Текст книги "Практический курс английского языка 1 курс"
Автор книги: Владимир Аракин
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broke a glass. 13. "Quite right," he added nodding his head. 14. "Pleased to meet
you," he said holding out his hand. 15. "I think it's going to rain," he remarked,
looking up at the black sky, 16. "I must put some coal on the fire," she remarked
getting up from her chair. 17. "We really must be going now," she said getting up
out of her chair. 18. "1 disagree," said the next speaker rising to his feet. 19.
"Stop it!" shouted the little girl to her brother. 20. "It's not possible," was the
opinion he offered after a moment's thought. 21. "It's rather expensive," she
remarked looking in the shop window. 22. "You don't mean it, madam," said the
girl, and there was pain in her voice.
2. Listen to the same sentences and repeat them in the intervals. Pronounce the author's
words on a low pitch level.
3. In order to fix the intonation of the author's words in your mind, ear and speech habits
repeat the sentences yourself until they sound perfectly natural to you.
4. Listen to a fellow-student reading the sentences. Tell him what his errors in the
intonation of the anther's words are.
5. Read the following drill sentences according to Model 1. Concentrate your attention
on the author's words following direct speech:
1. "What have we got to eatr Mum?" asked Robert. 2. "It's coming on to
pour," said Nora. 3. "It's much fresher here than in London," said Mrs. Hilton. 4.
"My husband is coming in a moment," said Mrs. Martin, taking off her hat. 5. "I
like your house very much. It's the quietest I know," she said, looking at her
friend with a smile. 6. "It hasn't rained since Sunday," she said, looking out of the
window, 7. "It's dry enough to sit on the grass," she said spreading the table-
cloth. 8. "Don't be too quick about spreading that table-cloth, Nora. I felt a spot
of rain," said Harry, looking up at the sky. 9. "Well, I am glad he came back,"
said Mrs. Meadows with a faint smile. 10. "Oh, Robert, you can't believe how
much I've enjoyed that wonderful play!" exclaimed Jean as they were leaving the
theatre.
M o d e l 2" "Is -> this for ,me?" he asked with surprise.
"Is -*that all 7пд1и?" she asked | showing him the /letter
6. Listen carefully^ to the following sentences. Concentrate your attention on the
intonation of the author's words:
1. "Do you really think so?" she said excitedly. 2. "I hope you don't mind,"
she remarked apologetically. 3. "It's the best you can do," he explained to them.
4. "Did you meet him?" she inquired at once. 5. "Do you think it's true?" they
kept on asking. 6. "Would you like a cup of tea?" she said with a smile 7. "Will
you wait for me?" she called from upstairs. 8. "Please, take one," she said
invitingly. 9. "Shall we ask him too?" they whispered to one another. 10. "It's not
so bad," he said at last. 11. "Did you hear?" he repeated with an angry frown.
7. Listen to the same sentences and repeat them in the intervals. Follow the intonation
line exactly.
8. In order to fix the intonation of the author's words in your mind, ear and speech habits
repeat the sentences yourself until they sound perfectly natural to you.
9. Listen to a fellow-student reading the sentences. Tell him what his errors in the
intonation of the author's words are.
7. Read the following drill sentences according to Model 2. Concentrate your attention
on the intonation of the author's words following direct speech:
1. "Do you think it's too damp to sit on the grass?" asked Nora. 2. "Does this
bus go to Trafalgar Square?" asked the man. "Can I get there by the metro?" he
asked. 3. "Have you ever been married, Captain Meadows?" I asked. 4. "Would
you like to go to the theatre with me?" asked Nick handing the ticket to his
friend. 5. "Have you ever been to that museum?" asked the guide, pointing to an
old building across the street. 6. "Is there a bus from here to Trafalgar Square?"
asked the man, standing on the platform.
11.Read the following according to Models 1 or 2:
a) "Tickets, please!" called the attendant as they entered the hall.
"You've got them, haven't you, Emily?" asked Miss Green. "Yes, of course!"
her friend answered, handing them to the attendant.
"This way, please," he said going on ahead of them.
b) "And how are you today?" smiled the doctor, entering the little girl's room.
"All right, thank you," she answered, looking at him timidly.
"Open your mouth!" he said, bending over her bed. "Now say Ah!" he added,
as he peered down her throat.
"Do you think she's better, doctor?" asked the mother.
"She'll be all right in a day or two," the doctor replied with an encouraging
smile.
The Author's Words Preceding Direct Speech
M o d e l s : He > said: | «The -» play is ^perfect.»
He xsaid: | «The -» play is ^perfect.» He ,said: | "The -» play is
^perfect."
The author's words introducing the direct speech form an intonation-group
and are usually pronounced with the mid-level, low-falling or low-rising nuclear
tone.
M o d e l 1: My -» mother > said: | "You -» look xtired."
12.
Listen carefully to the following sentences. Concentrate your attention on the
intonation of the author's words preceding direct speech:
1. He said: "They were very glad to get a letter from you." 2. He asked:
"What else can I do for you?" 3. George said: "Let's go to London early on
Wednesday morning." 4. He said: "I want two stalls if you've got them." 5. She
said: "They'll do very well." 6. He said: "I don't quite like the final scene in the
play."
13.
Listen to the same sentences and repeat them in the intervals. Pronounce the
author's words with the mid-level tone.
14.
In order to fix the intonation of the author's words in your mind, ear and speech
habits repeat the sentences yourself until they sound perfectly natural to you.
15.
Listen to a fellow-student reading the sentences. Tell him what his errors in the
intonation of the author's words are.
16.
Read the following drill sentences according to Model 1. Concentrate your
attention on the intonation of the author's words preceding direct speech:
1. He said: "You are wrong." 2. She said: "Don't hurry. The performance is
not over." 3. They said: "We enjoyed ourselves at the party." 4. He said: "There is
no doubt she tells the truth." 5. He said: "She accepted the invitation." 6. They
say: "Our seats were far from the stage." 7. They said: "The best seats at theatres
are those in the stalls."
M o d e l 2: The -> teacher vsaid: Stand xup."
17. Listen carefully to the following sentences. Concentrate your attention on the
intonation of the author's words preceding direct speech:
1. He said: "They were very glad to get a letter from you." 2. He asked:
"What else can I do for you?" 3, George said: "Let's go to London early on
Wednesday morning." 4. He said: "I want two stalls if you've got them."
18.
Listen to the same sentences and repeat them in the intervals. Pronounce the
author's words with the low-falling tone.
19.
In order to fix the intonation of Model 2 in your mind, ear and speech habits repeat
the sentences yourself until they sound perfectly natural to you.
20.
Read the following sentences according to Model 2. Concentrate your attention on
the intonation of the author's words preceding direct speech:
1. She said: "I haven't laughed so much for a long time." 2. He said: "Show
your tickets to the attendant inside the theatre." 3. She said: "The play isn't over
till half past five." 4. He said: "She'll show you to your seats."
M o d e l 3: She ,said: | «The acting was ^excellent».
21.
Listen carefully to the following sentences. Concentrate your attention on the
intonation of the author's words preceding direct speech:
1. She said: "They'll do very well." 2. He said: "I don t quite like the final
scene in the play." 3. They said: "Our seats were in the orchestra stalls and we
saw the stage well." 4. She said: "The play is worth seeing."
22.
Listen to the same sentences and repeat them in the intervals. Pronounce the
author's words with the low-rising tone.
23.
In order to fix the intonation of the author's words in your mind, ear and speech
habits repeat the sentences yourself until they sound perfectly natural to you.
24.
Read the following drill sentences according to Model 3. Concentrate your
attention on the intonation of the author's words preceding direct speech:
1. She said: "I like drama and ballet, but I don't quite like opera." 2. He said:
"The attendant showed us to our seats and gave us the programme." 3. She said:
"Please book two more tickets for me." 4. He said: "Would you like to go to the
theatre with me?" 5. The attendant said: "Would you like the programme?" 6.
She asked: "What do you think of the play?" 7. She asked: "Have you got any
seats for tomorrow?" 8. She said: "The acting was excellent."
25. Read the following dialogue. Express proper attitudes. Concentrate on the
intonation of the author's words:
"I've come up to talk to you," my mother said, "while you are getting ready.
Who's going to be at the party?" "I don't know," I said. "Will you enjoy it?" my
mother asked. "I hope so," I said.
"You've only got fifteen minutes," my mother said.
"Yes, I know."
"Can I help you?" my mother asked. "No, thanks
awfully," I said. "Will Betty be there?" "No," I said.
"Why not?"
"Because the people giving the party don't know her." "That's funny," my
mother said. "I wonder why they don't. Isn't that funny, their not knowing her?"
"Why?"
"Well because it is," my mother said. "Why don't you introduce her to them?
They'd like her. I've always liked Betty. . I like that dress. It suits you. It doesn't
make you look old like some of the things you wear. What on earth are you
doing to your hair?"
"Putting it on top."
"Oh, I don't like that," my mother said. "Why are you doing it like that?" "I
like it."
"Your father won't like it," my mother said. "Good heavens, your stockings
are transparent." "Yes."
"What's the good of wearing transparent stockings if your legs are blue?" my
mother asked. "Are you going to wear your boots and take your shoes with you
in a bag?"
"No," I said.
"You've only got five minutes now," my mother said. "Yes, I know."
"Will Sammy be there?" my mother asked. "I think so."
"Oh good," my mother said. "I hope you'll be nice and polite to him. You
will, won't you?" "Yes."
"Yes, try," my mother said. "Would you like him to come to tea?" "No."
"Oh, all right," my mother said. "But I think you're very silly, that's all. I
remember I didn't really like your father very much when I first met him, but
you won't take any notice of anything I can say. Can you walk in these shoes?"
"Yes."
"You are going to be late, aren't you?" my mother said. "Yes."
"Oh!" my mother cried. "You're not wearing your cardigan. Why have you
taken it off? Why aren't you wearing your cardigan?"
"Because I am not going to," I said.
"You'll be sorry," my mother said, "when the others are all enjoying
themselves and you are sitting near the fire with your teeth chattering and a red
nose. Sammy won't find that attractive."
"I'm ready now," I said. "Good-bye." "Enjoy
yourself, good-bye."
II. Intonation of Enumeration
M o d e l : I've V visited the 'British Mu,seum, | the National /Gallery | and
the vTate.
If a sentence contains enumeration, all non-final intonation-groups are
usually pronounced with the Low Rise each being a bit lower than the preceding
one. The final intonation-group is pronounced with the Low Fall if the choice of
enumeration is exhausted.
26.**" This exercise is meant to develop your ability to read sentences containing
enumeration. Listen to the text. Mark the stresses and tunes. Pick out of the text
sentences containing enumeration. Observe the intonation they are pronounced with.
Practise the text:
Theatres, Music-Halls and Cinemas
Theatres are much the same in London as anywhere else; the chief theatres,
music-halls and cinemas are in the West End.
If you're staying in London for a few days, you'll have no difficulty whatever
in finding somewhere to spend an enjoyable evening. You'll find opera, ballet,
comedy, drama, review, musical comedy and variety. Films are shown in the
cinemas during the greater part of the day. The best seats at the theatres are those
in the stalls, the circle, and the upper circle. Then comes the pit, and last of all
the gallery, where the seats are cheapest. Boxes, of course, are the most
expensive. Most theatres and music-halls have good orchestras with popular
conductors. You ought to make a point of going to the opera at least once during
the season, if you can. There you can get the best of everything – an excellent
orchestra, famous conductors, celebrated singers and a well-dressed audience.
But, of course, if you're not fond of music and singing, opera won't interest you.
At the West-End theatres you can see most of the famous English actors and
actresses. As a rule, the plays are magnificently staged – costumes, dresses,
scenery, everything being done on the most lavish scale. Choose a good play,
and you'll enjoy yourself thoroughly from the moment the curtain goes up to the
end of the last act. Get your seat beforehand, either at the box-office of the
theatre itself or at one of the agencies. When you go to a theatre, you'll probably
want to sit as near to the stage as possible. But if you're at the cinema, you may
prefer to sit some distance from the screen. In fact, I would say, the further away,
the better.
27. Read the following sentences. Observe the intonation of enumeration:
1. Presently the maid brings in tea on a trolley: a pot of tea, cups and saucers,
hot water, a jug of milk, and sugar; also sandwiches, bread and butter, jam, and
cakes. 2. Mary has laid the table in the usual way, and has put the right number
of knives, forks, spoons and glasses for each person. 3. There's also pepper and
salt, oil and vinegar and mustard. 4. On the sideboard the Browns usually have a
bowl of fruit: apples, pears, plums, cherries, grapes, oranges or bananas
according to the season. 5.1 get out of bed, put on my dressing-gown and
slippers and go into the bathroom. 6. On the dressing table, in front of the
looking-glass, you'll see a hair-brush and a comb, a hand-mirror, a bottle of
scents and a powder-box. 7. In all large towns there are plenty of restaurants,
cafes, tea-rooms, and inns or public-houses.
8. One of the people in the picture is buying postage-stamps, another is
registering a letter, the third is writing out a cable.
28. Read the text:
My brother and his wife have just gone back to their home in the country
after spending a week with us. As we live in London, they were glad of the
chance to visit as many theatres and music-halls as they could. They have a good
cinema in the little town where they live, so they didn't want to see any films
while they were here, but were very keen to see as many plays as possible.
During the day, my wife and sister-in-law used to visit the shops, and one
afternoon they went to a picture-gallery. Then in the evenings, we would all meet
for dinner and go on to a play.
We saw several plays, including two new ones, with two very promising
young actresses. When I was younger, I used to go to the theatre a lot. I used to
queue up for a seat in the gallery in those days. I must say I enjoy being able to
have a good seat in the stalls now, and I like to book the seats beforehand to save
trouble.
We saw a very good review too. The music and costumes were most
attractive. The last evening before our visitors had to go home, we saw a musical
comedy. I am not very fond of these myself, as a rule, but I thoroughly enjoyed
this one. We were all rather tired, I think, and it made a change from the serious
drama that we'd seen the night before.
29. *" This exercise is meant to develop your ability to hear and re-
produce intonation in proper speech situations, a) Listen to the dialogue "At
the Theatre" sentence by sentence. Write it down. Mark the stresses and
tunes. Practise reading each sentence after the cassette-recorder, b) Record
your reading. Play the recording back immediately for your teacher and fel-
low-students to detect your possible errors. Practise the dialogue for test
reading, memorize and dramatize it. c) Give conversational situations with
the phrases below:
1. Have you got (any seats for tomorrow) ? 2. They'll do very well, thank
you. 3. May I see your (tickets), please? 4. This way, please. 5. Yes, please. 6.
The (play) isn't over till (half past five). 7. What did you think of (it) ? 8.1
thought it was splendid. 9. The whole thing was first-rate from beginning to end.
10. How much (is that) ? 11. Shall I (bring you some tea, sir) ? 12. Neither have
I.
30.
Make up a conversation with a fellow-student using any phrases from the dialogue
**At the Theatre".
31.
This exercise is meant to develop your ability to reproduce the text with correct
intonation, a) Listen to the joke "The Bell-Boy" 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. Retell the joke according to the model you have listened to.
32.
Read the jokes silently to make sure you understand each sentence. Find the main
sentence in the text. Split up each sentence 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. Your teacher
will help you to correct your variant. Practise reading the jokes several times. Retell the jokes
following the model above (See Ex. 31):
A man was at a theatre. He was sitting behind two women whose continuous
chatter became more than he could bear. Leaning forward he said to one of them:
"Pardon me, madam, I can't hear."
"You are not supposed to – this is a private conversation," she answered.
Too Great a Majority
George Bernard Shaw's gift of ready wit is well illustrated by the story of
how he turned the laugh against a member of the public who was expressing
disapproval of one of his plays.
It was the first night of "Arms and the Man", a play which had an enthusiastic
reception from a crowded house. When the curtain fell at the end of the last act
there was tremendous applause, accompanied by insistent calls for the author to
appear. One man in the gallery, however, kept up a string of catcalls and
whistling, thus expressing his disapproval.
Shaw appeared before the curtain and waited in silence until the applause had
died down. Then, looking up at the hostile critic, he said:
"I quite agree with you, sir, but what can we two do against all these people?"
Section Thirteen
Intonation Pattern VIII
(LOW PRE-HEAD + ) LOW HEAD + LOW RISE ( + TAIL)
Model: He says he'll never speak to me again.
He „doesn't Mreally ,mean it.
Stress-and-tone marks in the text: a stressed syllable of the low head: | H |
In the usual form of the low head, all the syllables contained in it are said on
the same, rather low pitch. This intonation pattern is used:
1. I n s t a t e m e n t s , encouraging further conversation; reprovingly
critical, guarded, reserving judgement, appealing to the listener to change his
attitude.
e. gr. Гш just back from seeing my mother. I , .trust you ,,found her ,well.
–
Take no notice of him. We must „do as he ,says.
2.1n q u e s t i o n s : h
a) s p e c i a l q u e s t i o n s , calm, but very disapproving'.
e. gr. I don't agree. „Why ,not?
–
b) g e n e r a l q u e s t i o n s , expressing disapproval, scepticism.
e. g. I'm sorry, Mummy. – MAre you , really sorry?
3. I n i m p e r a t i v e s , reprovingly critical, resentful.
e. g. He'll let me have it by Monday. ,.Don't be „too ,sure.
–
4. I n e x c l a m a t i o n s ; calm, reserving judgement, expressing casual
acknowledgement.
e. gr. You can have it if you like. – ,.Thanks very /much.
1 . a)* Listen carefully to the following conversational situations. Concentrate your
attention on the intonation of the replies:
Verbal Context
Drill
How much did you win? I've got odd socks on. I feel terrible about it.
What's your opinion of his work? I'm
S t a t e m e n t s
told you refused his offer. Will you be
(encouraging further
calling again? Can I have another apple? cdptversation, ' reprovingly
He's nice, isn't he?
critical guarded, reserving
judgement)
It's not bad. That's quite right. It's quite possible. Well, I don't know. So I'm
told. So they say. We shall see.
About a thousand pounds. No one'll notice. You've nothing to reproach
yourself about. I trust you found her well.
I hope you had a good game.
I'm just back from seeing my mother.
I've just been playing badminton.
You were rather harsh with him. I'll give you a jolly good hiding. Please don't
do that. Harry's just arrived.
I'd like a new hat.
I thought she was in France.
Let's talk to him on the phone.
S p e c i a l q u e s t i o n s (calm, but very disapproving)
Well, what of it?
And who'll help you?
And why shouldn'11 ?
Who on earth told him to
come?
Who's going to pay for it? Where did you get that idea from?
What makes you think that will do any good?
G e n e r a l q u e s t i o n s
I'd no idea how to get there. The bus is at five I'm told. He's not good enough,
I tell you. We must get on with it now.
He says he'll never speak to me again.
I've asked Mary but she hasn't any.
I don't think I can dive from that height.
I won't have anything to do with him.
She's so terribly rude. I'm sorry.
I'm terribly sorry.
I can't make six o'clock.
I can't help you.
You can have it if you like.
(disapproving, sceptical) *
Couldn't you have asked? r Have you made sure? Mayn't you be mistaken?
Couldn't it be left till this evening?
He doesn't really mean it (does he?)
I m p e r a t i v e s (reprovingly critical, resentM)
Ask Mabel then.
Have a shot at it.
Don't be so silly.
Don't take any notice of her. Well, say it as if you meant it.
Don't apologise.
E x c l a m a t i o n s
(calm, reserving judgement, expressing casual acknowledgement)
All right. Very well. Thanks very much.
b) Listen to the replies above and repeat them in the intervals. Make your voice follow
the intonation line exactly, c) Listen to the verbal context and reply in the interval, d) In order
to fix Pattern VIII in your mind and ear, pronounce each reply several times until it sounds
perfectly natural to you. Don't forget to pay attention to the verbal context, e) Listen to a
fellow-student reading the replies above. Try to detect any failure to reproduce the pattern.
The errors must be pointed out and eliminated.
2. Listen to your teacher saying the context sentences below. Pronounce each of the
following replies in two ways: first with Intonation Pattern VIII, then with Intonation
Pattern IV. Be careful with the intonation line, observe the difference in attitudes. Make
a fellow-student decide what attitude you are trying to render;
Hullo, Mary!
How long have you been here? I can't find my gloves anywhere. Shall I do it
now? When will he return? Can I take the cassette-recorder now?
We shall have to tell him the truth.
He said he was miserable.
I didn't think much of the party.
You shouldn't have been rude to her.
['ve broken the vase.
Oh, I'm miserable!
I'm really sorry, John.
We must be getting home now.
Here is a cake for you.
You can have all of them if you
like.
I shall never see him again. Look! A hedgehog! Good morning, Jane. Let's go
through the forest.
You're looking very tired. Not very long. That's strange. It's up to you.
He'll return as soon as he can. I don't think you can.
We can't do that.
He said no such thing. Why didn't you leave sooner?
And what's it got to do with you?
How did you manage to do that?
What's the matter with you? Are you sure you are sorry? Wouldn't it be better
to wait
till ten o'clock? Can't you give me more
than one? Thanks very much.
Don't be so silly. Don't touch it. Good morning. If you like.
3. Translate the replies above into Russian. Pronounce them trying to express the
corresponding attitude in your mother tongue. Is the attitude expressed by means of
intonation only, as in English, or do we use any additional words to render it?
4. Read the verbal context below silently and translate the replies into English.
Pronounce the replies trying to render the attitude suggested in brackets. Concentrate
your attention on the intonation line. Decide what Intonation Pattern you are using in
each reply:
Will you be calling again? What a charming person she is!
I shall give them all to Mary.
You were rather rude to him. Oh dear, oh dear!
You must return it.
He is going to pay next month.
Let me have ten of them.
. Are you certain he knows them?
Вполне возможно, (reassuring)
Она довольно красива. (guarded, reserving judgement)
Но это очень несправедливо, (critical)
Ну и что же? (calm)
Что такое с тобой случилось? (sympathetic)
И ты серьезно так думаешь? (sceptical)
И ты не очень-то верь этому, (reprovingly critical)
Очень хорошо, (expressing casual acknowledgement)
Ну, не совсем, пожалуй. (reserving judgement)
5. Your teacher will ask you the following questions. You in turn respond to them using
Intonation Patterns 111, IV, VIII. Decide what attitude you are trying to express in each
response:
1. Shall we postpone the meeting then? 2. How did you come to lose it? 3.
When did you see him? 4. Does John always forget? 5. Were there many people
there? 6. What made you do such a stupid thing? 7. How many pencils do you
want? 8. Where does he come from? 9. Can I see him if I come back later? 10.
Can't we do something about it? 11. Shall I phone you? 12. What's your opinion
of his work? 13. Can I come again tomorrow? 14. Could you send me another
copy? 15. Do you mind waiting a little longer?
6. This exercise is meant to develop your ability to hear and reproduce intonation in the
dialogue, a) Listen to the dialogue carefully sentence by sentence. Write it down. Mark the
stresses and tunes. Practise reading each sentence after the cassette-recorder, 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:
H а г г у: Do you want me to do anything this evening, Nora? N о r a: I don't
think so.
H a r r y : You're sure there's nobody coming to see us? N o r a : No, I don't
think there is.
H a r r y : And there's nothing you want me to listen to on the wireless?
N o r a : I'm sure there isn't!
H a r r y : Then will it be all right for me to go round to the club?
N o r a : Oh yes, I should think so. H a r r y : It's
a long time since I went. N o r a : I suppose it is.
H a r r y : The chaps are wondering what's happened to me.
N о r a: I suppose they must be.
H a г г у: I'd like a game of billiards with the chaps.
N о r a: I expect you would.
H a r r y : I'm fond of billiards.
N o r a : Yes, I know you are.
H a г г у: I get out of practice if I stay away too long. N о r a: I dare say you
do.
H a r r y : Besides, didn't Bonnet telephone last week and ask me to have a
game?
N o r a : Now you mention it, I believe he did.
H a r r y : So you won't mind if I go off just for this evening, will you?
N о r a: Of course I won't.
H a r r y : I'll go up and change.
N o r a : Yes, do. Only —
H a r r y : Only what?
N o r a : Well, Harry, don't you remember that today's the anniversary of our
wedding day? H a r r y : Good heavens, so it is! N o r a : And you promised we
should always keep it. H a r r y : So I did!
N o r a : You know, Harry, there's a dance this evening at the Town Hall.
H a r r y : So there is?
N о r a: So do you still think you'll go round to the club? H a r r y : No —
somehow I don't think I will.
("Meet the Parkers", a Lmgaphone Course)
с) Listen to a fellow-student reading the dialogue above. Try to detect any failure to
reproduce the pattern. The errors must be pointed out and eliminated, d) Give a
conversational context with the following phrases:
1. I don't think so. 2. No, I don't think you will. 3. I'm sure there isn't. 4. So I
did. 5. So there is. 6. Oh yes, I should think so. 7. I suppose it is. 8. I expect you
would. 9. I think you are. 10. No – somehow I think I don't.
e) Make up a conversation with phrases from the dialogue.
7. Listen to the verbal context suggested by your teacher or a fellow-student. Respond by
using Intonation Pattern IV or VIII in your reply. Decide if you are going to sound reserved or
friendly and encouraging.
8. This exercise is intended to develop your ability to use different Intonation Patterns in
reading, a) Read the dialogues "On the Road" and others silently to make sure you understand
each sentence. Underline the communicative centre in each phrase. Decide what attitude
should 'be expressed in it. Mark the stresses and tunes, keeping the attitude constantly in
mind. Practise reading the dialogues with a fellow-student. Memorize them, b) Make up a
conversation with a fellow-student using any phrases from the dialogues below. Keep the
attitude in mind:
a) J а с к: Are we on the right road? J i l l : I think
so.
J a c k : You think so. Aren't you sure?
J i l l : No, I'm not sure. I've only been along this road once before.
J a c k : Then we'd better ask someone, hadn't we? J i l l : Yes, that's the right
thing to do. We don't want to lose our way. Look, there's' a postman. He'll know.
J a c k : Does this road go to Henfield? P o s t m a n : Yes, this is the Henfield
road. J a c k : Is it very far?
P o s t m a n : No, not very far. About an hour's walk. J a c k : There are no
buses to Henfield along this road, are there?
P o s t m a n : Oh, yes, but the buses don't come very often. Only about four
times a day.
J а с к: Do you know when the next bus comes along?
P o s t m a n : Not until half past seven. You can be in Henfield long before
then if you walk.
J a c k : Well, thank you. We'd better walk. It's no good waiting an hour and a
