The ebony tower

John Fowles

<…> He got to Orly to find the flight was delayed for half an hour. There was fog at Heathrow. David hated air­ports at the best of times, the impersonality, herding, sense of'anonymous passage: the insecurity. He stood by the window of the visitors' lounge, staring out into the flat distances. Dusk. Coet was in another universe; one and an eternal day's drive away. He tried to imagine what they were doing. Diana laying the table, Anne hav­ing her French lesson. The silence, the forest, the old man's voice. Macmillan barking. He suffered the most intense pang of the most terrible of all human depriva­tions; which is not of possession, but of knowledge. What she said; what she felt; what she thought. It pierced deep­er than all questionings about art, or his art_; his personal destiny. For a few terrible moments he saw himself, and all mankind, quite clear. Something in him, a last hope of redemption, of free will, burnt every boat; turned; ran for salvation. But the boats proof to all flame, the ulti­mate old masters, kept the tall shadow of him where he was; static and onward, returning home, a young Eng­lishman staring at a distant row of frozen runway lights. The flight arrival was announced and he went down to where he could watch for Beth. He had brought her holiday luggage in the car, and she came out with the first passengers. A wave. He raised his hand: a new coat, surprise for him, a little flounce and jiggle to show it off. Gay Paree. Free woman. Look, no children.

She comes with the relentless face of the present tense; with a dry delight, small miracle that he is actually here. He composes his face into an equal certainty. She stops a few feet short of him. "Hi."

She bites her lips.

"I thought for one ghastly moment." She pauses.

"You were my husband." Rehearsed. He smiles. He kisses her mouth.

They walk away together, talking about their chil­dren.

He has a sense of retarded waking, as if in a postoper-ational state of consciousness some hours returned but not till now fully credited; a numbed sense of something beginning to slip inexorably away. A shadow of a face, hair streaked with gold, a closing door. I wanted you to.One knows one dreamed, yet cannot remember. The drowning cry, jackbooted day.

She says, "And you, darling?"

He surrenders to what is left: to abstraction.

"I survived."

33. Прочитайте уривок з роману Е. Хемінгуея «Фієста». Дайте відповіді на запитання та виконайте завдання:

1. Визначте жанрові ознаки роману.

2. Яке значення має опис ландшафту на початку наведеного уривку?

3. Зверніть увагу на перший короткий діалог між персонажами. Про що свідчать їхні репліки?

4. Знайдіть деталі портретних описів та зовнішньої поведінки персонажів. Яке враження вони створюють?

5. Чому, на вашу думку, авторські описи в даному фрагменті мінімізовані?

6. Як ви розумієте «прихований психологізм» Е. Хемінгуея?

7. Визначте своєрідність авторського стилю.

Ernest HemingwayThe Sun Also Rises

<…> The bus climbed steadily up the road. The country was barren and rocks stuck up through the clay. There was no grass beside the road. Looking back we could see the country spread out below. Far back the fields were squares of green and brown on the hillsides. Making the horizon were the brown mountains. They were strangely shaped. As we climbed higher the horizon kept changing. As the bus ground slowly up the road we could see other mountains coming up in. the south. Then the road came over the crest, flattened out, and went into a forest. It was a forest of cork oaks, and the sun came through the trees in patches, and there were cattle grazing back in the trees. We went through the forest and the road came out and turned along a rise of land, and out ahead of us was a rolling green plain, with dark mountains beyond it. These were not like the brown, heat-baked moun­tains we had left behind. These were wooded and there were clouds coming down from them. The green plain stretched off. It was cut by fences and the white of the road showed through the trunks of a double line of trees that crossed the plain toward the north. As we came to the edge of the rise we saw the red roofs and white houses of Burguete ahead strung out on the plain, and away off on the shoulder of the first dark mountain was the grey metalsheathed roof of the monastery of Roncevalles.

'There's Roncevaux,' I said.

'Where?'

'Way off there where the mountains start`

'It's cold up here` Bill said.

'It's high` I said. 'It must be twelve hundred metres`

'It's awful cold` Bill said.

The bus levelled down on to the straight line of road that ran to Burguete. We passed a crossroads and crossed a bridge over a stream. The houses of Burguete were along both sides of the road. There were no side-streets. We passed the church and the school-yard, and the bus stopped. We got down and the driver handed down our bags and the rod-case. A carabineer in his cocked hat and yellow leather cross-straps came in.

'What's in there?' he pointed to the rod-case.

I opened it and showed him. He asked to see our fishing permits and I got them out. He looked at the date and then waved us, on.

'Is that all right?' I asked.

'Yes. Of coufse.'

We went up the street, past the whitewashed stone houses, families sitting in their doorways watching us, to the inn.

The fat woman who ran the inn came but from the kitchen and shook hands with us. She took off her spectacles, wiped them, and put them on again. It was cold in the inn and the wind was starting to blow outside. The woman sent a girl upstairs with us to show the room. There were two beds, a washstand, a clothes-chest, and a big, framed steel-engraving of Nuestra Senora de Roncevalles. The wind was blowing against the shutters. The room was on the north side of the inn. We washed, put on sweaters, and came downstairs into the dining-room. It had a stone floor, low ceiling, and was oak-panelled. The shutters were all up and it was so cold you could see your breath. <…>

34. Прочитайте уривок з роману Г. Мелвілла «Мобі Дік, або Білий Кит». Дайте відповіді на запитання та виконайте завдання:

1. Дайте визначення роману. Вкажіть жанрові особливості, що відрізняють роман від інших прозових жанрів.

2. Визначте особливості оповіді від першої особи. Як присутність розповідача визначає читацьке сприйняття?

3. Як формується читацьке уявлення про розповідача в даному уривку?

4. Як встановлюється часова дистанція між часом оповіді та часом розповіді?

5. Яке значення має образ режисера-долі?

6. Визначте епітети та порівняння, використані розповідачем. Якими є функції цих художніх засобів?

7. Вкажіть ознаки романтичної естетики?

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