week to the young ladies in the Mall.

...There is no harm in saying, at the outset of our acquaintance, that she was a dear little creature; and a great mercy it is, both in life and in novels, which (and the latter especially) abound in villains of the most sombre sort, that we are to have for a constant companion so guileless and good-natured a person. As she is not a heroine, there is no need to describe her person; indeed I am afraid that her nose was rather short than otherwise, and her cheeks a great deal too round and red for a heroine; but her face blushed with rosy health, and her lips with the freshest of smiles, and she had a pair of eyes which sparkled with the brightest and honestest good-humour, except indeed when they filled with tears, and that was a great deal too often; for the silly thing would cry over a dead canary-bird; or over a mouse, that the cat haply had seized upon; or over the end of a novel, were it ever so stupid; and as for saying an unkind word to her, were any persons hardhearted enough to do so — why, so much the worse for them.

18. Прочитайте оповідання Е. Хемінгуея «Кішка під дощем». Дайте відповіді на запитання та виконайте завдання:

1. Проаналізуйте експозицію твору. Яке значення має художній простір та час дії? Зверніть увагу, як автор від загального опису переходить до цьогохвилинного сюжетного теперішнього. Чи такий перехід сприяє створенню певного настрою?

2. Які непрямі деталі оповіді формують враження нудного осіннього дня?

3. Яку додаткову інформацію несуть постійно повторювані автором слова «cat», «rain», «I want»?

4. Інтерпретуйте назву оповідання. Які приховані узагальнення містить назва?

5. В чому полягає глибинний підтекст твору. За допомогою яких засобів він формується?