Курсовая работа: Семантика и функционирование предлога of в английском языке
23. http://www.lib.ru/LITRA/CHEHOW/dushechka.txt - Душечка. А.П.Чехов
24. http://www.eldritchpress.org/ac/jr/194.htm - The Darling, by Anton Chekhov
Приложение
Избранные предложения из романа У.С.Моэма «Луна и грош», иллюстрирующие функционирование предлога of в английском языке.
№ | Текст примера | Значение (в соответствии с перечнем, гл.2) |
| 1. | I do not speak of that greatness which is achieved by the fortunate politician or the successful soldier; that is a quality which belongs to the place he occupies rather than to the man; and a change of circumstances reduces it to very discreet proportions. | 20б |
| 2. |
The greatness of Charles Strickland was authentic. | 2а |
| 3. | It may be that you do not like his art, but at all events you can hardly refuse it the tribute of your interest. | 19 |
| 4. | It is still possible to discuss his place in art, and the adulation of his admirers is perhaps no less capricious than the disparagement of his detractors; but one thing can never be doubtful, and that is that he had genius. | 1а |
| 5. | To my mind the most interesting thing in art is the personality of the artist. | 1а |
| 6. | To pursue his secret has something of the fascination of a detective story. | 4, 1а |
| 7. | It is a riddle which shares with the universe the merit of having no answer. | 1а |
| 8. | The most insignificant of Strickland's works suggests a personality which is strange, tormented, and complex. | 4 |
| 9. | Later judgments have confirmed his estimate, and the reputation of Charles Strickland is now firmly established on the lines which he laid down. | 1а |
| 10. | The rise of this reputation is one of the most romantic incidents in the history of art. | 19, 4, 1а |
| 11. | I cannot agree with the painters who claim superciliously that the layman can understand nothing of painting, and that he can best show his appreciation of their works by silence and a cheque-book. | 20б, 19 |
| 12. | It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman: art is a manifestation of emotion. | 19 |
| 13. | But I will allow that the critic who has not a practical knowledge of technique is seldom able to say anything on the subject of real value, and my ignorance of painting is extreme. | 20б, 9, 20б |
| 14. | With his disinterested passion for art, he had a real desire to call the attention of the wise to a talent which was in the highest degree original. | 1а |
| 15. | And when such as had come in contact with Strickland in the past, writers who had known him in London, painters who had met him in the cafes of Montmartre, discovered to their amazement that where they had seen but an unsuccessful artist, like another, authentic genius had rubbed shoulders with them. | 4 |
| 16. | It is the protest of romance against the commonplace of life. | 19 |
| 17. | The incidents of the legend become the hero's surest passport to immortality. | 1а |
| 18. |
It is not strange, then, that those who wrote of him should have eked out their scanty recollections with a lively fancy, and it is evident that there was enough in the little that was known of him to give opportunity to the romantic scribe. | 20б |
| 19. | In due course a legend arose of such circumstantiality that the wise historian would hesitate to attack it. | 11 |
| 20. | Mr. Strickland has drawn the portrait of an excellent husband and father, a man of kindly temper, industrious habits, and moral disposition. | 1б,11 |
| 21. |
The Anglo-Saxon race is accused of prudishness, humbug, pretentiousness, deceit, cunning, and bad cooking. | 20в, |
| 22. | Personally I think it was rash of Mr. Strickland. | 3 |
| 23. | There, as is notorious, he spent the last years of his life; and there I came across persons who were familiar with him. | 4 |
| 24. | I find myself in a position to throw light on just that part of his tragic career which has remained most obscure. | 4 |
| 25. | If they who believe in Strickland's greatnessare right, the personal narratives of such as knew him in the flesh can hardly be superfluous. | 2а |
| 26. | What would we not give for the reminiscences of someone who had been as intimately acquainted with El Greco as I was with Strickland? | 1а |
| 27. |
And if I may judge from the reviews, many of these books are well and carefully written. | 4 |
| 28. | The moral I draw is that the writer should seek his reward in the pleasure of his work and in release from the burden of his thought. | 19 |
| 29. | Youth has turned to gods we of an earlier day knew not, and it is possible to see already the direction in which those who come after us will move. | 17 |
| 30. | The younger generation, conscious of strength and tumultuous, have done with knocking at the door; they have burst in and seated themselves in our seats. | 20б |
| 31. | Of their elders some, by imitating the antics of youth, strive to persuade themselves that their day is not yet over; they shout with the lustiest, but the war cry sounds hollow in their mouth. | 4, 1а |
| 32. | Who now, for example, thinks of George Crabbe? | 20б |
| 33. | He was a famous poet in his day, and the world recognised his genius with a unanimity which the greater complexity of modern life has rendered infrequent. | 19 |
| 34. | I think he must have read the verse of these young men who were making so great a stir in the world, and I fancy he found it poor stuff. | 2а |
| 35. | Of course, much of it was. | 4 |
| 36. | It is not without melancholy that I wander among my recollections of the world of letters in London when first, bashful but eager, I was introduced to it. | 20б, 9 |
| 37. | I felt they expected me to say clever things, and I never could think of any till after the party was over. | 20б |
| 38. | It must have been bad for the furniture, but I suppose the hostess took her revenge on the furniture of her friends when, in turn, she visited them. | 1а |
| 39. | If you had a neat figure you might as well make the most of it, and a smart shoe on a small foot had never prevented an editor from taking your "stuff." | 23 |
| 40. | They tried to look as little like authors as possible. They wished to be taken for men of the world. | 11 |
| 41. |
I despaired of ever expressing myself with such aptness or with such fluency. | 20б |
| 42. | It is sad that I can remember nothing of all this scintillation. | 20б |
| 43. |
When we had done discussing the merits of the latest book, it was natural to wonder how many copies had been sold, what advance the author had received, and how much he was likely to make out of it. | 1а |
| 44. | Then we would speak of this publisher and of that, comparing the generosity of one with the meanness of another; we would argue whether it was better to go to one who gave handsome royalties or to another who "pu
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