Вопросы, которыми сопровождается текст, помогают понять, почему один




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145

for a week or a weekend. Then it's up to me to think of some

reason why we can't come. Ben absolutely hates visiting and thinks

there ought to be a law against invitations. After a couple of visits

Ben thought of a method of putting off people1. He would write

himself a telegram and sign it with the name of one of the famous

producers, and leave the telegram with his secretary with the instructions

to send it to us twenty-four hours later. When it arrived

at whatever place we were, we would put on long faces and say

how sorry we were, but of course business was business, so goodbye.

There was never any suspicion even when the telegrams were

ridiculous, like this one:

Both the leading actors have laryngitis Stop2 Score must be

rewritten half a tone lower Stop Come at once Stop

С. В. Dillingham

However, if we happened to be enjoying ourselves, then Ben

would say to our hosts that he wasn't going to let any theatrical

producer spoil his fun.

Last September we were invited to come and spend a week with

a nice, intelligent couple, the Thayers. "I promise you," Mrs. Thayer

said, "that you won't be disturbed at all; we won't invite people in.

I won't allow Mr. Drake to even touch the piano. All day he can do

nothing or anything, just as he pleases."

We accepted the invitation. "If they stick to their promise, it

may be a lot better than staying in New York where my producer

won't give me a minute's peace," said Ben. 'And if things aren't as

good as they look, we always have that telegram."

The Thayers met us at the station in an expensive-looking

limousine. "Ralph," said Mrs. Thayer to her husband, "you sit in

one of the little seats and Mr. and Mrs. Drake will sit back here

with me."

"I'd rather have one of the little seats myself," said Ben and he

meant it.

"No, sir!" said Mrs. Thayer. "You came to us for a rest, and

we're not going to start you off uncomfortable." It was no use

arguing.

1 a method of putting off people - способ, как избавляться от людей

2 Stop — зд. точка

146

All through the drive Ben was unable to think of anything but

how terrible his coat would look when he got out.

After luncheon we had coffee.

"Don't you take cream, Mr. Drake?" Mrs. Thayer asked.

"No. Never."

"But that's because you don't get good cream in New York."

"No. It's because I don't like cream in coffee."

"You would like our cream. We have our own cows. Won't vou

try just a little?"

"No, thanks."

"But just a little, to see how rich it is." She poured some cream

into Ben's coffee-cup and for a second I held my breath and closed

my eyes for fear of seeing Ben throwing the cup in her face.

After luncheon we were sitting in the living-room when Ben

rose and went straight to the piano.

"None of that!" said Mrs. Thayer. "I haven't forgotten my promise."

"But there is a melody in my head that I'd like to try."

"Oh, yes, I know all about that. You just think that you MUST

play to us! We invited you here for yourself, not to enjoy your talent."

Ben walked over to the book-case and took a book out.

"What book is that?" asked Mrs. Thayer.

"The Great Gatsby," said Ben. "I've always wanted to read it."

"Heavens!" said Mrs. Thayer as she took it away from him.

"That's old! You'll find the newest ones there on the table. We keep

pretty well up to date. Ralph and I are both great readers. Just try

one of those books in that pile. They're all good."

Ben took a book, sat down and opened it.

"Man! Man!" exclaimed Mrs. Thayer. "You've picked the most

uncomfortable chair in the house."

"He likes straight chairs," I said.

"It makes me uncomfortable just to look at you. You'd better

take this chair here. It's the softest, nicest chair you've ever sat on."

"I like hard straight chairs," said Ben, fighting down his annoyance1,

but he sank into the soft, nice one and again opened the book.

"Oh, you never can see there!" said the fussy Mrs. Thayer. "You'll

ruin your eyes. Get up just a minute and let Ralph move your chair

to that lamp."

1 fighting down his annoyance - борясь с раздражением

147

"I don't believe I want to read just now," said Ben.

And so it went on all through the afternoon and evening.

Just as we were getting to sleep, Mrs. Thayer knocked on our

door. "I'm afraid you haven't covers enough," she called.

"Thanks," I said. "We're quite warm."

"I'm afraid you aren't," continued Mrs. Thayer to whom it never

occurred how annoying she was.

"Lock the door," said Ben ill-temperedly, "before she comes in

and feels our feet."

All through breakfast next morning we waited for the telephone

call about the telegram. The phone did ring once and Mrs. Thayer

answered, but we couldn't hear what she said.

After breakfast Ben told Mrs. Thayer that he had a feeling that

he must be back in New York.

"That's very strange," said Mrs. Thayer, "because a telegram

came to you at breakfast time. I wasn't going to tell you about it

because I had promised that you wouldn't be disturbed. I remember

the telegram by heart. It ran:

Bass drum part all wrong. Would like you to come to the theater

tonight.

Gene Buck"

Just as the trainmen were shouting "Board!" Mrs. Thayer said:

"Please forgive me if I have done something terrible, but I

answered Mr. Buck's telegram. I wired: "Mr. Ben Drake resting at

my home. Must not be bothered. Suggest that you keep bass drums

still for a week. And I signed my name."

17

Damon Runyon

Sense of Humour

One night I am standing1 in front of Mindy's restaurant on

Broadway, thinking of practically nothing whatever, when all of a

sudden I feel a very terrible pain in my left foot.

1 здесь и далее настоящее время используется для актуализации инфор-

мации

148

In fact, this pain is so very terrible that it causes me to leap up

and down like a bullfrog, and to let out loud cries of agony, and to

speak some very profane language, which is by no means my

custom, although of course I recognize the pain as coming from a

hot foot, because I often experience this pain before.

Furthermore, I know Joe the Joker must be in the neighbourhood,

as Joe the Joker has the most wonderful sense of humour of

anybody in this town, and is always around giving people the hot

foot, and gives it to me more times than I can remember. In fact, I

hear Joe the Joker invents the hot foot, and it finally becomes a

very popular idea all over the country.

The way you give a hot foot is to sneak up behind some guy

who is standing around thinking of not much, and stick a paper

match to his shoe between the sole and the upper along about

where his little toe ought to be, and then light the match. By and

by the guy will feel a terrible pain in his foot and will start stamping

around, and hollering, and carrying on1 generally, and it is always a

most comical sight and a wonderful laugh to one and all to see him

suffer.

No one in the world can give a hot foot as good as Joe the Joker,

because it takes a guy who can sneak up very quiet on the guy who

is to get the hot foot, and Joe can sneak up so quiet many guys on

Broadway are willing to lay you odds2 that he can give a mouse a

hot foot if you can find a mouse that wears shoes. Furthermore,

Joe the Joker can take plenty of care of himself in case the guy who

gets the hot foot feels like taking the matter up3, which sometimes

happens, especially with guys who get their shoes made to order at

forty bobs per copy and do not care to have holes burned in these

shoes.

But Joe does not care what kind of shoes the guys are wearing

when he feels like giving out hot foots, and furthermore, he does

not care who the guys are, although many citizens think he makes

a mistake the time he gives a hot foot to Frankie Ferocious. In fact,

many citizens are greatly horrified by this action, and go around

saying no good will come of it.

1 to carry on — беситься

2 are willing to lay you odds - готовы держать пари

3 to take the matter up — разобраться

149

This Frankie Ferocious comes from over in Brooklyn, where he

is considered a rising citizen in many respects, and by no means a

guy to give hot foots to, especially as Frankie Ferocious has no

sense of humour whatever. In fact, he is always very solemn, and

nobody ever sees him laugh, and he certainly does not laugh when

Joe the Joker gives him a hot foot one day on Broadway when

Frankie Ferocious is standing talking over a business matter with

some guys from the Bronx.

He only scowls at Joe, and says something in Italian, and while

I do not understand Italian, it sounds so unpleasant that I guarantee

I will leave town inside of the next two hours if he says it to me.

Of course Frankie Ferocious's name is not really Ferocious, but

something in Italian like Feroccio, and I hear he originally comes

from Sicily, although he lives in Brooklyn for quite some years, and

from a modest beginning, he builds himself up until he is a very

large operator in merchandise of one kind and another, especially

alcohol. He is a big guy of maybe thirty-odd, and he has hair blacker

than a yard up a chimney, and black eyes, and black eyebrows, and

a slow way of looking at people.

Nobody knows a whole lot about Frankie Ferocious, because he

never has much to say, and he takes his time saying it1, but everybody

gives him plenty of room when he comes around, as there

are rumours that Frankie never likes to be crowded. As far as I

am concerned, I do not care for any part of Frankie Ferocious,

because his slow way of looking at people always makes me

nervous, and I am always sorry Joe the Joker gives him a hot foot,

because I figure Frankie Ferocious is bound to consider it a most

disrespectful action, and hold it against everybody that lives on

the Island of Manhattan.

But Joe the Joker only laughs when anybody tells him he is out

of line in giving Frankie the hot foot, and says it is not his fault if

Frankie has no sense of humour. Furthermore, Joe says he will not

only give Frankie another hot foot if he gets a chance, but that he

will give hot foots to the Prince of Wales or Mussolini, if he catches

them in the right spot, although Regret, the horse player, states

that Joe can have twenty to one any time that he will not give

Mussolini any hot foots and get away with it.

1 he takes his time saying it - он не уставал повторять об этом

150

Anyway, just as I suspect, there is Joe the Joker watching me

when I feel the hot foot, and he is laughing very heartily, and

furthermore, a large number of other citizens are also laughing

heartily, because Joe the Joker never sees any fun in giving people

the hot foot unless others are present to enjoy the joke.

Well, naturally when I see who it is gives me the hot foot I join

in the laughter, and go over and shake hands with Joe, and when I

shake hands with him there is more laughter, because it seems Joe

has a hunk of Limburger cheese in his duke, and what I shake

hands with is this Limburger. Furthermore, it is some of Mindy's

Limburger cheese, and everybody knows Mindy's Limburger is very

squashy, and also very loud.

Of course I laugh at this, too, although to tell the truth I will laugh

much more heartily if Joe the Joker drops dead in front of me, because

I do not like to be made the subject of laughter on Broadway. But my

laugh is really quite hearty when Joe takes the rest of the cheese that

is not on my fingers and smears it on the steering-wheels of some

automobiles parked in front of Mindy's, because I get to thinking of

what the drivers will say when they start steering their cars.

Then I get to talking to Joe the Joker, and I ask him how things

are up in Harlem, where Joe and his younger brother Freddy, and

several other guys have a small organization operating in beer, and

Joe says things are as good as can be expected considering business

conditions. Then I ask him how Rosa is getting along, this Rosa

being Joe the Joker's ever-loving wife, and a personal friend of

mine, as I know her when she is Rosa Midnight and is singing in

the old Hot Box before Joe hauls off and marries her.

Well, at this question Joe the Joker starts laughing, and I can

see that something appeals to his sense of humour, and finally he

speaks as follows:

"Why," he says, "do you not hear the news about Rosa? She

takes the wind on1 me a couple of months ago for my friend Frankie

Ferocious, and is living in an apartment over in Brooklyn, right

near his house, although," Joe says, "of course you understand I

am telling you this only to answer your question, and not to holler

copper on2 Rosa."

to take the wind on — бросить

to holler copper on - зд. настучать

151

Then he lets out another large ha-ha, and in fact Joe the Joker

keeps laughing until I am afraid he will injure himself internally.

Personally, I do not see anything comical in a guy's ever-loving

wife taking the wind on him for a guy like Frankie Ferocious, so

when Joe the Joker quiets down a bit I ask him what is funny about

the proposition.

"Why," Joe says, "I have to laugh every time I think of how the

big greaseball is going to feel when he finds out how expensive

Rosa is. I do not know how many things Frankie Ferocious has

running for him in Brooklyn," Joe says, "but he better try to move

himself in on the mint1 if he wishes to keep Rosa going."

Then he laughs again, and I consider it wonderful the way Joe is

able to keep his sense of humour even in such a situation as this,

although up to this time I always think Joe is very daffy indeed

about Rosa, who is a little doll, weighing maybe ninety pounds

with her hat on and quite cute.

Now I judge from what Joe the Joker tells me that Frankie

Ferocious knows Rosa before Joe marries her and is always pitching

to her when she is singing in the Hot Box, and even after she is

Joe's ever-loving wife, Frankie occasionally calls her up, especially

when he commences to be a rising citizen of Brooklyn, although of

course Joe does not learn about these calls until later. And about the

time Frankie Ferocious commences to he a rising citizen of Brooklyn,

things begin breaking a little tough for Joe the Joker, what with the

depression and all, and he has to economize on Rosa in spots, and if

there is one thing Rosa cannot stand it is being economized on.

Along about now, Joe the Joker gives Frankie Ferocious the hot

foot, and just as many citizens state at the time, it is a mistake, for

Frankie starts calling Rosa up more than somewhat, and speaking

of what a nice place Brooklyn is to live in — which it is, at that —

and between these boosts for Brooklyn and Joe the Joker's economy,

Rosa hauls off leaving Joe a note telling him that if he does not

like it he knows what he can do.

"Well, Joe," I say, after listening to his story, "I always hate to

hear of these little domestic difficulties among my friends, but

maybe this is all for the best. Still, I feel sorry tor you, if it will do

you any good," I say.

J to move himself in on the mint - заработать денег

152

"Do not feel sorry for me," Joe says, "If you wish to feel sorry

for anybody, feel sorry for Frankie Ferocious, and," he says, "if you

can spare a little more sorrow, give it to Rosa."

And Joe the Joker laughs very hearty again and starts telling me

about a little scatter that he has up in Harlem where he keeps a

chair fixed up with electric wires so he can give anybody that sits

down in it a nice jolt, which sounds very humorous to me.

Finally Joe says he has to get back to Harlem, but first he goes

to the telephone in the corner cigar store and calls up Mindy's and

imitates a doll's voice, and tells Mindy he is Peggy Joyce, or somebody,

and orders fifty dozen sandwiches sent up at once to an

apartment in West Seventy-Second Street for a birthday party,

although of course there is no such number as he gives, and nobody

there will wish fifty dozen sandwiches if there is such a number.

Then Joe gets in his car and starts off, and while he is waiting for

the traffic lights at Fiftieth Street, I see citizens on the sideways making

sudden leaps and looking around very fierce, and I know Joe the

Joker is plugging them with pellets made out of tin foil, which he fires

from a rubber band hooked between his thumb and forefinger.

Joe the Joker is very expert with this proposition, and it is very

funny to see the citizens jump, although once or twice in his life

Joe makes a miscue and knocks out somebody's eye. But it is all in

fun, and shows you what a wonderful sense of humour Joe has.

Well, a few days later I see by the papers where a couple of

Harlem guys Joe the Joker is mobbed up with1 are found done up

in sacks over in Brooklyn, very dead indeed, and the coppers say it

is because they are trying to move in on certain business enterprises

that belong to nobody but Frankie Ferocious. But of course the

coppers do not say Frankie Ferocious puts these guys in the sacks,

because in the first place Frankie will report them to Headquarters2

if the coppers say such a thing about him and in the second place

putting guys in sacks is strictly a St Louis idea and to have a guy

put in a sack properly you have to send to St Louis for experts in

this matter.

Now, putting a guy in a sack is not as easy as it sounds, and in

fact it takes quite a lot of practice and experience. To put a guy in

1 to mob up with — тусоваться

2 Headquarters - главное полицейское управление

153

a sack properly, you first have to put him to sleep, because naturally

no guy is going to walk into a sack wide awake unless he is a plumb

sucker1. Some people claim the best way to put a guy to sleep is to

give him a sleeping powder of some kind in a drink, but the real

experts just tap the guy on the noggin with a blackjack, which

saves the expense of buying the drink.

Anyway, after the guy is asleep, you double him up like a pocketknife,

and tie a cord or a wire around his neck and under his

knees. Then you put him in a gunny sack, and leave him some

place, and by and by when the guy wakes up and finds himself in

the sack, naturally he wants to get out and the first thing he does is

to try to straighten out his knees. This pulls the cord around his

neck up so tight that after a while the guy is out of breath.

So then when somebody comes along and opens the sack they

find the guy dead, and nobody is responsible for this unfortunate

situation, because after all the guy really commits suicide, because

if he does not try to straighten out his knees he may live to a ripe

old age, if he recovers from the tap on the noggin.

Well, a couple of days later I see by the papers where three

Brooklyn citizens are scragged as they are walking peaceably along

Clinton Street, the scragging being done by some parties in an

automobile who seem to have a machine gun and the papers state

that the citizens are friends of Frankie Ferocious, and that it is

rumoured the parties with the machine gun are from Harlem.

I judge by this that there is some trouble in Brooklyn, especially

as about a week after the citizens are scragged in Clinton Street,

another Harlem guy is found done up in sack like a Virginia ham

near Prospect Park, and now who is it but Joe the Joker's brother,

Freddy, and I know Joe is going to be greatly displeased by this.

By and by it gets so nobody in Brooklyn will open as much as a

sack of potatoes without first calling in the gendarmes for fear a

pair of No. 8 shoes will jump out at them.

Now one night I see Joe the Joker, and this time he is all alone,

and I wish to say I am willing to leave him all alone, because

something tells me he is hotter than a stove. But he grabs me as I

am going past, so naturally I stop to talk to him, and the first thing

I say is how sorry I am about his brother.

1 a plumb sucker - болван, простофиля

154

"Well," Joe the Joker says, "Freddy is always a kind of a sap.

Rosa calls him up and asks him to come over to Brooklyn to see

her. She wishes to talk to Freddy about getting me to give her a

divorce," Joe says, "so she can marry Frankie Ferocious, I suppose.

Anyway," he says. "Freddy always likes Rosa, and thinks maybe he

can patch it up between us. So," Joe says, "he winds up in a sack.

They get him after he leaves her apartment. I do not claim Rosa

will ask him to come over if she has any idea he will be sacked," Joe

says, "but," he says, "she is responsible. She is a bad-luck doll."

Then he starts to laugh and at first I am much horrified thinking

it is because something about Freddy being sacked strikes his sense

of humour, when he says to me like this.

"Say," he says, "I am going to play a wonderful joke on Frankie

Ferocious."

"Well, Joe," I say, "you are not asking me for advice, but I am

going to give you some free gratis, and for nothing. Do not play

any jokes on Frankie Ferocious, as I hear he has no more sense of

humour than a nanny goat. In fact," I say, "I hear he is a tough1

audience."

"Oh," Joe the Joker says, "he must have some sense of humour

somewhere to stand for2 Rosa. I hear he is daffy about her. In fact,

I understand she is the only person in the world he really likes and

trusts. But I must play a joke on him. I am going to have myself

delivered to Frankie Ferocious in a sack."

Well, of course I have to laugh at this myself, and Joe the Joker

laughs with me. Personally, I am laughing just at the idea of anybody

having themselves delivered to Frankie Ferocious in a sack, and

especially Joe the Joker, but of course I have no idea Joe really

means what he says.

"Listen," Joe says, finally. 'A guy from St Louis who is a friend

of mine is doing most of the sacking for Frankie Ferocious. His

name is Ropes McGonnigie. In fact," Joe says, "he is a very dear

old pal3 of mine, and he has a wonderful sense of humour like me.

Ropes McGonnigie has nothing whatever to do with sacking

Freddy," Joe says, "and he is very indignant about it since he-finds

1 tough - зд. неблагодарный

2 to stand for — терпеть

J pal — друг

155

out Freddy is my brother, so he is anxious to help me play a joke

on Frankie."

"Only last night," Joe says, "Frankie Ferocious sends for Ropes

and tells him he will appreciate it as a special favour if Ropes will

bring me to him in a sack. I suppose," Joe says, "that Frankie

Ferocious hears from Rosa what Freddy is bound to tell her about

my ideas on divorce. I have very strict ideas on divorce," Joe says,

"especially where Rosa is concerned. I will see her in what's-this

before I ever do her and Frankie Ferocious such a favour as giving

her a divorce."

'Anyway," Joe the Joker says, "Ropes tells me about Frankie

Ferocious propositioning him, so I send Ropes back to Frankie

Ferocious to tell him he knows I am to be in Brooklyn tomorrow

night, and furthermore, Ropes tells Frankie that he will have me in

a sack in no time. And so he will," Joe says.

"Well," I say, "personally, I see no percentage in being delivered

to Frankie Ferocious in a sack, because as near as I can make out

from what I read in the papers, there is no future for a guy in a

sack that goes to Frankie Ferocious. What I cannot figure out," I

say, "is where the joke on Frankie comes in."

"Why," Joe the Joker says, "the joke is, I will not be asleep in the

sack, and my hands will not be tied, and in each of my hands I will

have a John Roscoe, so when the sack is delivered to Frankie

Ferocious and I pop out blasting away, can you not imagine his

astonishment?"

Well, I can imagine this, all right. In fact, when I get to thinking

of the look of surprise that is bound to come to Frankie Ferocious's

face when Joe the Joker comes out of the sack I have to laugh, and

Joe the Joker laughs right along with me.

"Of course," Joe says, "Ropes McGonnigle will be there to start

blasting with me, in case Frankie Ferocious happens to have any

company."

Then Joe the Joker goes on up the street, leaving me still

laughing from thinking of how amazed Frankie Ferocious will be

when Joe bounces out of the sack and starts throwing slugs around

and about. I do not hear of Joe from that time to this, but I hear

the rest of the story from very reliable parties.

It seems that Ropes McGonnigle docs not deliver the sack

himself, after all, but sends it by an expressman to Frankie Fero-

156

cious's home. Frankie Ferocious receives many sacks such as this

in his time, because it seems that it is a sort of passion with him to

personally view the contents of the sacks and check up on them

before they are distributed about the city, and of course Ropes

McGonnigle knows about this passion from doing so much sacking

for Frankie.

When the expressman takes the sack into Frankie's house,

Frankie personally lugs it down into his basement, and there he

outs with a big John Roscoe and fires six shots into the sack because

it seems Ropes McGonnigle tips him off1 to Joe the Joker's plan to

pop out of the sack and start blasting.

I hear Frankie Ferocious has a very strange expression on his

pan and is laughing the only laugh anybody ever hears from him

when the gendarmes break in and put the arm on him for murder,

because it seems that when Ropes McGonnigle tells Frankie of Joe

the Joker's plan, Frankie tells Ropes what he is going to do with his

own hands before opening the sack. Naturally, Ropes speaks to Joe

the Joker of Frankie's idea about filling the sack full of slugs, and

Joe's sense of humour comes right out again.

So, bound and gagged, but otherwise as right as rain2 in the

sack that is delivered to Frankie Ferocious, is by no means Joe the

Joker, but Rosa.

1 to tip off — выдать

2 as right as rain - целая и невредимая

ЛИТЕРАТУРА

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2. Чуковский К. Высокое искусство. М., 1968.

3. Флорин С. Муки творческие. М„ 1983.

4. Гинзбург Л. Разбилось лишь сердце мое. "Новый мир", 1981, № 8.

5. Лилова А. Введение в общую теорию перевода М., 1985.

6. Поповиг А. Проблемы художественного перевода. М., 1980.

7. Комиссаров В. Н. Слово о переводе. М., 1973.

8. Комиссаров В. Н. Общая теория перевода. М., 1999.

9. Комиссаров В. Н. Современное переводоведение. М., 2000.

10. История русской переводной художественной литературы. СПб, 1995.

11. Финкель А. 66-ой сонет в русских переводах // Мастерство перевода.

М., 1968.

12. Брандес М. П. Стиль и перевод. М., 1988.

13. Латышев Л. К. Перевод: проблемы теории, практики и методики пре-

подавания. М., 1988.

14. Рецкер Я. И. Теория перевода и переводческая практика. М., 1974.

15. Бархударов Л. С. Язык и перевод. М., 1975.

16. Вопросы теории перевода в зарубежной лингвистике. М., 1978.

17. Гагегиладзе Г. Р. Введение в теорию художественного перевода. Тбили-

си, 1970.

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Минск 1972.

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20. Галь Н. Слово живое и мертвое. М., 2001.

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М., 1964.

СОДЕРЖАНИЕ

Введение 3

Некоторые теоретигеские положения 4

Занятие 1. Можно ли перевести подтекст? 11

Занятие 2. Перевод поэзии 19

Занятие 3. Русский Бернс 22

Занятие 4. Шекспир в русских переводах 40

Занятие 5. Байрон в русских переводах 46

Занятие 6. Винни-Пух говорит по-русски 59

Занятие 7—8. Русские переводы "Алисы в стране чудес" 72

Практические занятия 107

I. Тексты, в которых преобладает информация первого рода

(общественно-политические и научные) 107

И. Тексты, в которых преобладает информация второго

рода 118

Литература ,. 158
1   ...   8   9   10   11   12   13   14   15   16

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