Текст книги "Практический курс английского языка 3 курс"

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eyes, with something of their own imagination.

The masterpieces of painting, like the masterpieces of music and poetry transform experience; they are an inexhaustible source of

beauty which derives from the originality of the artist's outlook, his capacity for combining form and colour into a harmonious unity.

Topic 3. «Aesthetic effects» make art especially engaging and illuminating

T a l k i n g p o i n t s :

1. Mood: Often works of art project powerful moods, the moods of people or animals, or even the moods of landscapes,

buildings. The viewer who misses this paradoxical capturing of character in mere paint loses much of the value that art offers.

2. Motion: This includes not only renderings of objects in motion – the horse race, a hunting scene but also qualities of motion

in a metaphorical sense. Novice viewers see the energy of depicted action in a Delacroix but not the equal energy in the brush strokes

of a Van Gogh, or the upyearning of the elongated figures in an El Greco.

3. Symptoms and reinforcers: These are tactics that intensify an effect without really having anything to do with the effect. For in-

stance, an artist might arrange the light in a painting so that shadows fall upon the face of a sad person; a bright background might

intensify a figure's sadness by contrast, or a dark one intensify it by concordance.

Unit Six

SPEECH PATTERNS

1. You tricked that blockhead out of them.

George always managed to trick Tom out of some money. At the market I was cheated out of three roubles.

2.I am not to be trifled with.

I am not to be shouted at. He is not to be interfered with. She is not to be laughed at.

3. Lady (giving way to her temper).

Never give way to your despair. She gave way to her tears. Don't give way to panic.

Who are you that you should presume to speak to me in that coarse way?

4.Who are you that you should shout at me? Who is she that we should wait for her? Who is he that he should order

us about?

5. The moment he takes them, she hurries across to the other side of the room.

The moment he saw Jane, he rushed to her. The moment she turns up, send for me. The moment you need me, I'll

come.

6.It will cost you nothing to give it to me.

It cost him a lot of trouble to help us. It required me much effort to move the furniture. It will take you little time to do

the job.

7.It has been sent to you out of sheer malice.

I did it out of despair. She acted out of fear. He contradicted her out of sheer

spite.

8.Then why not send it to her husband?

Why not go there at once? Why not open the window? Why not tell her the truth?

EXERCISES

1. Complete the following sentences using the Speech Patterns:

1. Why did you give Ann the tickets? – She tricked .... 2. It was only when I came home that I noticed that I had been .... 3. Why on

earth are you shouting? I'm not ... . 4. It's no concern of yours. I'm not.... 5. She was making every effort not.... 6. It was the first time

he ... . 7. She must have realized she was wrong. She just stuck to her point ... . 8. She isn't really interested in my affairs. She

asked ... . 9. You're in no condition to speak to her now. Why not ...? It's a splendid opportunity for us to get together. Why not...?

2. Suggest the beginning matching the end using the Speech Patterns:

1. ... that you should shout at me? 2. ... that he should interfere in my affairs? 3. ... I'm free, I'll let you know. 4. ... he comes, tell

him I'm in the library. 5. ... an hour or so to do the job. 6. ... about 2,000 roubles.

3. Paraphrase the following using the Speech Patterns:

1. She made me give her the letter saying that she already had your permission to read it. 2. It was the first time he lost his temper

with her. 3. She hated crying in public. 4. Why does she think that she can keep everyone waiting? 5. Why does he think that every-

one should always stand up for him? 6. As soon as he stirred, the dog growled. 7. As soon as George started playing the banjo,

Montmorency began howling. 8. I should never have thought you'd be so long about answering my letter. 9. One must have skill to

make a fire in the rain. 10. I did it because I was sorry for her.

1 1 . You needn't stay just to be polite. I'll be perfectly all right alone. 12. Don't you think you should be frank if you want my ad vice?

13. You can always sell your piano if you don't really need it.

4. Complete the answers:

1.

Why do you dislike Jim so much? – He's dishonest. He can easily ... . 2. Are you still angry with her? – I am. She ... . 3.

What did she answer I wonder? —. She didn't... . 4. Did the girl cry when she fell? – She didn't ... . 5. Shall we go and help him? —

No, he said he was n o t . . . . 6. I'm at my wits' end what to do. – Oh, come, don't ... . 7. Do you think he'll take the news calmly? —

Oh, no, he's sure ... . 8. Why didn't you tell Janet that you disapproved of her decision? – How could I? Who do you think I ... ? 9.

Who are we waiting for now? – Jane. She ... . 1 0 . I'm afraid I shan't manage to drop in on her. – But you live next door to her. It ... .

1 1 . Shall I wait for you? – If you will. It'll ... . 1 2 . Why won't you come? She invited you, didn't she? – She did, but it was only ... .

5. Make up two sentences of your own on each pattern.

6. Translate into English using the Speech Patterns:

Однажды Алек заявил, что в воскресенье мы идем на лыжах. «Мы слишком много торчим дома, – сказал он. – Почему бы не пробе жать

километров десять-пятнадцать по лесу? Это не отнимет у нас много времени, зато всю неделю будем хорошо себя чувствовать». Когда в точно

назначенное время я пришла на вокзал, я увидела на платформе несколько человек, ожидавших поезд, но Алека среди них не было. «Мало ли что

могло его задержать», – подумала я и решила немного подождать.

Ветер пронизывал меня до костей, и вскоре я начала злиться. «Кто он такой, что я должна его ждать?» Но как раз в тот момент, когда я уже

собралась уходить, появился Алек с опозданием на 10 минут и не очень вразумительно стал говорить что-то о часах, ко торые он забыл завести. Я

не удержалась и сказала ему, что я о нем думаю. В конце концов я не из тех, с кем можно так поступать.

Мы все-таки поехали, но настроение было испорчено у обоих.

Когда мы сошли с поезда на маленькой станции, мы отправились в лес: я впереди, Алек за мной. Он сказал, что так у меня не будет воз -

можности отстать.

Всю ночь шел снег, и лыжни еще никто не проложил. Мне было трудно идти первой, и я сказала: «Почему бы нам не поменяться мес тами?

Тебе не придется прилагать столько усилий, чтобы идти впереди, ты же хороший лыжник». Но Алек не захотел. «Это он со злости», – подумала я.

Но когда через несколько минут я оглянулась, то к моему великому удивлению, увидела, что он тащится где-то*позади, явно не в состоянии

держаться со мной наравне.

Все стало ясно: он просто не умел ходить на лыжах. Я очень пожалела, что поехала с ним. Дело не в том, что он оказался плохим лыжником.

Он был лгун и хвастун. А с этим я не могла смириться.

7. Make up and act out in front of the class a suitable dialogue using the Speech Patterns.

TEXT SIX THE MAN OF DESTINY

By G.B.Shaw

"^George Bernard Shaw (1856-1950), a prominent playwright, was born of an impoverished middle-class family in Dublin where he attended a college. In

1876 he started working as a journalist in London. He became a socialist in 1882 and in 1884 joined the Fabian Society, an organization of petty bourgeois

intellectuals. In 1879 G.B.Shaw took up writing plays, in which he criticized the vices of bourgeois society. Bernard haw is famous for his brilliant

dialogues, full of witty paradoxes and often bitterly satirical. In his play The Man of Destiny 1 (1895) he depicts Napoleon as a practical business-like man

who makes his career at the cost of human lives. Bernard Shaw was a friend of the Soviet Union which he visited in 1931.

A little inn in North Italy. Napoleon has just put under arrest the lieutenant who arrived without the letters and dispatches he had

been sent for, saying that an unknown youth had tricked him out of them.

T h e L a d y ' s v o i c e ( outside, as before): Giuseppe!

L i e u t e n a n t ( petrified) : What was that?

G i u s e p p e : Only a lady upstairs, lieutenant, calling me.

L i e u t e n a n t : Lady! It's his voice, I tell you.

The Strange Lady steps in. She is tall and extraordinarily graceful with a delicately intelligent face: character in the chin: all keen,

refined, and original. She's very feminine, but by no means weak.

L i e u t e n a n t : So I've got you, my lad. So you've disguised yourself, have you? [In a voice of thunder, seizing her wrist.) Take off

that skirt.

L a d y (affrighted, but highly indignant at his having dared to touch her)-. Gentleman: I appeal to you (To Napoleon.) You, sir,

are an officer: a general. You will protect me, will you not?

L i e u t e n a n t : Never you mind him, General. Leave me to deal with him.

N a p o l e o n : With him! With whom, sir? Why do you treat this lady in such a fashion?

L i e u t e n a n t : Lady! He's a man! the man I shewed 2 my confidence in. (Raising his sword.) Here, you —

L a d y (running behind Napoleon and in her agitation clasping to her breast the arm which he extends before her as a

fortification): Oh, thank you, General. Keep him away.

N a p o l e o n : Nonsense, sir. This is certainly a lady and you are under arrest. Put down your sword, sir, instantly. I order you to

leave the room.

G i u s e p p e ( discreetly ) : Come, lieutenant. (He opens the door and follows the lieutenant.)

L a d y : How can I thank you, General, for your protection?

N a p o l e o n (turning on her suddenly): My despatches: come! (He puts out his hand for them.)

L a d y : General! (She unvoluntarily puts her hands on her fichu 3 as if to protect something there.)

N a p o l e o n : You tricked that blockhead out of them. You disguised yourself as a man. I want my despatches. They are there in

the bosom of your dress under your hands.

L a d y (quickly removing her hands) : Oh, how unkindly you are speaking to me! (She takes her handkerchief from her fichu.)

You frighten me. (She touches her eyes as if to wipe away a tear.)

N a p o l e o n : I see you don't know me, madam, or you would save yourself the trouble of pretending to cry.

L a d y (producing an effect of smiling through her tears): Yes, I do know you. You are the famous General Buonaparte.4

N a p o l e o n (angrily): The papers, if you please.

L a d y : But I assure you — (He snatches the handkerchief rudely.) General! (Indignantly.)

N a p o l e o n (taking the other handkerchief from his breast): You lent one of your handkerchiefs to my lieutenant when you

robbed him. (He looks at the two handkerchiefs.) They match one another. (He smells them.) The same scent. (He flings them down

on the table.) I am waiting for my despatches. I shall take them, if necessary, with as little ceremony as I took the handkerchief.

L a d y (in dignified reproof) : General: do you threaten women?

N a p o l e o n (bluntly): Yes. (Holding out his hand.) Yes: I am waiting for them.

L a d y : General: I only want to keep one little private letter. Only one. Let me have it.

N a p o l e o n (cold and stern): Is that a reasonable demand, madam?

L a d y (relaxed by his not refusing point blank): No, but that is why you must grant it. Are your own demands reasonable?

thousands of lives for the sake of your victories, your ambitions, your destiny! And what I ask is such a little thing. And I am only a

weak woman, and you a brave man. What is the secret of your power? Only that you believe in yourself. You can fight and conquer for

yourself and for nobody else. You are not afraid of your own destiny. You teach us what we all might be if we had the will and courage:

and that (suddenly sinking on knees before him) is why we all begin to worship you. (She kisses his hands.)

N a p o l e o n (embarrassed) : Tut! Tut! 5 Pray rise, madam.

L a d y : My Emperor!

N a p o l e o n (overcome, raising her): Pray! pray! No, no: this is folly. Come: be calm, be calm. (Pettingher.) There! there! my girl.

L a d y ( struggling with happy tears): Yes, I know it is an impertinence in me to tell you what you must know far better than I do.

But you are not angry with me, are you?

N a p o l e o n : Angry! No, no: not a bit. Come: you are a very clever and sensible and interesting woman. {He pats her on the

cheek.) Shall we be friends?

L a d y ( enraptured) : Your friend! You will let me be your friend! Oh! (She offers him both her hands with a radiant smile.) You

see: I shew my confidence in you.

This incautious echo of the lieutenant undoes her.

Napoleon starts; his eyes flash; he utters a yell of rage.

N a p o l e o n : What!!!

L a d y : What's the matter?

N a p o l e o n : Shew your confidence in me! So that I may shew my confidence in you in return by letting you give me the slip with

the despatches, eh? Dalila, Dalila,6 you have been trying your tricks on me; and I have been as gross a gull as my jackass of a lieu-

tenant. ( Menacingly.) Come: the despatches. Quick: I am not to be trifled with now.

L a d y (flying round the couch ) : General —

N a p o l e o n : Quick, I tell you.

L a d y (at bay, confronting him and giving way to her temper): You dare address me in that tone.

N a p o l e o n : Dare!

L a d y : Yes, dare. Who are you that you should presume to speak to me in that coarse way? Oh, the vile, vulgar Corsican ad-

venturer comes out in you very easily.

N a p o l e o n (beside himself): You she-devil! (Savagely.) Once more, and only once, will you give me those papers or shall I tear

them from you? – by force!

L a d y : Tear them from me: by force!

The Lady without speaking, stands upright, and takes a packet of papers from her bosom. She hands them politely to Napoleon.

The moment he takes them, she hurries across to the other side of the room; sits down and covers her face with her hands.

N a p o l e o n (gloating over the papers): Aha! That's right. (Before he opens them, he looks at her and says.) Excuse me. (He sees

that she is hiding her face.) Very angry with me, eh? (He unties the packet, the seal of which is already broken, and puts it on the table

to examine its contents.)

L a d y (quietly, taking down her hands and shewing that she is not crying, but only thinking ): No. You were right. But I am sorry

for you.

N a p o l e o n (pausing in the act of taking the uppermost paper from the packet): Sorry for me! Why?

L a d y : I am going to see you lose your honor.

N a p o l e o n : Hm! Nothing worse than that? (He takes up the paper.)

L a d y : And your happiness.

N a p o l e o n : Happiness! Happiness is the most tedious thing in the world to me. Should I be what I am if I cared for happiness.

Anything else?

L a d y : Nothing.

N a p o l e o n : Good.

L a d y : Except that you will cut a very foolish figure in the eyes of France.

N a p o l e o n (quickly): What? (He throws the letter down and breaks out into a torrent of scolding.) What do you mean? Eh? Are

you at your tricks again? Do you think I don't know what these papers contain? I'll tell you. First, my information as to Beau– lieu's 7

retreat. You are one of his spies: he has discovered that he had been betrayed, and has sent you to intercept the information. As if that

could save him from me, the old fool! The other papers are only my private letters from Paris, of which you know nothing.

L a d y (prompt and business-like): General: let us make § fair division. Take the information your spies have sent you about the

Austrian army; and give me the Paris correspondence. That will content me.

N a p o l e o n (his breath taken away by the coolness of her proposal): A fair di – (he gasps). It seems to me, madam, that you

have come to regard my letters as your own property, of which I am trying to rob you.

L a d y (earnestly): No: on my honor I ask for no letter of yours: not a word that has been written by you or to you. That packet con-

tains a stolen letter: a letter written by a woman to a man: a man not her husband: a letter that means disgrace, infamy – ^N a p o 1 e

o n: A love letter?

L a d y (bitter-sweetly): What else but a love letter could stir up so much hate?

N a p o l e o n : Why is it sent to me? To put the husband in my power?

L a d y : No, no: it can be of no use to you: I swear that it will cost you nothing to give it to me. It has been sent to you out of sheer

malice: solely to injure the woman who wrote it.

N a p o l e o n : Then why not send it to her husband instead of to me?

L a d y ( completely taken aback): Oh! (Sinking back into the chair.) I – I don't know. (She breaks down.)

N a p o l e o n : Aha! I thought so: a little romance to get the papers back. Per Bacco,81 can't help admiring you. I wish I could lie like

that. It would save me a great deal of trouble.

L a d y (wringing her hands): Oh how I wish I really had told you some lie! You would have believed me then. The truth is the one

thing nobody will believe.

N a p o l e o n (with coarse familiarity): Capital! Capital! Come: I am a true Corsican in my love for stories. But I could tell them

better than you if I set my mind to it. Next time you are asked why a letter compromising a wife should not be sent to her husband, an -

swer simply that the husband wouldn't read it. Do you suppose, you goose, that a man wants to be compelled by public opinion to

make a scene, to fight a duel, to break up his household, to injure his career by a scandal, when he can avoid it all by taking care not

to know?

L a d y (revolted): Suppose that packet contained a letter about your own wife?

N a p o l e o n (offended): You are impertinent, madam.

L a d y (humbly): I beg your pardon. Caesar's wife is above suspicion.9

N a p o l e o n : You have committed an indiscretion. I pardon you. In future, do not permit yourself to introduce real persons in your

romances.

L a d y : General: there really is a woman's letter there. (Pointing to the packet.) Give it to me.

N a p o l e o n : Why?

L a d y : She is an old friend: we were at school together. She has written to me imploring me to prevent the letter falling into your

hands.

N a p o 1 e o n: Why has it been sent to me?

L a d y : Because it compromises the director Barras! 10

Napoleon (frowning, evidently startled): Barras! (Haughtily.) Take care, madam. The director Barras is my attached personal

friend.

L a d y (nodding placidly): Yes. You became friends through your wife.

N a p o l e o n : Again! Have I not forbidden you to speak of my wife? Barras? Barras? (Very threateningly, his face darkening.) Take

care. Take care: do you hear? You may go too far.

L a d y (innocently turning her face to him): What's the matter?

N a p o l e o n : What are you hinting at? Who is this woman?

L a d y (meeting his angry searching gaze with tranquil indifference as she sits looking up at him): A vain, silly, extravagant crea-

ture, with a very able and ambitious husband who knows her through and through: knows that she had lied to him about her age, her

income, her social position, about everything that silly women lie about: knows that she is incapable of fidelity to any principle or any

person; and yet cannot help loving her – cannot help his man's instinct to make use of her for his own advancement with Barras.

N a p o l e o n (in a stealthy coldly furious whisper): This is your revenge, you she-cat, for having had to give me the letters.

L a d y : Nonsense! Or do you mean that you are that sort of man?

N a p o l e o n (exasperated, clasps his hands behind him, his fingers twitching, and says, as he walks irritably away from her to the

fireplace): This woman will drive me out of my senses. (To her.) Begone."

L a d y (springing up with a bright flush in her cheeks): Oh, you are too bad. Keep your letters. Read the story of your own disho-

nour in them; and much good may they do you. Goodbye. (She goes indignantly towards the inner door.)

EXPLANATORY NOTES

1. The Man of Destiny: Napoleon regarded himself as an instrument in the hands of destiny.

2. shew, shewed: show, showed – in standard English.

3. fichu (Fr.) [fi'Ju:]: woman's triangular shawl of lace for shoulders and neck.

4. Buonaparte: Bonaparte ['b3un3pa:t],

5. Tut! Tut! [Utj: an exclamation of contempt, impatience or annoyance.

___6. Dalila [di'laib]: a biblical name used as a symbol of a treacherous,

faithless woman.

7. Beaulieu Jean Pirre ['bjidij: Commander-in-chief of the Austrian army in Italy defeated in 1796 by Napoleon.

8. Per Bacco (Lat.): I swear by god. Bacchus: in Greek and Roman mythology god of wine and revelry.

9. Caesar's wife is above suspicion: the words ascribed to Julius Caesar ['cfeuiljss 'si:za].

10. Barras Paul: a reactionary politician, a member of the Directory which governed France at that time.

11. Begone: go away.

ESSENTIAL VOCABULARY

Vocabulary Notes

1. character n 1) mental or moral nature, e. g. He is a man of fine (strong, weak, independent) character. In order to know a

person's character we must know how he thinks, feels and acts. They differ in character. 2) the qualities that make a thing what it is,

as the character of the work, soil, climate, etc.; 3) moral strength, e. g. He is a man of character. Character– building is not an easy

thing. 4) a person in a play or novel, as the characters in the novel; good (bad, important) characters, e. g. Many characters of the

novel are real people, others are fictional. 5) a person who does something unusual, e. g. He's quite a character. 6) a description of a

person's abilities, e. g. He came to our office with a good character.

characteristic adj showing the character of a thing, as the characteristic enthusiasm of the youth, e. g. It's characteristic of her.

characterize vt to show the character of, e. g. His work is characterized by lack of attention to detail. The camel is characterized

by an ability to go for many days without water.

2. threat n 1) a statement of an intention to punish or hurt, e. g. Nobody is afraid of your threats. 2) a sign or warning of coming

trouble, danger, etc., e. g. There was a threat of rain in the dark sky.

threaten vt/i 1) to give warning of, e. g. The clouds threatened rain. 2) to seem likely to come or occur, e. g. He was unconscious of the danger that threatened him. 3) to use threats towards; to threaten to do smth., e. g. Andrew threatened to report the incident to the

authorities, to threaten smb. with smth., e. g. The criminal threatened his enemy with death.

threatening adj full of threat, as a threatening attitude (voice); to give smb. a threatening look.

3. sink (sank, sunk) vi/t 1) to go slowly downward; to go below the horizon or under the surface of water, e. g. The sun was sinking

in the west. Wood does not sink in water. The ship sank. The drowning man sank like a stone. 2) to become lower or weaker, e. g. My

spirits sank. Having displayed his cowardice, he sank in our estimation. 3) to fall; to allow oneself to fall, e. g. He sank to the ground

wounded. She sank into the chair and burst into tears.

sink n a basin with a drain, usually under a water tap in a kitchen, e. g. Put the dirty dishes into the kitchen sink and ask your sister

to help you to wash up.

4. sense n 1) any of the special faculties of the body, e. g. The five senses are sight, hearing, smell, taste and touch. 2) a feeling,

understanding, as a sense of duty (humour, beauty, proportion, time, security, danger, pain, cold, etc.), e. g. He has a strong sense of

duty. 3) pi. a normal, ordinary state of mind, as in one's right senses, ant. to be out of one's senses to be insane, e. g. Are you out of your senses that you talk such nonsense? 4) intelligence; practical wisdom, e. g. He is a man of sense. He has plenty of sense

(common sense). There is a lot of sense in what he says. There is no sense in doing it. What's the sense of doing that? 5) a meaning,

e. g. in a strict (literal, figurative, good, bad) sense, e. g. This word cannot be used in this sense, to make sense to have a meaning that can be understood, e. g. I cannot make sense of what he is saying, ant. to make no sense., e. g. It makes no sense.

sensitive adj easily hurt, as to have a sensitive skin; to be sensitive to pain (other people's suffering, blame, criticism); to be

sensitive about one's physical defects.

sensible adj reasonable, as a sensible fellow (idea, suggestion), e. g. That was very sensible of you.

5. cautious adj careful, e. g. A cautious thinker does not believe things without proof. Be cautious when crossing a busy street,

ant. careless, indiscreet.

caution n carefulness, e. g. When you cross a busy street you should use caution.

caution vf (against) to give a caution to, e. g. The teacher cautioned us against being late.

precaution n a measure to avoid risk or to bring success, e. g. They took precautions against the flood.

6. slip vt/i 1) to slide, to glide; to escape from, e. g. The tablecloth slipped off the table. The fish slipped out of his hands. 2) to lose one's balance, e. g. She slipped and would have fallen if I had not steadied her. 3) to forget, e. g. The name has slipped my

attention (my «memory, my mind). 4) to go unnoticed, quickly or quietly, e. g. He slipped out of the house unnoticed. She slipped

away for half an hour or so. Happiness slipped by me. 5) to make a careless mistake, e. g. He slips in his grammar.

6) to pull on or off quickly, e. g. He hurriedly slipped on (off) his clothes.

7) to put into, e. g. She slipped the letter into an envelope and sealed it.

slip n 1) a narrow strip of paper, e. g. May I use this slip of paper to mark a page? 2) fault, a slight mistake in speech, writing or

conduct, as a slip of the tongue; a slip of the pen; 3) a sudden slide; to give smb. the slip to avoid him or escape from him.

slippery adj so smooth (wet or polished) that it is hard to stand on, e. g. It's so slippery today, please be careful! slippers n pi.

shoes for indoor wear.

– 7. bitter adj sharp; tasting like quinine; painful; severe, as bitter words

(complaints, disappointment); a bitter smile (remark, wind, enemy), e. g. Her lips twisted into a bitter smile. A bitter wind beat into

the face.

bitterly adv 1) with bitterness, e. g. He laughed bitterly. «How could you be so blind?» she said bitterly. 2) very, e. g. It was bitterly cold. syn. bitter ( collog.), e. g. It was bitter cold.

8. stir vt/i 1) (vt) to move around, esp. with a spoon; mix thoroughly, as to stir tea (coffee, porridge); 2) (vt) to cause to move, e. g.

The wind stirred the leaves, not to stir a finger to make no effort to help, e. g. What kind of friend is he? He wouldn't stir a finger to

help me. not to stir an eyelid to show no surprise or alarm, e. g. It's amazing how calmly Ruth took the news: she did not stir an eyelid.

3) (vt) to move, to be in motion, e. g. It was so still, not a leaf stirred. Nobody stirred in the house.

9. injure vt to hurt; to do harm or damage to, as to injure one's health (part of the body, smb.'s feelings, reputation, etc.); to injure

smth. accidentally (badly, seriously, slightly, etc.); to be injured in an accident (in a fire, in the war, etc.).

injured adj insulted, hurt, as smb.'s injured pride (feelings, look, tone, voice, etc.).

injury n harm, damage, as to receive (suffer) an injury (injuries) to the head, to the back, etc.

10. revenge vt/t to pay back evil or injury for, as to revenge an insult (an injustice), e. g. He swore to revenge the insult, to revenge oneself on (upon) a person to inflict injury on another in return for injury done to oneself, e. g. Yago revenged himself on Othello, to be

revenged to revenge oneself, e. g. She was revenged but that brought her little satisfaction.

revenge n the act of paying back evil for evil; to have/get/take (one's) revenge on (upon) smb. to revenge oneself on (upon) smb., e.

g. I'll have my revenge on you for what you did. to do smth. in revenge to injure smb. paying back evil, e. g. Andrew was aware that

the man might do much harm in revenge.

revengeful adj desiring revenge, as revengeful people.

Word Combinations and Phrases

to disguise oneself

to refuse pointblank

to be under arrest

to break down

to smile through one's tears

to make a scene

to rob smb. of smth.

to try one's tricks on smb.

to fling smth.

to be beside oneself

to cut a foolish figure

to go too far

to intercept information

to make use of smb. (or smth.)

to be taken aback

READING COMPREHENSION EXERCISES

1. a) Listen to the recording of Text Six and mark the stresses and tunes, b) Repeat the text in the intervals after the model.

2. Put twenty questions to the text.

3. Copy out from Text Six the sentences containing the word combinations and phrases given above. Translate them into Russian.

4. Paraphrase the following sentences using the word combinations and phrases given on p. 188.

1. Brown was held as a prisoner for a month. 2. On his first day in New York John's money was stolen and he had no one to turn to

for help. 3. Aren't you ashamed of throwing stones at the dog? It hasn't done you any harm, has it? 4 . 1 asked him to join us, but he

wouldn't. 5. "No use trying to cheat me. I see you through," said Nick. 6 . 1 found Bret mad with anger, he was evidently in no state to

listen to reason. 7. Nothing you say will compel me to do it. 8. You know how proud and touchy he is, he would rather keep in the

background than show himself in a ridiculous light. 9. "It was awfully mean of him to seize the letter that was not meant for him," said

Janet. 10. Taken unawares, she lost her presence of mind. 1 1 . When she was left alone, her nerve failed her and she cried bitterly.

12. We evidently can't agree on this point, but why shout in public? 1 3 . That's saying too much, so far we don't know anything for

certain. 1 4 . The way Ann is exploiting her sister's kindness is really shameful.