ВОПРОСЫ АНГЛИЙСКОЙ И ФРАНЦУЗСКОЙ ФИЛОЛОГИИ 1972. ВЫП.8

71 lIPHi.IEPL!: 1 . "But what y ou t e l l me a b o u t l e t t e r s " . Rose s a i d , "ifr s u r p r i s i n g " . ( J . l . M . S t e w a r t , "The L a s t T r e a i l i a n s " , London, 1 9 6 6 , p . 5 2 ) . 2 . "What I s a i d I s t r u e " . (P .A b rah am s, "The P a t h o f Th u n d er, M ., 1956, p.22'*-). 5 . "What y o u ' l l p r o b a b l y g e t i s c a n c e r o f t h e m o u t h . . . " ^ (B .A lb e e , "The Zoo S t o r y " , P l a y s o f th e Modern T h e a t r e , . L . , 1 9 7 0 , p . 2 0 ) . Й, "T h a t y ou a r e coming down on him nee<). hav e n o t h i n g t o do w i t h i t " . (H. Jam es, "The Am b a s s a d o rs ," N . f . , 1964, p # 4 4 ) . 5 , "What I was t h i n k i n g o f , " sh e e x p l a i n e d , " i s th e p o s s ­ i b l e p a r t i c u l a r e f f e c t on him o f h i s m i l i e u " . ( I b i d . , . p . 4 4 ) . 6 , "What 1 have w r i t t e n s t a y s " . (A. Wesker, "C h ip s w i t h Ev ery t h i n g " . P l a y s o f th e Modern T h e a t r e , L . ,1 9 7 0 , _ p , 1 6 5 ). ’ ' 7 , "V/ell, wh at I have b een moaning, t o t e l l y o u a b o u t i s . th e d o g ; . . , " (B .A lb e e , i b i d . , p , 2 7 ) . a. "M a rg a re t, w h a t y o u s a i d b e f o r e d i n n e r was, o f Q o u rse, im p o s s i b l e ? " ( 0 . W ild e , P l a y s , 1,1., 1 961, p . 4 6 ) . 9 , "What was h a p p e n in g t o h i s men was s om e th in g t e r r i b l e " . . ( J . H e r s s y , " I n t o t h e V a l l e y " , N . Y . , 1966, p , 7 9 ) . 1 0 , "What H e r b e r t h a d s a i d was t r u e " . (W.'s. Maugham, "The K i t e " , S t o r i e s b y Modern E n g l i s h A u t h o r s , M ., 1961, p , 5 в ) . 1 1 . "You s e e , P l a t a , what t h e y ' v e done t o me h a s t r i e d me t o h e r w i t h s om e th in g s t r o n g e r t h a n l o v e " . ( P . A b r a - .hams, i b i d , , p . I 7 5 )> -■ 1 2 . "And yrhat I saw th e n h as b e e n t h e same a v e r s i n c e " . ( E .A lb e e , i b i d . , p . 5 2 ) . 1 5 . "What t h e r e was i n i t o f th e p u r e l y s e n s u o u s i n s t i n c t o f boyhood h a d b e e n t r a n s f o r m e d b y t h e v /o rk in g s o f th e i m a g i n a t i o n , . . . " ( 0 . W ild e , "The P i c t u r e o f Do-