Илья Франк - Английский язык с Грэмом Грином. Третий человек

The trams had stopped (трамваи остановились), and he set out obstinately on foot (и он пустился в путь упрямо пешком) to find Harry's girl (чтобы найти девушку Гарри). He wanted to make love to her (он хотел заняться любовью с ней)—just like that (только и всего: «просто как так»): no nonsense (никакой чуши; nonsense — бессмыслица), no sentiment (никакой сентиментальности). He was in the mood for violence (он был в настроении для насилия), and the snowy road heaved like a lake (и снежная дорога вздымалась, как озеро), and set his mind on a new course (и направляла его мысли на новый курс) towards sorrow, eternal love, renunciation (к печали, вечной любви, самоотречению).

It must have been about three in the morning (должно было быть около трех утра) when he climbed the stairs to Anna's room (когда он вскарабкался по лестнице к комнате Анны). He was nearly sober by that time (он был почти трезв к тому времени) and had only one idea in his head (и имел только одну мысль в голове), that she must know about Harry too (что она должна знать о Гарри тоже). He felt that somehow this knowledge would pay the mortmain that memory levies on human beings (он чувствовал, что каким-то образом это знание уплатило бы налог /на неотчуждаемое имущество/, который воспоминание взимает с человеческих существ; mortmain — "мертвая рука" /владение недвижимостью без права передачи/; to levy — взимать /налог/), and he would stand a chance with Harry's girl (и у него был бы шанс с девушкой Гарри; to stand a good chance — иметь хорошие шансы). If one is in love oneself (если человек влюблен/если ты влюблен: «в любви» сам), it never occurs to one (тебе никогда не приходит в голову) that the girl doesn't know (что девушка не знает): one believes one has told it plainly in a tone of voice (ты веришь = полагаешь, что ты сказал это ясно в тоне голоса), the touch of a hand (в прикосновении руки). When Anna opened the door to him (когда Анна открыла ему дверь), with astonishment at the sight of him tousled on the threshold (с удивлением перед видом его, взъерошенного, на пороге; to tousle — взъерошивать, ерошить), he never imagined (он никогда = вовсе не воображал) that she was opening the door to a stranger (что она открывала дверь постороннему).

facade/façade [fq'sRd], semi-nude ['semI'nju:d], extraordinary [Ik'strO:d(q)n(q)rI], haunt ['hO:nt], cabaret ['kxbqreI], performer [pq'fO:mq], shrewd [Sru:d], contemptuous [kqn'temptSuqs], journalist ['Gq:n(q)lIst], oppress [q'pres], fidelity [fI'delItI], cynicism ['sInIsIz(q)m], obstinate ['ObstInqt], violence ['vaIqlqns], eternal [I'tq:n(q)l], renunciation [rI"nAnsI'eIS(q)n], astonishment [qs'tOnISmqnt], tousled ['tauz(q)ld], threshold ['TreShquld]

AFTER HE left me, Martins went straight off to drink himself silly. He chose the Oriental to do it in, the dreary smoky little night club that stands behind a sham Eastern facade. The same semi-nude photographs on the stairs, the same half-drunk Americans at the bar, the same bad wine and extraordinary gins—he might have been in any third rate night haunt in any other shabby capital of a shabby Europe. At one point of the hopeless early hours the International Patrol took a look at the scene. Martins had drink after drink: he would probably have had a woman too, but the cabaret performers had all gone home, and there were practically no women left in the place, except for one beautiful shrewd-looking French journalist who made one remark to her companion and fell contemptuously asleep.

Martins moved on: at Maxim's a few couples were dancing rather gloomily, and at a place called Chez Victor the heating had failed and people sat in overcoats drinking cocktails. By this time the spots were swimming in front of Martins' eyes, and he was oppressed by a sense of loneliness. His mind reverted to the girl in Dublin, and the one in Amsterdam. That was one thing that didn't fool you—the straight drink, the simple physical act: one didn't expect fidelity from a woman. His mind revolved in circles—from sentiment to lust and back again from belief to cynicism.

The trams had stopped, and he set out obstinately on foot to find Harry's girl. He wanted to make love to her—just like that: no nonsense, no sentiment. He was in the mood for violence, and the snowy road heaved like a lake, and set his mind on a new course towards sorrow, eternal love, renunciation.

It must have been about three in the morning when he climbed the stairs to Anna's room. He was nearly sober by that time and had only one idea in his head, that she must know about Harry too. He felt that somehow this knowledge would pay the mortmain that memory levies on human beings, and he would stand a chance with Harry's girl. If one is in love oneself, it never occurs to one that the girl doesn't know: one believes one has told it plainly in a tone of voice, the touch of a hand. When Anna opened the door to him, with astonishment at the sight of him tousled on the threshold, he never imagined that she was opening the door to a stranger.

He said, "Anna, I've found out everything (я все выяснил)."

"Come in (входите)," she said, "you don't want to wake the house (вы /ведь/ не хотите перебудить /весь/ дом)." She was in a dressing gown (она была в халате): the divan had become a bed (тахта стала кроватью), the kind of rumbled bed (той разновидностью разворошенной кровати) that showed how sleepless the occupant had been (которая показывала, каким бессонным был владелец: «занимающий ее»).

"Now (ну вот; now — сейчас, теперь, в настоящий момент; вот /в начале предложения/, ср.: now it chanced that... — и вот оказалось, что...)," she said, while he stood there (пока он стоял там), fumbling for words (нащупывая = ища слова), "what is it (что это = что случилось; what is it now? — ну, что опять случилось?)? I thought you were going to keep away (я думала, вы собирались держаться подальше). Are the police after you (полиция гонится за вами/преследует вас)?"

"No."

"You didn't really kill that man (вы действительно не убивали того человека), did you (правда)?"

"Of course not (конечно нет)."

"You're drunk (вы пьяны), aren't you (правда)?"

"I am a bit (немного)," he said sulkily (сказал он угрюмо). The meeting seemed to be going on the wrong lines (встреча, казалось, быть проходила по неправильному пути: «на неправильных линиях»). He said angrily (он сказал сердито), "I'm sorry (извините: «я сожалею»)."

"Why (почему)? I could do with a bit of drink myself (я и сама могла бы/мне бы и самой не помешало немного выпить; to do with smth. — находить применение чему-л.; нуждаться в чем-л., быть непрочь от чего-л. /разг./)."

He said, "I've been with the British police (я был у британских полицейских). They are satisfied I didn't do it (они убедились, что я не делал этого; satisfied — довольный, удовлетворенный). But I've learned everything from them (но я узнал все от них). Harry was in a racket (Гарри был в афере)—a bad racket (скверной афере)." He said hopelessly (он сказал безнадежно), "He was no good at all (он был не хорош вовсе = он был нехорошим человеком; no good — нестоящий человек; бесполезная вещь). We were both wrong (мы оба были неправы)."

"You'd better tell me (вы бы лучше рассказали мне)," Anna said. She sat down on the bed (она села на кровать) and he told her (и он рассказал ей), swaying slightly beside the table (раскачиваясь немножко около стола) where her typescript part still lay open at the first page (где все еще лежала ее машинописная роль, открытая на первой странице). I imagine he told it her pretty confusedly (я воображаю, что он рассказал это ей весьма сбивчиво), dwelling chiefly on what had stuck most in his mind (задерживаясь главным образом на том, что застряло больше всего в его мыслях; to stick — воткнуть; застрять), the children dead with meningitis (дети, мертвые от менингита) and the children in the mental ward (и дети в психиатрической лечебнице). He stopped (он остановился) and they were silent (и они молчали: «были безмолвными/тихими»). She said, "Is that all (это все)?"

"Yes."

"You were sober when they told you (вы был трезвы, когда они рассказывали вам)? They really proved it (они действительно доказали это)?"

"Yes." He added, drearily (он добавил тоскливо), "So that, you see, was Harry (так что вот каким, понимаете, был Гарри)."

"I'm glad he's dead now (я рада, что он сейчас мертв)," she said. "I wouldn't have wanted him to rot for years in prison (я бы не хотела, чтобы он гнил в течение /многих/ годов в тюрьме)."

"But can you understand how Harry (но можете ли вы понять, как Гарри)—your Harry, my Harry (ваш Гарри, мой Гарри)—could have got mixed up (мог впутаться /в такое/)...?" He said hopelessly (он сказал безнадежно), "I feel as though he had never really existed (я чувствую так = у меня такое чувство, словно он никогда не существовал на самом деле), that we'd dreamed him (что мы вообразили его/что он нам приснился; to dream — , видеть во сне; погружаться в мир фантазий, мечтать, грезить). Was he laughing at fools like us all the time (смеялся ли он над /такими/ дураками, как мы, все время = может, он все время смеялся над такими дураками, как мы)?"

"He may have been (он мог делать это = вполне возможно, что смеялся). What does it matter (какое это имеет значение)?" she said. "Sit down (сядьте). Don't worry (не волнуйтесь)." He had pictured himself comforting her (он представлял себе, как он будет утешать ее)—not this other way about (а не наоборот: «не этим другим путем вокруг»). She said, "If he was alive now (если он был бы жив сейчас), he might be able to explain (он мог бы быть способным объяснить = возможно, он смог бы объяснить), but we've got to remember him as he was to us (но мы должны помнить его таким, каким он был /по отношению/ к нам). There are always so many things one doesn't know about a person (есть всегда так много вещей, которые ты не знаешь о человеке), even a person one loves (даже о человеке, которого ты любишь), good things (хорошие вещи), bad things (плохие вещи). We have to leave plenty of room for them (мы должны оставлять много пространства для них; plenty — изобилие)."

meningitis [menın`dʒaıtıs]

occupant ['Okjupqnt], typescript ['taIpskrIpt], meningitis ["menIn'GaItIs], ward [wO:d], prison [prIzn]

He said, "Anna, I've found out everything."

"Come in," she said, "you don't want to wake the house." She was in a dressing gown: the divan had become a bed, the kind of rumbled bed that showed how sleepless the occupant had been.

"Now," she said, while he stood there, fumbling for words, "what is it? I thought you were going to keep away. Are the police after you?"

"No."

"You didn't really kill that man, did you?"

"Of course not."

"You're drunk, aren't you?"

"I am a bit," he said sulkily. The meeting seemed to be going on the wrong lines. He said angrily, "I'm sorry."

"Why? I could do with a bit of drink myself."

He said, "I've been with the British police. They are satisfied I didn't do it. But I've learned everything from them. Harry was in a racket—a bad racket." He said hopelessly, "He was no good at all. We were both wrong."

"You'd better tell me," Anna said. She sat down on the bed and he told her, swaying slightly beside the table where her typescript part still lay open at the first page. I imagine he told it her pretty confusedly, dwelling chiefly on what had stuck most in his mind, the children dead with meningitis and the children in the mental ward. He stopped and they were silent. She said, "Is that all?"

"Yes."

"You were sober when they told you? They really proved it?"

"Yes." He added, drearily, "So that, you see, was Harry."

"I'm glad he's dead now," she said. "I wouldn't have wanted him to rot for years in prison."

"But can you understand how Harry—your Harry, my Harry—could have got mixed up ...?" He said hopelessly, "I feel as though he had never really existed, that we'd dreamed him. Was he laughing at fools like us all the time?"

"He may have been. What does it matter?" she said. "Sit down. Don't worry." He had pictured himself comforting her—not this other way about. She said, "If he was alive now, he might be able to explain, but we've got to remember him as he was to us. There are always so many things one doesn't know about a person, even a person one loves, good things, bad things. We have to leave plenty of room for them."