Mario Puzo - Крестный отец, часть 1. Английский язык с Марио Пьюзо.

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Крестный отец, часть 1. Английский язык с Марио Пьюзо.: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «Крестный отец, часть 1. Английский язык с Марио Пьюзо.»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

Английский язык с с Крестным Отцом Текст адаптирован (без упрощения текста оригинала) по методу Ильи Франка: текст разбит на небольшие отрывки, каждый и который повторяется дважды: сначала идет английский текст с «подсказками» — с вкрапленным в него дословным русским переводом и лексико-грамматическим комментарием (то есть адаптированный), а затем — тот же текст, но уже неадаптированный, без подсказок.
Начинающие осваивать английский язык могут при этом читать сначала отрывок текста с подсказками, а затем тот же отрывок — без подсказок. Вы как бы учитесь плавать: сначала плывете с доской, потом без доски. Совершенствующие свой английский могут поступать наоборот: читать текст без подсказок, по мере необходимости подглядывая в подсказки.
Запоминание слов и выражений происходит при этом за счет их повторяемости, без зубрежки.
Кроме того, читатель привыкает к логике английского языка, начинает его «чувствовать».
Этот метод избавляет вас от стресса первого этапа освоения языка — от механического поиска каждого слова в словаре и от бесплодного гадания, что же все-таки значит фраза, все слова из которой вы уже нашли.
Пособие способствует эффективному освоению языка, может служить дополнением к учебникам по грамматике или к основным занятиям. Предназначено для студентов, для изучающих английский язык самостоятельно, а также для всех интересующихся английской культурой.
Мультиязыковой проект Ильи Франка: От редактора fb2. Есть два способа оформления транскрипции: UTF-LATIN и ASCII-IPA. Для корректного отображения UTF-LATIN необходимы полноценные юникодные шрифты, например, DejaVu или Arial Unicode MS. Если по каким либо причинам вас это не устраивает, то воспользуйтесь ASCII-IPA версией той же самой книги (отличается только кодированием транскрипции). Но это сопряженно с небольшими трудностями восприятия на начальном этапе. Более подробно об ASCII-IPA читайте в Интернете:
http://alt-usage-english.org/ipa/ascii_ipa_combined.shtml http://en.wikipedia.org/wiki/Kirshenbaum 1.0 - создание файла

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In the half hour after the shooting of his father, Sonny Corleone received five phone calls in rapid succession (в быстром следовании /друг за другом/; rapid ['ræpıd] – скорый, стремительный). The first was from Detective John Phillips, who was on the family payroll and had been in the lead car of plainclothesmen at the scene of the shooting. The first thing he said to Sonny over the phone was, "Do you recognize my voice?"

"Yeah," Sonny said. He was fresh from a nap (дремота, короткий сон), called to the phone by his wife.

Phillips said quickly without preamble (преамбула; предисловие, вступление [pri:’æmbl]), "Somebody shot your father outside his place. Fifteen minutes ago. He's alive but hurt bad. They've taken him to French Hospital. They got your brother Freddie down at the Chelsea precinct. You better get him a doctor when they turn him loose (отпустят). I'm going down to the hospital now to help question your old man, if he can talk. I'll keep you posted (держать в курсе)."

Across the table, Sonny's wife Sandra noticed that her husband's face had gone red with flushing blood. His eyes were glazed over (остекленели, потускнели; to glaze – покрывать глазурью). She whispered, "What's the matter?" He waved at her impatiently to shut up (чтобы заткнулась), swung his body away so that his back was toward her and said into the phone, "You sure he's alive?"

"Yeah, I'm sure," the detective said. "A lot of blood but I think maybe he's not as bad as he looks."

"Thanks, " Sonny said. "Be home tomorrow morning eight sharp. You got a grand coming."

Sonny cradled the phone (повесил трубку; cradle – колыбель; to cradle – класть в колыбель; вешать трубку). He forced himself to sit still. He knew that his greatest weakness was his anger and this was one time when anger could be fatal. The first thing to do was get Tom Hagen. But before he could pick up the phone, it rang. The call was from the bookmaker (букмекер – получающий деньги с тех, кто делает ставки на скачках) licensed by the Family to operate in the district of the Don's office. The bookmaker had called to tell him that the Don had been killed, shot dead in the street. After a few questions to make sure that the bookmaker's informant had not been close to the body, Sonny dismissed the information as incorrect. Phillips' dope would be more accurate. The phone rang almost immediately a third time. It was a reporter from the Daily News . As soon as he identified himself, Sonny Corleone hung up.

He dialed Hagen's house and asked Hagen's wife, "Did Tom come home yet?" She said, "No," that he was not due for another twenty minutes but she expected home for supper. "Have him call me," Sonny said.

He tried to think things out. He tried to imagine (вообразить [ı’mædGın]) how his father would react in a like situation. He had known immediately that this was an attack by Sollozzo, but Sollozzo would never have dared to eliminate (устранить [ı’lımıneıt]) so high-ranking a leader as the Don unless he was backed by other powerful people. The phone, ringing for the fourth time, interrupted his thoughts. The voice on the other end was very soft, very gentle. "Santino Corleone?" it asked.

"Yeah," Sonny said.

"We have Tom Hagen," the voice said. "In about three hours he'll be released with our proposition. Don't do anything rash until you've heard what he has to say. You can only cause a lot of trouble. What's done is done. Everybody has to be sensible now. Don't lose that famous temper of yours (самообладание; нрав, характер)." The voice was slightly mocking. Sonny couldn't be sure, but it sounded like Sollozzo. He made his voice sound muted, depressed. "I'll wait," he said. He heard the receiver on the other end click. He looked at his heavy gold-banded wristwatch and noted the exact time of the call and jotted it down on the tablecloth (to jot – кратко записать, набросать).

He sat at the kitchen table, frowning (нахмурившись). His wife asked, "Sonny, what is it?" He told her calmly, "They shot the old man." When he saw the shock on her face he said roughly, "Don't worry, he's not dead. And nothing else is going to happen." He did not tell her about Hagen. And then the phone rang for the fifth time.

It was Clemenza. The fat man's voice came wheezing over the phone in gruntlike gasps (затрудненное дыханье, удушье). "You hear about your father?" he asked.

"Yeah," Sonny said. "But he's not dead." There was a long pause over the phone and then Clemenza's voice came packed with emotion, "Thank God, thank God." Then anxiously, "You sure? I got word he was dead in the street."

"He's alive," Sonny said. He was listening intently to every intonation in Clemenza's voice. The emotion had seemed genuine but it was part of the fat man's profession to be a good actor.

"You'll have to carry the ball, Sonny," Clemenza said. "What do you want me to do?"

"Get over to my father's house," Sonny said. "Bring Paulie Gatto."

"That's all?" Clemenza asked. "Don't you want me to send some people to the hospital and your place?"

"No, I just want you and Paulie Gatto," Sonny said. There was a long pause. Clemenza was getting the message. To make it a little more natural, Sonny asked, "Where the hell was Paulie anyway? What the hell was he doing?"

There was no longer any wheezing on the other end of the line. Clemenza's voice was guarded. "Paulie was sick, he had a cold, so he stayed home. He's been a little sick all winter."

Sonny was instantly alert. "How many times did he stay home the last couple of months?"

"Maybe three or four times," Clemenza said. "I always asked Freddie if he wanted another guy but he said no. There's been no cause, the last ten years things been smooth, you know."

"Yeah," Sonny said. "I'll see you at my father's house. Be sure you bring Paulie. Pick him up on your way over. I don't care how sick he is. You got that?" He slammed down the phone (to slam – хлопнуть /дверью/, бросить со стуком) without waiting for an answer.

His wife was weeping silently. He stared at her for a moment, then said in a harsh voice (harsh – жесткий, грубый), "Any of our people call, tell them to get me in my father's house on his special phone. Anybody else call, you don't know nothing. If Tom's wife calls, tell her that Tom won't be home for a while, he's on business.

He pondered for a moment. "A couple of our people will come to stay here." He saw her look of fright and said impatiently, "You don't have to be scared, I just want them here. Do whatever they tell you to do. If you wanta (= want to) talk to me, get me on Pop's special phone but don't call me unless it's really important. And don't worry." He went out of the house.

Darkness had fallen and the December wind whipped through the mall (хлестал по аллее; whip – хлыст). Sonny had no fear about stepping out into the night. All eight houses were owned by Don Corleone. At the mouth of the mall the two houses on either side were rented by family retainers (retainer – слуга /постоянно живущий в какой-либо семье/) with their own families and star boarders (и постоянными квартирантами, пансионерами), single men who lived in the basement apartments (basement – подвал; цокольный этаж). Of the remaining six houses that formed the rest of the half circle, one was inhabited by Tom Hagen and his family, his own, and the smallest and least ostentatious (бросающийся в глаза, показной [osten'teı∫∂s]) by the Don himself. The other three houses were given rent-free to retired friends of the Don with the understanding that they would be vacated whenever he requested (освобождены по первому требованию). The harmless-looking mall was an impregnable fortress («непроницаемая» крепость).

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