Сборник текстов и упражнений по внеаудиторному чтению для студентов факультета культуры и искусств, изучающих английский язык. Полторак Д.Л. - 11 стр.

        Mendoza examined it carefully. "Yes," he said at last. "I was                                      Exercises
wrong when I said you would never be an artist. I think that is what
you wanted me to say?"                                                               1. Find facts from the story to prove the following:
        "Yes, it is," said Charles. "So there is something in it?"                   1. Charlie was a real painter.
        "I think," said Mendoza, "that it is a fine piece of work. There is          2. Mendoza believed in Charlie.
imagination and humour in every line. And you have become a fine                     3. It is sometimes not easy even for a rich young man to choose
technician too; you know that art is not only talent. I am very glad that     his profession.
you didn't allow me to discourage you. The world has a new artist to-                4. Charlie wasn't afraid of difficulties.
day, perhaps a master. But the next ten years will show what you can
really do."                                                                          2. Find mistakes in the following sentences and correct them:
        Charles's eyes shone with happiness. "Thank you," he said. "But              1. Mendoza wasn’t impressed by Charlie’s drawings.
do you know, four years ago, somebody – I don't know who – believed                  2. Mendoza explained Charlie’s mother that her son was really
that I would become an artist, and that person has helped me all this         talented.
time."                                                                               3. Charlie was so upset that he decided to give up paintitng.
        "That's interesting," said Mendoza. "Tell me how it happened."               4. Mendoza paid his own money for Charlie’s education.
        Charles told him the whole story. "Of course," he said at the end,
"it was only four pounds a week, but it was enough to pay for a room
and simple food, and I didn't need anything from my mother. I left                               ART FOR HEART’S SAKE
home and began studying at Montfort's Art School. I tried very hard,                              (after Rube Goldberg)
and when I saw I could get no more from Montfort, I went to Paris. I
have just got back from there. This is my first published drawing, and I            Goldberg, Rube
still have two hundred pounds in Crumpton's office. My mother says                  1883–1970
she will leave me nothing when she dies, but I am not worried about
that, and I usually don't even think of it. I think more often of the per-           Reuben Lucius Goldberg, American cartoonist and sculptor,
son who helped me. I have asked old Crumpton a thousand times, but            was born in San Francisco. After drawing cartoons for San Francisco
he keeps the secret – I can't get anything out of him."
                                                                              newspapers, he moved to New York City. There he worked for the New
        "Crumpton is a lawyer," Mendoza said. "Lawyers don't tell their
                                                                              York Evening Mail until his cartoons became syndicated in 1921.
clients' secrets."
                                                                              Goldberg worked as a political cartoonist for the New York Sun and
        "That's true," Charlie said, "but I'd be glad to know. I'd like to
                                                                              later for the New York Journal American. After 1964 he concentrated
tell that wonderful person what his gift has meant to me."
                                                                              on sculpture. He is the author of How to Remove the Cotton from a
        "I understand," Mendoza told him. "But don't worry about it. It's
clear that the person doesn't want you to thank him. Tell me, when I          Bottle of Aspirin (1959) and Rube Goldberg vs. the Machine Age
said that you were hopeless as an artist, did it hurt you very much?"         (1968).
        "Of course," said Charles, "but it didn't hurt long. I decided that
perhaps you had made a mistake. It didn't matter – I couldn't stop draw-
ing."                                                                               Words:
        "Yes, I see," Mendoza said. "I was sure – no, it doesn't matter             «Art’s for art’s sake» – искусство ради искусства
now."                                                                               «Art’s for heart’s sake» – искусство для души

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