The Collector

The novel tells of Frederick Clegg, a young man, an orphan, a collector of butterflies, who falls in love with Mirilnda, a beautiful art student. He happens to win a

large sum of money at pools and, having bought a secluded country house, kidnaps Miranda and locks her in the cellar. He changes his name from Frederick to Ferdinand to match hers (Ferdinand and Miranda are the names of two young lovers from Shakespeare's romantic play The Tempest). But Miranda calls him Caliban after the ugly monster from the same play

Frederick buys her expensive presents and tries to indulge her every whim but he fails to understand both her nature and her thoughts. He keeps breaking his promises to set Miranda free. All her attempts to escape or, at least, to wrench pity or human affection from him, fail. Frederick keeps Miranda to enjoy her beauty as he enjoys his but­ terflies. Finally Miranda catches a cold and dies of pneumonia. Frederick, though at first grieved by the loss, starts looking for another girl, a new specimen for his collection.

Once, before her death freed her. Miranda told her jailer

a fairy story in the hope of making a breakthrough to his heart. The story moved Frederick yet it did not make him change his attitude to Miranda.

Once upon a time there was a very ugly monster who captured a princess and put her in a dungeon in his castle. Every evening he made her sit with him and ordered her to say to him, "You are very handsome, my lord" And every evening she said, "You are very ugly, you monster" And then the monster looked very hurl and sad and stared at the floor So

one evening the princess said, "If you do this thing and that thing you

might be handsome", but the monster said, "I can't, I can't" Every evening it was the same. He asked her to lie, and she wouldn't. So the princess began to think that he really enjoyed being a monster and very ugly. Then one day she saw he was crying when she'd tell him, for the fiftieth lime, that he was ugly. So she said, "You can become very hand­ some if you do just one thing. Will you do it?" Yes, he said, at least, he would try to do it. So she said, then set me free. And he set her free. And suddenly, he wasn't ugly any more, he was a prince who had been bewitched. And he followed the princess out of the castle. And they both lived happily ever afterwards.

In the novel The Collector Fowles investigates the roots of brutality and selfishness that the world of today is overcome with. He finds them, in the first place, in the social inequality. It were the miseries that Frederick had to live through in his childhood, lack of culture and, caused by these, a sorf of inferiority complex, that turned Frederick

t65

into the monstrous hard-hearted egoist he was.

The novel consists of two parts. The first part is

Clegg's narration while the other one presents

Miranda's diary. Both parts coincide in actual events but

reveal a wide gap between the psychology and outlook of the two characters.

Of Fowles' other novels the most remarkable so far is The French Lieutenant's Woman. The novel is set in the England of the late 1860s and gives a very detailed picture

of the life of the period. It is built round a love triangle involving Charles Smithson, a not very rich aristocrat his fiancee Ernestina Freeman, the daughter of a pro­ sperous merchant, and a young girl, half-servant, half­ companion, Sarah Woodruff, that Charles falls in love with.

Fowles gives his novel three endings. According to the first one Charles gives up Sarah, marries Ernestina and becomes her father's companion. Yet the novel proceeds as

it so happens that this turn of events occurs only in Char­ les' mind. In reality he breaks off his angagement with Ernestina and goes in search of Sarah who has disap­

peared leaving him no address. Two years later he finds her in the house of a famous painter and poet and his sister. There comes a happy reunion of the two lovers and their one-year-old daughter Yet the final chapter of the novel offers still another version. Sarah Woodruff rejects Smithson's proposal because she values her freedom and independence more than the joys of family life. Smithson is left alone facing the unknown.

The novel is full of literary allusions: the readers can easily trace elements of the I 9th century novels in its plot

and in the first two endings, and the characters resemble the personages of Bronte's, Dickens' Thackeray's, Hardy's books. Yet the novel is neither a historical one, though it is richly furnished with the 19th century docu­ mentary material, nor a mere imitation or parody of the classics. As critics say, it is a I 9th century novel written with the 20th century knowledge of the complexity of hu­ man soul. One of the proofs of it is the untraditional "open end" of the novel.

Fowles' other novels so far are The EbonlJ Tower (1974), Daniel M{utin (1977), Mantissa (1982), A.· Maggot (1985) The theme that runs through most of his works is the creative process and the psychology of an artist or a writer Fowles stresses the idea that an artist, if he breaks up his

IGG

links with reality, will sooner or later find himself in iso­

lation, in "the ebony tower"

The narrative skill, the diversity of form and rich im­ agery secured Fowles a prominent place among the pres­ ent-day English writers. Readers in the Russian-speaking countries are familiar with his works through the transla­ tions of the novels The Ebony Tower, The French Lieuten­ ant's Woman, Daniel Martin and the stories Poor Koko and The Enigma.

I. What reasons brought about the appearance o[ the philosophical novel? 2. What ideas were the authors of the English philosophical novel influenced by? 3. What was William Golding's aim in writing the novel Lord of the Flies? 4. What theme did Iris Murdoch touch on in the novel

The Red and the Green 5. What are, according to Fowles, the purposes

of the novel' 6. What problem does Fowles investigate in his novel

The Collector?

THE SATIRICAL NOVEL

Satire may be defined as a literary manner and a liter­ ary composition, the essence of both is an attack on human vices with the aim of doing away with them. It may vary in scope- dealing with a shortcoming in one person or presenting a picture of an entire society overcome with various vices. Satire may also vary in tone- grotesque, irony, sarcasm are but a few tools of a satirical work. An English critic once said that the satirist is a man who is sensitive to what is and what should be. He may not always show what should be, but he always gives a detailed picture of what is and what needs changing

The satirical novel has a long-standing tradition in English literature. Swift's allegorical Gulliver's Travels and Fielding's Tom Jones laid the foundations of the genre in the 18th century Since then the English novel­ ists- Smollet, Thackeray, Wells and others- have mas-

1.erfully attacked the evils of the society and exposed the

wrongs and follies of their contemporaries. Hypocrisy, greediness, arrogance, snobbery, narrow-mindedness, phi­ listinisrn- these vices are most often ridiculed by them.

One of the most prominent satirists of the 20th century was Evelyn Waugh (1903-1966). The idea that runs through all his works, starting with the first novel Decline and Fall (1928), is that the vicious 1 and <Jbsurd world is alien to man and his integrity. His Handful of Dust (1934),

one of the 20th century best novels, is both funny and horrifying. The name of the main character Tony Last is symbolic. He is an aristocrat, no longer rich, but just, sincere, and somewhat naive. He is proud of the ancient family mansion the maintenance of which demands a lot of monev His beautiful wife Brenda, a selfish and shallow woma·n. does not care either about Tom or the house. In despair Tony Last joins an expedition to Brazil and almost dies of fever there. He is saved by a planter who, although illiterate, is fond of Dickens. Mr. Todd makes Tony read Dickens' novels out loud and detains him until he dies and becomes a'handful of dust' In Tony's estate back in England, a monument to him is erected by the mother of Brenda's lover The novel is a biting satire on a hypoc­ ritical and corrupt society.

Waugh's trilogy The Sword of Honour consisting of

Men at Arms (1952), Officers and Gentlemen (1955), Uncon­ ditional Surrender (1961) deals with World War II. It does not, however, describe the horrors of war but exposes the

absurdity of the British army and political life. The story centres round Guy Crouchback who through his innocence and nobleness gets into a number of ridiculous situations.

Waugh's satire is sombre and at times cynical, his

main devices are grotesque and sarcasm. Yet the writer was not a cynic, he was sensitive to life's absurdities and felt pity for people suffering from them.

The 50s saw the works of several young satirists. Mu­ riel Srark was undoubtedly, one of the most talented among them

 

MURIEL SPARK

(b. 1918)

Muriel Spark is a worthy follower of the EnRlish satirical school. She is one of the most distinguished female writers in present-day England, an intelligent and witty master of satire. Spark was born and educated in Edinburgh During World War II she worked in the Foreign Office Spark started her literary career as a poet and a critic; she edited two poetry magazines and published critical works about the 19th century poets. However, it was her stories and novels that brought her fame. She published several collections of stories (The Go-Away Bird and Other Stories,

1958, Collected Stories, 1967, and others) and a number of novels- The Comforters (1958), Memento Mori (1959), The

Ballad of Pecl ham Rye (1960), The Prime of Miss Jean Brodie (1961), The Public I mage (1968), The Abbess of Crewe (1974).

Taken together, her works present a sort of comic en­ cyclopedia of morals and manners of her countrymen. At first sight Spark's characters seem normal and ordi­ nary people but as the plot develops they turn out to be overcome by various vices and prejudices. She shows people as cruel and greedy, false and selfish, self-assured and narrow-minded. It is the hypocrisy and snobberry of the middle class that are the main objects of her satire. She exposes false values and unmasks respectable middle class people Her works are built on a contrast between \vhat people seem to be and what they really are. Like Thacke-

ray, she sees no hero in the society she describes, that is why there is hardly any<charadcr in all her works who could be looked on as an embodiment of Good.

It is not light-hearted humour but bitter satire present­ ed in a cold objective manner that characterizes all her works. At times her satire becomes sinister and frightening as in the story Porfobello Noud. This is told by a woman long ago dead but wandering invisible about the city She is a symbol of the remorse that haunts her murderer In the novel Memento Mori the inhabitants of the old people's home hear mysterious voices on the telephone warning

them of inevitable death.

While in the stories Spark limits her pictures to family

life, in the novels her criticism is wider in scope,it touches on certain aspects of social life.

THE PUBLIC IMAGE

One of Spark's best novels is l"he Public Image. It is a satire on bourgeois mass 'ulture. lt discloses the tech­ nique of creating fake idols and false ideals which are offered to the public in order to divert its attention from se­ rious problems. The heroine of the novel is Annabel Chris­ topher, a second-rate film actress who could never un­ derstand what people meant when they spoke about "cre­ ating a role" In her opinion acting "consisted in playing herself in a series of poses for the camera"

Annabel became popular in one of the films thanks to

the successful work of the cameraman. She was far from beautiful but on the screen her eyes were made to look large, expressive and passionate. The film was a success, and the producer and his secretary did their best to follow up the success. They skilfully built up Annabel's public image- that of a wise and reserved but passionate wom­ an, a loving and devoted wife, an excellent bousewife and a good Catholic. She was constantly pholographP.d- shop­ ping, having tea at home, sightseeing, visiting the Vati­ can- and the pictures appeared in magazines. She was made into a public idol.

Her husband was involved in this public image too.

They were presented as an ideal couple though in reality there was neither Jove nor respect between the husband and wife. Frederick was an unsuccessful actor and scrip­ twriter; he, nevertheless, considered himself a genius. He

resented Annabel's success for he thought her stupid, he envied and hated her Yet they could not part. she- be­ cause it would ruin her public image, he- because, having no money of his own, he lived at his wife's expense. Fin<)l­ ly his constant failures drove him to suicide. But he plan­ ned it so as to destroy Annabel's public image, and, in this way, to take his revenge on tlte whole show business which would not recognize his talent. Before committing suicide he invited a large group of Iris chance acquaintances, most­ ly drunkards and drug-takers, for a house-warming party so thil! Annabel should be photographed enjoying herself in the company of these disreputable people. He had also written a number of letters to different, in some cases, non­ existent people, presenting his wife as a low and immoral woman. The public, whose idol she used to be, now enjoyed the scandal. Annabel diu not lose heart but she realised how cruel, inhumane and false the surrounding world was. She decided to give up acting and to devote herself to the upbringing of her child who was the only thing she hau always kept out of her public image.

Spark became a Catholic yet she has never had any illusions about the moral qualities of believers and ser­ vants of the Church. Thus in the story The Black Madonna she mocks at the hypocrisy of her heroine, a very religHlUS person. Lou Parker had always stressed lt!ilt she was in·e from race prejudice but sill: abandoned her only child because the baby was born as dark as a Negro.

The following conversation between Lou Parker anu her husband exposes her hypocrisy

"We've done!he right thing" said Lou_ 'T \ l1c p ri

agree with!hal, cl1ild"

idering how strongly wc fclt agoinst ln•eping

"Oil, he said it was a good!hi11g'"

"No, no! a good thing. In fact he said i! would have bcc11 a good U11!1g

if we could have kept tile baby E3ut failing lltat, we did the right!hill!,!

Apparently, there's a diffl•rcnce"

Still more ruthless is Spark's satire in the novel !'he Abbess of Crewe. The scene is laid in a Catholic abbey where the nuns are to elect a new abbess. There are two candiuates for the vacancy- Sister Felicity anu Sister Alexandra They stop at nothing in their struggle for the post. They resort to bribery, slander, lies, they steal each other's things and usc electronic equipment for secretly

taperecording the nuns' conversations. It is Sister Alexandra, a more skilful demagogue, who wins the elec­ tion.

Besides being a witty satire on the modern Church the

novel is also a parody on political life. The actions of the nuns- applicants for the post of the Abbess- are very much like the dirty tricks used during the scandalous

election campaign of 1972 in the USA known as the Water­

gate Affair

The novels that came out in the late 1970s and early

1980s - The Takeover (1976), The Territorial Rights

(1979) and The Only Problem (1983) have very intricate plots that keep the readers in suspense. They are full of

paradoxical situations describing the absurdity of the world of today. These novels are densely populated with characters who turn out to be very different from what they seem or claim to be. A student appears to be a burglar, a nurse turns into a policewoman, a successful playwright is nothing but a sponger and a cheat. The novel The Only Problem, though as always satirical, however, brings in a touch of optimism into Spark's work. In it the writer portrays a man who is tested by life for kindness and generosity. In spite of other people's meanness and treachery Harvey Gotham retains his faith in Goodness.

Spark's stories and novels are written in a restrained laconic style. The method she employs in most of her works is grotesque, that is exaggeration, which makes her criti­ cism biting and sharp. There is scarcely any exploration of the inner world of the characters. We judge them by their actions and speeches. There is an abundance of dialogue in her works. This, as well as the entertaining plot which usually develops at a high speed, makes her works look like plays which can be easily staged and filmed.

I. What are!he main features of a satirical novel? 2. Whal was characteristic of Evelyn Waugh's satire? 3. What vices does Muriel Spark expose? 4. What is the theme of her novel The Public Image?

5. What is Muriel Spark's altitude towards the Church?

SCIENCE FICTION

Since ancient times mankind has always striven to foresee the future, to imagine the possible ways of human development, to predict the results of man's activity. The earliest work in English literature built along the lines of social fantasy is Thomas More's Utopia (1516) which

conveys the writer's ideal of human society Another, but this time satirical, picture of a fantastic world, was drawn by Jonathan Swift in Gulliver's Travels (I 726). Though the writer himself was critical about them, he foretold some inventions and discoveries that were made some two centu­ ries later In 1817 a young writer Mary Shelley published the novel Frankenstein. It told of a Swiss scientist, Fran­ kenstein by narne, who made an attempt to create an artifi­ cial being out of separate parts of human bodies. Tl!e ethical and psychological problems arising as a conse­ quence of this experiment, the tragedy of the scientist who falls a victim to his own creation, make up the essence of the novel.

In these three novels we find the seeds of imaginary writing which acquired great popularity and significance in contemporary literature under the name of 'science fiction' (SF). The rapid scientific and technological pro­ gress which was not always beneficial, but at times harm­ ful as well, gave a powerful impetus to SF in our century Its beginnings are associated with the name o[ Herbert Wells whose work predetermined the main lines of the evolution of this kind of literature.

Science fiction is very diverse in genres as well as in

the aims that its writers pursue. The most traditional genre is the utopia- a story of a society with an ideal state of

things. But the sordid reality of the 20th century with its devastating wars, antihuman dictatorships, ecological problems has put an end to the fascinating dreams of

a happy future for all. The genre of the utopian novel has undergone a change and in the works of many writers has turned into its opposite- the antiutopia, or distopia. Its roots can be traced back to Wells' novel The Time Machine

(1895) that draws a picture of a degraded society con­ sisting of the delicate and idle rich and hard-toiling labourers. The latter are forced to live underground and, in order to survive, have to devour their exploi­

ters.

In the novel Brave New World (1932) A I do us H u x

I e y (1894-1963) conveyed his pessimistic idea of the

future where individual freedoms and rights are suppressed by the ruthless state system, where artificially

bred people, strikingly alike, are turned into brainless and

heartless robots. Similar, but still gloomier pictures were created by George Orwell (1903-1950) in his novels

The Animal Farm (1946) and 1984 (1948). In them the

writer endeavoured to depict in an artistic form the roots and nature of the 20th century totalitarian regimes.

The authors of antiutopian novels often resort to allego­ ries and symbols to gel their ideas across to the readers. Thus, in the novel Highrise (1975) by James B a II a r d (b. 1930) the contemporary society overcome by discord and violence is presented through the image of a 40-storeyed

sky-scraper whose inhabitants are involved in a savage

war

Another popular genre within science fiction is the one

dealing with scientific discoveries and technological in­ ventions, with travels to other planets and qalaxies or into the oceanic deep. Some of these novels are aimed at popu­ larizing the achievements of science and technology, others, on the contrary, warn against reckless and irres­ ponsible experiments. This kind of SF works is, as a rule, written by people who are experts in their field. That is why their novels, however fantastic, sound very convincing and often have a prophetic quality

This is true in the case of Arthur Clarke (b. 1917), a physicist by profession, who among other things pre­ dicted the use of artificial earth satellities for radio com­ munication long before the first "sputniks" were launched. Arthur Clarke's science fiction centres round two main themes: space travels- The Sands of Mars (1951), A Fall of Moondust (1961), 200/: A Space Odyssey (1968), Ren­ dezvous with Rama (1973), The Songs of Distant Earth (1986), 2061: Odyssey Three (1989), etc.- and exploration of the ocean- The Deep Range (1957) and Dolphin Island

(1963). Clarke is optimistic about man's future. He believes that humanity will wisely make a benefi­ cial use of scientific and technological progress. The writer does not take his readers too far into the future. Most of his novels are set in the 21st century when the inhabitants of Earth have learnt to double the expectation of life, have trusted to robots the hardest and most unpleas­ ant jobs, have solved the ecological problems. Yet, accord­ ing to Clarke, man will never stop his endeavour to cognize the Universe, and life even in this perfect society will still demand of people courage, fortitude, efficiency His novels, as a rule, have a thrilling adventurous plot that keeps the readers in suspense. Thus, in A Fall of Moondust the story is set on the Moon, which is, according to Clarke, covered with a thick laver of dust. A group of tourists on board the Dust-cruiser "Selene" and its crew find themselves buried

15 metres down in the Sea of Thirst. The account of their rescue is truly fascinating.

In all his works Clarke persistently asserts the necessi

ty of international cooperation in space research. It is not by chance that the space vehicles in his novels are, as a rule, manned by representatives of different nationalities, that the novel20/0: Odyssey Two (1977) is dedicated to two

prominent Russians- cosmonaut Alexey Leonov, a partie ipant of the 1975 joint Soviet-American space flight and academician Andrey Sakharov, who stood for the annihi lation of atomic weapons. Clarke considers complete dis armament and cooperation to be most essential for the future of human civilization.

Equally optimistic about the perspectives of mankind is Co I in W i Is on (b. 1931). Science fiction has enahbled him to put forward his philosophy of life and man's desti ny which can be summed up as positive existentialism Wilson believes in and relies on man's hidden powers that can help every man and society at large overcome faults and vices. He asserts that man is not as insignificant and helpless as some scientists and philosophers tend to picture him. People can change for the better if they really want to, they should wake from their half-slumbering narrow minded states of being and sec the world as it really is: full of meaning, value and possibilities.

Wilson's SF novels, especially Necessary Doubt (1966),

The Mind Parasites (1967), The Philosopher's Stone

(1969) concern man's struggle for inner freedom and

strength, against the enemies that reside within man himself, such as sloth, apathy, inertia. In The Mind Parasi­ tes these are allegorically presented as a kind of virus that affects human mind, paralyses it, causes depression and may even lead man to suicide. Wilson tells a fascinating story about the attempts of Gilbert Austen, an archaeolog­ ist, to find out, investigate and defeat the virus.

Wilson's science fiction is a sort of warning to people; the writer says that man needs to master his inner reser­ ves, to learn to concentrate his thought, to evolve in order to survive.

Warning is also the main message of most of SF works

by John Wyndham (1903-1969) and Brian Aldiss (b. 1925). Both writers are concerned about the negative consequences of scientific and technological innovations. They show what problems of moral, biological, social character may be set by unreasonable, uncontrollable

1.75

interference with Nature, what totally disastrous effect may be caused by irresponsible experiments. One of Wyndham's most popular novels- The Day of the Trif­ fids ( 1951)- tells of the world destroyed by enormous half­ plants, half-insects, called triffids, that sprang up because people were not clever enough to deal with them. The Chrysalids (1955) gives a thrilling and very true-to-life account of the genetic mutations caused by an atomic war. The novel HeUiconia Winter (1985) by Aldiss, the third no­ vel of a trilogy, draws a horrifying picture of the death of civilizauon on our planet which comes as the aftermath of a nuclear war between the inhabitants of Earth and Mars.

The captivating plots of SF novels, the variety of ar­

tistic techniques, the seriousness of the problems raised in them and their prophetic quality have brought science fiction from the literary peripheries to the mainstream literature of our time.

I. What novels laid the foundations of English present-day science fiction? 2. What are the main genres within SF? 3. What is characteristic of the evolution of the genre of utopia in the 20th century? 4. What prophe· cies by SF writers, either English or Rus5ian, have come true?

X. SUPPLEMENT

THEMATIC VOCABULARY

I. LITERATURE OF THE MIDDLE AQE$

ANGLO-Si\XON PERIOD

dragon (n) ['dr g<>n] giant (n) ('d3a1<ml\ monster (n) ('m:msl;: ] mound (n) ('maund] mourning (n) ('m:>:n1Q] treasure (n) ['tre a] tribe (n) [tra1b]

Water Witch (n) ('w:>tawitS] ANGLO-NORMAN PERIOD clergy (n) ['kiJ:d31]

heaven (n) ['hevnJ

knight (n) [na1!]

knighthood (n) ['nadhudJ

monk (n) [mAQk] Mbilit'j (n} {nm.l'blllll\ scholastic (a) (ska'la:sllkJ

serf (n) [s;:d] GEOFFREY CHAUCER craftsman (g) J'krallsmJn] pardoner (n) ['pa:dJnaJ

pilgrim (n) ['pllgnm]

plague (n) [pleig] rank (n) [r ok] revolt (rz) [n'voultj

standing (n) ['sla:ndiQ] tradesman (n) ('trcidzmant POPULAR BALLADS bishop (n) ['biJapJ

contest (n) ['k:mtasq

county (n) ['kaunt1j hood (n) [hu:d] outlaw (n) ('autb:J stroller (n) ['stroui<>J

yeoman (n) ('jouman]

Apa KOII

BeJIIIKatl, THTaHT

4YAODHI1le

KypraH, MOfHJlbHb!H XOJ!M

rpayp

COKpODHil.lC, KJJ3Jl nncMn, KJJall BO;iflllafl DCJlbMa

AyxooeHcrso He6o, 11e6cca pb1U3pb, DHT!l3b pb1U3 pCTBO

MOll IIX

)l.l'>Op\\IIC""fl\1), 3\\<lib

CXO;IaCTH4eCKHH (011Hp310lllHHCH

111 norMaTw ucpKRH) KpCIIOCTIIOH, p<16

pcMCC•l Ht!HK

npona cu HIIAYJIGrCHUHH

naJIOMIIHK, CTp3HIIHK

4yMa

KJ!3CC, pa11r, 3 311HC ROCCT311He, MRTC>K llOJIO>KCIIHC II 061l.lCCTDC Topro cu, peMeCJICIIIIIIK

enHCKOII

COpelliiOBanHe, COCTRJaHHe rpacpcroo

KaniOWOH

4CJJOBCK lllle J3KOII3 nporyJIHD31011lHHCn, crpa!!CTDY

IOlllHH

UCT. iiOMCII (MCJIKHH 3CMJJeiJJJa­

ACJICll}

II. LITERATURE OF THE RENAISSANCE

beggar (n) ('bega I

enclosure (n) [ rn'klou3a I

HHW.HH

UCT. oropa>KHB311HC JeMeJtb

06W.HHHL>IX

lust (n) [lAst]

origin (n) ('Jnd3tnl pasture (n) ['pa.:siS0I race (n) [rctsl

WILLIAM SHAKESPEARE baseness (n) ('betsnts I discord (n) ['dtsbdl

embody (u) [tm'bJdtl

feature (n) ['fi:IJa]

heir (ess) (n) ['Ea(rts)l impoverished (a) (trn'p;JV; -

nJdl

irresolution (n) [treza'luJnJ

lull suspicion [ lAl sas'ptSn I

masterpiece (n) ['ma.:stvpis]

mist•nderstading (n)

[ 'rntsAnda'sI<en dtol mousetrap (n) ['maustr<epl page (n) (pctd3l

pious (a) ('patasl

puritanism (n) ('pjuvrtlantzam]

seclusion (n) [st'klu:3nl soliloquy (n) [sa'ltlakwt[

steward (n) [stjuadl sting (u. n) [sttol suspicion (n) [sas'ptSn] thrifty (a) ['8rtfttl

twins (n) [twrnzl

weapon (n) ['wep;m]

CTp3CTIIOC >KCJI311HC, iK3iKJ1.3 ro-To

n pOHCXOiKI\CII HC

naCT6HW.C

paca, npOHCXOiKI\CIIHC

nOf\JIOCTb pa3tiOI'JJactte, pa3JJ3f\

0011JIOW.3Tb xapaKTepHaR 4epTa H3CJICf\HHK, H3CJICf\HHU3

0611HW.3BWIIH

IICpClU HT('JI biiOCTb YCbiiiJI!ITb l101\03(lCIIH!I WCJ\CBp

IICI\O(l33YMCIIHC

MbiWCJIOI1K3

naiK, Ma!lb4HK·CJJyra

·pcJJHrH031lbtH, Ha60iKilblH

nypHT311CTBO

ye)\HHCHHC

MOIIOJIOI', pa3roBop C C3MHM CO·

6oil

ynpaBJJ!IIOW.HH HMCHHCM npH'IHII!lTt, 60itb; OCTpan 60JIJ, nOf\03pett HC

3KOIIOMHbiH, 6epeiKJJHBhiH

6JJH3HCUbl opyiKHC

III. LITERATURE OF THE ENLIGHTENMENT

hypocrisy (n) [ht'pJkrtstl implant (u) [tm'pla.:nl] moderate (a) ['mad;Jrtll predecessor (n) ['pri:dtscs;JI radical (n) ['r<edtbll

reward (u. n) [n'wJ:dl unanimous (a) [ju:'n ntmasl

JIHUCMCpHC BIIYW3Tb

yMcpeHHblll, perjJOpMHCTCKHit

npei\WCCTOCHIIHK

pai\HK3JI

uarpaiKi\3Tb, uarpaAa ef\HIIOJ\YWIIhiH, Ci\HltOrJJaCttbiH 00•

vice (n) [vats[

virtue (n) ['vJ:tju]

DANIEL DEFOE

account (n) [a'kaunt]

bankruptcy (n) I'b<Pokraptst(

to go bankrupt ('b<eiJkrApt] common sense ['kam;Jn sens) compromise (n) ['bmpramatz)

corsair (n) ['b:srJ]

creditor (n) ('kredtlJ[ dissenter (n) ((li'senlJ] enterprise (n) ('enbpratz]

executioner (r1) ('eksi'kju:fn;J/

hosiery (n) ['hou3;Jr1] memoirs (n) ['mcmwa:z] overwhelm (u) ['ouv;J'welmJ pillory (n. u) ['pilar1]

shipwreck (n) l'S1prek]

sphere (n) [sfta]

stocks (n) [s!Jks]

ups and downs [Aps, daunz)

JONATHAN SWIFT conceive (u) (k;Jn'si:v] Dean (n) [di:n)

deceit (n) [dt'si:t]

diversion (n) (dat'vJ:SnJ

ear of corn ['t;Jr;Jv'b:n I

elaborate (a) [t'l.cbant]

envy (n) ['envt] envious (a) ['envtas] extract (u, n) Ltks'trrekt],

'ekstr.ckl]

flattery (11) l'llad;Jn] greed (n) [gri:dJ greedy (a) ['gri:dt]

intrigue (n, u) (1 n'tri:gI

malice (n) ['m.clts] malicious (a) [ma'ltf;Js] marble (n) [ma:bl]

Master of Arts Degree [dt'gri:]

nopaH

,11.00 p0,11.CTCJ1b

Jaecb: paccKaJ

6a11Kp0TCTBO

o6a11KpOTHTbCR

3J\p3RbiH CMbiCJt KOMilpOMHCC Kapcap, nHpar Kpe.LlHTOp

CCKTaHT, pacKOJlbiiHK

npeJtllpHHTHC; npe.LlllpHHM'IH·

llOCTb naJta4

4YJI04llbiC 113!lCJIHH MeMyapbl

CDKpyWaTb, 1101\3BJI Tb

IID30pHLIH CTOJIU, 110CT3BHTb K

11030pHDMY CTOJ16y

Kopa6JteKpywemtc

c4Jepa, cpe.Lla, noJte 1\cRTcJtbHO­

cTH

UCT. KOJlO.LlKH

nepeHoc npeaparHoCTH cy.Llb6w

11011HM3Tb, Ja.LlyMblBaTb H3CTORTCJ1b C06opa o6MaH

paJBJ1C4CHHC KOJtOC

TlUaTCJtbHO pa3pa6oTaHHbiH, CJIO>KIIblH

JaBHCTb

J31lHCTJ111BbiH

H3BJ1CK3TL; BI>I.L1Cp>KK3, H3BJte-

4CHHC JtCCTb

aJt4HOCTb, >K3.L1HOCTb aJt4Hblii, >Ka.LlHbiH HHTpHra, HHTpHr093Tb

3Jto6a, npecrynHoe 11a McpeHHe

3Jto6Hblii

MpaMop

CTCilCHb M3fHCTpa (HCKYCCTB)

mutiny (n) ['mju:t1n1j notion (11) ['noujn[ prosperous (a) ['prJsp:Hvsj

pseudoscience (n) ['psju:- dou's31ansj

shallow (a) I'J Iouj starvation (n) [sta:'vc1Snl theology (11) [81' oiJd31 J Tory (n) f't.mj

vanity (n) ['v nJtJj

vicar (n) ['vtb] Whigs (n) [wtgzj

ROBERT BURNS

brew (u) fhru:j

clay-built (a) [kkt bdt]

contemporary (n. a) [bn'tem- pvr:m J

enthusiast (n) [ln'Elju:ztvs!J

excise officer [ek'saJz'JfJsa[

exert (u) [1g'zJ:!j

genius (n) f'd3injJs[

to pay homage ['hou1n1d3[

patch (u) l'r;rtJ]

privations (n) [pra1'vcJJnzj thrash (u) /Elr SI

toiling masses ('bdllJ 'm s1z]

transition (n) (tr n'si3;Jilj

M!ITCiK, DOCCTilllltC JIUII THC, HACII

11!Jouucra IOWH l1

nu·u;tollayKa

MCJIKHii

roJ1on, roJIU.:tJJa CMCIJlb OOI"OCJIOIHIC, H'OJIOI"J\11 no;rur TopH, KOIICcpuaTop

TWCCJI a DHC

BHKapllii, 11p11X0;1CKUH CBIIWC!l·

1\HK

//CT. UHfH (110JIHTH4CCK3!1 llap- Tflll B J\1\r!IIHI ll 17-1!} Bll. IJDilDW3!1CIJ npe,11UCCTBl'IIIIHUclt

3HfJIHHCKOii JJH6Cp3,lbiiOH

napT!IH)

uapHn, (IIHUO)

fJIHIIU6JITIJJ.If"l

COD[JCMCIIJJHK, COBpeMCIJIIbllt

3HTYJH<ICT

aKUHJIIbiH 'IIIIIOBIIHK

II<Jilp rJTb (CitJiul), JI3Tb ycH·· JJHe

reHHH, fCII\13. bHbiH 4CJIO!ICK

OTA3B3Tl> tl31!l>

331JJI3T11Tl>, 1104HI111Tb

JIHWCIIHII, IIYiKA3

MOJIOTHTb rpy,111 LUHCCIJ

nepcxoAHutii nepHon

IV. LITERATURE OF THE EARLY 19th CENTURY

avoid (v) [a'v:>rdj decisive (a) (dJ'saJsJvj distortion (n) (d1s'tJ:Sn(Iuddite (n, a) ['IAdaJt] originate (u) (a'nd3Jnc•t1 weaver (n) l'wi:va]

HJ6erarb peWHTeJJuiiLIH HCKaiKeHHe JJyJJ.AHT H34aTb

TKa'l

GEORGE GORDON BYRON

ancestor (n) ['<ensislaJ

anticipation (n) {<en,llst'- pciJan I

attitude (n) ['.clltjud] background (n) ['b.ekgraund] consolation (n) [,bnsa'le1Sn] contemplation (n)

[,bntcm'pleiSanJ

digression (n) [dai'grcSvn] disturbances (n) [dis'!J:b;:msiz] guerilla (n) [ga'rda]

innovation (n) [,Inou'vciSan I melancholy (n) ['mcl<Jnkaii] mouthpiece (n) ('mau8pi:s]

ornament (n) ['J:n;Jmanl] Pacha (n) ['pa:S< I persecute (v) ['p;J:stkjul)

plunder (v, n) ['piAnd;Jj refuge (n) ['refju:d3] scorn (n, v) [sk:rn]

trait (n) [!ret!]

weariness (n) ['wt;Jrtms]

world sorrow [wa:ld 'sJrou)

WALTER SCOTT

cunning (n, a) ['kAnt!)[

tournament (n) ['luanam;m t]

npCJJ.KH Q)!{HJ].3HHC

OTIIOWCIIHC cjlo11 yreuJeHHe

coJepuanHe, pa3MbiWJieHHe OTKJIOIICI!HC (OT TCMbl) DOJIHCHHH, 6ecnOp5IJ1KH

naprHJan, naprH33IICKaR soii-

Ha HOBaropcTBO YllbiiiHC, rpycn,

rnawaraii, nuipaJIITCJib (•IbHX- JIH6o B3fJIIIJ].OB, H/l.CH

r. a.)

yKpaweHHe nawa

npecJH'.ll-OB<lTb rpa6HTb, rpa6e)!{ y6C)!{HWC

npe3peHHe, npe3HpaTb

4Cpra xapaKrepa ycranocrb, cKyKa MHpOB311 CKOp6b

XHTpOCTb, Xl1Tpb!H

rypHHp

V. LITERATURE FROM THE 1830s TO THE 1860s

forerunner (n) ['b,rAn;J]

merit (n) ['ment{

n peawccrnciiiiH K

33CJiyra,,QOCTOHIICTBO

CHARLES DICKENS

arena (n) [a'rina] conflict (n) ['bnflikt] cellar (n) ('scla) cripple (n, v) [knpl)

debtors' prison ('detaz zan]

heritage (n) ('heri!Id3)

pn-

apeHa, nonpHwc KOllcjJJIIlKT, npOTilBOpC'IHC noanaJI

K3JICK3, K3JIC4HTb

JJ.OJ!fOB3R T10pbM3

H3CJICJJ.CTBO, fl3CJICJJ.HC

in instalments [tn'slJ:Irn;Jntsl label (11, v) lletbll

maturing (a) lm:r'lju;miJI

merciless (a) ['rn;.!:stlisl miracle (n) ['mtr;:,kll misery (n) l'mtZ;Jrtl neckcloth (n) ['nck kiJ91 obstacle (n) ['Jbst.: kll

pen-name (n) ['pennetrn I

shoe-blacking (n) ['Su:bl kt!JI

sombre (a) l'sJrnb;JI strain (v. n) [slrctnl workhouse (n) ['w;):khausl

WILLIAM MAKEPEACE THACKERAY

baronet (n) ['b:rr:Jntt[

cringe (u) [krrnd3l

encyclopedia (n) [cn,sal- kloupi:dt;Jj

essence (n) [esnsj layer (n) [lerJj notion (n) ['nouSnJ puppet (n) ['p.\pl!l

rank and file (n) ['p Qk ond

'fad1

OT)lCJlbllb!MH llh!IIYCK3MII npJJhiK, 113KJ1CH8aTb IIJl.llblKH pa3BHR310WHHCR

6ccnouta,'li!Lli'r

'l)"ilO

IICC'l3CThC, IIHUlCT3 ycrap. raJJcTyK npC111TTCT8HC, nOMCXa

JlliTCpaTypllt.lii IICCBJlOIIHM

ua Kca

TCM!lh!H, MP3'lllblH ttanpRraTL(cll), tJanpii)I(CIIHC pa6oTHblH JlOM

6apo11cT

pa 6o.•t cncTnooaTb

311UHK:IOI!C;lHII

cyutll CJJOH nOHJITIIC

M a pHOIICTKa

pn..'lOBoii,'IOBCK, p11/l08LIC JlltJ- JlH

repulsive (a) [rr'pAisrvl

r>TTa:tKHnat tUHii,

OMCp3t!TCJ1h-

self-conceit (n) ['self k;m'si:t[

snob (n) lsnJhl

IILIH

CaMOMIICIIHC, 33110C4HBOCTL CI!06

VI. LITERATURE OF THE LAST DECADES OF THE

19th CENTURY

degradation (n) [.dcqr;J'detSn I

futurism ['fju:lSJrtzrnl imagism ['tmtd3rzml impressionism [tmpreS;Jntzmj manifestation (n) [.rn<£111-

fcs'tetSn I

phenomenon (n) [ft'nJmtnanJ

symbolism ['stmb;Jirzmj OSCAR WILDE aesthete (n) [i:s9i:t[ anxiety (11) [:riJ'zar;Jltj ardent (a) l'a:dant[

yna,.'lOK, JlCrpa,laUIIR

tPYTYPHJM HM3)1(1111HJM

HMnpeCCHOHHJM

ripOJIBJlCIIHC, M311fi4JCCT3UIIR JI8JlCilfiC, IIC06blKII08CllHOC JIBJle-

IIHC

CHM 80JIIIJM

3CTCT

6CCflOKOHCTRO, Tpcnora rlblJIKHii, rop114HH

avowed (a) [a'vaud]

brand (n, u) (br;r,ndj corruption (n) [b'rApSnj

custom (n) ('khslamj dissipation (n) [.d•s•'pc•Jn) efface (v) [•'fe1s)

erudition (n) [.eru:'d•Sn] heyday (n) ('he• del J impeccable (a)[•m'pck<Jblj indulge (u) [m'dAid3]

machinations (n) [.m<eki'nei­ Jnz]

misgiving (n) [mls'giVIIJ[

refined (a) [n'fa1ndj

OTKphlTO npH3ll<lliHblH

KJicitMO, ll030p; KJICHMHTb, 11030- pHTb

pa3Dpa IUCII HC, 11 poJJ.a >K IIOCTb, KOp-

pynUHR

o6bi<Jait, npH!Ibi'!Ka

6ecnyTHbiH o6pa3 >KHJIIH

crnparb, HJrJJa>KHDaTb

3PYilHUHR, y•JeHOCTb

JCHHT, pacuncr

6cJynpC'1HbiH

noJBOJJRTb cc6c yaoeoJJbCTBHC Jla­

oarb BOJIIO B 4CM·JIH60

IIIITpHfH, KOJIIII

npcJt•JyncroJ.ie nyp11oro, onaceHHe yroH4CHHbiH, HJRlUHblH

VII. LITERATURE Of THE EARLY 20TH CENTURY

bigotry (n) ['big;Jlrl]

challenge (n, v) ['IS<eland3]

JOHN GALSWORTHY

bulwark (n) ['bulw;Jkj decay (n, u) [d1'ke•J

destitution (n) ('desli 'tju:Jn]

disillusion (n) jd•s•'lu3n]

doomed (a) [ du:md I

expansion (n) [•ks'p<EnSnJ

fiance (n) [f•'a:nse1j inert (a) [1'na:tj merging (n) f'ma:d3rrJ]

privileged (a) ['prlvilid3d]

raw material [r::ma'lianalj threat (n) [8ret]

HERBERT GEORGE WELLS

bacteria (n) [b<ek'li;m;Jj biologist (n) [ba1':Jiad31Stl cylinder (n) ['silinda] destiny (n) ['desl1m] devastation (n) [dcv::Js'lc1Sn[ fate (n) [fc1l[

fugitive (n, a) ['fju:d31liv]

X311>KCCTIJO

Obl30[1; 6poc Tb llbi30B

6aCTI1011, OllJIOT

33rfiHD3HHC; npHXOilHTb B ynaJlOK IIY>Kita. IIHutera

yrpara HJIJIIOJHH, pa30'IapOB<lHHC

o6pe•JeHIIbiH

(J3CU1HpC11He, 3KCII311CHII

>KCII!tX

HllepTHbiH, lleaKTHDIIbiH CJTHRUHC

n pHBilJJerH poe a Hll Llii

CblpbC

yrpoJa

6aKTCp11H

6HOJIOf UHJIHIIIlp cyJlb6a

onycroweHHe, palopeiiHC

pOK, yllCJI

6crneu, 6e>KeHcu; 6crJJbiH

Heat Ray [Iii:[ ret[ shield (n, u) [Ji:ld[ victim (n) ['vtkltm[ income (n)['tnkam [

mythology (n) [mt'8Jiad3t[

oculist (n) ['Jkjultslj playwright (n) ['pletratlj rent (n) [rent[

sculptor (n) ['skAipl;: j soberly (adu) ['soubaltj

stage-direction (n) [stctd3dt'-

rekJnJ

OfiiCIIIILtii Jty•t

33WitT. WHT; 32CJ101111Tb

>Keproa

JlOXOA, 32 pa60TOK MltcjlOJlOriiR

OKYJtHCT, rJtaJttol't upa4

JlpaMarypr KB2pTHpllilfl IIJiaTil CKYJILIITOp, B3fiTCJib TpC300

(aoropcKa)pcMapKa

VIII.LITERATURE BETWEEN THE TWO WORLD WARS

adherent (n) (;: d'htorontj npHuep>Kcttcu

engross (u) (tn'grous) JaoJJa.n.crb, JaHHM3Tb neurology (n) [njuo'rJbd3t) HcopoJJortt!l

obsession (n) (ab'seJn) tta DRJ•t HDan HACfl

psychoanalist (n) (.satkou'ren· 'leJJooeK, JattHMatoWHHC!l ncHXO·

altslj 3H3J1H30M

shrewd (a) [Jru:dj npoHHuarcJJbttbtii, roHt<ttt"t

subconsciousness (n)

['sA b'k:JnJasn ts) target (n) ('la:gtl) upheaval (n) [11p'hi:v;: l) uprtstng (n) (Ar'ratzttJ)

KATHERINE MANSFIELD

deadlock (n) ['dcdl;: k) explicit (a) [tks'pltsttj extravagant (a) [tks'lrrevt-

ganl)

insight (n) ['tnsatlj intuition (n) (.tntju:'tJn) perception (n) [pJ:'scpSn) ruthless (a) ('ru81ts)

subtle (a) (sAIIJ

RICIIARD ALDINGTON

antimilitary (a) ('rent1 m1;

1t t;:,nI

core (n) [k:J:) corpse (n) [bps) infantry (n) ['tnf;mlrt) out of man's guts [gAls)

permissible (a) [pJ'mtsabl)

IIOI!C03113HIIC

ueJtb

c.n.ottr, nepeoopor

UDCCT<IIIHC

rynHK

no,1p06ttbllf, RCHLIH

p <ICTO'I HTCJI Lll bl jj

npOIIIIU<IH,lbiiOCTb, IIOIIHM3HHe

HIITYHUHR

BOCIIpH!lTHC, OWYWC)IHC

6cJ>K3JlOCTHLtti

TOIIKIIH, YTOII'lCHHblli

a II Til DOell fl btft

CC[JilUCDIIIIa, CYTb rpyn

ncxora

KpODbiO CCpll1l3

JlOIIYCTHMbtt"t, IIOJUOJIIITeJlbllbiH

pretentious (a) [prt'tenJas] private (n) ['pratvttj ARCHIBALD CRONIN convalesce (u) [.bnv;J'IesJ oulbreak (n) ['aulbretk[

practilioner (n) [pr<£k'ltSna]

sewer (n) [sju;J]

viviseclion (n) [.vivi'sckJn]

npCTCIII!H03HbiH, H2nb!WeHIIblii pHllODOfl

Dl>l3!lOpa DJI H 03 TU

R3p1>1D, DCObii!IKJ, Rlle3311110C lla·

aJTO (DOCilllbiX JlCHCTDIIll)

11paKTHKYIOWilli 0pa•1

CTO IIaR Tpy6a

RHDHCCKI!Hil (DCKpbiTHC)f{HDilrO

opraiiHJMa C uay HOH llt'JiblO)

IX. LITERATURE FR<tM THE 1940s TO THE 1990s

JAMES ALDRIDGE

hamper (u) ('h mpo]

highway (n) ('hatwet]

npcnRTCTBOil3Tl>

6oJJt.WaR!lOpora, wocce, r"asublii nyrb

intensification

ft'kctfn]

(n) Jtn,lensl-

yciiJJellllC, IIIITeiiCH<jJIIKaUfiR

messenger boy (n) ('mesm<fja]

GRAHAM GREENE

after-effect (n) (a:ftart'fckt]

believer (n) (bt'li:va] creed (11) (kri:d[ damned (a) (d<rmd[

detection (n) [dt'tekJn[

gap (n) [g<rp[

identity [at'dcnttll]

non·commillal (a, n)

[n)nka'mtll[

predicament (n)

[prt'dtkomont]

retrospective (a) [.rctrou'spek- ttv(

CHARLES PERCY SNOW

ambition (n) r m'btfn]

bureaucratic (a)

[. b j uaro'kr ttk I

Civil Service ['stvll'so:vts] commissioner (n) [ka'mtfn;J] First Class Honours Degree frail (a) [fred]

labyrinth (n) ['l;rbmnO[

vain (a) [vctn[

p a cc biJJ b11 btii

nOCJICJlCTBHe oepyiOWHH

KpCilO, y6c)f{;tCilHR

11pOK;JRTblil o611apy)f{eiiHC

npo6eJI, paCXQ)f{JleHIIC (BO B3f,lfl·

!laX)

II ll!lH B H,l}' a Jl I>IIOCTb

yK,lOII fiBblii; YKJIOII IlllOCTb rpyllHOc noJJO)f{CIIHC

perpocnCKTHDIIbiH, o()paWCIIIIblli K

npOIIJJIOMY

CCTOIII0611C, UCJib, MC'ITa

6topoKp a TH 'lee Klllt

rocy!lapcrneHH211 CJiylf<lia

HIIODIIIIK uay•111211 CTCIICilb xpynKHfi

Jla6HpHIIT TWCCJI3Bilblil

JOHN OSBORNE

ascribe (v) [;)'skrarbJ

belief (n) (bi'IHJ

disbelief (n) ('disbi'Ii:f]

harsh (a) [ha:JJ

setting (n) [seli!JJ

yobs (n) (j.)bz(

ALAN SILLITOE

average (11) \'<£vend3] dilemma (n) (di'IemaJ exotic (a) (eg'z:>!Ik]

filthy (a) ('fli8I) fury (n) [lju;m] merit (n) ['men!]

philistinism (n) ('fiiistirllzm] prominent (a) ('pDminant] relative (a) ('rela!Iv] resentment (n) (rl'zenlm:mtj standpoint (n) ('sta:!dp:>mt] tedium (n) ['ti:djZJlTI]

SID CHAPLIN

caterer (n) ('kcit;HZJ] community (n) (b'rnju:mii] decline (n) (d1'klain) housing (n) ('hauZIIJ) teenager (n) l'ti:ncid3; J

THE PHILOSOPHICAL

NOVEL

alienation (n)

(.edja'neiJanJ

existentialism (n)

(.egzis'tenJalrzam]

chaotic (a) (ei':>IIk]

indifference (n) (m'difaransJ:·

permeate (v) ('pa:miert]

WILLIAM GOLDING

abyss (n) (a'b1s]

abnormal (n) (; b'n:>:mal\

alternate (v) [':>:1 (;J:nci t]

rip1!11KCbiB3Tb (KoMy·ni4CiO)

nepa, y6c>KJJ.CIIHn ucnepHe

pe3KHH, rpy6blil, >KCCTKHH OKpy>KaiOU!JR 06CT3HOBK3; Olj!Op·

MJICilHC (C11CKT3KJ111)

CA3Hl." napiiH

CpCD.HHii, CpCJlHCe '!HCJJO D.HJICMM3

3K30Tf1'lCCKitH

rpn311 blH, OTBpaTHTCJJ bHYH HCHCTOBCTBO, RpOCTb

)l.OCTOHHCTBO MCU!311CTBO Bblii.310U!Hiic!l, BHJI.IlblH OTIIOCHTeJJbllbiH

HHOJ(OBa llfiC, BOJMYU!CHHC TO'lK3 3pe11HII

CI<YK3

nocTaUIUHK 11p0BH3MH

o6u.t1t11a

yua.n.oK

CH36iKCIIIIC >KMnbCM

noD.pocToK

OT'IY>KILCIHIC

3K3HCTC11Uit3J!HJM X30TH'IIIhlH

6c3p33JJ H•IHC

np011H3bi03Tb

6cJJJ.IIa, nponiiCTb

IICIIOpMaJlbllblH

'!epeJLOBiiTbC!I

atrocity (n) [;,'lrJslll]

conch (n) [kJQk[

disposition (n) [.d1sp;:,'z1San] inherent (a) [1n'h1oronlj matted (a) ['rn<et1d]

prophet (n) ['pDfilj revel (u) [rcvlj

spill (u) [spd] vicious (a) ['v1S;:,s] wreckage (n) ['rck1d3] wrench (v) [rentS!

IRIS MURDOCH

abbey (n) [';:eb1] anguish (n) [ IJQWIJ"I crumble (v) [krAmbl] Easter Rebellion ['i:st ]

enchantment (n) [m'ISa;nlmant]

entangled (a) [in'ta:ugld] famine (rz) ['fa:rmnj fictitious (a) [hk'tJS;:.s} spell (rz) [spel]

JOHN FOWLES

make a breakthrough

['brc1k'8ru I

brutality (n) [bru'ta-lil1] indulge (v) [m'dAid3] inferiority complex

[in.[I;:.ri';m\1]

kidnap (v) ['k1dnap] pools (n) [pu:lz] reject (v) [r1'd3ckt]

secluded (a) [si'klu:d1d[

specimen (rz) ['spec1mm] triangle (n) ['tral<£1]gl] whim (n) [wirn]

THE SATIRICAL NOVEL

amendment (n) ];:,'mcndm;:,nt]

folly (n) ['bll]

integrity (n) [1n'tegril1]

MURIEL SPARK

applicant (n) ['<eplikant)

)KCCTOKOCTh, JOCf'CTOO

[l<lKOOIIIla

CKJIOIIIIOCTI> ll[lO)K/lCIIII cnyTalllll.li'l

11popoK

ynuaaTbCH, 113CJ13lKJl3TbC!l npoiiHOaTL

JJJOH, nopo•lllblii

OCT3TKH, o6JJOMKII

Obi!!CpTbl llbii!Opa4HBaTb

a66 TCTBO, MOHaCTblpb MyKa, 6o:1b paCCbi!I3TLC!l nacXallbiiOC BOCCT3HI1C

043pOB3HHC JanyTannhi f0JIU,1

Bbl M bl UJJ!CH llbli't o6an11uc

npo6HTLC!l

)KCCTOKOCTb liOTaKaTL

KOMIIJJCKC IICIIOJifiOUCIIIIOCTII

!10XIIIll3TL KOfO-.lH60

CI10pTH Oil a II!IOTepCSI OTBCpraTb yeJJ.HIICIIIIblll

o6paJeU rpcyroJJLHHK npHXOTb

HcnpaBJJCIIHC lleJlOCT3TKOB

rnynocrb

UCJJOCTIIOCTb

 

187

bribery (n) ['bra1b;m)

burglar (n) {'ba:glaj cheat (n) [!Ji:t]

demagogue (n) ['dcmag;>g)

disreputable (a) [dJs'rcpjulabl)

drug-taker (n) ['drAg te1ka)

fake (a) (re1k)

generosity (n) (<bcna'Dslh) meanness (n) ['mi:n1sj remorse (n) [n'm:J:s J

retain (v) [n'le1nj

second-rate (a) [re1t] sinister (a) ['swJslaJ sponger (n) ['spAnd3;J) suspense (n) [sAs'pens) treachery (rr) {'tretJanJ

SCIENCE FICTION annihilation (n) [a,naJa'leJfnl devastating (a) ['devastelliiJ] efficiency (n) [l'fJf;JnsJ] expectation of life [.1kspek

le1Sn)

fortitude (n) ['b:tJijud)

galaxy (n) ['g;elaksJ I

get across (v) ['get;J'kDsI

impetus (n) ('1mp11asl prophecy (n) ('pnfasJ] reckless (a) ['rekl1s] rescue (n) ('reskju:J

sloth (n) ['slou8j slumber (V) ['siAmbal

sordid (a) ['s:J:d1d]

nOJJ.Kyn, RJilTO'IIlll'leCTnO BJJIOM lllH K

06MaH, 06M3HU1HK

.1\CMaror

IIOJ11>3YIOUlHHCJJ Jlypuoii pcnyra- UHCH

uapKoMau

<tJaJTblllHBbiH UleJlpOCTb nOJlJIOCTI>, II H30CTb

yrphlJCHHil COBCCTH coxpaiiRTb nocpeJlcrocuu bl ii

3JIODClUHH

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YHH4TOM<euue paJpyWHTeJlbiii>IH yMeuHe, pacroponHOCTb

npO,'(OJllKHTCJlhllOCTb lKH311H

CTOHKOCTb fJJIJKTHKJ

JlOIICCTH, pa3bllCIIHTb

TOJ140K

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6eJpaccyJliii>JH

cnaccHHC JICHb

JtpeM a Tb

yM<aCHbiH, OTBpaTHTCJTbHblH

liST OF ITERARY TERMS

accent ['<eks;mt] account (;J'kauntj aestheticism [i:s'8e!Jslzmj act [<rkl]

Alexandrine [.<rlig'z;endraln)

allegory ['acl1gan] alliteration [a'IJie'relfn] allusion [a'lu:3an I

"Angry Young Men"

YJ13pCHHe

OT4eT, C006UlCHHe, paccKaJ

3CTeTH3M

JKT,)leiicTBHC JJICKCJHApHHCKHH CTHX anncropHR

JJIJIHTepauHR

3JIJ1103Hil, CChiJTKa

«cepJlHTble MOJIOJJ.biC JTIO.II.A»

antagonist [a>n'l g;Jntsl] anti utopia ['a' n I 1 j u=' I o up j;1 [ Art for Art's sake

aside [o'satd[

aU lobi 0 gr a phy [.J:Io b a 1'Jgr;J f I)

B

ballad ['ba>lod]

bestiary ['bcslton]

c canto ['k<£nlou J chapter ['IJ<£pla]

character I'k;erak la]

chorus I'b:ras J

climax ['klatmJks] collection [b'lekSn] comedy l'bmtdt]

compositon {.k.Jmpa'ztSn]

contents ['bntents] contradiction [,bntro'dtkSn] couplet ['kApld]

criticism ['knttstzm] culmination [,kAimt'netSn] cycle [satklj

decadence ('dekadans J description [dts'krtpSn] device [dt'vats]

dialect ('dat<Jiektj dialogue ('dataiJg] digression ldat'greSn] distnpia (di;'toupt<l\ ditty ['ddt]

drama l'drCl:mv]

dramatist ['dr::em"llsl]

E

editor l'edda]

Enlghtenment ltn'latlnmantj

Early Enlightenment

Mature Enlightenment

aurarotti!CT, concpt!HK, nporH tii!K

<lllTHYTOIJll>l

HcKyccrflo pa, orcryn;tettHC

a nrolhtorpa ljm>J

6aJIJIa.11a

6ecntapHi\

nCCIIh

fJl3B3

repoi\, Jtci\crnytowee JlHllO

xop, npttncs KYJlbMHI\3UI!51 c6op111-1K

KOMC 11H51

KOMn03HUH51

CO.llCp;>t<a llllC

nponmope< He

ilBYCTHUIHe

KpHn\Ka KYJlbMH113UI!H UHKII

.llCK3)lCHTCTDO OnHC311HC npHeM

)lHa.1eKT

AH3J\Of

orcrynJJeH 11e

31\THYTOflH!I neceuKa ApaMa ApaMarypr

pe,lla KTO[l

npocseW!'IIHC

paHI!ee n.

3peJJOC n.

Lat Enlightenment

IIOJ!lllee n.

environment epic ]'ep1k]

[ •n'v a 1aranman\l

OK[ly>KeHHe, C[lell.a

3nH4CCK3R nD3M3

enigram ]'ep1gra-m] episode ['ep1soud] epoch ['i:pJk]

epopee ['epoupi]

essay ['ese1]

existentialism [.egz1

lll;:>m]

extract ['ekslr;:>kt]

F

fable [fc•bl] fabliau ('l<£bilou] fantasy ('la-ntas1]

fiction ('i•kJn]

finale (i•'na:l1]

form [b:m]

G

generalisation ]d3enarala1'­

ze•Jn] genre (3a:or] grotesque ]grou' tcsk J

H

hero ]'hl<lrou]

3nHrpaMMa

311HJD!l.

3noxa

3nonen

3CCC, 04epK

3K311CTellllH3JIHJM DTpblBOK

npHT43 ljla6JIIlO cflaHT33HR

JJHTeparypa, xyAo>KecraeHHan npoJa

ljJHH3JI Jt>opMa

o6o6weHHe

>K311p rpOTCCK

rJianllbiH repoi\

heroic couplet

'kApiJtj

heroine ('herou1n]

historical chronicle

('knmkl]

[h-•'rou1k

rcpoH4CCKHH KynJieT (KJiaccHtte­

cKoe llBYCTHWHe)

repoH H n

HCTO[lH4CCK3R XpOHHKa

humanism ('hju:m<llllzm]

humour ['hjum<J]

hymn (h•m]

hyperbole (ha1'pJ:bah]

idea ]a1'd•a]

ideology [a1di'Jiad31J image ('1m1d3] imagery ['1m1d3an].

ryMaHHJM IOMOp rHMH

rHnep6olla.

HJleR HJlCJIDrHR o6pa3 o6pa3HDCTb

imaginative writing

[i'm:rd3in; llv] implication [.mplt'kctSn] instalment [m'sb:lm; nt] interlude ['tn(; fud]

irony ('a taram]

J

journal ['d3a:nal]

L

Lake School [lctk] legend ['led3and] line (latn]

long short story

lost generation Ld3ena'·

rctSn]

lyrics ('llrtks]

M

magazine (.ma>g;:J'zi:n] masterpiece ('ma:st;Jpi:s] memoirs ['mcmwa:z] metaphor ['mebfa] minstrel ['mtnstr;J(j modernism ['mJd;Jntzm] motif [mou'ltf]

motto ['mJtou]

mouthpiece ['mau8pis]

N

narration [n:r'retSn], narrative

['n<er;Jltv]

narrator [ na>'rct[;J]

JIHTCparypa ObiMbiCJia

nOATCKCT OTJlCJibllbiH ObtnycK HIITCflJIIOJlHR

HpOHHR

lKypuaJJ

03epttaR WKOJI<! JICrCHJla

crpoKa

nuBCCTb

llOTC[l!IIIHOC llOKOJICHHC

lKYPII3JI UICACD[l MCMyapbl Mcrar.!Jopa

MeHecrpCllh, no3r

MOAC[l11H3M

OCHOBH3R TCMa, JJeATMOTHB ACBH3, JI03YIIr

pynop HAeii

llODCCTBODaiiHC

paCCK334HK

neoromanticism ttstzm]

New Left

New Wave Drama novel j'mval J

('ntJr; m en-

IICOpOM311TH3M

«HbiO-JJer.IJr»

ApaMa llOBOH BOJIIIbl paM au

anticolonial N. ['a>nltb'lount;J(j autobiographic N. ('J:lou,batou'-

gr<eftk]

detective N. [dt'lckltv]

entertaining N. [.cnl;/tctniiJ]

3HTHKOJIOHHaJibllbiH p.

3BT06Horpa<jiH'ICCKHH p.

JlCTCKTHDIIhlii p. pa3DJICKaTCJibllbiH fl.

moralizing N. ('mJr<J!aiZIIJ] picaresque N. [.p1ka'resk] realistic N. [n<l'llslikf

science fiction N. ['sa1 TIS '!1kJn/

serious N. ['siar1s] social N. ['souSa!] straight N. [streit] novelist ['mv;JIIst]

ode [oudf

p

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