EXERCISES

I. Translate into Russian the following sentences and passages from the text which begin and end as follows:

1. School settled into a pattern ... with a nude model. 2. Auguste was fascinated by the Louvre - a new universe flowered before his hungry eyes. 3. ... but it was Michelangelo and Rembrandt who were

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his men. 4. He also fell in love with water color and oils in this first real experience with them. 5. "A little too Rembrandtish, and they smell of the Louvre." 6. "... You will end up an artisan or an ornament maker. Too bad. You draw well." 7. Lecoq saw the boy standing bereaved, ready to ruin his life for the lack of a few sous ... no one cared about it. 8. "I am tired." He meant sick at heart, defeated. 9. Yet there was no need to feel handicapped here ... the better.

II. Find English equivalents for the following Russian phrases and sentences;

воспроизводить (копировать) рисунки и гравюры; рисовать с натуры; приводить в восхищение; рисовать карандашом и красками; у него было огромное желание учиться; день ото дня; изо всех сил; работать с акварелью и маслом (акварельными и масляными красками); полагаться на себя; снабжать кого-л. красками; делать эскизы (наброски) по памяти; класс живописи; только что начатая коробка с красками; в приподнятом настроении; чистый холст; онеметь; краски исчезли; не было и следа драгоценной коробки; выброшенный тюбик краски; выдавливать до последней капли; выбора не было; остановить (удержать) кого-л.; по крайней мере ты будешь чем-то занят; многообещающий студент; из тебя получится хороший ремесленник; он был полон новых ощущений; потерять счет времени

III. Reproduce situations from the text using the following word combinations!

1. to settle into a pattern, to be encouraged to do smth, to copy the drawings and engravings of, to become acquainted with, to draw from life; 2. to be fascinated by, a vast gallery, to be attracted by, to resolve to do; 3. to draw or copy from memory, to do hundreds of drawings, to stimulate smb to draw and paint, to have an enormous eagerness to learn, day by day, to devote most of one's energy to; 4. to draw with all one's might, to work with water colors and oils, to afford smth (to do smth), to depend on oneself, to supply smb with, to end up an artisan, to put smb in the painting class; 5. to get paint no matter what ..., a slightly used box of paints, in a festive mood, to experiment with, an empty canvas, to be struck dumb, to be gone, there was no trace of; 6. a tube of paint discarded by ..., to be squeezed to the last drop, there was no alternative, to tear up one's drawings, to halt smb; 7. to be the one to decide, to give up art, to ruin one's life for the lack of, to think of smth, to keep smb occupied, a promising student, to be shaken by one's emotions; 8. to stare at, not to succeed as an artist, to make a good moulder, to feel drawn to, to be full of new sensations; 9. to find excuses, to lose track of time, to be full of unbreakable desire, to carve smth, to shape smth

IV. Answer the following questions:

1. How was the ti me of the Petite Ecole students occupied? 2. What effect did the Louvre have upon Auguste? 3. Who did he choose as "his own masters"? What difference did he see in their manner of painting? 4. Why did Auguste have to confine himself to drawing?

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5. What did Lecoq think of his progress? Why did he insist that Auguste should go on to the painting class? 6. Could Auguste provide himself with paint? 7. Why was he on the point of giving up everything? 8. Why wouldn't Lecoq let Auguste leave the school? Where did he send him? 9. What were Auguste's first impressions of the sculpture class? 10. Why did he decide to stay there?

V. Find evidence in the text to support the following statements:

1. Auguste had an enormous eagerness to learn. 2. Lecoq hated the idea of losing his most promising student and tried hard to help him. 3. Sculpture fascinated Rodin more than anything else.

VI. Make up an outline of the text and retell it following your points.

VII. Make up situations based on the text (Auguste Rodin - Early Years) using the following word combinations:

to take shape; to be determined; to fire smb with; to concentrate; to put smth down to smth; to be put out; to put up with smth; not to have the heart to do smth; to lose heart; to lose one's heart; to take heart

VIII. Translate the following sentences using the structural patterns given in Units Twelve,Thirteen:

1. Музей изобразительных искусств имени Пушкина имеет широкие связи и программы обмена с крупнейшими музеями США и Великобритании - Метрополитен музеем, Национальной картинной галереей и т. д. 2. Вы уверены, что это Рембрандт? - Да, только это не оригинал, а копия. Оригинал находится в Эрмитаже. 3. Опера Моцарта "Дон Жуан" была впервые поставлена в Пражском национальном театре. 4. Если вы попадете в Ленинград, обязательно сходите в Русский музей. 5. В каком кинотеатре идет этот фильм? - По-моему, в "Прогрессе". 6. Пока Вольфганг записывал увертюру, Констанция рассказывала веселые истории, чтобы он не заснул. 7. Да Понте интересовал в основном сюжет, тогда как Моцарт придавал большое значение характерам героев и их переживаниям. 8. Он не сказал ни слова, пока оркестр играл мелодии из его новой оперы. 9. Пока Огюст искал чистый холст, кто-то украл его коробку с красками. 10. Пока мальчик мыл руки, его сестра накрывала на стол.

IX. Read the following sentences and commeqf on the character of the semantic relations between the components of the verb-postpositive phrases in bold type. Give their Russian equivalents:

1. Turn up your sleeves. She sat up all night with a sick child. A few moments later the footlights flared up, and the curtain rose. The stream has dried up. What is he up to? It's up to us to give them all help we can. 2. The children were climbing about on the rocks. There were people lying about on the grass. It's time you were up and about. This action brought about the desired effect. 3. He put it away in the pocket of his coat. She looked away and said nothing.. His money seemed to melt away. He was working away at his

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drawing all afternoon. His accent gave him away. 4. The tall man bent down to speak to the boy. The house was pulled down last year. His temperature has gone down considerably. Let's get down to work. 5. He held out his hand and smiled. He took out his glasses from a worn leather case. We didn't expect him to come out with a statement like that.

X. Translate the Following sentences paying careful attention to the parts in bold type:

1. Она не ложилась спать всю ночь, ухаживая за больным ребенком. Саймон медленно взбирался наверх, держа что-то в руке. Тебе решать, кто из нас поедет с тобой. Я бы хотела знать, чем вы тут занимались, пока меня не было. Он снял пиджак, завернул рукава и принялся за работу. 2. В комнате был страшный беспорядок: книги, одежда валялись по полу. Тебе уже пора вставать и приниматься за дела. Целый вечер он бродил в парке, думая о своем разговоре с Джейн. Я не могу понять, чем вызвана эта ссора. 3. Мы надеялись, что к утру температура спадет и ему станет легче. Он наклонился и шепотом сказал ей что-то. Что здесь построят, когда снесут эти дома? 4. Он поспешно отошел от окна, чтобы его никто не заметил. Моя сестра знает обо всем, но я надеюсь, что она меня не выдаст. Томми засунул игрушку в карман и выбежал из комнаты. Вскоре звуки шагов замерли вдали и стало тихо. Роберт отвернулся и замолчал. Весь день он работал, не отрываясь. 5. Он протянул руку и приветливо улыбнулся. Давай сегодня пообедаем где-нибудь, я не успела ничего приготовить. Мы почти не выходим по вечерам, заглядывайте'к нам, когда у вас будет время. Мы не ожидали, что он выступит с такой резкой критикой.

XI. Read the following sentences and suggest Russian equisralents for the verb-postpositive phrases in bold type:

1. The chill had worn away from the air. It was going to be as hot and airless as yesterday. 2. Standing at the window, almost dressed, Grandpa was rolling up the creaky blind. 3. One or two people were still walking about with no overcoats on, as if summer had not yet come to an end. 4. A white sheet was laid down in the drawing-room on which the easel was placed. 5. I put the catalogue away in a drawer and never wrote to the shop after all. 6. She'd been packing up all day and the fellow from the station came for her boxes at about 4 o'clock. 7. "Seems all right," said the soldier, folding up the document and putting it in his waistcoat pocket. 8. "Don't you think you might tell me what you've been up to all the time you've been in Paris?" 9. I asked him how he felt. "Perfectly well," he said cheerfully, "I shall be up and about again in a few days." 10. Alex said nothing, looking away down the road and smoking his cigarette. 11. I backed away from hc-r towards the window, my old fear and horror rising up in me again. 12. He went out a great deal, played bridge with Ivory, Freddie and Freedman

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at the club. 13. There \vas a party; the house was lit up and distant music in the ball-room floated from the window. 14. I turned away so that I shouldn't see his face as he searched for an excuse. 15. The smell of- the sweet grass came towards me on the air, and the sun shone down upon me out of the white mist. 16. Only by the greatest effort did Brande suppress a glad impulse to cry out. 17. Placing the letter in his pocket-book, he locked up the office and hastened towards the street. 18. Miss Carter sprang up and began to smooth down the counterpane. 19. The nurse brought out some knitting and clicked her needles sharply. 20. Weeping hysterically, the boy reached up and threw his arms round his father's neck. 21. My shyness fell away from me, loosening my reluctant tongue. 22. I got out, heaving my luggage after me and he drove away at once. 23..The letter would lie about on his desk and he would answer it weeks later.

XII. Look up the adjectives sick and ill in an English-English dictionary or a reference book and study their uses. Collect illustrative material. Ask your comrades to comment on the use of the adjectives in your examples.

ХIII. Render into English;

ЧЕЛОВЕК СО СЛОМАННЫМ НОСОМ

Когда Огюст услышал, что скоро должна состояться выставка, он решил сделать бюст, вернее, голову и послать ее в Салон (The Salon). У него не было своей студии (a studio), не было денег на гипс и мрамор, он не мог позволить себе нанять натурщика, но мысль о том, что у него есть возможность принять участие в выставке, разжигала его воображение. Он был полон решимости преодолеть все трудности.

Огюст хотел вылепить красивую мужскую голову, но единственный, кто согласился позировать (to sit for) ему за чашку супа и стакан вина, был Биби, старый пьяница со сломанным носом. Вначале Биби показался Огюсту отвратительным, и ему было трудно сосредоточиться. Однако, после того как Огюст разорвал десятки набросков,- его замысел начал принимать определенные очертания. А как только он взял в руки глину, его уже нельзя было остановить. Безобразие Биби, казалось, не имело больше значения. Огюст работал день и ночь; он потерял счет времени. Пока он работал, ничего другого для него не существовало.

За неделю до открытия выставки голова еще не была готова. И вдруг Биби исчез. Огюст был в отчаянии. Теперь, когда Огюсту осталось добавить только несколько завершающих штрихов, натурщик был ему особенно нужен. Огюст не хотел лепить голову по памяти, он боялся, что она станет фальшивой и сентиментальной. Но другого выбора у него не было, и Огюст продолжал работать.

Спустя несколько дней Биби появился в студни, но он был слишком пьян, чтобы позировать. Он только тупо смотрел на Огюста, пока тот пытался усадить его в угол и подпереть

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мольбертом. Чтобы не дать ему уснуть, Огюст сварил кофе. Проглотив две чашки обжигающей жидкости, Биби оживился и сел прямо на стуле. "Это, возможно, продлится только несколько минут", - подумал Огюст. Он видел, что его опасения были правильны - ему не удалось схватить (to capture) то, что так поразило его в лице Биби. Он уничтожил все кроме подбородка и начал лепить все снова.

Когда выставка открылась, Огюст все еще переделывал голову "человека со сломанным носом".

XIV. Read the following excerpts and retell them in brief:

Negotiations went on for months between officials of the Ministry of Fine Arts and representatives of Auguste, for though his mind wandered only occasionally, he grew more feeble daily and barely had strength to get about. But finally, on September 13, 1916, he signed over all of his art to France in return for establishment of Rodin Museum at the Hotel Biron.

He was surprised at how much his work totaled. He was told that it came to fifty-six marbles, fifty-six bronzes, one hundred and ninety-three plaster casts, a hundred terra-cottas, over two thousand drawings and sketches, and hundreds of valuable antiques: Greek and Roman sculpture, and ancient Egyptian art. He hoped France would be equally generous ...

* * *

The winter of 1916 was very severe. It was difficult to get coal and many people died of the cold. The Germans were attacking and the war was not going very well.

The weather improved with the coming of spring and so did Auguste. The next few months he spent every moment he could in his studio. He could not work, not even sketch, but he wanted to - he saw so many imperfections now.

If he had only ten more years, he thought, or five - he would even settle for one full working year - he could do so much now, so much he hadn't been aware of. Just as a man was learning, he reflected, a man lost his strength and was taken away. He tried to be concerned about the war and was unhappy .that it was still going badly, though he had heard that America had come in and should turn the tide, but it was very difficult to live in the present these days. He rarely had visitors. Almost everyone he knew was involved elsewhere or dead.

Then on November 1.2, 1917, his seventy-seventh birthday, he caught bronchitis again and had to go to bed.

The next few days as his fever rose and his lungs grew congested he lapsed into unconsciousness and drifted on a vast sea without a beginning or an end. There were many faces in front of him, his sister Maria, Papa, Mama, Lecoq. He saw himself arguing with Papa about going to the Petite Ecole - what a battle that had been! And now he saw sculpture as far as he could look: "The

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Thinker", "Balzac", "Hugo", "The Burghers of Calais", "Mozart", "The Gates" - were they opening for him now? He had tried to work honestly, not to invent, but to observe, to follow nature: a woman, a stone, a head, were all formed by the same principles. He lay there marvelling at the world he had created, and suddenly he cried out proudly, "And people say that sculpture is not a fine art!"

He closed his eyes and fell into a dreamless sleep, looking like his own sculpture.

(From "Naked Came I" by David Weiss)

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