Текст книги "Практический курс английского языка 2 курс"
Автор книги: Владимир Аракин
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pronunciation are.
6. listen to your teacher reading the Verbal Context below. Reply by using one of the
drill sentences. Pronounce it with Intonation Pattern XII. Say what attitude you mean to
render:
Verbal Context
Drill
I'm twenty-two today.
Really?
I like the way he speaks.
You do?
I believe he is in St. Petersburg
In St. Petersburg?
now.
They spent the whole day on the
The whole day?
beach.
Will you pass me the pencil,
The red one, you mean?
please.
It's getting warmer.
You think so?
Where are you going?
Where?
How much do I owe you?
How much?
Why couldn't you warn me?
Why couldn't I?
How do you like his new essay?
His new what?
I'm exhausted.
You're what?
What did he promise that day?
What did he promise?
He is a talented young man.
Is he?
I'm afraid I can't believe it.
Can't you believe it?
We don't blame him for all that.
You don't?
I can't force him to go there.
Can't you force him?
They haven't changed anything
Haven't they?
here.
I enjoyed every minute of it
Did you?
Splendid)
Splendid?
Show him out!
Show him out?
Give it up!
Give it up?
Disgusting!
Disgusting?
Hurry up!
Hurry up?
Leave it as it is!
Leave it?
7. 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.
– Made the 'listeners 'do 'what?
I want you to ring me up again.
You want 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.
8. 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.
11. Make up a dialogue of your own, using some of the phrases from the
dialogues above.
12. Read the following sentences. The prompts in brackets will help you to
determine the position of the logical stress. Make up a situation to prove the position
of the logical stress:
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.)
What shall I do with his luggage? (I know what to do with yours)
Can I have a try? (Nobody seems anxious to do it.)
He ran all the way to the station. (He was afraid to be late.)
I saw Mary at the theatre yesterday. (Nor John.)
I'd like to have some tea. (Not Tom.)
I asked the porter to see to my luggage. (Nor you.)
13. Listen to the text on the tape («Commerce and Industry»). Write it down.
Mark the stresses and tunes. Practise the text.
14. Read the following sentences. Use Intonation Patters VI to single out the
subject:
Model: Bri/tain │ is one of the most important commercial and trading centres in the
world.
Australia is the smallest continent in the world.
Manchester is one of the most important industrial cities in Great Britain.
Oxford is one of the oldest centres of education.
Washington is the capital of the United States.
Mary is my best friend.
The piano is to the right of the window.
England is a highly developed industrial country.
15. This exercise is meant to develop your ability to hear the intonation and
reproduce it in proper speech situations.
a) Listen to the text «Mother's Day» sentence by sentence. Write it down. Mark the
stresses and tunes. Practise the text.
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
For over 100 years now May Day has been recognized in some countries of the world as the
workers' day. It is the day on which workers in these countries master their strength, and demonstrate
their determination to struggle to achieve the demands which happen to be particularly pressing and
urgent.
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 to the traditional
demonstrations on May Sunday.
But it was more than a demonstration. It assumed the character of a national strike, involving
hundreds of
thousands of
workers who
downed tools
in
London and a
number of
other
major cities.
It was
the
culmination
of an
unprecedented campaign directed against the Government's intentions to put the clock back a
century and more on trade-union rights.
It was a high point in the continuous struggle of the trade unions for the unfettered right to
use the strike weapon in furthering the interests of their membership.
It was a historic May Day not only in the role it played in achieving the immediate demand
of retaining the sovereignty and independence of the unions.
Above all, the flexing of their muscles and the victory achieved the following July, gave the
workers of Britain a new sense of confidence and a deeper understanding that one hour of action is
worth more than a thousand hours of argument and pleas for justice.
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.
HIGH PRE-HEAD + LOW FALL (+ TAIL)
Model: -I do /think it's a Ipity.
1. Listen carefully to the following conversational situations. Concentrate your attention on
the intonation of the replies:
Verbal Context
Drill
You won't forget, will you?
Indeed I won't.
I'd love to help.
I know you would.
I don't believe you posted it.
I did post it.
John's the winner.
He will be surprised.
D'you think he's forgotten?
I'm sure he hasn't.
It's no good at all.
You're always dissatisfied.
It's quite true, you know.
Well you do amaze me.
I tell you I won't accept.
How can you be so obstinate?
I haven't time now.
When will you have time, may I ask?
That's not much good.
Well can you do any better?
What's up?
Be quiet for a minute,
Shall I or shan't I ask them?
Oh do make up your mind.
Hullo, Jack.
Good evening, Mr. Dean.
We've got to work on Saturday.
Oh no!
I have to go now.
What a pity you can't stay longer.
2. Listen to the replies and repeat them in the intervals. Make your voice rise
high when pronouncing the initial unstressed syllables.
3. Listen to the Verbal Context and reply to it in the intervals.
4. 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.
5. Listen to a fellow-student reading the replies. Tell him (her) what his (her)
errors in pronunciation are.
6. Read the drill sentences according to the given model. Concentrate your attention on the
High Pre-Head:
Verbal Context
DM
He missed Ms lesson yesterday.
He always misses his lessons.
If you are in a hurry, why not take a taxi?
I think I will.
He won't come today.
When is he going to come?
He is not in.
Where is he, then?
I am leaving.
Oh, can't you stay a bit longer?
She is crying.
Oh, hasn't she passed her exam?
The picture's wonderful.
Let me have a look at it.
Mother is asleep.
Don't disturb her, Tom.
Look at his clothes.
Good Heavens!
Good afternoon, Mrs. White.
Hallo, Betty dear!
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 replies:
Verbal Context
Drill
Did he say anything?
No, nothing, you'll be pleased to hear.
We're going ahead without Paul.
That's obviously the best solution.
Have some more pudding, Ann.
I couldn't possibly.
You'll help, won't you, Max.
Why me?
I was against the proposal.
What did Jack have to say about it?
You can borrow mine.
D'you mean that?
He says he'll do better in future.
Does he really intend to work harder?
Shall I ask him to tea?
By all means ask him.
I'm going to play tennis.
Let's all have a game.
No luck, I'm afraid.
Try once more, then.
I'm not sure I want to go.
Stay at home, then.
He's broken a leg.
How awful!
Looking for me, Terry?
Oh, there you are, Peter.
8. Listen to the replies, and repeat them in the intervals. Make your voice rise
high when pronouncing the High Pre-Head.
9. Listen to the Verbal Context and reply in the intervals.
10. 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.
11. Listen to a fellow-student reading the replies. Tell him (her) what his (her)
errors in pronunciation are.
12. Read the drill sentences according to the given model. Concentrate your attention on the
High Pre-Head:
Verbal Context
Drill
Was it difficult?
Surprisingly so.
I thought you've been there.
So I have.
It's not Mary who phoned you
Well who, then?
yesterday.
He's leaving tonight.
How d'you know?
He says he is going to leave.
Does he really intend to leave?
This book isn't interesting.
Will that one be more interesting?
Shall I tell him about it?
By all means tell him.
I've failed.
Try once more, then.
I'm not well.
Go home, then.
Thank you so much.
Not at all!
Look at this picture.
How wonderful!
Here is a book for you.
How good of you!
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 replies:
Verbal Context
Drill
Time to go.
I know.
Is that right?
I think so.
Did he check the result?
He did.
Have you any cigarettes left?
A few.
I wouldn't dream of going in for it.
Why not?
You won't catch me going by air.
Why don't you like flying?
Now write down your answer.
Will pencil do?
Anybody for more tea?
May I have another cup?
What a miserable day!
Cheer up.
Let me carry it for you.
Look out.
Would you like an orange?
Yes, please. No, thank you!
I'm off to bed.
Good night, dear!
14. Listen to the replies and repeat them in the intervals. Make your voice rise
high when pronouncing the High Pie-Head.
15. Listen to the Verbal Context and reply in the intervals.
16. 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.
17. Listen to a fellow-student reading the replies. Tell him (her) what his (her)
errors in pronunciation are.
18. Read the drill sentences according to the given model. Concentrate your attention on the
High Pie-Head:
Verbal Context
Drill
Do you need any more magazines?
That'll do.
I'm afraid I can't do it.
As usual.
He is a good writer.
He is.
He has left
He has what?
I'm going to St. Petersurg tomorrow.
To where?
I'm going to the theatre tonight.
May I go with you ?
Will you be present at the party?
Do you want me to?
What shall I do next?
Go home.
Jack is still out.
Don't worry.
Good morning, Mrs. Brown,
Hallo, Mary!
See you presently.
So long, old chap.
19. Give your own replies to the Verbal Context of Ex. 1, 6, 7, 12, 13, 18.
20. 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.
21. Read the following sentences, using intonation patterns you find suitable.
Use them in conversational situations of your own:
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.
We have ice-cream twice a week and we never have cornmeal mush.
I can't wait here all day.
I wish you'd told me earlier.
It's all very well to make promises.
I can't possibly finish it.
Come on, Nora. We are going to miss that train.
Peter's not old enough to make up his mind about such things.
Are you sure you don't want to be a farmer, Robert?
I'd never have gone if I had known it was going to be so silly.
Don't you see what a good thing it was that you met me?
I shall speak to Edward the moment he comes in.
I was hoping I might be of use to you.
I find some of the talks very interesting, too.
He is getting on quite well, thank you.
Mind you don't miss the train, Peter.
I prefer red if you've got it.
I should like to read it, when you've finished with it.
We can walk there if there's time.
You'll be late if you don't hurry up.
I don't understand you when you speak so fast.
That's quite right as far as I know.
You must buy the tickets beforehand if you want to see the play.
I'll meet you tomorrow if nothing prevents.
We'll hear "Carmen" tomorrow if I manage to get tickets.
I must put up with it since it can't be helped.
Everybody became silent when he began playing the piano.
22. 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.
23. This exercise is meant to test your ability to introduce some teaching
material in class with correct intonation.
Read the extract from the lecture silently. Intone it Single out the communicative
centres. Make them prominent as in the model above. Read and act the extract according to
the model:
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 note. The following stressed syllables are said
gradually lower and lower until you come to the last stressed syllable. This syllable starts on a fairly
low note and then falls down to the lowest note possible. The whole sentence glides gradually down.
В.: The whole sentence glides gradually down. The whole sentence glides gradually down.
A.: Yes, just like that. But I want to point out to you that in a sentence like this which has five
stressed syllables, it's not very easy to make the voice go gradually lower at each stressed syllable.
В.: No. If you're not careful you find that your voice has fallen much too low in the middle of
the sentence, when you want to go still lower.
A.: Exactly. But there's remedy for that. Listen again to the same sentence said in a slightly
different way.
В.: The whole sentence glides gradually down. The whole sentence glides gradually down.
A.: Did you notice the difference? After the word 'sentence', the voice goes up a little instead
of down, as it normally would in a glide down, so that the word 'glides' is on a slightly higher note.
Listen again.
В.: The whole sentence glides – sentence glides gradually down.
A: There. Did you hear that? It's just a little trick we have for modifying the glide down in a
longer seven stressed syllables. We start off quite normally on a high note, and the second stressed
syllable – 'sentence' is on a lower note, just as it is in the ordinary glide down; then the little rise
occurs; and after that the tune continues again exactly as before.
В.: There's one point I think we ought to mention, and that is that when the voice rises in the
middle of the sentence, it doesn't go up as high as the first stressed syllable.
A.: Oh no, it's only quite a small rise, and you mustn't make it too big, or it will sound wrong.
Listen to it just once more.
В.: The whole sentence glides gradually down.
A.: We'll call that tune 'the interrupted glide down' since it is simply a slight variation on our
normal glide down; and, by the way, it is used for exactly the same kinds of sentences.
(From "A Course of English Intonation" by J. D. O'Connor)
24. 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
Ex. 16. One day Mrs. Johnes went shopping. When her husband came home in the evening,
she began to tell him about a beautiful cotton dress. She saw it in the shop that morning she said
and... "And you want to buy it," said her husband. "How much does it cost?" "Fifteen pounds."
"Fifteen pounds for a cotton dress? That is too much." But every evening when Mr. Johnes came
back from work his wife continued to speak only about the dress and at last after a week he said:
"Oh, buy the dress. Here is the money" She was very happy. But the next evening when Mr. Johnes
came home and asked: "Have you got this famous dress?" she said: "No." "Why not?" he asked.
"Well, it was still in the window of the shop after a week, so I thought nobody else wanted this dress,
so I don't want it either."
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 young man on the other side of the square?" "Yes," said the taxi-driver. The young
man was standing outside the restaurant and looking impatiently at his watch every few seconds.
"Take me over there," said the young lady. There were a lot of cars and buses and trucks in the
square, so the taxi-driver asked: "Are you afraid to cross the street?" "Oh, no," said the young lady,
"but I'm three quarters of an hour late. I said that I'd meet that young man for lunch at one o'clock,
and it is now a quarter to two, but if I arrive in a taxi, it will at least seem as if I tried not to be late."
SECTION FOUR
Ex. 12.
Dinner-table Talk
– Good evening. I'm so glad you were able to come ... . Dinner's ready. Let's go into the
dining-room. Mrs. Thompson, will you sit here on my left, and you, Mr. Thompson, there .... How
long have you been in London?
– 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 business, and I feel quite at home in London.
– And what do you think of London, Mrs. Thompson?
– Er – I beg your pardon, I didn't quite catch what you said.
– I was asking what you thought of London.
– Oh, I think it's a wonderful place. There always seems to be something interesting to do.
– And how do you like our weather?
– Well, it's rather changeable, isn't it?
– Yes, it is, but on the whole it's not so bad, once you get used to it. Will you have some
more chicken?
– No, thank you.
– What about you, Mr. Thompson?
– Yes, please, just a little. It's delicious.
– I'm so glad you like it... and now what sweet will you have, Mrs. Thompson? There's
apple tart and cream, or chocolate trifle.
– Er – trifle for me, please.
– And you Mr. Thompson?
– Trifle for me, too, please.
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
H a r r y : Well, Robert, have you made up your mind yet what you want to do when you
leave college?
N o r a : Oh, Harry, surely he's a bit young to decide on his career? be hasn't even got to
college yet.
H a r r y : Not at all, Nora. It's wisest to decide in good time. Look at me, for example. I
really wanted to be a sailor, but now I spend my days sitting at a desk in an office. Yes, it's silly to
train for the wrong job. And after all, Robert will be going to college soon.
N o r a : (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.
H a r r y : Well, you haven't answered my question у at, Robert. What would you like to
do?
N o r a : (wistfully) Are you sure you don't want to be a farmer, Robert? Or a market
gardener?
R о b e r t : No I'm sorry, Mum, but I don't want to at all. I'd rather be a civil engineer. I
want to build roads and bridges.
H a r r y : Not ships? Isn't it better to be a shipbuilding engineer?
R o b e r t : (crossly) Look here, is it my career we're planning or yours?
H a r r y (huffed) All right, all right, there's no need to lose your temper. But you'd better
win that scholarship first.
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
Two men were travelling in a very wild part of America. They saw no modern houses and no
traces of civilization for many days. What they saw were only a few huts made of wood or tents
where Indians lived. One day they met an old Indian who was a hunter. He was very clever and
knew everything about the forest and the animals living in it and many other things. He could also
speak English quite well.
"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 will be snow for a day or two
but then the sunshine will come again and the weather will be fine."
"These old Indians seem to know more about Nature than we with all our science," said the
man to his friend. Then he turned to the old Indian.
"Tell me," he asked, "how do you know all that?"
The Indian answered: "I heard it over the radio."
SECTION SEVEN
Ex. 8. See p. 289.
Ex. 13.
Commerce and Industry
Great Britain is one of the most important commercial and trading centres in the world.
Britain buys more goods than she sells; her imports exceed her export. Not being a great argi-cultural
country, England has to obtain her food supplies largely from abroad. She also has to import many
raw materials, such as wool from Australia; timber from Sweden and Finland; cotton, petroleum and
tobacco from the United States. Wine and fruit are imported from France, Italy, Spain, and the
Dominions; dairy produce from Denmark and Holland, and so on.
One of the most extensive industries in England is the textile industry,– immense quantities of
cotton and woollen goods and artificial silk are produced and exported. English leather goods are
also in great demand in other countries. Great Britain is noted for its coal mines and for iron and
steel goods, and it supplies many countries with certain classes of machinery. Another leading
industry in this country is shipbuilding. The motor industry is also very flourishing.
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 Wednesday, the day of which varies from year to year). This is usually
in March. The day used to be known as Mothering Sunday and dates from the time when many girls
worked away from home as domestic servants in big households, where their hours of work were
often very long. Mothering Sunday was established as a holiday for these girls and gave them an
opportunity of going home to see their parents, especially their mother. They used to take presents
with them, often given to them by the lady of the house.
When the labour situation changed and everyone was entitled to regular time off, this custom
remained, although the day is now often called "Mother's Day". People visit their mothers if possible
and give them flowers and small presents. If they cannot go, they send a "Mother's Day card," or
they may send one in any case. The family try to see that the mother has as little work to do as
possible, sometimes the husband or children take her breakfast in bed and they often help with the
meals and the washing up. It is considered to be mother's day off.
SECTION EIGHT
Ex. 20.
Broadcast Programme
– Well, how's your set going?
– 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 it's the weather.
Of course, mine's rather an old-fashioned model compared to yours. By the way, did you hear
"Carmen" the other night?
– Yes, I did. Personally, I'm not very keen on opera, but my wife is, and "Carmen" happens
to be one of her favourites, so I didn't like to suggest switching to another station. Fortunately for
me, it was a translated version. I'm not good at languages, you know.
– What kind of programme do you like best then?
– Oh, I like a straight play... I find some of the talks very interesting too, and I never miss
the sporting events. I got most excited over the international rugger match last Saturday... You listen
to the English stations a good deal, don't you?
– Yes, I like their programmes very much and I understand nearly everything. With all the
practice in ear-training I've had, English pronunciation and intonation hold no terrors for me now,
and if a speaker uses a word I'm not familiar with, the context usually gives' the clue to the meaning.
– You're lucky, you know English. I wish I had your gift for languages.
– Well, I don't think I should call it a gift. Anyone who's prepared to take a little trouble can
do the same. Where there's a will there's a way, you know!
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.
