UNIT EIGHT

UNIT EIGHT

SPEECH PATTERNS

The cold wet weather prevented the Lowood girls from go­ing for long walks. His rheumatism often prevented Salvatore from doing anything at all. You'd better keep yourself from taking extreme measures.

EXERCISES

Pattern 1: 1. The explorers could not reach the southern boundaries of the desert because of the scorching heat and lack of fresh water. 2. The day… Pattern 2: 1. Amy did not say a word and left the room. 2. You can hardly… Pattern 3: 1. Owing to the smallness of our boat it was easy to navigate in such shallow waters. 2. It was impos­sible…

V. Think of short situations in which you can use these patterns.

On a cold grey morning of last week I duly turned up at Euston to see off an old friend who was starting for America. Overnight we had given a farewell dinner, in which sad­ness was well mingled… And now, here we were, stiff and self-conscious on the platform; and framed in the window of the railway-carriage, was…

VOCABULARY NOTES

2. подавать на стол, е.g. The waiter served the soup, Dinner is served, 3. обслуживать, е.g. There was no one in the shop to serve me. to serve smb. right,е.g. It serves you right for having disobeyed me.

NOTES ON STYLE

2. Inversion (change of the usual order of words) may be used for stylistic purposes either to focus the read­er's attention on a certain part of… 3. Repetition is another stylistic device used for the purposes of emphasis.… The repetition of the same syntactical pattern twice or several times is called syntactical parallelism, е.g. It…

ESSENTIAL VOCABULARY (I)

Words

banker n final adj obedience n

bureau n guess υ obedient adj

departure n impress υ obey υ

disobedient adj impressive adj platform n

earn υ light υ prevent υ

envy υ move υ serve υ

familiar adj mystery n service n

fellow-passenger n sociable adj

Word Combinations

to see smb. off to wave farewell to smb.

to break the silence to shuffle from foot to foot

to pass the time to make (leave, produce)

to be familiar with smth. (to smb.) an impression on smb.

in the old days (in the olden days) to put out the light

a letter of introduction to serve smb. right for...

to earn one's living

EXERCISES

A.1. Explain the use of tenses in: a) the second sentence of the text; b) the following sentence: "A middle-aged man was talking earnestly to a… 2. Point out sentences in which oblique moods are used and explain the meaning… 3. Comment on the use of the auxiliary did in "he did act".

B) Explain the difference between the synonyms within each pair. (See Notes on p. 18.) When in doubt, consult dictionaries.

1. Where is the scene laid in the story? 2. How did the seers-off feel and why? What were they doing to pass the time? 3. What made the narrator of… V. Study Vocabulary Notes, translate the illustrative examples and a) give… naughty adj, good adj (about a child), put an end to;

B) give antonyms oft

c) give derivatives of: press, serve, prevent, earn, obey, familiar. VI. Fill in appropriate words (coasult Essential Vocabulary (I) list):

XI. Try your band at teaching.

Mary was an excellent pupil from the first day she en­tered school. She was known to all the teachers as "the ex­ceptionally bright girl."… ХII. a) Retell the text: 1) in the third person; 2) as if yon ware the…

B) Give a summary of the story.

1. Что-то помешало мне пойти на прощальный ужин. 2. Лицо моего спутника показалось мне знакомым, я, должно быть, где-то видел его раньше. 3. Его… XIV. Act out the scene: "Where are you for?" the train conductor asked an old lady.

LABORATORY EXERCISES (I)

1. Listen to the text "Seeing People Оff", mark the stresses and tunes. Repeat it following the model.

Respond to the given questions according to the model.

Extend the statements. Express your disbelief, surprise or doubt in response to the given sentences. Follow the models.

4. Write a spelling-translation test: a) translate the phrases into English; b) check them with the key.

5. Listen to the text "Climbing" or some other text on the topic "Seeing People off" and write it as a reproduction.

6. Listen to the poem "Adieu, adieul.." by G. G. Byron. Mark the stresses and tunes, repeat it following the model and learn it by heart.

TOPIC: TRAVELLING

TEXT A. DIFFERENT MEANS OF TRAVEL .

Bert: But what method of travelling do you prefer? A.: For me there is nothing like travel by air; it is more comfortable, more… В.: I think I should like to say a word or two for trains. With a train you have speed, comfort and pleasure…

TEXT В. АТ ТНЕ STATION

J.: Yes, here they are. I booked seats for you and me; trains are usually crowded at this time. We have numbers A 26 and A 30; two corner-seats in a… F.: That's very good, Jan. I don't like going a long jour­ney in a smoker. May… J.: Of course! You can take whichever seat you like. As a matter of fact, I really prefer sitting with my back to the…

TEXT С. A VOYAGE ROUND EUROPE

A.: Oh, I've had a fantastic timeJ I've just been on a cruise round Europe with my Dad. L.: Oh, you lucky thing! You must have seen so many in­teresting places. Where… A.: Well, we left from Odessa...

Memory Work

From a Railway Carriage

Faster than fairies, faster than witches,

Bridges and houses, hedges and ditches;

And charging along like troops in a battle,

All through the meadows, the horses and cattle;

All of the sights of the hill and the plain

Fly as thick as driving rain;

And ever again, in the wink of an eye,

Painted stations whistle by.

Here is a child who clambers and scrambles,

All by himself and gathering brambles;

Here is a tramp who stands and gazes;

And there's the green for stringing the daisies!

Here is a cart run away in the road,

Lumping along with man and load;

And here is a mill and there's a river;

Each a glimpse and gone for ever! Robert L. Stevenson

NOTES ON SYNONYMS

travel n: the act of travelling, esp. a long one in distant or foreign places, either for the purpose of discovering some­thing new or in search of… journey n: the act of going from one place to another, usu­ally taking a… voyage n: a rather long journey, esp. by water or air; е.g. I'd love to go on a voyage, would you? The idea of an…

ESSENTIAL VOCABULARY (П)

Words

booking-office n journey n smoker

cabin n hitch-hiking n (smoking-car) n

cargo-ship n luggage n speed n

cruise n luggage-van n steamer n

deck n porter n tour n

dining-car n rough adj travel n

engine n sail υ trip n

fare n sea-gull n voyage n

flight n seasickness n walker n

guide n sleeper (sleeping-car) n wave n

Word Combinations

to go on a journey, trip, to travel second/standard

voyage, a package tour class

to travel by air (train, to call at a port

boat, cruiser, liner, etc.) to go ashore

to change from train to boat, bad (good) sailor

(cruiser, liner) to make a trip, journey

(But: to change for a boat. on deck

Also: Where do I change for on shore

Paris?) to look inviting

to be seasick, to be travelsick to be due at (a place)

(in any kind of transport) direct/through train

single ticket you can't beat the train

return ticket (return berth) a home lover/stay-at-home/

to travel/go first class a home-stay type

EXERCISES

1. What means of travel do you know? 2. Why are many people fond of travelling? 3. Why do some people like trav­elling by train? 4. Do you like… II. Fill in appropriate words (consult the list of synonyms on pp. 291—… I. I'd be delighted to go on a sea .... but my wife has nev­er been a good sailor, so we can't join you. 2. Last week…

VII. Role-playing.

You are a family deciding on the type of holiday you will go on next summer. Then report to the other families on your final decision, explaining… VIII. Translate the following into English: 1. В какие порты будет заходить «Победа»? Зайдет ли она в Дувр? 2. Я не очень люблю морские путешествия. Я плохо…

IX. Make up dialogues.

A. Two friends are discussing different ways of spending their holidays. They both want to travel, but one of them is an enthusiast ready for… B. A person who has just returned from a foreign cruise is answering the… C. An old lady is talking to a porter at the railway plat­form. She keeps forgetting the name of the place she is…

A Sea Trip

I objected to the sea trip strongly. A sea trip does you good when you are going to have a couple of months of it, but, for a week, it is wicked. … You start on Monday with the idea that you are going to enjoy yourself. You… I remember my brother-in-law going for a short sea trip once for the benefit of his health. He took a return berth…

ХIII. Try your hand at teaching.

The Only Way to Travel Is on Foot When anthropologists turn their attention to the twenti­eth century, they will… The future history books might also record that we did not use our eyes. In our hurry to get from one place to…

B. Describe the pictures. Use the suggested phrases.

С See if the travellers have acted sessibly. Support your idea.

a) give me a walking tour every time; you can't beat (hitch-) hiking; need you take so much luggage? b) to get to wild, un­inhabited places; to be hardly able to go on; to be nearly drowned in a swamp; unimaginable hardships; to overcome the obstacles; c) there was a turn in the weather, it was pour­ing; flashes of lightning, rolls of thunder, I wish I were in a railway carriage now!; d) to climb the steepest rocks; to face the danger of...; to get to places where no man's foot has ever stepped; e) to reach the top in safety, to be hardly able to be­lieve one's eyes; you could knock me down with a feather.

STUDIES OF WRITTEN ENGLISH

VIII

Different patterns of writing (see "Studies" in Unit One) seldom occur alone, more often they blend into one another, especially in letter writing.

Letteris a specific kind of written composition involving a concrete writer, message and a concrete reader. In many ways it is a free composition. A letter is in a sense, a theme, gov­erned by the same rules of writing that govern every other kind of composition. It must be clear, well organized, coher­ent. And it should be interesting.

But a letter is also governed by certain other laws, or con­ventions of usage, which the letter writer cannot ignore.

These are the parts of a letter: the heading, the inside ad­dress, the greeting, the body of the letter, the complimentary close, the signature.

For each of these parts usage has prescribed certain set forms depending on different types of letters — personal or business letters, informal or formal social notes.

The heading.The parts of a heading, written in the fol­lowing order, are the street, address, the name of a city or town (the name of the state in the U.S.A.), the date, е.g.

Vine Cottage Oxford Road Abingdon-on-Thames 13 May 19...

N о t e: In Great Britain very often the house is not numbered but has a "proper" name, like "Vine Cottage",

The inside address. In a business letter the inside ad­dress is the address of the person written to. In personal let­ter the inside address is usually omitted.

In a business letter it is always correct to use a personal title with the name of the person addressed. A business title should not precede the name. Correct personal titles are: Mr., Mrs., Miss, Dr., Professor, Messrs., е.g.

Dr. Т. С Howard

Superintendent of Schools

The Greeting.The following forms are correct for busi­ness and professional letters:

Gentlemen: Ladies:

Dear Sir: Dear Madam:

My dear Sir. My dear Madam:

Dear Mr. Warren: Dear Miss Howard:

In personal letters either a colon or a comma may be used after the greeting. A comma is considered less formal. In personal letters the range of greetings is unlimited and in­formal, like "My own Lovey-Dovey" of Judy's "Dear Daddy Long-Legs".

The Body of the Letter. A good letter should be clear, di­rect, coherent, dignified and courteous.

The Complimentary Close. Correct forms for business let­ters are:

Yours truly, Yours very truly, Very truly yours,

Respectfully yours, Faithfully yours. Sincerely yours,

Yours sincerely, Cordially yours.

The Signature. Some of the conventions should be ob­served: a) neither professional titles, nor academic degress should be used with a signature; b) an unmarried woman should sign herself as Miss Laura Blank, but she may place Miss in parentheses before her name if she feels that it is necessary for proper identification; c) a married woman or a widow signs her own name, not her married name. For ex­ample, Diana Holiday Brown is her own name; Mrs. George Brown is her married name,

Here is an example of a business letter:

Dear Miss Carnaby,

Allow me to enclose a contribution to your very deserv­ing Fund before it is finally wound up.

Yours very truly,

Hercule Poirot.

Assignments:

Go over the letters (see Unit Five) and copy down the samples of the complimentary close.

2. Write a reply to Judy's letter as if you were the person she wrote her letter to.

Write a letter to a friend sharing the memories of your holiday trip and your feelings at the station on the day of departure.

4. Write a letter to your dean in which you request permission to stay at your parents' several days more. Give your reason clearly and convincingly.

XV. Film "Mr. Brown's Holiday". Film Segment 8 "Caught in the Rain" (On the Way to Yeovil). a) Watch and listen, b) Do the exercises from the guide to the film.

LABORATORY EXERCISES (II)

1. Listen to the text "Different Means of Travel", mark the stresses and tunes. Repeat it following the model.

2. Listen to the conversation "At the Station", mark the stresses and tunes; repeat after the tape, learn the text by heart.

3. Listen to the dialogue "A Voyage Round Europe", mark the stresses and tunes. Repeat the text following the model and record your variant. Compare your variant with the model and correct your pronunctalion mis­takes.

4. Write a spelling-translation test: a) translate the phrases into English; b) check them with the key.

5. Listen to some text on the topic "Trawelling", Retell it in class.

Listen to some anecdotes. Put down the word combinations you find useful. Act them out in class (oral and written work).

7. Listen to the poem "From a Railway Carriage". Mark the stresses and tunes. Repeat after the tape. Learn it by heart.

CURIOSITY QUIZ FOR EAGERS

What do you know about

1. Christopher Columbus and the history of his discovery? Why wasn't America named in his houour? After whom was it named and why?

2. Captain Cook, Sir Francis Drake, Roald Amundsen, Mlckloukha-Macklay, the Papanin expedition?

3. The Mystery of the Atlantis, the Mystery of the Bennudian Triangle, the Mystery of the Easter Isle, the Loch Ness Monster?

UNIT NINE

I. SPEECH PATTERNS

"I tell you I was moved. So were you, I dare say." "I wasn't trying to act. 1 really felt." "So did I, my… My friend guessed what mystery they were talking about. So did I.

EXERCISES

Pattern 2: 1. The Murdstones thought that David was disobedient. 2. Everybody found that there was some­thing mysterious about Lady Alroy. 3. We… Pattern 3: 1. Sabina came into the hall, she saw that he was sitting at the… Pattern 4: 1. Erik started to read the letter again. 2. Soon the porters began to pull luggage along the plat­form. 3.…

V. Write 12 questions suggesting answers with these patterns. (The questions in Ex. IV may serve as a model.)

Priestley, John Bointon (1894-1984) is the author of numerous novels, plays and literary essays well-known all over the world. Of his pre-war novels… Priestley loves people. His favourite character is a little man, an… When they arrived at the music-hall, the doors for the second house were just opening, and they walked straight into…

VOCABULARY NOTES

2. направление, е.g. Can you show me the way to Trafal­gar Square? (Как пройти...?) N o t e : wayis but seldom used to denote a specially built means of… to make one's wayидти вперед, проходить, е.g. They made their way through the silent streets of the sleeping city.

ESSENTIAL VOCABULARY (I)

Words

anxiety n attendant n imitate υ anxious adj

audience n make υ anxiously adv entertain υ

make-up n attend υ entertainment n wear υ

attendance n hold υ, n wings n, pl wipe υ

Word Combinations

to make (a) noise a long way from

to lead the way (to) to lose one's (the) way

to look about oneself to be (get) out of the way

about (of) smb.'s age to have one's (own) way

members of the orchestra to catch hold of smth.

anxious (worried) about smth. to keep hold of smth.

to make jokes to lose hold of smth.

to make oneself at home to hold a meeting

to make up smth. to hold on to smth.

to make one's way

EXERCISES

A.1. Explain the use of tenses in: a) "...a performer said he would imitate 'our dear old favourite' So-and-so, and named a music-hall star… 2. Explain the use of all the articles in the fragment be­ginning with… B.1. How do you understand the word human in "...alto­gether more human than the picture theatres..."?

And write your own sentences with the same word-combinations,

b) Find in the text sentences with:

altogether, nearly, usually, then, at first, soon, whatever it is, any more, no longer

And write your own sentences with the same words and phrases.

1. When did Rose and Mrs. Burlow arrive at the music-hall? 2. Where were their seats? 3. Were the stalls expen­sive? 4. In what way did the audience… V. Search the text for adjectives and classify them into two groups according…

VI. Tell the story of Rose as your own experience in the past.

VII. Study Vocabulary Notes and a) translate the examples; b) give synonyms of:

road n, eager a, amusing a, wear υ;

c) give antonyms of:

to find one's way, to lose hold of;

d) give derivatives of:

attend, entertain, wear.

VIII. Fill in with:

A) be anxious, worry, trouble, bother.

b) anxious and its derivatives: 1. What are you so ... about? 2. Her ... face was pale. 3, We were full of ...… с) attend and its derivatives:

A) between Rose and Mrs. Burlow (after the performance);

B) between the old clown and his wife (before he went on to the stage);

C) between two readers (about the episode described in the passage and the author of the story).

ХII. Insert prepositions or adverbs where necessary:

1. Don't worry your pretty little head ... the mysterious visitor. 2. By arranging good marriages for her daughters she expected to make......all the disappointments of her own career. 3. He sat quite still and stared with those wide immo­bile eyes of his ... the picture. 4. He has a bath ... cold water every morning. — Oh! He is made ... iron, that man. 5. Are we ... the way? — No, you couldn't have come more fortu­nately. 6. I suppose it was natural... you to be anxious ... the garden party. But that's all... now. There's nothing more to worry ... . 7. He arrived ... the Lomond Hotel, vегу hot and sweaty and exhausted and had an obscure feeling that they would take one look ... him and then ask him to go ... .

ХIII. Make up a story, using the words and phrases from Essential Vocabulary I.

1. Войдя в холл, она посмотрела вокруг и направилась к зерка­лу. 2. Она ухватилась за мою руку, чтобы не упасть. 3. Мы спуска­лись к реке, держась…

XV. Test on synonymy. Consult Notes on pp. 18 and 201.

1. Prove that the following words are (or are not) synonyms:

way — road — path — track — highway — street;

to be anxious — to be sorry — to worry — to trouble — to bother — to be upset;

to want — to be eager — to be anxious.

Point out the synonymic dominant of each group.

Explain how synonyms of each group differ one from another according to differentiations suggested in Notes on Synonyms.

Synonyms within the following pairs differ by style. Point out which of them are bookish, colloquial or neutral.

picture house — cinema to get on in years — to age to endeavour — to try to sing (perform) — to render desolate — sad to clap — to applaud XVI. Go over the text again and try to discuss the following:

LABORATORY EXERCISES (I)

1. Listen to the text "Rose at the Music-Hall", mark the stresses and tunes. Repeat the text following the model.

Re-word the given sentences, making all the necessary changes.

Extend the following sentences according to the model.

5. Listen to the text "Chaplin" or the story of another famous actor. Pick out the main points from each paragraph, write a summary of the… TOPIC: THEATRE TEXT A. DRAMA, MUSIC AND BALLETIN BRITAIN

TEXT B. AT THE BOX-OFFICE

— Matinee or evening performance? — Evening, please. — Well, you can have very good seats in the stalls. Row F.

TEXT С. PANTOMIMES

Tony: Yeh, that sounds good. I don't think I've seen one since I was about fourteen — except for one on ice when I was crazy about skating, and… Sally: No. Ice shows don't have all the wonderful tradi­tional scenery and… Tony: Pantomimes are awfully old, if you think about it, aren't they? I mean with a girl playing the part of the…

ESSENTIAL VOCABULARY (II)

Words

act υ gallery n properties acting n

interval n (props) n balcony n lighting n

repertoire n box n matinee n row n

cast n orchestra-pit n stage-manager n company n

pit n stalls n costumes n produce υ

(theatre-) house n director n producer n treatment n

dress-circle n production n

Word Combinations

professional theatre the setting of a scene repertory company

light and sound effects amateur theatre to produce a play

dramatic society

EXERCISES

A. 1. What is the centre of theatrical activity in Great Britain? 2. Which theatrical companies receive financial sup­port from Arts Council? 3.… B. 1. How is the Russian theatre organized? 2. What Rus­sian theatres are best… II. Try your band at teaching:

III. Learn Text В by heart. Act out this dialogue.

IV. Retell Text С in your own words.

V. Translate the following into English: Когда мы пришли, зал был уже полон. Через несколько минутза­навес поднялся, и… Состав исполнителей был неплохой, а игра актера, исполняв­шего главную роль, была просто великолепна. Когда он был на…

B) Make up dialogues discussing the points above.

Chekhov's play "... Sea-gull" was first staged in ... Alexan-drinsky Theatre in... Petersburg. It was ... complete failure.... play was… In ... memory of that event... white sea-gull spreads its wings on ... curtain… b) Answer the following questions:

XI. Sole-playing.

St. A: a famous producer St. В.: a celebrated actor St. C: a talented young actress, who made an immediate hit with her sensitive and moving performance

B) Comment on the fragments above.

1. Why is it that people go to the theatre? What do they look for there? 2. What is your favourite theatre and why? 3. The fragment above (Ex. XII B) describes the case when "the imagination of the spectator begins to be haunted…

Classroom English. (Revision);

b)It's a routine English lesson in the middle of the term. The lesson isn't going too well You are trying to keep your…

STUDIES OF WRITTEN ENGLISH

IX

One of the most effective exercises in good writing is a free composition.

Free composition is a piece of independent writing (3—5 pages in length). You are free to select the subject, to decide on the pattern of writing (narrative, descriptive, argumenta­tive, expository), and to choose writing technique (keywords, topic sentences, connectives and transitions).

In the process of free composition there are three main points to consider: what to say — selection of a subject and the theme, how to arrange the material in the best order, and how to express your thoughts in the best possible lan­guage.

The theme and subject should be selected with care so that you know exactly what you mean to write about and what is the purpose of writing — is it describing, entertain­ing, persuading or instructing?

"The British Isles" is, for instance, of descriptive nature, "How We Kept Mother's Day" is both entertaining and in­structing, Judy's letters are sincerely persuading.

Composition must be unified and complete. It must have a beginning, middle, and end. It must be coherent; that is, systematic in its presentation, with reference to time, to point of view, and to situation. It must reveal your attitude or judge­ment towards material and characters or towards your reader, or both.

The beginning, or introduction expresses the occasion, the problem, and the purpose. A good beginning attracts the reader's attention, his interest and sometimes his emotions (see the beginning of "How We Kept Mother's Day" or of "A Friend in Need").

The middle or body of the composition in its turn makes the problem clear through narration, description, argument or exposition (compare different passages from this textbook). Usually the middle includes the details. It may have the turn­ing point or climax describing the moment of greatest emo­tions.

The end or conclusion is the result of that clarification. The author provides an answer to the main question. It is usually marked by a summary statement emphasizing the message (compare the final sentences in "A Day's Wait", "How We Kept Mother's Day", "Rose at the Music-hall").

Assignments:

1. Write a composition explaining the message of the passage "Rose at the Music-ball.

2. Write a composition following the events described in the pictures on pp. 338-339.

Write a composition describing your visit to a theatre and your impressions of the prevailing atmosphere,

If you have become proficient at writing compositions as an exercise you may turn to teaming how to write compositions as art. Try your hand at writing a composition about the best way to comfort your mother (father, child, sister or brother, friend).

Evaluate your composition according to the main principles of good writing: unity, coherence, and emphasis.

LABORATORY EXERCISES (II)

1. Listen to the text "Drama, Music and Ballet in Britain", mark the stresses and tunes. Repeat the text following the model.

2. Record the dialogue "At the Box-Office" in pairs. Listen to the records and discuss them in class.

3. Listen to the dialogue "Pantomimes", mark the stresses and tones. Repeat it following the model.

4. Write a spelling-translation test:

A) translate the phrases into English;

B) check them with the key.

Respond to the following questions or statements and correct them if necessary.

Listen to the story. Write ten questions about the text. Suggest a title for the text and give reasons for your choice. Find evidence in the text to support the following statements.

CURIOSITY QUIZ FOR EAGERS

1. What do you know about K. S. Stanislavsky, his role in the history of the Moscow Art Theatre and bis influence on world theatre?

2. Where do the following quotations come from? Who says the lines? Under what circumstances?

a) The time is out of Joint Oh, cursed plight. That ever I was bom to set it right '

B) Beware, my lord, of the jealousy;

It is the green-eyed monster, that doth mock The meat it feeds on.

c) How sharper than a serpent's tooth it is To have a thankless child.

3. What do you know about the problem of Shakespeare's authorship?

4. What do you know about the Sovremennik Theatre? about the Lenkom Theatre? about the Tovstonogov Theatre in St Petersburg?

5. Listen to a text connectid with the topic "Theatre".

SUPPLEMENT

A. CLASSROOM ENGLISH

I. Pupil Language

This section contains a list of phrases that pupils might be expected to use during an English lesson.

Following the Lesson

I'm sorry, I didn't understand. You're speaking too quickly.

I didn't get that down. Could you say it again? Could you repeat the last bit?

I missed the beginning of what you said. Could you explain again, please?

Shall we do the exercise in our work books? Are we supposed to finish this off at home?

What do we have to do next? Could you write it up on the board, please?

Is it my turn? (Am I next? Shall I start?)

Correctness of Answers

Why can't you say ...? Is this a mistake? What's wrong with (saying)...?

Why did you mark this wrong? Why did you put a line under this word?

Isn't there a mistake in sentence 3? Shouldn't there be an article?

I think you've made a mistake on the board.

Language Questions

How do you spell...? Are there two ‘l’s or only one?

How do you pronounce the next word? I'm not sure how to say the next word.

Could you use the future (passive) here? Can we leave this out (miss this out) ?

Is there a shorter (better) way of saying this?

Politeness

I'm sorry I'm late; I've been to ... I'm afraid I've left my book at home.

Could I leave ten minutes earlier (at twenty to ...)?

Could I have another copy? Have you got an extra sheet?

Shall I turn the lights out?

II. Beginning of Lesson

Let me introduce myself, I'll be teaching you English this year.

It's time to start now, / We can get down to (some) work.

I'll just mark the register. Who is missing (away, not here today) ?

Try not to be late next time.

I'm waiting to start.

III. End of Lesson

There's the buzzer (bell). / We'll have to stop here.

Right. You can put your things away and go.

How are we doing for time?

There are still three minutes to go.

We still have a couple of minutes left.

Hang on a moment/just hold on a minute.

One more thing before you go.

Revise what you did today and then try exercise 5.

Do the rest of the exercise as your homework for tomor­row.

There will be a test on this next Tuesday (in the near fu­ture).

IV. Blackboard Activity

Go to the board (when the teacher is standing at the back of the class). Move out of the way (step aside) so that everyone can see. Is there anything to correct (that needs correcting)?

VI. Textbook Activity

Fetch the dictionaries from the teacher's room (staff-room). You will have to share (your book) with Nick. Take out your books and open them at page 27 (Unit 2).

VII. Class Control

Look this way. / Look up for a moment. Be quiet! Everyone listen. Don't all shout. / Don't talk at once.

IX. Assessment

Very good. Well done. That's nice. You made a very good job of that.

That's much (a lot) better. You've improved a little.

You can't say that, I'm afraid.

You still have some trouble with your spelling (sounds, etc.).

You need some more practice with ...

I wasn't very satisfied with that. You can do better than that.

That was rather disappointing.

Try harder. A bit more effort. I hope you do better next time.

The following comments are often used on written work:

Excellent work. Very well done. Good stuff. Keep it up. Ade­quate.

Much better. Shows some improvement. Great improve­ment.

Satisfactory. Could do better. Too many careless slips. Careless.

Needs to show more effort. Not up to your usual stan­dard.

Disappointing. See me about this.

X. Conversation

These phrases help to keep the conversation moving:

Why? (In what way? Why do you think so?)

Don't you think, though, that ...

I'm not sure what you mean.

Have you got anything to add (to what Nick said)?

Does anybody share Nick's opinion (views)?

Could someone sum up what has been said?

Let's just run through the arguments for and against.

B. CONVERSATIONAL PHRASES

Handling a Dialogue

I say... Honestly... If you ask me ... You know what I think ...

The point is ... Don't you agree that...? Tell you what...

Have you heard about...? Do you happen to know that...?

Have you got any idea ...? Someone has told me that...

I hear that... That's what I heard. I'm afraid I don't know much about...

Not that I know of ... I wonder if you remember ... Have I got it right?

Am I right to believe ...? But why should (shouldn't) I? Well I don't (didn't) think ...

But how could I? If I were you ... I wish I could but ... I really couldn't imagine ...

What a silly way to talk! I wish you would ... I'm really sorry but...

I really feel bad about it. What do you think I should have done?

Reacting to News

Oh, really! Never thought about it. You don't say so! Just (only) fancy!

Indeed? Why! Is that so? Dear me! Who'd have thought of it! Does it strike you as unusual?

I'm surprised. I'm shocked. It's amazing! It's incredible! Looks like that.

I have no idea. Goodness knows.

Discussion. Opinions

Additionally ... It has been pointed out that... I'd just like to say ... I think, (suppose, guess, believe, dare say) ... Personally I believe (I feel)… In my opinion (view) ... As I see it ... The way I see it ...

Agreeing. Disagreeing

Just so. Quite so. I quite agree here. Naturally. Certainly. Sure. Exactly. Definitely. Quite. Most likely. Absolutely. True enough. I couldn't agree more.

I should think so. Beyond all doubt. I won't deny it. Looks like that. Happy to hear it.

I'm not sure I quite agree. Why do you think that...? I'm afraid I don't agree.

I think you're mistaken (there). I don't think you are right. I can't agree with you there.

I see what you mean, but... I'm not so sure. I see nothing exciting in ...

I doubt it. I (you) shouldn't say so. There's something in what you say, but

I disagree with you. You're wrong. You're mistaken. Not me!

How can you say such a thing! On the contrary! You can't be serious.

I object to it. Surely not. Nothing of the kind (sort).

Just the other way round. Certainly not. Impossible.

It's unfair. It's unjust.

Giving Advice

Might it be an idea to ...? Have you ever thought of You could always ... If I were you, I'd ... Why don't you ...? You'd better ...

EXERCISES IN INTONATION

SECTION ONE. Review of Fundamental Intonation Patterns and Their Use

(+ТАП.) Models: ,Yes. I'm a ,doctor.

EXERCISES

The exercises below are meant to revise the intonation patterns you already know.

2. Read the following dialogues. Express the suggested attitudes: — What troubles you? [sympathetically interested) — I'm quite unwell. I feel giddy and I can hardly stand on m legs. (serious)

B) Record your reading of the dialogue. Play the recording back for the teacher and your fellow-students to detect the possible errors. Practise the dialogue for test reading. Memorize and dramatize it.

c) Make up conversational situations, using the following phrases:

Let's .... shall we? It'll be too ... .

That's a good idea. That's better.

Yes, please. Now, perhaps, ... .

Right. Oh, dear, I'm so sorry.

Oh, ... . Not at all.

Well, you said ... . Do you think you could ... ?

D) Use the same phrases in a conversation.

This exercise is meant to develop your ability to hear and reproduce intonation in different speech situations.

a) listen to the story "Helen's eyes were not very good..." carefully, sentence by sentence. Mark the stresses and tunes. (The teacher will help you to correct your variant.) Practise reading your corrected variant

b) Listen carefully to the narration of the story. Observe the peculiari­ties in intonation-group division, pitch, stress and tempo. Note the use of temporizers. Reproduce the model narration of the story.

This exercise is meant to test your ability to read and reproduce a story with correct intonation.

Read the jokes silently to make sure you understand each sentence. Find the sentence expressing the essence of the joke. Split up each sen­tence into intonation-groups if necessary. Mark the stresses and tunes. Un­derline the communicative centre and the nuclear word of each intonation-group. It is not expected that each student will intone the text in the same way. The teacher will help you to correct your variant

Practise reading the joke several times.

Young Peter came in one day bursting with excitement. Walking down the main street he had suddenly discovered he was side-by-side with movie actor… — Did you talk to him? we asked. — Well, it was like this, he said slowly. I knew who he was and he knew who he was — and it just didn't make sense us…

EXERCISES

Listen to the replies and repeat them in the intervals. Start the fall high enough.

Listen to the Verbal Context and reply to it in the intervals.

In order to fix Intonation Pattern IX in your mind, ear and speech habits, pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies and point out his (her) errors in pronunciation.

Give your own replies to the Verbal Context above. Use Intonation Pattern IX in them.

Use Intonation Pattern I in the Drills. Observe the difference in attitudes.

This exercise is meant to revise the intonation patterns you already know. Work in pairs.

The teacher or one of the students will suggest a Verbal Context You in turn reply to it using:

a) statements, sounding lively, interested, airy; conveying personal con­cern or involvement;

B) special questions, sounding lively, interested;

c) general questions, conveying mildly surprised acceptance of the lis­tener's premises;

D) imperatives, sounding warm;

E) exclamations, very emotional.

— Oh, dear! Oh! — I'm so sorry! I do hope I haven't hurt you! — Oh, no. I was just a little startled, that's all. It's quite all right.

Make up a dialogue of your own, using some of the phrases from Ex. 10.

13. This exercise is meant to develop your ability to hear and repro­duce intonation in conversation.

a) Listen to the dialogue "A Visit to the Doctor" carefully, sentence by sentence. Write it down. Mark the stresses and tunes. Your teacher will help you to correct your variant. Practise reading each sentence of your corrected variant after the cassette-recorder.

b) Record your reading of the dialogue. Play the recording back im­mediately for the teacher and your fellow-students to detect your errors. Practise the dialogue for test reading.

c) Make up conversational situations with the following phrases:

Well, what's the matter with ...?

You'd better ask me what is not the matter with me, ...

To make things still worse ...

In fact...

D) Make up a talk about illnesses and their treatment, using phrases from the dialogue above. Work in pairs.

E) Imagine you are consulting a doctor — tell him what troubles you. Imagine you are a doctor. You diagnose the case as quinsy. Tell your

Patient what he should do to get well.

This exercise is meant to develop your ability to hear and reproduce intonation in reading.

A) Listen to the text carefully, sentence by sentence. Write down the text. Mark the stresses and tunes. The teacher will help you to correct your variant Practise reading each sentence of your corrected variant after the cassette-recorder.

B) Record your reading. Play the recording back immediately for the teacher and your fellow-students to detect your errors.

Practise the text for test reading.

15. Mark stresses and tunes in the following text, listen to the model. Mark the stresses and tunes. Compare your intonation with that of the model. Practise the text according to the model:

Doctor, Dentist and Chemist

If you don't feel well, you should consult a doctor. If you feel too ill to go to the doctor's, you'll have to send for him. He'll ask you to… Doctors' prescriptions are made up by a chemist. At chemists' shops in the USA… If you are interested in photography, you can also get cameras and films at most chemists'. They'll develop and print…

This exercise is meant to develop your ability to hear intonation and reproduce it in different speech situations.

a) Listen to the joke "One day Mrs. Jones went shopping...", sentence by sentence. Write it down. Mark the stresses and tunes. Practise the joke for test reading.

b) Listen to the narration of the joke. Observe the peculiarities in intonation-group division, pitch, stress and tempo. Note the use of tempo­rizers. Reproduce the model narration yon have listened to.

This exercise is meant to test your ability to analyse and reproduce material for reading and retelling.

A) Read the jokes silently to make sure you understand each sentence. Find the sentence expressing the essence of the joke. Split up each phrase into intonation-groups if necessary. Locate the communicative centre of each sentence. Mark the stresses and tunes. Practise reading the jokes.

b) Tell the jokes in your own words:

The Doctor's Advice

Once an old gentleman went to see a doctor. The doctor examined him and said: "Medicine won't help you. You must have a complete rest. Go to a quiet country place for a month, go to bed early, drink milk, walk a lot, and smoke just one cigar a day."

"Thank you very much," said the gentleman, "I shall do everything you say."

"Oh, doctor," said the gentleman a month later, "I feel quite well now. I had a good rest. I went to bed early, I drank a lot of milk, I walked a lot. Your advice certainly helped me. But you told me to smoke one cigar a day, and that one cigar a day almost killed me at first. It's no joke to start smoking at my age."

Doctor's Orders

Servant: Sir, wake up, wake up!

Master: What is the matter?

Servant: It's time to take your sleeping tablets.

Mrs. Brown: Don't you think, doctor, you've rather overcharged for attending Jimmy when he had the measles?

Doctor: You must remember, Mrs. Brown, that includes twenty-two visits.

Mrs. Brown: Yes, but you forget he infected the whole school!

SECTION THREE. Intonation Pattern X
(LOW PRE-HEAD+) RISING HEAD + HIGH FALL (+ TAIL)

Model: I wonder when Alice's train is due.
— ä Look it 'up in the `time-,table.

The syllables of the Rising Head preceding the High Fall gradually carry the pitch up.

Stress-and-tone mark in the text:

The first stressed syllable: │ä│

This intonation pattern is used:

1. In statements, conveying personal concern, involvement, disgruntled protest.

е.g. Haven't you brought the carp? — You _ädidn't ask me ,to.

2. In questions:

a) In special questions sounding unpleasantly surprised or displeased, protesting.

е.g. Send them at once. — _äWhere to?

b) In general questions, protesting, sometimes impatient.

е.g. Thursday's a hopeless day for me. — _äCan't we 'make it a `Friday, ,then?

3. In imperatives, lively, with a note of critical surprise.

е.g. What shall I do? — _äTry it a`gain.

4. In exclamations, conveying affronted surprise, protesting.

е.g. John's coming. — What an ex_ätraordinary `thing.

EXERCISES

Listen to the replies and repeat them in the intervals. Pronounce the first stressed syllable as low as possible; the following stressed syllables of the head gradually rise to the high level. Start the fall on the nucleus high enough.

Listen to the Verbal Context and reply in the intervals.

In order to fix Intonation Pattern X in your mind, ear and speech habits, pronounce each reply several times until it sounds perfectly natural to you.

Listen to your fellow-student reading the replies, tell him (her) what his (her) errors in intonation are.

Give your own replies to the Verbal Context of Ex. 1 and 6. Use Intonation Pattern X.

8. The teacher or one of the students suggests a Verbal Context The students reply to it in turn using:

A) statements conveying personal concern, involvement or protest;

B) special questions sounding unpleasantly surprised, displeased or protesting;

C) general questions sounding impatient, protesting;

D) imperatives sounding lively, with a note of critical surprise;

E) exclamations conveying affronted surprise, protesting. Continue the exercise until everyone has participated. Work in pairs.

9. Read the following extracts. Observe the position of the logical stress:

"Tell her that you intend to marry her, but after you return from this outing, not before." (Гл. Dreiser. "An American Trage­dy")

"You don't live here?" — "No," I said, "I don't. You wouldn't if I did." [J. K. Jerome. "Three Men in a Boat")

"She was so pretty and cute. Yet she was a working girl, as he remembered now, too — a factory girl, as Gilbert would say, and he was her superior. But she was so pretty and cute." (Th. Dreiser. "An American Tragedy")

"In the taxi, returning at last to Chesborough Terrace he proclaimed happily: "First rate chaps these, Chris! Has been a wonderful evening, hasn't it?" She answered in a thin steady voice: "It's been a hateful evening!" (Cronin. "The Citadel")

Look for similar situations in the books you are reading at the moment

11. This exercise is meant to practise the intonation patterns you al­ready know.

a) Listen to the dialogue "Guessing Game", sentence by sentence. Write it down. Define the intonation pattern of each sentence and the attitude expressed by it

b) Record your reading. Play the recording back for your teacher aad fellow-students to detect the possible errors:

A.: And the next object is vegetable.

В.: Does one eat it?

A: Yes.

В.: Do you eat it?

A: Yes.

В.: Do you eat it at breakfast?

A: No.

В.: Do you eat it at dinner time?

A: No.

В.: Well then at tea time.

A: Yes.

В.: Is it a raw vegetable?

A: Yes.

В.: Is it nice?

A: Very nice.

В.: Did we have some for tea today?

A: Yes.

Practise the dialogue for test reading. Memorize and dramatize it.

12. This exercise is meant to develop your ability to bear and repro­duce intonation in different speech situations.

a) listen to the dialogue "Sightseeing" carefully, sentence by sentence. Write it down. Mark the stresses and tunes. The teacher will help you to correct your variant Practise reading each sentence of your corrected vari­ant after the cassette-recorder.

b) Record your reading of the text Play the recording back immediate­ly for the teacher and your fellow-students to detect your errors. Practise the dialogue for test reading. Memorize and play it

c) Make up conversational situations with the following phrases:

Is it possible ...? That's not a bad idea.

What do you think ...? I suppose it is.

Rather. What about...?

Well, you might... . Let me see ... .

Is it much of a walk? Do you think I shall have time for...?

D) Make up a talk about your recent trip. Use the phrases from the dialogue above. Work in pairs.

E) Imagine you are telling the class about your recent trip to London.

— What are you going to do this week? — Well, we don't really know. — Why not visit Kew Gardens?

This exercise is meant to develop your ability to hear intonation and reproduce it in different speech situations.

a) Listen to the Joke "A pretty well-dressed young lady..." sentence by sentence. Write it down. Mark the stresses and tunes. Practise the joke for test reading.

b) Listen to the narration of the joke. Observe the peculiarities in into­nation-group division, pitch, stress and tempo. Note the use of temporizers. Reproduce the model narration you have listened to. Tell the joke in your own words.

This exercise is meant to test your ability to analyze material for reading.

A) Read the joke silently to make sure you understand each sentence. Find the sentence expressing the essence of the joke. Split up each phrase into intonation-groups if necessary. Locate the communicative centre of each sentence. Mark the stresses and tunes, concentrating your attention on the attitude expressed. It is not expected that each student will mark the story in exactly the same way. Discuss your variants in class. Your teacher will help you to choose the best variant. Practise your corrected variant for test reading.

B) Tell the joke in your own words.

Wrong Pronunciation

The Parisian, not being accustomed to the English climate, had caught a severe cold, and was coughing day and night. At last he decided on getting a… So he entered a chemist's shop and said: "Will you, please, give me… The Frenchman repeated his request for some remedy for his cow.

EXERCISES

2. Listen to the replies and repeat them is the intervals. Make your voice follow the intonation line exactly. 3. Listen to the Verbal Context above and reply in the intervals… 4. In order to fix Intonation Pattern XI in your mind, ear and speech habits pronounce each reply several times until…

B) listen to a fellow-student reading the first sentence of the Verbal Context above. Reply in your own way, using Intonation Pattern XI. The drill will continue until every student has participated. Keep the exercise moving rapidly. Be careful about the intonation line and try to convey the proper attitude.

7. Read the following dialogue with a fellow-student» using Intonation Pattern XI. Special questions should sound interested, lively, brisk. The replies sound lively, friendly and warm:

A: What was that you said?

B: Where did you go for your summer holiday?

A: First to London and then to Cornwall.

B: How long did you live in London?

A: Just a week.

B: Which part of your holiday did you prefer?

A: Oh, our fortnight in Cornwall.

B: Where did you stay while you were down there?

A: In a little village near Penzance.

B: What sort of weather did you have in London?

A: The best we could possibly have hoped for.

B: What did you do there?

A Sightseeing mostly.

8. A student will read the Verbal Context below. Other students will read the replies in turn, using the High Fall and the logical stress on the same word to make the utterance emphatic. Define the attitude you are trying to express:

Verbal Context	Drill
He's ruined my shoes.	Make him buy you a new pair.
None of us wants to go.	Someone will have to go, won't they?
Aren't you lucky?	That's what everybody says.
How does your wife find it?	She likes it as much as I do.
What's Vernon's opinion?	He can't make up his mind which he prefers.
What an amazing trick! .	Can't imagine how it's done.
I can't make head or tail of it.	Let Johnson have a look at it.
Don't bother to fetch me.	It's not in the least trouble. I do the same for all my guests.

9. Listen to your teacher read the context sentences below. Pronounce each of the following replies in two ways: first with Intonation Pattern II, then with Intonation Pattern XI. Observe the intonation line. Convey the suggested attitudes:

Verbal Context	Drill
When's the concert?	Next Sunday.
	a) categoric, dispassionate
	b) warm, airy, lively
I feel so sleepy.	So do I.
	a) categoric, dispassionate
	b) lively
What was it like in Nigeria?	Oh, the heat was terrible.
	a) categoric, dispassionate
	b) lively
I shan't be seeing you,	Whyever not?
I'm afraid.	a) serious
	b) interested, brisk
I can't undo the door.	Try the other key.
	a) pressing, weighty
	b) suggesting a course of action
I hope I'm not disturbing	Come in. Sit down.
you.	a) pressing, weighty
	b) suggesting a course of action
Hullo, Fred!	Well if it isn't my old friend Tom!
	a) weighty
	b) mildly surprised
He's sending you a copy.	How very nice of him!
	a) weighty
	b) mildly surprised

10. Listen to a fellow-student say the context sentences below. Pro­nounce each of the following replies, trying to convey the suggested atti­tudes. Be careful with the intonation line. Define the Intonation Pattern of your reply:

Verbal Context	Drill
Can you come tomorrow?	Yes.
	a) phlegmatic, reserved
	b) lively, interested
Who on earth would take	I would.
such a risk?	a) calm, reserved
	b) lively, concerned
You mustn't speak to him.	Why not?
	a) phlegmatic, reserved
	b) unpleasantly surpised
What's that you say?	Why don't you listen?
	a) unsympathetic
	b) unpleasantly surprised
I'm afraid I've lost your pen.	What are you going to do about it?
	a) hostile
	b) interested
1 can't meet you this Tuesday.	Shall we leave it till next week?
	a) phlegmatic, reserved.
	b) willing to discuss the question, impatient
Thursday's a hopeless day for me.	Can't we make it a Friday, then?
	a) phlegmatic, reserved
	b) willing to discuss the question
Bill's refused my request.	Well, ask someone else.
	a) calm, cold
	b) warm, with a note of cri­tical surprise
I haven't got a spoon.	Go and get one, then.
	a) calm, unemotional
	b) suggesting a course of action
He's actually engaged.	Would you believe it!
	a) calm, unsurprised, reserved
	b) mildly surprised
Tom's coming on Monday.	Now fancy that.
	a) calm, reserved
	b) affronted surprise

11. listen to the Verbal Context and reply expressing critical surprise or suggesting a course of action to the listener. Use the proper intonation pattern:

Verbal Context	Drill
I'll show you how to do it.	Don't! Do! Don't you worry! Try!
We're moving on Tuesday.	Don't be silly! It's up to you! Don't make so much fuss about it.
I can't undo the door!	Tell me what 1 can do, then! Don't you worry!
It's my turn to pay!	Do! Have a go! Don't be ridiculous! Don't be silly! Don't you worry! It's up to to you!
I can't find my purse any­where.	Don't you worry! Don't make so much fuss about it.

12. This exercise is meant to develop your ability to hear and re­produce intonation in conversation.

a) Listen to the dialogue "Dinner-table Talk" carefully, sentence by sentence. Write it down. Mark the stresses and tunes. The teacher will help you to correct your variant. Practise reading each sentence of your corrected variant

B) Record your reading. Play the recording back immediately for your teacher and fellow-students to detect your errors. Practise the dialogue for test reading. Memorize and play it with a fellow-student.

c) Pick out of the dialogue sentences pronounced with Intonation Patterns IX, X, XI. Define the attitudes conveyed in them. Make up conver­sational situations with these phrases.

d) Make up conversational situations, using the following phrases:

Good evening,... .	I was asking ... .
I'm so glad ....	Oh, I think it's a ... .
Oh, only....	And how do you like ... ?
.... to be exact.	Is this your first... ?
Let's go into ... .	I feel quite at home ....
Will you sit... ?	Well, it's rather ....
How long ... ?	On the whole, ....
What do you think of ... ?	It's not so bad, once ....
I beg your pardon, I didn't quite catch what you said.	Will you have some more ... ?
	What about... ?

13. Translate into English. Use the corresponding phrases from item(d) above. Do not let your Russian pronunciation habits interfere:

1. Я так рада, что вы смогли мне позвонить. 2. Он так рад, что я смогла его пригласить. 3. Я так рада, что вы смогли сделать это во­время. 4. Чай готов. Ужин готов. Статья готова. 5. Сколько време­ни вы находитесь в Москве? 6. Вы давно живете здесь? 7. Это твое первое представление? 8. Это ваша первая картина? 9. Это ее пер­вое сочинение? 10. Я чувствую себя на юге как дома. 11. Я чувствую себя у Петровых как дома. 12. Я чувствую себя в Петербурге как дома. 13. Простите, пожалуйста, сколько вам лет? 14. Я не рас­слышала, что вы сказали. 15. Я вас спрашивала, где вы родились. 16. Я вас спрашивала, как пройти к гостинице «Минск». 17. О, Кав­каз — превосходное место. 18. О, я думаю, Петербург — превос­ходный, город. 19. О, я думаю, это превосходный рассказ. 20. Как вам нравится наша еда? 21. Как вам нравится наша кухня? 22. Как вам нравится это утро? 23. О, это довольно скучно, не так ли? 24. О, она довольно капризна, не так ли? 25. Вообще-то она не та­кая уж плохая, если к ней привыкнуть. 26. Не хотите ли еще рыбы? 27. Не хотите ли еще овощей? 28. Суп превосходен. Обед был так вкусен. Торт великолепен. 29. Я так рада, что вам нравит­ся. 30. Я так рада, что у тебя это есть. 31. А что ты будешь есть на сладкое?

14. Head the following dialogue:

Ordering a Meal

— I'm sorry, sir, those two tables have just been reserved by telephone, but that one over there's free. — What a pity! We wanted to be near the dance floor. Still, it doesn't matter,… — Here you are, sir. Will you dine a la carte or take the table d'hote?

Make up a dialogue of your own, using some of the phrases of the dialogue above.

This exercise is meant to develop your ability to read and retell a story with correct intonation.

a) Listen to the story "Insufficient Local Knowledge" carefully, sen­tence by sentence. Mark the stresses and tunes. The teacher will help you to correct your variant. Practise reading your corrected variant.

b) listen carefully to the narration of the story. Observe the peculiari­ties in intonation-group division, pitch, stress and tempo. Note the use of temporizers. Reproduce the model narration you have listened to.

This exercise is meant to test your ability to analyze and reproduce material for reading and retelling.

A) Read the joke silently to make sure you understand each sentence. Underline the sentence expressing the essence of the joke. Split up each phrase into intonation groups if necessary. Locate the communicative centre of each sentence. Mark the stresses ana tunes, concentrate your attention on the attitude expressed. It is not expected that each student will mark the story in exactly the same way. Discuss your variants in class. The teacher will help you to choose the best variant. Practise your corrected variant for test reading,

b) Retell the joke in your own words:

The father of a family, who was angry with his children because they were displeased with their food, exclaimed an­grily one day at dinner: "You children are intolerable; you turn up your noses of everything. When I was a boy, I was often glad to get dry bread enough to eat." "Poor papa," said Rose, "I'm so glad you are having such a nice time now living with mama and us."

SECTION FIVECompound Tunes FALL + RISE

All the tunes containing more than one nuclear tone are called compound.

The Fall + Rise is a combination of the High Fall and the Low Rise.

The fall and the rise always occur on separate syllables. The fall starts from a very high level and ends very low. Any syllables occurring between the High Fall and the Low Rise are said on a very low pitch. Notional words are stressed. The fall­ing part marks the idea which the speaker wants to empha­size and the rising part marks an addition to this main idea.

The combination of the High Fall with the Low Rise is used in sentences expressing highly emotional reaction to the situation. It is often heard:

1. In statements, sounding apologetic, appreciative, grateful, regretful, sympathetic, persuasively reassuring, pleading, plaintive.

е.g. Whose turn is it then? — It's `mine ,actually.

How did this get broken? — I'm most `terribly ,sorry.

2. In questions:

a) In special questions, sounding plaintive, pleading, weary, despairing; sometimes warm, sympathetic.

е.g. Sorry I'm late. — Oh why „can't you „come on _/time for once?

b) In general questions, conveying a plaintive, pleading, sometimes impatient tone.

е.g. He played very badly today. — Will he ever be any ,better d'you think?

3. In imperatives, sounding plaintive, pleading, reproachful.

е.g. It's all so depressing. — `Cheer ,up. (It can't „last for ,ever.)

I've nothing to do with it. — Now `do be ,reason-able, Charles.

4. In exclamations, warm, sympathetic, encourag­ing, sometimes plaintive, puzzled, surprised.

Greetings and leave-takings sound pleasant and friendly being pronounced this way.

е.g. Good night, Peggy. — Good night, Mrs. ,Smith. See you on Friday. — Right you ,are!

EXERCISES

Listen to the replies and repeat them in the intervals. Start the fall high enough.

Listen to the Verbal Context and reply to it in the intervals.

In order to fix the intonation pattern in your mind, ear and speech habits, pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies, point out his errors in pronunciation.

7. Say the following sentences with a) the High Fall + the Low Rise; b) the Descending Head + the Low Rise. Observe the difference in attitudes: …

Give your own replies to the Verbal Context of Ex. 1 and 6.

Don't cry. I wish I hadn't been so rude. You have all me sym­pathy. (regret, sympathy) Oh, tell me it is not true! Lie to me! Lie to me! Tell me it is not true!… Oh, what a dear little puppy! (sincere appreciation)

B) Record your reading. Play the recording back immediately for your teacher and your fellow-students to detect your errors. Practise the dialogue for test reading.

13. Make up conversational situations, using the following phrases:

He hasn't even got to ... yet.

That's my idea of ... .

Are you sure you don't want to be ...?

Is it my ... we're planning, or yours?

No, I'm sorry, ... but I... .

Look here.

All right, all right, there is no need to ... .

I really wanted to be ... .

I haven't made up my mind yet.

Maybe not.

Well, that's not the way I look at it.

You haven't answered my question yet.

I don't want to at all.

Make up a dialogue about your future profession.

This exercise is meant to develop your ability to hear intonation and reproduce it in reading and narration.

a) listen to the joke "Nothing to Complain About", sentence by sen­tence. Write it down. Mark stresses and tunes. Practise the joke for test reading.

b) Listen to the narration of the joke. Observe the peculiarities in intonation-group division, pitch, stress and tempo. Note the use of tempo­rizers. Reproduce the model narration of the joke.

This exercise is meant to test your ability to analyze and reproduce material for reading and retelling.

A) Read the jokes silently to make sure you understand each sentence. Underline the sentence expressing the essence of the joke. Split up each sentence into intonation groups if necessary. Locate the communicative centre of each sentence. Mark the stresses and tunes, concentrating your attention on the attitude expressed. It is not expected that each student will mark the story in exactly the same way. Discuss your variants in class. The teacher will help you to choose the best variant. Practise your corrected variant for test reading.

b) Retell the jokes in your own words:

No Music Lessons

Once the teacher asked his pupil: "Bobby, how many fingers have you?" The pupil answered at once: "I have ten fingers."

The teacher asked him another question: "Well, if four were missing what would you have then?" "No music lessons," was the answer.

At the Lessen

---------------- One morning a boy was going by a London bus to school. He had a cold and was… "Yes, I've got a clean handkerchief in my pocket," said the boy, "but I can't let you have it. Mother…

Listen carefully to the replies and repeat them in the intervals. Make your voice fall on every stressed syllable.

Listen to the Verbal Context and reply in the interval.

In order to fix the intonation in your mind, ear and speech habits repeat the replies yourself until they sound perfectly natural to you.

Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in intonation are.

7. The teacher will suggest the Verbal Context of Ex. 1 and 6. The students will reply to it, using Sliding Head + High Fall. The drill continues… II. (LOW PRE-HEAD +) HIGH FALLS + FALL-RISE

Listen to the Verbal Context and reply in the intervals.

In order to fix the intonation in your mind, ear and speech habits repeat the replies until they sound perfectly natural to you.

Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in intonation are.

Your teacher will suggest the Verbal Context of Ex. 8. You in turn reply to it, using High Falls. The drill will continue until every student has participated. Keep the exercise moving on rapidly.

14. Read the sentences taking into consideration the suggestions in brackets. Observe the changes in sentence stress:

Hockey is one of the most popular games in winter. (Not football.) [Not in summer.)

Football is the most popular game in England. (Not tennis.) (Not in India.)

Cars are driven on the left side of the road in London. (Not on the right side.) (Not in Moscow.)

In the middle of Trafalgar Square stands Nelson's monument. (Not in the middle of Piccadilly Circus.) (Not a statue of Cromwell.)

Breakfast is generally a big meal in England. (Not supper.) (Not on the Continent.)

Colleges of Education in Great Britain don't confer diplomas on their graduates. (But award certificates.) (Not technical colleges.)

Our terminal examinations are held at the end of each term. (Not final exams.) (Not every other term.)

Read the following sentences expressing the attitudes suggested in brackets. Use them In conversational situations of your own;

Shall I ask him about it again? Can you translate a few sentences? Well, will you come and see her tomorrow?

Make statements to be corrected according to the model above. The drill will continue until every student has participated. Keep the exercise moving on rapidly.

This exercise is meant to develop your ability to bear the intonation and reproduce it in proper speech situations.

a) listen to the dialogue "Sports and Games Popular in England", sentence by sentence. Write it down. Mark the stresses and tunes. Practise the dialogue.

B) Record your reading of the dialogue. Play the recording back immediately for the teacher and your fellow-students to detect your possible errors in pronunciation. Practise the dialogue for test reading and memorize it.

C) Pick out of the dialogue sentences containing compound tunes and the logical stress.

d) Make up conversational situations about sport, using the following phrases:

What would you say were Oh, yes, any amount.

the most popular...? You should join if you're

Well, I suppose.... keen on....

What about...? I think I shall if I get the

I should say that.... chance....

Then there are, of course.... By the way....

I've been told that.... Well, I do, but...

Is there any... to be had near...?

Make up a dialogue of your own, using phrases from the dialogue above.

This exercise is meant to develop your ability to hear the intonation and reproduce it in proper speech situations.

b) listen carefully to the narration of the joke. Observe the peculiarities in intonation-group division, pitch, stress and tempo. Note the use of… 22. Read the jokes silently to make sure you understand each sentence. Find… The cup was handed over into the youth's hands and there went cries of "Speech! Speech!"

EXERCISES

Listen to the replies and repeat them in the intervals. Make your voice rise from a medium level to a high pitch.

Listen to the Verbal Context and reply to it in the intervals.

In order to fix High Rise in your mind, ear and speech habits, pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in pronunciation are.

Respond to the following sentences. Use Intonation Pattern ХП casing for a repetition of the information already given.

Model: This sad story made the listeners cry.

— æMade the 'listeners 'do 'what?

I want you to ring me up again.

You æwant me to 'do 'what?

The boy's behaviour made me think he was ill.

His stare made me feel ill at ease.

The rain made us return home.

The cold made us put on our coats.

The play made us laugh a lot.

His letter made me change my plans.

The foreigner wants me to tell him something about my country.

She wants you to leave her alone.

He wants you to start immediately.

She wants her son to enter the University.

He wants us to go there at once.

He wants me to translate this article.

This exercise is meant to develop your ability to near and reproduce intonation in different speech situations.

a) listen to the dialogue "At the Station" carefully, sentence by sentence. Write it down. Mark the stresses and tunes. Your teacher will help you to correct your variants. Make a careful note of your errors in each tune and work to avoid them. Practise reading each sentence of your corrected variant after the cassette-recorder.

B) Record your reading. Play the recording back immediately for the teacher and your fellow-students to detect your errors. Practise the dialogue for test reading. Memorize it. Play it with a fellow-student.

9. Make up conversational situations, using the following phrases:

Try and find me ... if you can. You're due to arrive at... .

Have you got your ... yet, sir? Well, I've still got a few

Not yet. minutes to spare.

Come along with me and I'll.. . Mind you don't miss the ....

Here it is. That's all right.

Do I have to ...? It won't take me more than

Here you are. five minutes to ... .

What time do we get to ...?

10. Read the following dialogues. Define the communicative type of the sentences and say what attitudes you mean to convey:

— There you are, then, I thought you might be here earlier. Was your train late?

— No, I don't think so; just about on time. Which one did you think I was catching then?

— Wasn't it the one that gets in at five ten?

— No, that's Saturdays only. Didn't you know?

— Of course, how silly of me, anyway, it doesn't matter.

------------------

— Excuse me, will this road take me to the station?

— Yes, straight on. Turn to the left when you get to the end. You'll see a notice there. You can't go wrong.

— Is it far?

— About three or four minutes.

— Thank you very much.

Make up a dialogue of your own, using some of the phrases from the dialogues above.

We are going second class. (Not first) I want a return ticket to Oxford. (Not single.) What time do you get up in summer? (I usually get up at seven.)

B) listen carefully to the narration of the text Observe the peculiarities in Intonation-group division, pitch, stress and tempo. Note the use of temporizers. Reproduce the model narration of the text.

16. Read the text "May Day" silently to make sure you understand each sentence. Split up each sentence into intonation groups if necessary. Mark the stresses and tones. Underline the communicative centre and the nuclear word of each intonation group. It is not expected that each student will intone the text in the same way. The teacher will help you to correct your variant

Practise reading the text several times.

Retell the text in your own words:

May Day

Last year's May Day in Britain broke new ground in two ways. It was the largest-ever demonstration to be held on May 1 itself in addition… But it was more than a demonstration. It assumed the character of a national strike, involving hundreds of thousands…

SECTION EIGHT. HIGH PRE-HEAD

Stress-and-tone marks in the text: the High Pre-Head | ~ j.

The High Pre-Head never contains any stressed syllables. Before the High Fall it is said on the same pitch as the beginning of the fall. Before any other nuclear tone or any head the pitch of the High Pre-Head is higher than the beginning of the following stressed syllable.

As compared to the Low Pre-Head the High Pre-Head is used to add vivacity, liveliness or excitement to the attitudes expressed in the sentence.

EXERCISES I.

Model: -I \do /think it's a Ipity. 1. Listen carefully to the following conversational situations. Concentrate…

Listen to the replies and repeat them in the intervals. Make your voice rise high when pronouncing the initial unstressed syllables.

Listen to the Verbal Context and reply to it in the intervals.

In order to fix the High Pre-Head in your mind, ear and speech habits pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in pronunciation are.

II. HIGH PRE-HEAD + HIGH FALL (+TAIL) Model: -I'd simply \love to. 7. Listen carefully to the following conversational situations. Concentrate your attention on the intonation of the…

Listen to the replies, and repeat them in the intervals. Make your voice rise high when pronouncing the High Pre-Head.

Listen to the Verbal Context and reply in the intervals.

In order to fix the High Pre-Head in your mind, ear and speech habits pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in pronunciation are.

III. HIGH PRE-HEAD + LOW RISE (+ TAIL) Model: -He /won't 13. Listen carefully to the following conversational situations. Concentrate your attention on the intonation of the…

Listen to the replies and repeat them in the intervals. Make your voice rise high when pronouncing the High Pie-Head.

Listen to the Verbal Context and reply in the intervals.

In order to fix the High Pre-Head in your mind, ear and speech habits pronounce each reply several times until it sounds perfectly natural to you.

Listen to a fellow-student reading the replies. Tell him (her) what his (her) errors in pronunciation are.

Give your own replies to the Verbal Context of Ex. 1, 6, 7, 12, 13, 18.

This exercise is meant to develop your ability to hear and reproduce intonation in different speech situations.

a) Listen to the dialogue "Broadcast Programme" carefully, sentence by sentence. Write it down. Mark the stresses and tunes. The teacher will help you and all the members of the class to correct your variant. Practise reading every sentence of your corrected variant after the cassette-recorder.

B) Record your reaing. Play the recording back immediately for the teacher and your fellow-students to detect your errors. Practise the dialogue for test readiag. Memorize the dialogue and play it with a fellow-student.

c) Make up conversational situations, using the following phrases:

Oh, not too badly.

Personally, I'm not very keen on ... .

Fortunately for me, it was a ....

What kind of ... do you like best, then?

With all the practice in ear-training I've had ....

I wish I had your gift for ... .

Where there's a will there's a way, you know.

D) Make up a talk with a fellow-student, using phrases from the dialogue above.

Mine's rather an old-fashioned model compared to yours. It's much too big to be seen in an hour or so. There doesn't seem to be anything radically wrong with you.

This exercise is meant to develop your ability to introduce teaching material in class with correct intonation.

A) Listen to an extract from the lecture on intonation very carefully. Write it down. Intone it Single out the communicative centres and observe the intonation means they are made prominent with.

B) Read and act the extract according to the model.

This exercise is meant to test your ability to introduce some teaching material in class with correct intonation.

A: In our first talk we described what I call 'the glide down', a tune in which the first stressed syllable of the sentence is said on a fairly high… В.: The whole sentence glides gradually down. The whole sentence glides… A.: Yes, just like that. But I want to point out to you that in a sentence like this which has five stressed…

Act as a teacher in class, using the material from the lectures above.

SUPPLEMENT

SECTION ONE

Ex. 4. Helen's eyes were not very good. So she usually wore glasses. But when she was seventeen and began to go out with a young man, she never wore her glasses when she was with him. When he came to the door to take her out, she took her glasses off but when she came home again she put them on.

One day her mother said to her: "Helen, why do you never wear your glasses when you're with Jim? He takes you to beautiful places in his car but you don't see anything." "Well, Mother," said Helen, "I look prettier to Jim when I'm not wearing my glasses and he looks better to me, too."

SECTION TWO

SECTION/THREE Ex. 12.See p. 104. Ex. 14. A pretty well-dressed young lady stopped a taxi in a big square and said to the driver: "Do you see that…

SECTION FOUR

Ex. 12. Dinner-table Talk

— Oh, only a few days, since last Monday, to be exact, and I'm sorry to say we have to return tomorrow week. — Is this your first visit? — It's my wife's first visit, but I've been here several times before. I have to come over at least once a year on…

Insufficient Local Knowledge

Ex. 16.

A Londoner who was going to the West of England for a holiday, arrived by train at a town, and found that it was pouring. He called a porter to carry his bags to a taxi. On the way out of the s ation, partly to make conversation and partly to get a local opinion on prospects of weather for his holiday, he asked the porter:

"How long has it been raining like this?"

"I don't know sir, I've only been here for fifteen years," was the reply.

SECTION FIVE

Ex. 12. About the Job

Nora: Oh, Harry, surely he's a bit young to decide on his career? be hasn't even got to college yet. Harry: Not at all, Nora. It's wisest to decide in good time. Look at me, for… Nora: (musing) Now if I were a man I'd be a farmer. To see the crops growing — that's my idea of a good life.

Ex. 15. Nothing to Complain About

An intelligent small boy was sitting in a bus. A passenger sitting next to him asked him a question:

"How old are you?"

"I'm four," answered the child.

"I wish I were four," said the passenger. He was considerably taken aback, however, when the child, turning rather a surprised gaze upon him, replied:

"But you were four once."

SECTION SIX

Ex.19. See p. 211.

Ex. 21. Weather Forecasts

"Can you tell us what the weather will be like during the next few days?" one of the two travellers asked him. "Oh, yes," he answered. "Rain is coming, and wind. Then there… "These old Indians seem to know more about Nature than we with all our science," said the man to his friend.…

SECTION SEVEN

Ex. 8. See p. 289.

Ex. 13. Commerce and Industry

One of the most extensive industries in England is the textile industry,- immense quantities of cotton and woollen goods and artificial silk are… Ex. 15. Mothering Sunday (Mother's Day) Mother's Day is traditionally observed on the fourth Sunday in Lent (the Church season of penitence beginning on Ash…

SECTION EIGHT

Ex. 20. Broadcast Programme

— Oh, not too badly, though I've had some difficulty lately in getting good reception from the more distant stations. — Yes, I've noticed quite a lot of interference on my own set too. I suppose… — Yes, I did. Personally, I'm not very keen on opera, but my wife is, and "Carmen" happens to be one of her…

Ex.22.

A.: How do you think we ought to start?

В.: My idea is this. Suppose we just say a few ordinary sentences. After that we'll go back again and notice how we've said them, and what sort of tunes we've used, and then we'll try to make some clear and general rule about them.

A.: Yes, that's a good idea. Now the first thing I said was this: How do you think we ought to start? I wonder if the listeners can hear the tune? How do you think we ought to start?

В.: You see, listeners, that sentence starts on a fairly high note and it continues on that same note until it reaches the word 'ought'. Just listen.

How — How do you think we — How do you think we ought to start? Like that, you see. The word 'ought’ is said on a slightly lower note, and the sentence continues on that lower note until it gets to the very last syllable.

A.: 'How do you think we ought to start?' 'How do you think we ought to start?'

В.: Again, you see, the word 'start' is on a slightly lower note and not only that, it falls as you say it: 'start — start'.

A.: Yes, it does. It falls right down to the bottom of my voice, listen: 'How do you think we ought to start? How do you think we ought to start?'

В.: So the sentence is really in three parts, corresponding to the number of stressed syllables: 'how' followed by four weak syllables; then 'ought' followed by one weak syllable, and lastly 'start', followed by nothing at all.

A: How do you think we — ought to — start?

В.: We can make a good rule out of that. In sentences like this, the first stressed syllable and any weak, or unstressed syllables following it, are said on a fairly high note; the second stressed syllable, and any more weak syllables after that, are said on a slightly lower note, and the same with the third, and the fourth, and so on, until you come to the last stressed syllable of all, which not only begins on a lower note than the previous one, but also falls right down until it can scarcely be heard at all. Well, now we must go back to the beginning, and see if our rule works for some of our other sentences.

(From "A Course of English Intonation by J. D. O'Connor)

GRAMMAR EXERCISES

THE INDICATIVE MOOD

REVISION EXERCISES ON TENSE AND VOICE

1. a) Comment at» the use of the Present Indefinite and the Present Continuous: i. I'm glad to know that you are coming to England this summer. 2. Your teeth… b) Use the Present Indefinite or the Present Continuous instead of the infinitives in brackets:

THE SUBJUNCTIVE MOOD AND THE CONDITIONAL MOOD

19. Name the oblique moods used in the following sentences and translate the sentences into Russian: 1. If I were young I should have a walking holiday. 2. If I were you I should… 20. Comment on the mood of the verb in the following sentences:

Complete the following sentences a) using the Conditional Mood;

b) using the Subjunctive Mood: 1. We should go to the country if .... 2.1 should help her if.... 3. He would… 22. Supply the correct mood of the verbs in brackets:

MODAL VERBS

can, may 32. Say whether could is the form of the Indicative or of the Subjunctive.… 1. He took up a position from which he could see what was going around. 2. Oh! If I only could go back to my flower…

Translate Into English, using; the verb can;

36. Comment on the form and meaning of the verb may. Translate the sentences into Russsian: 1. It may be so or it may be not... I don't know, and what's more, I don't… 37. Translate these sentences into English, using the verb may.

Must

41. Comment on the meaning of the verb must. Translate the sentences into Russian;

1. Old age must lean on something, 2. A man must stand up for his rights. 3. You mustn't think it's so very easy. 4. Must it be done before tomorrow? 5. She must work from morning till night to earn her living, 6. One must have a rest after a day of hard work. 7. The only thing he knew for certain was that he must not meet Antonia. 8. You are right, I mustn't stay here. 9. You must be reasonable, Mr. Higgins; really you must. 10. Give him something to eat. He must be hungry. 11. That fellow must be made of steel. He's never tired. 12. It's quite a charming letter. Must have taken the poor young man an hour to write it. 13. He must be quite old by now. 14. You must have frightened her. 15. That fellow has seen and felt ten times as much as I, although he must be ten years younger. 16.1 felt that before long my secret must be known. 17.1 hear somebody's steps on the stairs. She must be coming! 18. Judging from the books and papers on his writing-table he must have been working for several hours.

42. Translate the following sentences Into English:

Note:Remember that mustin the meaning of supposition is not used in the negative.

1. Там, должно быть, никого нет. 2. Он, должно быть, ничего не понял и обиделся. 3. Она, наверное, не помнит, что обещала принести нам карту Москвы, 4. Вы, по всей вероятности, не знали, что они переехали в один из пригородов Лондона. 5. Она, наверное, оставила дверь незапертой. 6. Вы, наверное, не встречали такого забавного мальчишки, как наш Тим. 7. Вам, должно быть, нелегко этому поверить. 8. Дети, должно быть, не заметили, что уже стемнело. 9. Он, наверняка, ничего об этом не знает. 10. Она, наверное, совсем неопытна в переводе медицинских статей с английского на русский. 11. Это, должно быть, кажется вам невероятным, но это факт. 12. Он, должно быть, не узнал вас в толпе.

43. Change the following sentences from Active into Passive:

1. You must take this medicine regularly. 2. Students must do homework in time. 3. We can win peace. War is not inevitable. 4. You may put the book on the upper shelf. 5. You may allow the children to go for a walk. 6. We must discuss the matter not later than tomorrow. 7. Nobody can do it without your help. 8. We must look into the matter. 9. You mustn't take the magazine away. 10. You must post the letter as soon as you have written it. 11. May I take the books and papers away? 12. I must pay for the dinner. 13. You must work for success, 14. You can't describe it. One must just see it.

44. Fill in the blanks with the verbs can, may or must:

1. I have forgotten my own language and ... speak nothing but yours. 2, We ... go somewhere. We ... not wander about for ever. 3. But I think you ... have told us this half an hour ago! 4. You ... see much of interest there. 5. I did not hear him return to the room. I... have been asleep. 6. You ... have mistaken him, my dear. He ... not have intended to say that. 7. It seemed possible they ... return. 8. It.. not have happened at Ainswick. 9. No good looking back; things happen as they .... 10. To be ashamed of his own father is perhaps the bitterest experience a young man ... go through. 11. How ... you let things slide like that, Dick? 12.1 think you ... be glad of some coffee before you start back to your hotel. It's such a cold night. 13. It was known — whispered among the old, discussed among the young — that the family pride ... soon receive a blow. 14. And though he undressed and got into bed he ... not sleep. 15. You ... not go out so late at night. 16.1 think it... happen sooner or later. 17.1... come tonight, ... I not? 18. Somebody is knocking at the door. It... be John. — It ... not be John. It's too early for him to be back. 19.1 don't know for certain, but he ... have been a sailor in his youth. 20. They... ask me about him. What should I say?

45, Translate these sentences into English, using the verbs can, may, mash

1. Если вы так думаете, то вы не правы. Вы не должны так думать. 2. Возможно, что население вашего города больше, но что это доказывает? 3. Теперь ты свободна и можешь делать, что тебе нравится. 4. Е этом, должно быть, что-то есть. 5, Он, может быть, ничего не знает о том, что мы собираемся осмотреть достопримечательности города сразу посла завтрака, 6. Вред ли они вернулись из зоопарка. Они там впервые и могут долго пробыть. 7, Если ты будешь проводить так много времени перед телевизором, у тебя может разболеться голова. 8. Мальчик, возможно, вырвал картинку из книги, которую вы оставили на столе. 9. Если это так, то его нужно наказать. 10 Вы можете найти его в саду, я полагаю. Он, должно быть, играет а теннис с Джимом. II. Она, может быть, ничего не знает об этом. Вы тоже не должны ей ничего говорить пока. 12. Она говорит, что поездка в Лондон произвела на нее незабываемое впечатление. Она никогда не думала, что это может быть так интересно: узнавать места, о которых она знала из книг. 13. Мы могли бы найти дорогу обратно в отель сами, если бы Бо-, рис не потерял карту Лондона. 14. Переверни еще одну или две страницы, и ты увидишь фотографию. Скажи мне, если можешь, кто это. 15. Интересно, что он может делать здесь так поздно? — Возможно, он ждет Мэри. 16. Что это за шум? — Это, должно быть, в ванной течет вода. Кто-то моется. 17. Если бы на этот вопрос можно было дать ответ, он был бы дан давным-давно. 18. Кто бы это мог забыть ключ у меня на письменном столе? Неужели Джим? 19. Не может быть, чтобы Джим забыл ключ. Я видел, как он клал его в карман. 20. Не могли бы вы прийти немного раньше? Это было бы удобнее для меня. 21. Он постоял, раздумывая, можно ли ему незаметно уйти, рассердится ли Минин, когда узнает. 22. Я не умею говорить по-французски, никогда не умел. 23. Должно быть, трудно овладеть иностранным языком, не правда ли?

46. Comment on the meaning of have to. Translate the sentences into Russian:

1. I'm afraid, I shall have to send him away. 2. Was the fire already laid or did you have to lay it? 3. The rope was so strong that he had to take a knife to cut it. 4. But was it worth while going to bed when he had to be up again at five? 5. I suppose I shall have to go back to London, shan't I? 6. Do you have to get up early every morning? 7. He will have to pay me back before Sunday. 8. How long did you have to stay there? 9. "We shall have to wait a long time for our holidays," she said with a sigh. 10. And you have to go there twice a week, don't you?

47. Fill in the blanks with must or have to:

1. Don't worry about that. You ... do as you think best. 2. My mother was unwell, and I... go to the chemist's. 3.1... go and look at the dinner. 4. Yesterday's rain spoilt my hat completely; I ... buy a new one. 5. There was no one to help him so he ... move the furniture himself. 6. "Oh, hallo," she said; "I thought you ... have gone home." 7. They didn't answer my first knock so I ... knock twice. 8. You ... always come to me if anything goes wrong. 9. He was very sorry to think that he would ... part with it. 10. I had a sleepless night. I ... go and see the doc and get him to give me something, I can't go on like that.

48. Make the following sentences negative and interrogative:

1. He will have to come again. 2. My sister has to go to work. 3. They had to go back alone. 4. You have to answer all these questions. 5. I shall have to go out after all. 6. He will have to come on foot. 7. The students had to read the whole book. 8. She has to come every week. 9. He has to stay the night. 10. They had to begin very early.

49. Change the following statements into disjunctive questions:

1. I gather you have to read a lot in English. 2. He had to wait at the station till it stopped raining. 3. The work will have to be done before nightfall. 4. They usually have dinner at home. 5. She often has to go to the dentist's. 6. You have to go to school on Saturday. 7. They will have to do what they are told. 8. We have to begin before five o'clock. 9. As far as I understand you had to stay there a fortnight. 10. You look a bit tired, you've had a long walk. 11. She has to clean the house herself. 12. They had to finish that last night

50. Group the examples according to the meaning of the "be + infinitive" construction: (i) expressing a previously arranged plan (2) expressing instructions or commands:

1. I am to see him tomorrow. 2. What am I to do now? 3. You are not to communicate with anybody. 4. She said that I was not to leave the house. 5. She is to return tomorrow. 6. He said that Tom was to apologize. 7. He inquired when the secretary was to come. 8. She says I am not to lay the table before twelve o'clock. 9. At what time am I to come? 10. Something must have happened. He was to have come at eight. 11. Jim reminded me that we were to be at the station not later than seven. 12. W^hich of you is to bring the magazines and newspapers?

51. Comment on the use of must, have to, be to and translate the sentences into Russian:

1. I want you to obey her. You must do exactly as she says and make no noise. 2. "Well, what am I to do about dinner?" said Miss Handforth. "Spoil it by over-cooking or let it get cold?" 3. Randall was excited. He thought he must telephone her at once, he must see her, somehow, that very day. 4. Emma must have been very beautiful when she was young. She has a fine face. 5. "We are not to be trifled with," returned the policeman in a threatening voice. 6. You must come and have dinner with me some time. 7. He lost all his money at the races and I had to lend him five pounds. 8.1 hope I won't upset or annoy you by speaking frankly. I must have your advice. 9. Wake up, do you hear! You are to wake up at once. 10. So Frank has come? — Oh, yes; quite unexpectedly. He was to have stayed a week longer. 11. You are not to stay so late. You may leave after dinner. 12. The story was still clear in his mind. He knew what had to be done. He took his pen and wrote in his neat, steady hand the title of his new novel.

 

Need

52. Comment on the meaning of the verb need:

1. He needs sea air. 2. We don't need anything else. 3.1 need not finish my sentence, for you already know what I was going to say. 4. Need it be finished by Saturday? 5. What more do you need? 6. He need say no more to her this evening, and risk giving himself away. 7. You needn't have carried all these parcels yourself. The shop would have delivered them if you had asked them. 8. You needn't take any more pills after next Monday. 9.1 must go at once, but you needn't. 10. You needn't have waited for me, I could have found the way. all right. 11. Looking back I can see exactly how it happened. It need never have happened. 12. And he was always careful to have money in his pocket, and to be modish in his dress, so that his son need not blush for him.

53. Fill in the blanks with didn't have to or needn't have:

1. You ... (to bring) your umbrella, as we are going by car. 2. You ... (to water) the flowers, as it is going to rain. 3. I ... (to translate) it for him, he did it himself, he understands Latin. 4. I... (to answer) the questions, which saved me a lot of trouble. 5. I knew I ... (to lock) the door after me, but how was I to know you wanted to come out, too? 6.1... (to ring) the bell because the door opened before I got to it. 7. I... (to help) them at all, they themselves knew what to do. 8. I ... (to write) him because the news was already known to him. He phoned me shortly afterwards. 9. You ... (to listen) to him. His information was misleading. 10. You ... (to buy) such a lot of flowers. We've already got more than necessary. 11. He... (to get up) so early every day. It was only on that particular occasion that he did. 12. You ... (to say) if you didn't want to. We could have done without you just as well.

54. Fill in the blanks with mast, have to, be to or need:

1. You ... not (to bring) your books to class tomorrow, we are going to listen to a wireless programme. 2. I'm glad the lessons will begin later now. The children won't... (to get up) so early. 3. You ... not (to learn) the poem. You ... only (to read) it. 4. Children ... not (to play) with matches. 5. It was late, and they ...(to light) a fire to cook their supper. 6. You ... (to give) it back to me before you go. 7. You ... not (to be) late for the concert. 8.1 made a few mistakes, so I... (to do) the whole exercise again. 9.1... hardly (to say) how important it is. 10. She ... (to be married) next month. 11. You... not (to miss) that film, it is extraordinary good. 12. You ... not (to strike) a match; I can see well enough. 13. Jim ... (to make) a speech at the meeting, but he had fallen ill, so Tom ... (to speak) instead, 14. You ... not (to bring) any food with you tomorrow. I'll have enough for both of us. 15. We ... (to be) there at 12 sharp. 16, We ... not (to wait) long. A bus came almost at once. 17. You ... (to learn) the whole poem.

55. Translate the sentences into English, using must, ham to, be to or need:

1. Зря мы вышли из дому так рано, поезда не будет в течение часа. 2. Мы можем не спешить. Нам не нужно быть там раньше 8.30. 3. Вы не должны следовать их примеру. Это было бы глупо с вашей стороны. 4. Интересно, надо ли приносить с собой учебники? 5. Мне не пришлось запирать дверь, кто-то уже запер ее. 6. «Если завтра будет сильный мороз, — сказала мать, — тебе можно будет не ходить в школу». 7. Вам незачем беспокоиться, они скоро вернутся. Наверное, задержались на набережной Темзы у здания Парламента: их всё здесь интересует. 8. Не нужно забывать, что в Ист-Энде живут те, кто своим трудом обеспечивают жизнь этого огромного города. 9. Вам не обязательно продолжать, я знаю, вы скажете, что среди архитектурных памятников Лондона особое внимание привлекает Вестминстерское аббатство, построенное в XIII веке. 10. Они должны были встретиться на мосту Ватерлоо в 6 пополудни. 11. Что мне рассказать нашим гостям о поездке в Лондон? — Опиши им церемонию караула у ворот лондонского Тауэра. 12. Она сказала, в какое время мы должны были прийти, и попросила не опаздывать. 13. Мы решили, что дети не должны идти туда одни. 14. Нет нужды упоминать, что Кремль — выдающийся музей и памятник старины. Это всем известно. 15. Мне пришлось принять это приглашение, хотя я очень неважно себя чувствовал. Я не хотел обидеть своих новых друзей. 16. Он знал, что ему, возможно, придется прожить там больше месяца. 17. Спроси старосту, кто сегодня должен принести наушники на урок фонетики. 18. Вчера мы должны были навестить Аню в больнице и поэтому не могли зайти к тебе.

Ought

56. Comment on the meaning of the verb ought. Translate the sentences into Russian:

1. I think for your wife and children's sake you ought to have a try. 2. There are people who think they ought to be reformed. 3. We all know that things are not always what they ought to be. 4. You ought to do something, you know; it'll be fatal for you to have nothing to do. 5. Have I said anything I oughtn't? 6. "I ought to have told Soames," he thought, "that I think him comic." 7. I suppose she is right. I oughtn't to have tried to speak to her! 8. By the end of the evening I almost felt that I ought to call him "Uncle Jack." 9. It'll be lovely round there today. — Yes, it ought to be quite nice. 10. It is the last of the Madeira I had from Mr. Jolyon when we came in here; it ought to be in prime condition still.

57. Paraphrase the following sentences so as to use ought (oughtn't) followed by a correct form of the infinitive:

E x a m p l e: I felt it would be only proper to follow his advice.

I felt I ought to follow his advice.

1. I knew it would be improper if I opened the letter. 2. I recommended you to finish your work before going out. 3. I advise you not to eat between meals; it will make you fat. 4. I disapprove of your smoking so much; you are wasting your money and doing harm to your health. 5. It's a pity I didn't take those books back to the library last week. 6. It was wrong of you not to tell our guide that you wanted to go sightseeing all by yourself. 7. You didn't wait till the lights were green before crossing the road, and it was wrong, you know. 8. It was unreasonable of you to have crossed the road when the lights were red. 9. I wish you had been there. The performance was wonderful. 10. If he starts at eight he will probably be there by one o'clock.

58. Fill in the blanks with ought, have to, be to or need followed by the appropriate infinitive:

1. Mother always tells me that I ... (to be) more careful. 2. You ... not (to tell) him my telephone number, he knows it. 3. You ... not (to say) that! See how distressed she is. 4.1 don't want to do it, but I.... 5. All the same, I think you ... (to see) a doctor. There must be something the matter with you. 6. Don't forget that you ... (to get up) at seven! 7. But there was no other way out. 1... (to communicate) with him. No one else knew her address. 8. Such things ... not (to be allowed). 9, You ... not (to write) such a long composition. The teacher only asked for 200 words, and you have written 400. 10. "Perhaps I... not (to trouble) you." He closed his lips tight. He was offended.

 

Should

59. Comment on the meaning of the verb should. Translate the sentences into Russian:

1. Can you show me any English woman who speaks English as it should be spoken? 2. A wife should obey her husband. 3. Besides you shouldn't cut your old friends now that you have risen in the world. 4. They should be taught a lesson. 5. I confess I did not foresee this turn of events. But I should have foreseen it. 6. You have discovered what I intended you should never have known. 7. He should not have said it. The moment the words crossed his lips he knew it was not the right thing to say. 8. Considerable debate took place between the two sisters whether Timothy should or shouldn't be summoned to see Annette. 9. "You should come here often," he said to Shelton... "You ought to come here often," he repeated to Shelton. 10. You ought to finish your work before going out. — I know I should.

60. State whether should is auxiliary or modal:

1. "So you think I should go, then?" said Randall behind him. 2. At breakfast I told Mary that I should be absent at least four days. 3. I shouldn't have believed it if I hadn't seen it with my own eyes. 4. You really shouldn't have said that, Felix. I'll talk to him myself. 5. How about Pinfold? Shouldn't he be here? 6. Thank God for our Gilbert. What should we do without him? 7. No one knew when I was to be back or if I should be back at all. 8. Felix said hastily, "Forgive me. I shouldn't have troubled you". 9. Nell has just told me you wanted to see me or I shouldn't have troubled you. 10. They had not seen — no one should see her distress, not even her grandfather.

61. Translate the sentences into English, using must, ought, should, need, have to or be to:

1. Извините, что задержал вас, но мне надо было позвонить домой и предупредить, чтобы меня не ждали к обеду. 2. В конце концов мы решили, что нам не следует там дольше оставаться и что нужно отправляться в горы. 3. Ты должна одеться в самое лучшее, я хочу, чтобы ты произвела на всех наилучшее впечатление. 4. Вы должны были приготовить домашнее задание как следует. Тогда бы вам не пришлось задавать подобных вопросов. 5. Напрасно ты ждала столько времени. Тебе бы лучше было оставить мне записку. Я бы сделала все, что ты хотела, 6. Они, должно быть, работают в лаборатории. Не следует им мешать. 7. Почему ты не пришла вчера? — Я должна была встречать двоюродную сестру на вокзале. — Тогда ты должна была бы позвонить, мы бы тебя не ждали. 8. Поступай, как знаешь, я не собираюсь мешать тебе, кроме того, мне предстоит вскоре уехать. 9. Вечер, вероятно, будет интересным. Студенты так долго готовили его. 10. Нет ничего смешного в том, что он сказал. Нужно быть серьезнее. И. Ему придется работать здесь, пока лаборатория ремонтируется. 12. Ты сказал, это шутки ради, а она обиделась. Нужно быть более внимательным к людям. 13. Подготовка к их приезду заняла у нас целый день. Каждому пришлось что-то сделать, 14. Такие люди достойны восхищения. 15. Мне не пришло в голову поговорить с ним, а следовало бы. 16. Не разрешай детям играть в моей комнате. Они перевернут там все вверх дном, а тебе потом придется приводить все в порядок. 17. Вам не нужно было беспокоить профессора. Я мог бы дать вам всю необходимую информацию. 18. Им следовало бы удержать его от такого неразумного шага. Они еще пожалеют об этом. 19. Я точно следую указаниям, которые получила. Я хорошо знаю, с чегомне надо начинать.

62. Comment on the use of should for the sake of emotional colouring. Pay attention to the structure of the sentences and the word combination it is found in:

1. Why should you be different from other men? 2. But why should he take the scanda! on himself? It was not fair! 3. They only want their independence, and why shouldn't they have it? 4. "Do you see much of Randall?" "He practically lives here. But you knew?," "No," said Hugh, He was surprised and annoyed. " Why ever snouid I know?" 5. What do you think ought to be done? — Done? How should I know? 6, "Fresh air!" exclaimed James, "What should I do with fresh air?" 7. M r s. H i g g i n s: But where does the girl live? H i g g i n s: With us, of course. Where should she live? 8. Strange that the dog should die just now! 9. Ironical that Soames should come down here — to this house, built for himself! 10. He heard the nurse crying over there by the fire; curious that she, a stranger, should be the only one of them who cried! 11. It's very interesting that you should say that, Edward — very interesting. 12. It struck her bitterly that she, who had been his first adored, should have to scheme to see him. 13. ... it annoyed him very much that his companion, who was also tired, should grow more cheerful. 14. It's very strange that he should have told you the truth! 15. ... suddenly he heard his name called from behind, and who should ride up to him on either side but Bill Den-nant and Antonia herself!

63. Pay attention to the use of should in subordinate clauses after some verbs and expressions. Translate the sentences into Russian:

A. I. It is necessary that I should see her before you do. 2. It is normal that there should be a period of rebuilding after war. 3. "She has six children," said Aunt July, "ifs very proper that she should be careful." 4. It is essential that you should find out to whom those orders are going. 5. I mean if we are to develop Diesel planes ifs vital that we should have our own magnesium supplies.

B.6. He demanded that work should start at once. 7. We recommend that he should be chosen our delegate. 8. He ordered that they should all leave the house. 9. He suggested that the working hours should be reduced. 10. The doctor insists that the children should be sent to the country.

C.11. If she should phone I will tell her where you are. 12. Should you require anything more, please ring the bell for the attendant.

64. Fill in the blanks with mast, should or need:

1. I'm suggesting that, you ... marry гаг, Midge. 2. She ... be picking cherries in the orchard, tell her to come into the house. 3. "Well." said Emily with calm, "you ... not get into such fusses when we tell you things." 4. Is it necessary, do you think, that the police ... know about it? 5. You ... not be afraid of him. He's a kind old man. 6. It is essential that he ... be prepared for it. 7. Soft music filled the room. "That ... be a gramophone record," thought he. 8. I propose that the prize ... be divided. 9. Oh, I don't know. It's really rather odd that he ... ever have been taking her to the Ball. 10. You ... have seen that film when it was here last week. 11. It is strange that you ... remember the place. 12. Why ... not I talk to Catherine? Do you think I'm not worthy to, or something? 13. Poor boy! He ... have suffered so. 14. You ... not answer-all my questions if you don't want to. 15. Why ... you say such disagreeable things? 16. Go upstairs at once. You ... change your wet clothes. 17. It was only proper that Dora, who was young and healthy, ... give her seat to that old lady. 18. I think I'll come on time, but if I ... be late, please keep a seat for me. 19. He ordered that the gate ... be locked. 20. She confiscated the morning papers so that the children ... not see them. 21. You ... not wake up before seven o'clock. We'll start at half past eight. 22. I was just wondering if my wife was here.' — No, she isn't here. Why ... she be? 23. You ... not work so hard after your illness. 24. Henrietta suggested to Gerda that they ... go and look at the kitchen garden.

 

Shall, will

1. You shall not search my rooms. You have no right to do it. I forbid you! 2. He hasn't seen you and he shan't. 3. The police shall take you up. 4.… 66. Comment on the meaning of will and would. Translate the sentences into… 1. I will let you know, so you can be there. 2.1 will tell you what it is. 3. I will make your excuses to Margaret. 4.…

REVISION EXERCISES ON MOOD AND MODAL VERBS

1. If I (to be) as young as you are, I (to have) a walking holiday. 2. Perhaps, she (not to look) so bad, if she (not to put on) so much weight. 3.… 72. Answer the following questions: 1. What would you say if you were asked to take part in a concert tonight? 2. Where would you go if you were on leave?…

Translate the following sentences Sato English. Pay attention to the use of the oblique moods;

76. Complete the following sentences: 1. If you had taken my advice .... 2. The watch wouldn't be slow if .... 3.… 77. Replace the infinitives in brackets by the correct form of the oblique mood:

Comment on the meaning of the modal verbs and translate the sentences into Russian;

80. Use the verbs can oi may. 1. One ... never know what... happen. 2. You ... have sent us a note at least!… 81. Fill in the blanks with should, need, hare to with the appropriate form of the Infinitive:

NON-FINITE FORMS OF THE VERB

(To Units Seven—Nine)

The Infinitive

1. Lady Franklin was horrified at herself. To have asked his name, to have been told his name, and to have forgotten it! 2. She seemed to be paying… 86. Supply the missing forms of the following infinitives: to have been done, to be spoken to, to curl, to be breaking, to have nodded, to drive, to be ruined, to be rubbing, to…

Complete the following, using the infinitive

a) as subject:

1. ... would be unjust. 2. ... was very pleasant, 3. ... is the only thing to do. 4. ... would be much more useful. 5. ... is not an easy matter.

b) as predicative:

1. My hobby is ... . 2. The best way to master a foreign language is v.. . 3. The next thing to be done is ... . 4. Our aim was ... . 5. To say so means ... . 6. His only wish is ... .

c) as object:

1. He asked ... . 2. In the kindergarten children are taught ... . 3. I am so glad ... . 4. We are awfully sorry ... . 5. The doctor advised ... . 6. The child is afraid ... . 7. I've clean forgotten ... . 8. Everybody promised ... . 9. Would you like ... ? 10. Who has allowed you ... ? 11. Aunt Polly instructed Jim ... .

D) as attribute;

e) as adverbial modifier of purpose: 1. He came immediately ... . 2. We'll stay after the lecture ... . 3. They… f) as adverbial modifier of result:

The Gerund

1. Talking about ourselves is what we modern authors have a strong objection to doing. 2. He stopped writing and ran out into the bathroom. He… 112. Use the appropriate form of the Gerund of the verbs in brackets: 1. (to speak) without (to think) is (to shoot) without aim. 2. Do you know what is peculiar about the English rule of…

Translate the sentences Into English, using the Gerund;

The Participles

1. She sat very still, and the train rattled on in the dying twilight. 2.1 sat quite silent, watching his face, a strong and noble face. 3. He… 125. Use the appropriate form of the First Participle of the verbs brackets: … 1. (to look) out of the window, she saw there was a man working in the garden. 2. That night, (to go) up to his room…

B) Make up sentences with the word-groups you have translated.

Point out the Complex Objects with the Second Participle. Translate the sentences into Russian;

1. He had his luggage sent to the station. 2. How often do you have your carpets cleaned? 3. Have you got your watch repaired? 4.1 want it done as soon as possible. 5. We decided to have our photos taken after the final exam. 6. Get the rooms dusted and aired by the time they arrive. 7. I haven't had my nails polished yet. 8. I'm having a new dress made. 9. He thought it necessary to have the ceiling of the room whitewashed. 10. They found the door locked. 11. Mrs. Mooney watched the table cleared and the broken bread collected. 12. He heard his name called from behind.

REVISION EXERCISES ON THE VERBAIS

1. To live a healthy life in the country was good for them. 2. It was a great happiness to him to discover that she was in complete agreement with… 139. Complete the following sentences, using infinitives or infinitive… 1. I didn't expect... . 2. Oh, how nice of you ... . 3. We are all very glad ... . 4. She doesn't like ... . 5. What…

CONTENTS

 

ПРЕДИСЛОВИЕ................................................................................................................... 1

ESSENTIAL COURSE................................................................................ 3

UNIT ONE............................................................................................................................... 3

TEXT. ANNE MEETS HER GLASS..................................................................................... 4

TOPIC: CHOOSING А CAREES......................................................................................... 11

UNIT TWO............................................................................................................................ 18

TEXT. A DAY'S WAIT by Ernest Hemingway............................................................. 19

TOPIC: ILLNESSES AND THEIR TREATMENT.............................................................. 27

UNIT THREE........................................................................................................................ 34

TEXT. INTRODUCING LONDON...................................................................................... 35

TOPIC: CITY....................................................................................................................... 42

UNIT FOUR........................................................................................................................... 48

TEXT. HOW WE KEPT MOTHER'S DAY by Stephen Leacock....................................... 49

TOPIC: MEALS................................................................................................................... 55

UNIT FIVE............................................................................................................................. 63

TEXT. A FRESHMAN'S EXPERIENCE From "Daddy Long-Legs" by Jean Webster...... 65

TOPIC: EDUCATION.......................................................................................................... 70

UNIT SIX................................................................................................................................ 77

TEXT. A FRIEND IN NEED by William Somerset Maugham (abridged)........................ 78

TOPIC: SPORTS AND GAMES......................................................................................... 86

UNIT SEVEN......................................................................................................................... 94

TEXT. THE BRITISH ISLES............................................................................................... 94

TOPIC: GEOGRAPHY...................................................................................................... 102

UNIT EIGHT....................................................................................................................... 108

TEXT. SEEING PEOPLE OFF By Max Beerbohm........................................................... 110

TOPIC: TRAVELLING..................................................................................................... 117

UNIT NINE.......................................................................................................................... 125

TEXT. ROSE AT THE MUSIC-HALL From "They Walk in the City" by J. B. Priestley 127

TOPIC: THEATRE............................................................................................................ 133

SUPPLEMENT.................................................................................................................... 140

A. CLASSROOM ENGLISH............................................................................................. 140

B. CONVERSATIONAL PHRASES.................................................................................. 143

EXERCISES IN INTONATION............................................................ 144

SECTION ONE. Review of Fundamental Intonation Patterns and Their Use.................. 144

SECTION TWO. Intonation Pattern IX. High fall........................................................... 147

SECTION THREE. Intonation Pattern X
(LOW PRE-HEAD+) RISING HEAD + HIGH FALL (+ TAIL)............................... 151

SECTION FOUR. Intonation Pattern XI
(LOW PRE-HEAD + ) FALLING HEAD+ HIGH FALL (+ TAIL)........................... 154

SECTION FIVE Compound Tunes FALL + RISE......................................................... 159

SECTION SIX Compound Tunes
TWO OR MORE FALLS WITHIN ONE SENSE-GROUP....................................... 164

SECTION SEVEN Intonation pattern XII
(LOW PRE-HEAD + ) HIGH RISE (+TAIL)............................................................. 168

SECTION EIGHT. HIGH PRE-HEAD............................................................................ 172

SUPPLEMENT.................................................................................................................. 176

GRAMMAR EXERCISES..................................................................... 179

REVISION EXERCISES ON TENSE AND VOICE.......................................................... 179

THE SUBJUNCTIVE MOOD AND THE CONDITIONAL MOOD.............................. 184

MODAL VERBS................................................................................................................. 187

REVISION EXERCISES ON MOOD AND MODAL VERBS.......................................... 195

NON-FINITE FORMS OF THE VERB............................................................................. 199

The Infinitive..................................................................................................................... 199

The Gerund......................................................................................................................... 203

The Participles................................................................................................................... 206

REVISION EXERCISES ON THE VERBAIS.................................................................. 210

 

 

Учебное издание

Аракин Владимир Дмитриевич, Селянина Лидия Ивановна, Куценко Алла Владимировна

ПРАКТИЧЕСКИЙ КУРС АНГЛИЙСКОГО ЯЗЫКА

2курс

Учебник для студентов высших учебных заведений

7-е издание, дополненное и исправленное

Сдано в набор 15.01.05. Подписано в начать 20.05.05.

 

 

2 на листе 5000 сум

 

216,1,214,3,212,5,210,7,208,9,206,11,204,13,202,15,200,17,198,19,196,21,194,23,192,25,190,27,188,29,186,31,184,33,182,35,180,37,178,39,176,41,174,43,172,45,170,47,168,49,166,51,164,53,162,55,160,57,158,59,156,61,154,63

 

152,65,150,67,148,69,146,71,144,73,142,75,140,77,138,79,136,81,134,83,132,85,130,87,128,89,126,91,124,93,122,95,120,97,118,99,116,101,114,103,112,105,110,107

обратка

 

108,109,106,111,104,113,102,115,100,117,98,119,96,121,94,123,92,125,90,127,88,129,86,131,84,133,82,135,80,137,78,139,76,141,74,143,72,145,70,147,68,149,66,151,64,153,62,155,60,157,58,159,56,161,54,163,52,165,50,167,48,169

 

46,171,44,173,42,175,40,177,38,179,36,181,34,183,32,185,30,187,28,189,26,191,24,193,22,195,20,197,18,199,16,201,14,203,12,205,10,207,8,209,6,211,4,213,2,215

 

для транскрипционных знаков использован шрифт PhoneticTM. Но в принципе транскрипции в этом томе мало.