Текст книги "Практический курс английского языка 2 курс"

Автор книги: Владимир Аракин

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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?)

2. 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.

3. 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?

4. 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

Come out to the board, please (when the teacher is at the front of the class).

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)?

What letter is missing? There's àk' missing (`k' is missing).

Cross the 't's and dot the ì' s.

Write it with a capital `j' (it begins with a 'j').

Write it as one word (two words).

These two letters are the wrong way round.

Put a comma (question mark, exclamation mark, colon, semi-colon, full stop) after the word

(sentence), please.

Enclose the words in quotation marks (inverted commas), please.

Let's all read the sentences from the board.

Use the duster (sponge).

Put (take, get, write, copy) that down in your notebooks.

Make notes on what I say in your exercise books.

Write it in block (big) letters (in block capitals).

Write (rewrite) it neatly.

Do the exercise in writing.

Will you, please, go to your seat. (Don't say 'Sit down' if a pupil is not standing at his seat.)

Hand in your papers as you leave (go out) and make sure your names are on them.

V. Slides, Pictures, Films

I'll finish the class by showing you a film (some slides).

Put the screen up (pull down the screen).

Draw the curtains (close the blinds).

Lights out, please. Switch on the projector.

Who would like to work (operate) the projector today ?

Turn the lights on again (put the lights back on).

Next picture, please/change the picture.

It's a bit out of focus.

I'm afraid this one is upside down.

What is happening in this picture?

What can you see in the foreground (background, centre, right-hand corner, the top left-hand

corner, at the bottom) of the picture?

I'll let this photograph go round. Have a look and then pass it on.

Pass this picture round.

Come out and point to London on the map.

VI. Textbook Activity

Collect in the papers (sheets, texts, word lists, handouts, tests), please.

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).

You'll find the exercise on page 38.

Let's move on to the next page.

Refer back to the grammar notes on page 25.

All books closed, please (shut your books).

The picture at the top (bottom) of the page (at the very top).

(The) tenth line from the top (bottom) = (down/up).

(The) last but one line (word) in paragraph two.

If there are any words you don't know, please ask.

Read one sentence each.

Ann, you read the part of Mrs. White this time.

Now let's act out this dialogue.

Try and act like a teacher (a dentist, etc.).

The rest of you are the audience.

Give a synonym for 'rushed'. (What is a synonym for 'huge'?)

Try to put it in other words.

(That was almost right) – just one little slip. There was a small (slight) mistake (error) in

what you said.

VII. Class Control

Could I have your attention, please?

Look this way. / Look up for a moment.

Be quiet! Everyone listen.

Don't all shout. / Don't talk at once.

Get on with your work quietly.

Stop fidgeting. / Don't keep turning round.

Sit up (straight).

Work in twos (pairs).

I want you to form groups. Three pupils in each group.

I want you to do some play reading in groups.

Work on your own. / Work by yourselves.

Look! I've just about had enough from you.

Don't you talk, you two girls.

Don't sit there day-dreaming, Maria.

VIII. Right /Wrong

Good. Right. Fine. Right you are. Quite right.

That's the way. That's right. That's it. That's correct.

Yes, you've got it You've got the idea.

What you said was perfectly all right.

You didn't make a single mistake.

That's exactly the point.

That's just what I was looking for.

No, that's wrong. Not really. Unfortunately not.

You can't use that word here.

You missed the verb out.

You forgot the preposition. Mind the preposition.

You used the wrong tense.

You misunderstood the instructions.

Once again, but remember the word order.

Try not to mix these two words up.

They're spelt the same, but pronounced differently.

Perhaps you had better say ...

It wasn't pronounced correctly. The word is accented on the second syllable.

Be careful with the 'sh'-sound.

Notice how my tongue touches my teeth. See how my mouth hardly moves.

Again please, but watch your pronunciation.

Listen to the way my voice goes up.

You must let your voice fall at the end of the sentence.

Let's see if you've spelt it right / correctly.

You need an extra letter here.

Rub out the wrong word. Wipe out / off the last letter.

Always check the punctuation.

Don't translate word for word.

Think about the meaning of the whole sentence.

You find it difficult to read aloud.

You'll have to spend more time practising this.

Speak more clearly. Not so quickly, I can't follow.

There was a mistake in that sentence. Go back and see if you can find/spot it.

Don't whisper the answer. Don't help him. Don't keep prompting.

I'm sure she can manage on her own.

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

1. 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?

2. 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.

3. Discussion. Opinions

I would like to begin the discussion on the subject by ... From the point of view of ...

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 ...

Well, my opinion is that...

My view is that...

This is my way of

looking at it.

I don't think it would ...

There's one more thing to be noted.

Moreover ...

What's more ...

I might as well add that...

In addition ... On top of that ...

Something else I'd like to say is ...

Talking of... You may be right, but all the same ...

If you ask me ...

I wouldn't say that...

Yes, but on the other hand ...

There's nothing like ...

I don't quite see what people find in ...

I don't know anything more exciting than ... Absolutely marvellous. I like it immensely.

All things considered I must say that...I'd rather not say anything about it.

Generally speaking ... It depends.

4. 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.

5. 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

PATTERN 1: (LOW PRE-HEAD+ ) LOW FALL

(+ТАП.)

Models: ,Yes.

I'm a ,doctor.

PATTERN П: (LOW PRE-HEAD +) DESCENDING

HEAD + LOW FALL (+ TAIL)

Model: It  isn't 'quite 'what I ,want.

PATTERN III: (LOW PRE-HEAD +) LOW RISE (+TAIL)

Models: "Yes. "Is it? Go "on.

PATTERN IV: (LOW PRE-HEAD +) DESCENDING

HEAD + LOW RISE (+ TAIL)

Model:  Haven't 'we 'met 'somewhere "before?

PATTERN V: (LOW PRE-HEAD'+) (HIGH HEAD + ) MID-LEVEL

Model:  Sometimes | I >hate it.

PATTERN VI: (LOW PRE-HEAD + ) FALL-RISE (+TAIL

PATTERN VII: (LOW PRE-HEAD+) FALLING HEAD + + FALL-RISE (+ТАП.)

PATTERN VIII: (LOW PRE-HEAD+) LOW HEAD + + LOW RISE (+TAIL)

EXERCISES

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

I. Read the following conversational situations. Define the communicative type

of the replies. Say what attitudes are conveyed in them. Give your own replies to the same

conversational contexts;

What is your favourite subject?

English.

He is at the institute.

Where, do you think?

I'll do it myself.

Don't.

Here's a note for you.

Thanks.

What do you think of the picture?

It's a true masterpiece.

May I have your book?

What do you want it for?

I shan't speak to him any more.

Don't be silly.

Come and look out here.

What a wonderful view!

Have you seen him?

I have.

Fm twenty-two.

How old are you?

(Teacher to class)

Go on.

So you think he's not coming.

Exactly.

I'm waiting for Mary.

When is she coming?

We are having a party tonight.

Don't stay too long there.

See you tomorrow.

Good-bye for the present.

He's coming on Saturday.

On Monday, I think.

May I leave you for a moment?

Be quick, then.

I'll leave on Friday. No, on Saturday.

Well, make up your mind.

What's that dress made of?

It's pure wool.

Which bus shall we take?

Which one do you prefer?

I can't do it so quickly.

Tell me how I can help you.

You've done a lot for him.

Not in the least.

I'm so sorry for her. She

You've no reason to worry.

seems to be terribly ill.

She'll be well very soon.

I don't think much of this book. I'm not taking it.

Which do you prefer, then?

Thanks awfully.

Don't mention it.

I'm afraid I can't help you.

Very well.

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)

– Any pain? (sympathetically interested)

– Yes, I've a sore throat. (conveying personal concern)

–

– Shall I have to stay in bed long? (genuinely interested)

– No, not more than a week, I hope. (uncertain)

– And shall I take any medicine? (genuinely interested)

– Yes, certainly. Here is a prescription for you. (weighty, catt goric)

–

– What is your temperature? ( sympathetically interested)

– It's thirty-eight point seven.

– Please strip to the waist. I shall examine you. How long have you felt this way?

(sympathetically interested)

– Several days already. I've been taking pills, but I don't feel any better.

–

A.: Hello, Pete, what's happened to you? Why is your arm in a sling? ( sympathetically

interested)

P.: I had a bad fall and broke my arm.

A.: How awful! Have you any pain now? (interested)

P.: It still hurts, but not so much as before. ( reserving judgement)

–

D.: What's troubling you? (interested)

A.: One of my front teeth is working loose.

D.: You have to have this one out. It's a pity you didn't have it looked at before. ( grumbling)

A: I wish I had. ( conveying personal concern)

–

– I have an abscess on my finger, it hurts me awfully. (serious)

– Did you run a splinter into your finger? (interested)

– No, I happened to pick it with a wire.

– What did you do for it? (searching)

– I did nothing, I thought it would heal by itself.

– That was not very clever of you. (reprimand)

–

– Your voice is hoarse and your face is flushed. You must have a cold. I'm sure. Where did

you manage to get it? (sympathy)

– I don't know myself. I must have caught cold last night, when I took my coat off.

– How thoughtless of you, the evening was cold and windy. (reproachful) Now you'll have

to stay in.

3. a) Listen to the dialogue. Mark the stresses and tunes. Find sense-groups

and sentences pronounced with intonation Patterns I, II; III, IV, V, VI, VII, VIII. Say

what kind of sentences they are used in. Define the attitudes expressed in them:

– Let's have tea in the garden, shall we?

– That's a good idea. Shall I take the table out?

– Yes, please. And the chairs too.

– Right. Where shall I put them?

– Oh, anywhere. I'll bring the tea.

– Good. We'll have the table here and the chairs here.

– Why have you put the table there?

– Well, you said anywhere.

– Yes, but you must be sensible. It'll be too hot there.

– Where shall I put it then?

– Bring it under the tree here. That's better.

– Now perhaps we can have some tea.

– Oh, dear. I'm sorry I've forgotten the sugar. Would you mind getting it for me?

– Not at all.

– Now where did I put the milk? Ah, here it is.

– Here's the sugar.

– Thank you. That's your cup.

– Thank you. This is very pleasant.

– It is, isn't it? But I'm a bit cold here. Do you think you could move the table again? I'm

sorry to be a nuisance.

– All right. I'll put it back where it was. Is that better?

– Much. Where are you going?

– I'm going indoors. For a bit of peace and quiet.

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.

4. 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... "82 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.

5. 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.

Reproduce the model narration of the joke:

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 Clark Gable.

– 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 discussing it.

–

Some people were gathered on the verandah after dinner.

A young lady asked: "Can you name five days of the week without mentioning Monday,

Tuesday, Wednesday, Thursday, Friday, Saturday or Sunday?" Nobody could guess. At last the young

lady said: "It is very easy. Here are the five days: today, yesterday, the day before yesterday,

tomorrow, and the day after tomorrow".

82 The tests of the stories and dialogues recorded on the tape see on p. 426.

SECTION TWO. Intonation Pattern IX. High fall

(LOW PRE-HEAD + ) HIGH FALL (+ TAIL)

Model: Why didn't you buy the picture?

– Much too ex,pensive.

Stress-and-tone marks in the text: High Fall. | ` |

The High Fall in the nucleus starts very high and usually reaches the lowest pitch. The

syllables of the tail are pronounced on the low level.

The High Fall provides a greater degree of prominence for the word, making it more

emphatic. The degree of prominence depends on the height of the fall.

This intonation pattern is used:

1 . I n s t a t e m e n t s , conveying personal concern or involvement, sounding

lively, interested, airy; very common in conversation.

е.g. Do you know the man? – `No. (Ìdon't.) `Yes.| (Ìdo.) Where's my copy? – `Peter

,took it ,for you.

2 . I n q u e s t i o n s :

a ) I n s p e c i a l questions, sounding lively, interested, е.g. I shall be late, I'm

afraid. – `How ,late?

b ) I n g e n e r a l questions, conveying mildly surprised acceptance of the listener's

premises. е.g. I like it here. Do you? (I thought you'd hate it.)

3 . I n i m p e r a t i v e s , sounding warm.

е.g. What's the matter? – Look. (It's raining.)

4 . I n e x c l a m a t i o n s , very emotional. е.g. It's eight o'clock. – Heavens!

(I'm late.)

EXERCISES

1. listen carefully to the following conversational situations. Concentrate your attention on the

intonation of the replies:

Verbal Context

Drill

Statements

(conveying personal concern or

involvement, sounding interested, lively, airy)

Now what have you done to Mary?

Nothing.

Who's been eating my grapes?

No one. No one has. No one's been eating

your wretched grapes.

Which will you take, Henry?

This one. That one.

How many of his books have you read?

All of them. None of them.

When did you see him?

On Thursday. (I thought you knew.)

Would you like to join us?

I'd love to.

Come on. Let's get going.

We can't. It's raining.

It was all your fault.

But it wasn't. And I can prove it.

Special questions (lively, interested)

I shall have to give it to him.

Why?

I'm going to Switzerland.

When?

You'll never guess who's here.

Who?

You can win easily.

How? How so?

He's coming to stay with us.

When, may I ask?

I mustn't take them.

Why mustn't you take them?

Sorry to be so late.

What's happened?

I ought to write to him.

Why bother?

(Hullo, Dennis.)

How are you?

I said no such thing.

What did you say, then?

Today's out of the question, too.

When can you come, may I ask?

General questions ( conveying mildly

surprised acceptance of the listener's premises)

I like it here.

Do you?

She is thirty-five.

Is she?

They won't help us.

Won't they?

I can't bear cats.

Can't you?

I must be home by six.

Must you?

I ought to go to the lecture.

But will you go, do you think?

Imperatives ( expressing warmth)

Do you think this hat will fit me?

Try it.

He'll be terribly angry.

Let him.

A letter won't reach Ann in time.

Phone her, then.

He doesn't want to play.

Then make him.

I'm awfully sorry.

Forget it.

He can't afford to pay.

Well, give it to him, then.

Exclamations ( very emotional)

He's over seventy.

Well!

Alice is coming as well.

Really! Splendid!

Will you have a drink?

Thank you!

(That you Mr. Archar?)

Good morning! Good morning to you.

I'll give it to you.

How lovely!

I'm most grateful to you.

Don't mention it, my dear chap.

She says you're to blame.

What nonsense!

Isn't it a lovely view!

Enchanting!

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

enough.

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

4. 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.

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

in pronunciation.

6. Listen to the Verbal Contest said by a fellow-student. Make your replies sound lovely, warm,

airy. Use the proper intonation patterns. Continue the exercise until everyone has participated:

Verbal Context

Drill

Isn't it too far away from here?

Awfully far.

Where is my book?

Mary took it for you.

Have you been there before?

Of course, I have.

May I leave you for a moment?

Why, yes.

You ought to let him know.

I have.

What is she doing here?

She's waiting for somebody.

I'd love to stay up for the play.

You can't. It's too late.

She's twenty.

Eighteen, I think, she said.

It'll take much time.

How much?

Give them one of these books.

Which one, do you think?

I must go there.

But when?

I'll find him.

But how can you find him?

You can't go there.

But why not?

She wouldn't listen to me.

Wouldn't she?

Everybody agrees with you.

Oh, do they?

Nobody can do it

Can I have a try?

Lock the door.

Wait a minute.

I'll phone her.

Don't.

May I help you?

Yes, do.

What has she done?

Look.

Thank you very much.

Thank you.

Would you like to stay up for the television?

Indeed I would.

I've been helping Tom, Mummy.

That's a good girl.

How are you getting on?

Wonderfully.

Hello, Mary!

Oh, there you are, Tom.

Do you play chess?

Surely, I do!

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

in them.

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

9. 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.

10. Practise the following dialogues. Use the High Fall in them. Observe the

attitudes you convey:

– 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.

–

– Do you like this flat?

– Oh, yes, 1 do, definitely.

– I'm afraid I couldn't possibly do that.

– Why not?

–

– You'll have to clean the window.

– Not me!

– Why not?

– I did it last time.

– Whose turn is it then?

– Helen's, I think.

11. Listen to the Verbal Context suggested by the teacher. Reply by using one

of the drill sentences below. Pronounce it with Intonation Pattern IХ. Say what attitude

you mean to render;

Verbal Context

Drill

I'll ring you up on Sunday,

Right! Good! Fine! Certainly! Naturally! Surely!

Oh, ho! That won't do!

It all depends on the weather.

Right you are! Exactly so! Naturally! Undoubtedly!

Sure enough! By no means! You are wrong! Far from it!

Certainly not!

I shall take you to the Opera House.

Fine! Good! Certainty not this week! Agreed!

Settled! Oh, no!

Will you be ready by six?

Certainly! Decidedly! I think so! Undoubtedly!

Surely not!

I believe he's finished bis job.

Hardly ever! I think so! Sure enough!

12. 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.

14. 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 have toothache, you should go to your dentist. He'll examine your teeth, and if the

aching tooth is not too far gone, he'll stop it. If it is too bad, he'll take it out.

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 describe to him the symptoms of your illness. Then he'll

feel your pulse, look at your tongue and examine you thoroughly. Finally he'll prescribe the

treatment and write out a prescription.

Doctors' prescriptions are made up by a chemist. At chemists' shops in the USA you can also

get patent medicines of all kinds, lotions, tonics, cough-mixtures, baby-foods, aspirin, pills,

ointment, bandages, adhesive plaster and so on. You can buy razors and razor-blades, vacuum-flasks,

hot water bottles, sponges, tooth-brushes and tooth-pastes, powder-puffs, lipsticks, shaving-soap and

shaving-brushes and a hundred and one other things.

If you are interested in photography, you can also get cameras and films at most chemists'.

They'll develop and print your films for you, too. Some chemists are also qualified opticians, and if

your eyesight's faulty they'll test your eyes and prescribe glasses for you.

16. 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.

17. 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