Текст книги "Разговорный английский"
Автор книги: Александр Войтенко
Соавторы: Владимир Войтенок
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Текущая страница: 22 (всего у книги 25 страниц)
T. About a week, sir.
C. Good. And when must I come to try it on?
T. In four days’ time, sir.
C. Must I pay now?
T. Yes, sir. Here is the receipt.
X. Everyday Services
1. AT THE BARBER’S
CUSTOMER. Good morning. Oh, you are engaged, I see.
BARBER. You’ll be attended to in a moment, sir. Won’t you sit down? There’s the today’s paper on the table, sir. CUSTOMER. Which is it?
BARBER. “The Times,” sir. {After a short time.) Please, sir. A cut and a shave?
CUSTOMER. Only a shave, please.
BARBER. Your hair wants cutting, sir.
CUSTOMER. Does it? Well, let’s have a haircut as well.
BARBER. Is it to be cut short?
CUSTOMER. By no means, I’m not a boxer, you know.
BARBER. But it’s more refreshing in a hot weather like this, sir. CUSTOMER. No, you won’t talk me into a crop. Just trim it all round and that’ll be the end of it.
BARBER. Yes, sir. {Begins cutting the customer's hair.) CUSTOMER. Your hairclipper pinches.
BARBER. Yes? I’ll change it, sir.
CUSTOMER. Now, see that no hair gets under my collar.
BARBER. Yes, sir. {After some time.) Do you find your hair cut as you like?
CUSTOMER. Well, that’ll be all right, I suppose. Now for a shave.
Finish the dialogue.
2. AT THE SHOEMAKER’S
CUSTOMER. I’d like to have these two pairs of shoes mended, please.
SHOEMAKER. Let me see them, please. This pair can be mended, but this pair is beyond repair.
C. Really? Why?
S. They have to be soled, but the soles won’t hold.
C. No?
S. No. The inner soles are no good, you see. Besides, they are out of shape altogether.
C. It’s a great pity. And these?
S. The heels will have to be tipped – they are worn down a great deal.
C. And what about the soles?
S. They’ll stand a good deal of wear yet. Now, this seam will have to be stitched.
C. Then there’s a little hole in the left shoe.
S. Yes, here it is. Well, that seems to be all, doesn’t it?
C. Yes, but do patch the hole neatly, please. Can you manage to put the patch from the inside?
S. Why, yes! I’ll glue it on, so that it won’t hurt your toe.
C. Well, and what will it come to all in all?
S. We’ll reckon it up now. ... roubles, please.
C. Must I pay in advance?
S. According to our regulations you must.
C. Well, here you are. When will you have them mended?
S. In two days’ time. Here is the receipt. Goodbye.
C. Goodbye.
3. PHOTOGRAPHY
This art has of late years become exceedingly popular among amateurs of both sex, and it is remarkable how many possess cameras, and how soon they acquire the art of using them with success. The camera is a useful and pleasant companion in our rambles, and by its means we can record many pleasant incidents which have occurred during a holiday, many pieces of beautiful scenery, and more especially the features of our friends and relatives.
Beginners must not be discouraged by a few early failures. Of course, it is impossible, in the space of an article of this kind, to explain the process of taking and developing a picture, and the only thing is to refer the reader to some of the very cheap and useful handbooks on the subject.
GEORGE. Hello, Tom! I say, what’s that?
TOM. Why, don’t you see? It’s a camera.
GEORGE. Let me have a look at it, will you? I’m a bit of a photographer myself.
TOM. Certainly. Well, how do you like it?
GEORGE. Yes, it seems to be an excellent thing. The opening1 (aperture) is 3.5 (three point five), and the lens is a very good one, too.
TOM. Yes, you just see how easy it is to focus this camera. Fine, isn’t it? It’s one of the latest models and has all the gadgets1 2.
GEORGE. Oh, you’ve got a stand to it too, I see. A nice stand, indeed. I like these stands of the telescope type – they are very easy to unfold and fold (shut), you know.
TOM. Yes, and see what exposures you can give – up to 1/500 (one five hundredth) of a second.
GEORGE. What sort of films can be used?
TOM. With my old camera I used to use plates, but with this one you can use plates, filmpacks3 or roll-films4, whichever you like.
GEORGE. Which do you like best, roll-films or filmpacks?
TOM. Well, I use both kinds. Roll-films are, of course, much more convenient, especially when you are outing.
GEORGE. But you know what I do, Tom. I buy roll-films, cut them and fit them into the slides5, just like plates. It comes out a great deal cheaper, you know.
TOM. That sounds a good tip. I will try them once.
Vocabulary Notes
1 opening (aperture) – диафрагма
2 gadget – приспособление
3 filmpack – пленки в пачке
4 roll-film – катушечная пленка
5 slide – кассета
4. LAUNDRY
MAID. Did you send for me, sir?
MR. A. Yes. I would like to have my things washed. How can that be done?
MAID. I shall send the laundress, sir. Is there anything else you would like?
MR. A. A bath, please. Is it free of charge?
MAID. No, sir. You have to pay extra for the bath. Shall I make it ready now?
MR. A. No. In an hour’s time, please. And now send the laundress.
MAID. Directly, sir.
LAUNDRESS. What can I do for you, sir?
MR. A. Have these things washed, please.
LAUNDRESS. Have you made a list, sir?
MR. A. Yes, here it is. Check it, please.
LAUNDRESS. Yes, sir.
MR. A. This suit has to be dry-cleaned. Mind there is a spot on the trousers. Have it removed, please.
LAUNDRESS. Yes, sir.
MR. A. Have you got an express service here? LAUNDRESS. Yes, sir, but you will be charged extra in that case.
MR. A. It doesn’t matter. I should like to have them ready by tomorrow.
LAUNDRESS. Yes, sir. Is that all?
MR. A. Yes. Don’t disappoint me. LAUNDRESS. Rest assured, sir. Goodbye.
XL Rest and Recreation
1. THEATRE
After a Visit to the Theatre
MOTHER. Did you enjoy yourself, Ann?
ANN. Oh, yes, mama. The opera was splendid, especially the music. I was so deeply impressed by it that I can hardly put into words what I think of it.
MOTHER. And who’s the composer, I can’t quite recollect?
ANN. Verdi, Guiseppe Verdi, mama. His music expresses such deep humanity that it simply carries one away.
MOTHER. If I am not mistaken, the music for “Aida” was also written by him?
ANN. Yes, but in “Othello” the music is much richer. There is power and delicacy and marvellous beauty in it. The voice parts are essentially melodious. Indeed this work is a monument of genius.
MOTHER. And was the rendering good?
ANN. Oh, yes, the cast was excellent except —.
MOTHER. Except whom?
ANN. Well, I didn’t altogether like – now, what’s her name I can’t remember. Oh, yes, Vera M.
MOTHER. Vera M.? I’ve never heard of her before. What was her part?
ANN. She played Desdemona. I think she falls short in her Desdemona.
MOTHER. What makes you think so?
ANN. Well, there was a sort of lack of feeling in her acting; she had such a feeble voice that she was hardly heard.
MOTHER. Who performed the role of Othello?
ANN. Victor N. He gives a very convincing and moving performance as Othello, I should say.
MOTHER. Oh, yes, N.’s acting is generally praised.
ANN. Yes. His play is so natural that one begins to feel for him as in real life.
MOTHER. They had a full house, I suppose?
ANN. Up to the very doors. You should go with Daddy to hear it, mama. I know you’ll enjoy it.
MOTHER. I think we should. It’s a long time since I was at the theatre ...
2. CINEMA
a) Realist Tradition
The Eisenstein tradition is acknowledged the world over as one of the greatest in film making. It is actually felt in almost all the works of present-day film producers, many of whom studied under Eisenstein.
Producers like Gerasimov, Alexandrov, Yutkevich, Pyryev and others are the custodians of this tradition of realism.
The first prize-winning film at the first Moscow festival, “And Quiet Flows the Don”, based on Mikhail Sholokhov’s famous novel, is a striking example of this tradition.
It was produced by S. Gerasimov, who was awarded the festival’s first prize for personal work.
The Soviet producers in selecting their stars for a film make it a point of looking for people who are really like their literary prototypes, not only in external appearance, but inwardly, spiritually.
In choosing the actors for “And Quiet Flows the Don” great importance was attached to the ability to abandon theatrical convention and to act in, what cinema people call, the actual setting – to live on horseback, to master the cossack’s way of speaking, mannerisms, his humour.
Almost all the work on the film was done in the Don country in the actual setting described in the novel, with the cooperation of the local Cossacks, and the result has been to bring the very breath of the Cossack country to the screen, with the breathtaking beauty of the open-air scenes and the sunsests on the steppes.
The film “The Idiot”, which is a screen version of Dostoevsky’s novel under the same title, may serve as another example of this tradition of realism.
All his life Dostoevsky felt a keen concern at the fate of men humiliated by the power of money, and this feeling emerges in all his works, including the novel “The Idiot”. That is why Pyryev, the producer of the film, in his approach to the novel took up as the principal theme the task of disclosing the shameful power of money over the human soul. Thus the story and the idea of the novel have been correctly interpreted and the leading characters represented without distortion.
b) Going to the Cinema
K. Have you been to a cinema lately?
M. Well, let me think. Oh, yes, I saw “ ” weeks ago.
К. I haven’t seen it. Is it any good?
M. I really couldn’t say it was up to much. The plot is so much tangled up that I couldn’t make out who’s who in the picture.
K. Wouldn’t you like to see something now?
M. I’d love to, but a really nice picture. Is there anything decent on anywhere?
К. I was told that “ ” is a very nice film.
M. Is it of our production?
K. No, it’s an English talkie dubbed in Russian.
M. It’s a pity that it is dubbed. I like to hear the English language, you know. Just for the sake of practice.
K. So do I. Would you care to see that film?
M. All right. Where is it going on?
K. They have it at the Hermitage. Would you like to go there?
M. I should indeed.
(At the cinema.)
M. Now, would you believe it! We’ll have to queue for the tickets.
K. I’ll jump it.
M. In no case. You forget that you are with a lady, and besides, isn’t it a shame to ... jump a queue?
К. I beg your pardon. I was anxious to get tickets for the next show, you know.
M. Why, wouldn’t we be able to get them?
K. Not for the next. They are letting out now.
M. All the better. We might go for a walk then.
K. That’s a good idea. We’ll have almost two hours on our hands.
M. It’s your turn now, isn’t it?
K. Well, here are the tickets, Row 10, Seats 11 and 12.
M. These are good seats. I hate sitting far from the screen.
K. So do I. Well? What about -.
M. Yes, let’s go.
3. AT A CONCERT
ANN. What good seats we have got! We are lucky, aren’t we?
MARY. We are, indeed. What are the highlights of tonight’s programme, do you know?
ANN. Well, it’s a mixed programme, but the crowning interest of the concert will be in the second part.
MARY. Say, Ann, there goes the usher. Get a programme from him, will you?
ANN. Well, here it is. Let’s see what is on. Now, didn’t I tell you?
MARY. Tell me what?
ANN. That the most interesting part of the concert will be the second.
MARY. You did say something to that effect, but could you let me have a peep at the programme?
ANN. Why, yes! The second part will be a violin recital, see?
MARY. I do. How fortunate we are. We are going to hear Eugenie
N. play.
ANN. That’ll be great. I like to hear him play.
MARY. So do I. The violin sings and soars when he plays.
ANN. Yes, his technique is indeed brilliant. I saw him once on the screen.
MARY. And I happened to hear him on the air some time ago.
ANN. Who’s the accompanist?
MARY. A certain George M. I don’t know him, do you?
ANN. Neither do I. What comes first on the programme?
MARY. Ssh! They’re about to begin.
4. RADIO
G. Why! I thought you were at the football match, Tom.
T. No luck. Couldn’t get a ticket. And you?
G. Well, I was to go on commission, you see, and then it was postponed. But what about coming over to me?
T. And getting it on the wireless?
G. Yes.
T. That’s a good idea. We’ll be in time for it, I suppose.
G. Oh yes, I live close by. I’ve got a new set, don’t you know?
T. No, I didn’t know. A good one?
G. Yes. An all-wave set with push-button control. You will see it presently.
T. With a recorder?
G. Yes. It works on miniature valves.
T. Does it? It should be a good one then.
G. It is. Well, here we are. Come in.
T. Anybody at home?
G. No. All have gone out. This way, Tom.
T. Oh, it’s a beauty, it is. A 13 valve set, isn’t it?
G. Yes, and how do you like the shape of the plastic cover? Isn’t it nice?
T. It is.
G. I intend to install a remote-control extension1.
T. What for?
G. Why! You can switch the set on and even tune in from any of the rooms.
T. Really! I’ve never heard of that before.
G. Well now, let’s switch it on. It has a magic eye tuning2, see?
T. Yes. It cost you a pretty penny, didn’t it?
G. It did. I’d been saving up money for quite a time. It was my dream to have one like this, you know.
T. Yes.
G. Well, I’ve tuned in. Here’s the announcer speaking.
T. I can hear him as plain as ever.
Vocabulary Notes
1 remote-control extension – ди– 2 magic eye tuning – настройка станционное управление по электронному индикатору
5. DANCING
G. I say, Fred, do you want a ticket for a dance? I mean, two tickets?
F. How did you come to get them? I didn’t know that you were a dancer.
G. My sister gave me them. She’ll be engaged this evening – an appointment, I suppose.
F. And why don’t you want to go?
G. Well, I don’t mind walking or running or climbing, but I’m the world’s worst dancer.
F. I don’t think you can be worse than I am.
G. Oh, yes, I am. Why, a girl once asked me if I danced. I never spoke to her again.
F. Why not? It was quite a polite question.
G. Yes, but I was dancing with her when she asked me. Can you beat that?
F. I can. Well, I was dancing with a girl once and I asked her if she had ever danced with a worse dancer.
G. And what did she answer?
F. She didn’t say a word.
G. Well?
F. So I repeated the question.
G. And -.
F. And you know what she said?
G. How can I know?
F. She said, “I heard you the first time. I was trying to think.” How do you like it?
G. Well, I am under the impression that we are the most “wonderful” dancers in the world, aren’t we?
F. Sure, we are.
G. Yes, but what am I to do with these tickets? What about ringing up —?
T. Hello, you two.
F. Why, it’s you Tom!
G. Talk of the devil and he is sure to come. What are you doing this evening, Tom?
T. I?
G. You, of course, I have two tickets for a dance. Do you want them?
T. Well, but are you quite sure you don’t want the tickets yourself? G. Want them! If you can go there for me, you are my best friend. T. And you, Fred?
F. If you go there for me, well, you’ll be my bosom friend forever, Tom.
T. Indeed? Well, it’s worth while to have two good friends. Where are the tickets?
G. Here you are. It’s at the Ritz.
T. Thank you.
XII. Sport
1. FOOTBALL
The Football Match Between England and Austria
England:2 – Austria:2
England won the toss and the Austrians kicked off into the sun1. Two free kicks were given against England in the first two minutes, and the English defence cleared them well.
After 15 minutes’ play the Austrian centre-forward, Buzek, broke away on the left and McDonald, the goalkeeper, did well to tip a fierce drive over the bar.
A minute later the Austrians opened the scoring with a magnificent goal, which McDonald had no chance of saving.
Left-half Koller, getting possession about 25 yards out, put in a dynamic drive which sped like a bullet into the top right-hand comer of the goal.
The English forwards pressed continuously, but to no avail. In the 28th minute Douglas shot weakly from close in2, while at the other end Buzek lost a great chance of making it two for Austria by shooting inches wide of the uprights3 from close range.
Three minutes later Haynes had a wonderful chance to equalize, but he was hesitant and was robbed. After 35 minutes’ play the English attack had five or six chances of equalizing, but their shooting was wild4.
England continued to do well in midfield, but the forwards were completely inept. Two minutes from the interval Robson was dispossessed by the goalkeeper only feet away from the goalmouth.
There was a concluding thrill when goalscorer Koller again put in a blinding shot from well out5 but this time he was inches wide of the upright.
England were all over Austria on the resumption, but they just could not get in a good scoring shot. Twelve minutes after the interval, however, England equalized with a rather lucky goal. It was J. Haynes, who from two yards out6 put the ball in the back of the net.
England continued to dominate the play, but by wild and weak shooting in front of the goal they failed to press home their advantage7.
In the 10th minute the Austrians went ahead with another goal from well out. Alfred Koerner, the inside-left, put in a stinging drive from nearly 25 yards out which hit the upright and glanced off into the net to put Austria ahead 2 = 1.
Almost from the restart England netted8 again, Robson scoring from just inside the penalty area. From the Press stand9 it looked a perfectly good goal, but the referee ruled it no goal10 presumably for hands.
Four minutes later Kevan equalized, rushing the ball through from close in from a pass by Haynes.
Both sides fought hard for the winning goal1 11, but neither goalkeeper was seriously troubled in the closing stages and the game ended in a stalemate12.
From “Daily Worker"
Vocabulary Notes
1 to kick off into the sun – начинать игру против солнца
2 from close in – с близкой дистанции
3 inches wide of the upright – в нескольких дюймах от штанги
4 wild – неточный
5 well out – с значительного расстояния от ворот
6 two yards out – два ярда от ворот
7 to press home their advantage – использовать свое преимущество
8 to net – забить гол
9 Press stand – трибуна прессы
10 to rule it no goal – не засчитать гол
11 winning goal – выигрышный гол
12 stalemate – ничья
2. ON THE TRACK
In the most fantastic mile race ever run, N., the 20-year-old wonder, smashed the world record in 3 min. 54.5 sec.
From the start the pace was extremely hot and M., who had made a particulary smart beginning, completed the first quarter in 56 seconds. M. also led at the half-mile mark, but N. set about the task of overhauling M., and on the third lap moved up. He and M. increased the pace and the rest of the field began to tail off1.
As they went into the last lap, N. came up with M. It was on the final bend2 that N. made a tremendous effort and shot into the lead putting himself some yards ahead of M.
With about 50 yards to go3 N. brought the cheering crowd to its feet as he stretched his lead over M., and reached the tape in 3 min. 54.5 sec.
N. was rather tired after his effort. However, despite his tremendous performance, he still had enough energy to do a lap of honour4 in front of the cheering crowd. Before he stepped up the rostrum5 he was garlanded with a laurel wreath6.
Vocabulary Notes
1 to tail off – отставать
2 final bend – последний поворот
3 with 50 yards to go – за 50 ярдов до финиша
4 lap of honour – круг почета
5 rostrum – пьедестал
6 to be garlanded with a laurel wreath – быть увенчанным лавровым венком
3. ON THE ICE
(Peter and his sister, Ann, have come to the skating-rink where they happen to meet their friend, Paul.)
PETER. Well, Ann, have you put on your skates?
ANN. Yes, I have. I say, Peter, isn’t that Paul over there?
PETER. It is, indeed. Hey, Paul!
PAUL (Coming over.) Why, hello, Peter! Oh, that’s you, Ann? How do you do?
ANN. How do you do, Paul? You come here frequently, I suppose, don’t you?
PAUL. Rather. Skating is my hobby, don’t you know?
PETER. Say, Paul, is the ice good?
PAUL. Not very. A bit soft.
PETER. Well, let’s go. Come on, Ann.
ANN. Oh, my, I can’t stand on my feet!
PAUL. But can’t you skate, Ann?
ANN. I? Why, this is the first time I’m ever on skates! Peter has promised to teach me.
PETER. So I have. But Paul is (by far) a more experienced skater than I. Couldn’t you possibly give her a hint, Paul, how to learn the trick.
PAUL. With the greatest pleasure. Well, Ann, hold on to my arm. Now, let’s go on the ice.
{On the ice.)
ANN. My, how slippery it is! I’m afraid to lift my foot.
PAUL. Don’t get worried. Give me your hand, please. Now, bring out your right foot the way I do it. That’s it. Now your left. ANN. Oh, I’m losing my balance!
PAUL. Steady, Ann. Now, let’s try it again.
ANN. I look like a baby, trying to walk, don’t I?
PETER. You do, indeed. Well, I’m off for a run. Good luck to you, Annie.
{After some time.)
PETER. Well, how are you getting on, Annie?
PAUL. Oh, she’s doing fine. {To Ann.) You are tired, aren’t you?
ANN. Rather. Let’s sit down on this bench for a while.
PETER. I say, Paul, are you good at figure cutting?
PAUL. Well, there is nothing to boast about.
ANN. Oh, do show us how you skate, Paul.
{Paul begins to cut figures on the ice.)
PETER. Well, Ann, how do you like it?
ANN. Oh, it’s lovely! He simply glides on the ice.
{Paul comes up to them.)
PETER. You did fine, Paul. You have mastered the technique rather well, I should say.
ANN. Oh yes, I wish I could skate like that.
PAUL. Oh, you’ll learn to skate even better, by and by, Ann. Patience and a great deal of training.
PETER. I say, Paul, what’s wrong with my skates? They slip when I’m on the ice.
{Paul examines them.)
PAUL. Why, they are blunt. You must have them sharpened.
PETER. Can it be done here?
PAUL. Certainly. You’ll have to go into the hut for that. Well, Ann, are you ready for another lesson?
ANN. Oh yes. You are so kind, Paul.
4. SWIMMING
Every person should endeavour to acquire the power of swimming. The exercise is a healthy accompaniment of bathing.
The art of swimming is, in reality, very easy. Do not attempt to learn to swim too hastily. Belts may be of service for supporting the body while one is learning what is called the stroke, or that manner of drawing in and striking out the hands and feet that is necessary to produce progressive motion.
But you will be no swimmer till you can place confidence in the power of water to support you.
Choose a place where the water deepens gradually, walk into it till it is up to your breast; then turn round your face to the shore, throw yourself forward and begin striking out with your hands and feet so as to prevent the lower part of the body, that is the legs, from sinking; keep your head as high as possible above the water.
During the great heat in summer there is great danger to throw oneself into cold water – one is apt to be seized with a cramp.
Do not forget to cool yourself before getting into the water.
XIII. Town
1. A TOWN
A town is a large number of houses, schools, hospitals, theatres, factories, works and other buildings built near each other. All these buildings are divided into blocks by streets. Short narrow streets that join larger ones together are called lanes. On one side of the streets the buildings have even numbers, on the other – odd numbers. The main streets are usually paved with stone or asphalt. Along the streets run carts, cars, buses and trolleybuses. In large towns tramways are laid down the wider streets, along which tramcars rattle with great noise. On both sides of the streets are raised pavements on which people walk.
In very large towns, which are generally called cities, countless pedestrians walk along the foot-pavement forming two smoothly– flowing ceaseless currents. In England walkers keep to the right, while vehicles on the road keep to the left.
People usually cross the streets at special places, called crossings. When the traffic is very heavy, the policeman, who regulates the movement of the cars and buses, has to stop the never-ending stream by raising one hand, thus affording the pedestrians a chance of crossing the street. On the foot-paths, close to the gutter, stand dustbins, into which refuse is put.
In large towns the ground floor and the first storeys of the houses, that line the principal streets, consist of shops. These shops present most attractive features. The windows are very large and the plates of glass often reach almost to the pavement. It is interesting to look at the shop-windows where the articles on sale are displayed.
In the centre and in important parts of a large town, there are squares, gardens and market places.
A town is generally situated near or on a river across which bridges are built. In almost all towns there are places of interest, which a stranger would be invited to see – monuments, cathedrals, museums, etc.
A town is governed by a council, the head of which is styled the mayor.
2. IN THE TRAM
G. Hello, Bill! I thought you weren’t going to turn up. You’re ten minutes late.
B. (I’m) sorry to have kept you waiting, old chap. Where is, Ann, I wonder? Oh, here she is stepping out of the bus. Let’s go and meet her.
BOTH. Good morning, Ann.
ANN. How do you do? Have I kept you waiting long? I don’t know how it is, but I never can get anywhere in time.
G. Well, shall we go to K. or has anyone any other suggestion?
ANN. K. is all right for me. You, Bill?
B. Yes. We can go anywhere from there, can’t we?
G. Good. Now, let me see. Route 5 goes there, doesn’t it?
B. Yes, and No. 9 goes there too – the stop is a few blocks down this street.
ANN. There comes our tram.
B. Oh, what a rush.
G. Say, Bill, you go ahead and keep a seat for Ann.
ANN. No, don’t please. Let’s stand outside on the platform. It’ll be ever so much nicer there than inside the crowded car.
B. But this is a new car with the entrance in the middle, so we won’t be able to avoid the crowd. Step in, please.
ANN. My! The tram is choked up with people.
CONDUCTOR. Move ahead, please.
G. Hadn’t we better make our way to the exit?
В. I don’t think we should. We go almost to the end.
ANN. There’s room in that comer over there. Let’s ... My! The way it jolts. (To a passenger.) Excuse me, please.
PASSENGER. That’s all right.
CONDUCTOR. Fares, please.
G. Three, please.
ANN. I wonder why they don’t have more trams running on Sundays? These tram rides are horrible.
B. They are indeed, especially on a day like this. But isn’t it time to move ahead?
G. Yes! I think it is. (To a passenger.) I say, young man, could you possibly move a little to the left. Come on, Ann.
ANN. Well, here we are, after all.
3. A TAXI
P. Are you engaged, driver?
D. No, sir. Where do you wish me to take you?
P. To the station.
D. Victoria Station, sir?
P. Yes, but I have to pick up my luggage first.
D. Where is it, sir?
P. 21, N. Street.
D. All right, step in, please.
D. Well, here we are, sir.
P. Yes, I’ll be back in a moment. (Goes into the house; shortly after comes out with a suitcase.)
D. Allow me, please. (Takes the suitcase and puts it into the car.) Is that all, sir?
P. Yes, we may start.
D. Yes, sir. Bang the door, please.
P. Drive faster. I’m afraid I shall be late.
D. Yes, sir. What’s your train?
P. The 5.15.
D. It’s 4.30 now. We shall be there much before time.
P. I hope so.
D. Here is the station, sir.
P. Yes. How much is it?
D. ... shillings, sir. Here is your suitcase.
P. Yes, thank you. Here you are.
D. Thank you, sir. A pleasant journey.
XIV. Travelling
1. TRAVELLING BY TRAIN
There are various means of travel. We can travel by train, boat, aeroplane, car and finally we can travel on foot. You have, ail of you, done a certain amount of travelling, so let’s talk about the method of travel you like best.
Should you ask me what kind of transport I like best I’d speak in support of the train. With a train you have speed, comfort and pleasure combined. Suppose you want to go from Moscow to Vladivostok. The taxi brings you to one of the biggest stations in Moscow – the “Severny Terminal.”
What place is more interesting than a big station? There is the movement, the excitement, the gaiety of the people going away and sorrow of those who are seeing others off. There are the shouts of the porters as they pull luggage along the platforms to the waiting trains, the crowd at the booking-office getting tickets, the children tightly holding on to the skirts of their mothers, and passengers hurrying to board the train.
At last you manage to make your way through the crowd, closely following the porter, who has taken care of your luggage, and get out on to the platform. There are many tracks and trains there. No need for you to look round and read the signs that tell which train you must take. You follow your porter, and here you are – Car number 2, Train —.
You show your ticket to the guard and in you go into a most wonderful carriage. All is bustle and confusion, with people filing in,
bumping into each other, and what not. At last you manage to stow away your luggage and get out on to the platform for fresh air and bid farewell to the well-wishers who have come to see you off.
But you have scarcely time to kiss and hug your friends when the station-master on duty, in a red cap, signals the train. You hear no shrill whistle of the engine – the train pulls out of the station noiselessly and without a jerk.
You are on your way. You start up a conversation with your fellow-passengers (people take to each other quickly when travelling) and soon you get to know who is who and what. Now that the excitement of the day is over you begin to feel hungry.
The dining-car steward happens to come along and you take bookings for dinner1 or supper, whichever it might be. As you go for the second sitting you have time to wash. By that time the guard has made your bed. You take your towel and go to the toilet to wash yourself.
You feel tired now, after a hearty meal, so you decide to turn in2. You get into your upper berth and begin to absorb the beauty of the changing scenes that fly past you – the cheerful fields of wheat and corn, the meadows under a mantle of flowers, grass and green moss, the rivers that run through woodland countries, the forests with their delicious sense of peace, and the mountains ribbed with sharp steep ridges.
