Текст книги "Практический курс английского языка 3 курс"
Автор книги: Владимир Аракин
сообщить о нарушении
Текущая страница: 16 (всего у книги 29 страниц)
We are rujt just passive responders, as some lower life forms are, to that which the environment offers us. We can avoid certain
conditions, select out others, and anticipate both and, moreover, via anticipation we can even modify the nature of the environment.
Feelings are fine tunings directing the ways in which we will meet and manipulate our environment.
Feelings of anxiety, boredom, tension and agitation alert us to the sense of something wrong, and, more importantly, by the subtle
distinctions of their messages they indicate something of the nature of the impending danger and direct us to specific kinds of
adaptive manoeuvres to avoid, prevent, or change the incipient threat. Feelings of guilt allow us to model our behaviour against
certain ideals and register when we have moved away from these ideals, or have not yet achieved them. If there is a common
ingredient to the various sources and forms of pleasure, the only one that can be identified is that they all seem to contribute to an
enhanced sense of self. Pleasurable events either intensify our sense of ourselves or enlarge our view of ourselves. Joy stems from an
altered sense of self and, in turn, alters our view of our world and the way we are viewed.
2. Answer the following questions:
1. How do you understand the statement "it is the feeling that counts"? 2. Why is it difficult to classify sensations and what terms
are suggested in this article? 3. How does "emotion" differ from "feeling"? 4. Do you agree that feelings are "the instruments of ra -
tionality, not alternatives to it" ? 5. How do feelings of anxiety, boredom, tension and agitation serve adoptive purposes? 6. Of what
importance are feelings of guilt? 7. What do the positive feelings have in common? 8. How do pleasurable events affect our feelings?
3. Summarize the text in two paragraphs emphasizing the importance of emotions and feelings in our life.
4. Use the Topical Vocabulary in answering the questions:
1. Why do people have emotions and feelings? What good are they? 2. What emotions and feelings are usually classified as posi-
tive and negative? Is there a strict border line between them? 3. If you have a look at the topical vocabulary list, you'll notice that it
deals with painful feelings and emotions rather than joyous ones. How can you account for it? 4. The first and simplest pleasure is
the pleasure of our senses. How can you illustrate the joys of taste, smells, sounds, and sights? 5. There are various sources of
pleasure such as discovery, the immersion of ourselves in an activity, confrontation with nature and the thrill one gets in all
cooperative effort, to mention but a few. Which of these gives you the most joyous experience? 6. It isn't always easy for us to keep
our temper when things go wrong. What do you do or say to let off steam?
7. When we don't care one way or the other about something, we can be really boring. What is the best way to make someone take an
interest?
5. Make a list of some of the things which have happened to you that really made you angry. Imagine they have all happened today. Tell your
friend about them. Use the Topical Vocabulary.
6. You have been asked to give a talk to all the students in the school about the meaning of feelings and the propriety of their public expression.
The magazines and brochures you wanted haven't arrived. The talk begins in ten minutes. You haven't prepared it well enough. You can't get out of
it now. Tell your friend.
7. There are different degrees of anger and different ways of showing it. Read the following text and comment on it:
If we could listen in on classrooms without being seen, we would hear many kinds of anger being expressed by teachers. One
teacher frequently screams and yells at her children. Another furiously bangs on his desk. A third teacher throws an eraser across the
room. Another sarcastically insults a child. One teacher grabs a child furiously and shakes him. One teacher slaps a child; anoth er
raps children on the knucles. Many angry threats are heard: "I'll show you who 'is the boss'. Don't talk to me that way." One teacher is
furiously tearing up papers, another charges back and forth across the front of the room, letting off steam.
8. The teacher can't but react emotionally to what is happening in class. Read the following text and comment on the feelings involved:
I've had to learn how free I could be. That's the hardest thing for a new teacher. At first everybody worked. I thought, man, this is
neat– everybody does what they're told. Then I thought, what a bore. It's no fun. And I got a little too free. Now I know they can
sense when I start setting my jaw even before I know I'm doing it. They know where to settle it down. The hardest thing for me was
to learn how to balance teacher control and class freedom.
9. We cannot always be bright and happy. Sometimes we have moods of depression or sadness. It's been one of those days – tell your friend
about these evSnts which have made you feel really depressed:
1.
You've lost your purse. 2. You've got to buy a present. 3. You got very wet in the rain because you left your umbrella at
home. 4. You've got an exam tomorrow and you're going to fail. 5. You've just had a row with your girlfriend (or boyfriend).
10. Have a close look at this cartoon by Bidstrupp. How do different people react to one and the same incident? What type of temperament does
their reaction reveal?
11. Very often an expression of anger on the part of children is met by punishment from parents and teachers. Enlarge on the humour of the cartoon.
'I'll teach you to hit other children.
12. Read the following dialogues. Observe the WAY PEOPLE TALK ABOUT THEIR FEELINGS:
– What's the matter? You don't look well.
– I'm rather worried.
– What about?
– My exam.
– Oh! Is that all?
– I feel very nervous.
– Don't worry about it. Try to look on the bright side of
things.
– I just can't stand that Robbins boy.
X – Millie is having one of her days, and it's driving me crazy.
– I wonder what I can make for supper tonight.
– Today is just one of those days.
– Oh, you poor thing, I had him last year, and he is impossi-
ble.
– I've made up my mind. We're going to Estonia for the holidays.
– How marvellous!
– I've got a whole month off this year!
– A whole month. That's terrific.
– We'll leave in early June.
– Good! Are we taking the bicycles?
– The bicycles? Oh no, we're going on a package tour.
– Oh no!
– And I thought we'd take aunt Ann with us.
– Oh heavens! Do we have to?
13. Work in pairs. Use clichés dealing with moods and feelings.
J o y a n d e n t h u s i a s m :
Great/That's great!
Marvellous! Terrific! Fantastic!
How wonderful! How exciting! How thrilling!
A n n o y a n c e :
How annoying! What a nuisance! What a bore! That's just what I needed! I've just about had enough of...
D i s t r e s s :
I'm worried. I just don't know what to do ...
I feel terrible. I've got a lot on my mind.
I don't feel at all happy. I'm fed up.
I can't take much more of this.
I n d i f f e r e n c e :
I can't say I'm interested.
I couldn't care less.
Please yourself.
I don't mind what you do.
The whole thing bores me to death.
R e a s s u r a n c e :
Cheer up. Take it easy.
Don't you think you're over-reacting a bit?
There's no need to get so upset.
Don't let it get you down.
It's not as bad as all that, surely?
Oh, come on, it's actually quite interesting.
I see what you mean, but on the other hand ...
1. One of your flat-mates (room-mates) is always listening to records of opera on your hi^fi. Last night it woke you up at 2 a. m.
You hate opera. Also, he/she never does his/her share of the washing-up and cleaning. Tell your friend how angry you are.
2. Your friend is late and in a bad temper. Find out what's the matter and try to calm him/her down.
3. You have a toothache. And a headache. It's Sunday. And it's pouring with rain. And your girlfriend/boyfriend has left you. You
had an argument and she/he left the city and you can't contact her/him to make it up. Tell your friend about it.
4. This time it's your friend who's depressed. Ask what's wrong and listen sympathetically. Try to cheer your friend up. Perhaps
offer some advice or suggest something to take your friend's mind off his/her problems. When your friend seems happier discuss
what you did with the rest of the class.
5. You feel fine today. It's a sunny day and you're enjoying yourself. Your friend doesn't seem so cheerful, though. Find out what
the matter is and be sympathetic.
6. Try to interest your friend in these plans: going to the cinema; spending some time studying together; reading a good book
you've just read; helping you with some shopping; watching TV this evening; going to a museum.
When you have succeeded in arousing his/her interest, discuss what you did with the rest of the class.
7. Listen to your friend's ideas and pretend to be indifferent. All your partner's plans seem really boring to you. Even talking to
other people in the class bores you to death.
14. Read the following text. Find in it arguments for accepting anger as nor mal and against it. Copy them out in two columns (I – «for», II —
«against»).
Anger is Normal. Or Is It?
In terms of frequency of expression, anger is normal. It exists everywhere and is in all of us. But most teachers and parents find it
difficult to accept anger as normal and inevitable. The real issue for the teacher and parent becomes the question of how to deal with
anger in oneself.
The pressures on us to control or hide our anger are very powerful. Teachers ask, "Will this be held against me as a sign of incom-
petence or immaturity?" Other concerns are: "What will the kids tell their parents?" and "Will this get back to the principal?"
Teachers, in addition, have real concern for their children: "Will a child become frightened? Will it damage him in some way?" or,
even more upsetting, "Will the child get angry at me, become rebellious, and no longer like me as a teacher?"
These concerns are so real that most teachers try to hide their anger. The results of this are quite predictable: at best the teacher
who is straining to keep in anger is tense, irritable, and impatient; at worst the anger slips out in sarcasm or explodes in a rage of ac -
cumulated fury.
Some teachers report that they never get angry in the classroom. In further discussions with teachers regarding situations or
behaviour which typically arouses anger some teachers recognize all the signs of anger, but actually did not feel anger in the
classroom. But usually an observer or the children in the classroom recognize the signs of anger. Certain teachers are more successful
at hiding anger, but unless anger is in a mild form, it will be out one way or another,
How do children react to anger? All of us, as we recall our own childhood experiences in school, can remember instances of
teachers expressing anger in the classroom. Though children frequently face anger from adults, they do not always adjust to it in ways
that foster their own growth and learning. Teachers report that children often react with confusion; they're bothered, or their faces
appear troubled. Some children are especially sensitive and hurt at the teacher's anger, and a few children are even frightened.
Sarcasm or biting remarks that touch areas of special concern for children can be remembered with special misery for many years.
15. Discuss the text in pairs. One partner will take the view that anger is nor mal on the part of a teacher. The other will defend the opposite
point of view:
F o r :
1. The teacher faces numerous occasions when anger is
normal and inevitable. Anger often occurs as the result of
accumulated irritation, annoyance and stress.
A g a i n s t :
2.Feelings should be considered honestly and realistically. It
is superhuman never to feel anger, shakiness or helplessness.
1 . The teacher is expected to behave calmly and coolly at all
times. No matter how excited or tired, the teacher should
3.Children or other outsiders are rarely fooled by the efforts
be emotionally stable and consistent.
of teachers to hide the emotions that are bursting underneath.
2. Anger in a teacher is a sign of weakness. A person who
4.A teacher who denies his own feelings is wrapped in stress
expresses anger often feels childish, immature, guilty.
and struggle. Excitement, interest, and enthusiasm are
blunted, if not completely obliterated.
3.No matter how joyous or angry the feelings must be
controlled, hidden, disguised.
5.The first important criterion of acceptable anger release is
that the child not be blamed, attacked, or insulted.
4. Children's feelings are more important than teacher's
feelings.
5. Teachers who make fun of children or pick out certain
weaknesses or deficiencies can leave lasting scars on a
child's attitude toward school.
16. Role-Playing.
The class is divided into four groups. Each group is in a different mood.
Group A. You are all in a bad temper.
Group B, You are all depressed
Group C. You are all in a good mood.
Group D. You are all bored and indifferent.
When each group has established its mood by talking together, everyone goes round the class talking to different people. Try to
make the people you meet share your mood! At the end tell everyone what you did and how successful you were. Did anyone manage
to change your mood ?
17. Group Discussion.
Topic 1. Negative feelings seem to change character with intensity
T a l k i n g p o i n t s :
1. A certain amount of fear can almost be fun.
2. Pregame anxiety for a competitive athlete, while still anxiety is an excitement he often relishes.
3. Shame and guilt are essential for the development of some noble qualities such as generosity, unselfishness, duty.
4. Many teachers recognize that the excitement of anxiety and challenge is the very zest of teaching.
Topic 2. Emotions are perfectly permissible signs of the healthy body's response to distress
T a l k i n g p o i n t s :
1. When we feel anger, physical tension develops spontaneously, automatically. We need to release this tension through action of
some kind – to run, bang, even to hit.
2. Anger that is expressed spontaneously clears the air, can both remove the tension and the disturbing cause.
3. Accumulation of irritation, annoyance and stress leads to headaches, sickness of various kinds and proverbial ulcers.
4. People's inner feelings have no claim to public recognition. We have a responsibility– not only to the social unit, but also to
our personal dignity – to keep "it" in.
Topic 3. Who has never tasted bitter, knows not what is sweet
T a l k i n g p o i n t s :
1. The fact of succeeding despite difficulties excites us, contributes to our self-confidence and self-esteem.
2. A removal of pain or revival of hope makes us feel good.
3. Most things that involve great pleasure also involve sweat, toil, perseverance and agony.
4. Satiation and easy gratification ultimately destroy pleasure.
Unit Seven
SPEECH PATTERNS
1. I have always hesitated to give advice.
I hesitated to ask him for help.
He didn't hesitate to take such a big risk.
Don't hesitate to refuse the offer if you don't like it.
2. How can one advise another unless one knows that other as well as one knows himself?
They won't accept your plan unless you alter it.
You'll fail unless you work hard.
Unless I'm mistaken, he's an artist.
Unless he's done the work properly, I shan't accept it.
3. He had some difficulty in lighting it.
I have some difficulty in understanding spoken German.
She had some difficulty in finding the house.
We had some difficulty in selecting a present for her.
I had some difficulty in writing an essay.
4. He gave an apologetic laugh. I had not given him more than a cursory glance.
The girl gave a deep sigh. Jim gave a loud cry (groan).
She gave me a critical look.
5.It's precisely what they are going to do. That's what I've got to look forward to. That's all I've got to
look forward to.
This is precisely what I object to.
That's what they've got to expect.
That's all they've got to hope for.
6. He was dressed in a blue suit a good deal the worse for wear.
This is an old coat, but it is none the worse for wear.
The road is a good deal the worse for the rain.
We are none the happier for learning the truth.
I like you none the worse for being frank.
7.He looked to me as though he knew a good bottle of wine when he saw it.
He knows a good book when he sees it.
The man knew a good painting when he saw it. I know a good play when I see it.
8.You could not have imagined a more delightful person to drink a glass of wine with.
I can't imagine a better place to have a rest in.
I don't know a worse place to go for holidays to.
He never saw a more interesting person to speak with.
EXERCISES
1. Complete the following sentences using the Speech Patterns:
1. Caution made Jim hesitate to ... . 2. He did not hesitate to ... . 3. I shan't touch upon the subject unless .... 4. No use discussing
the matter with me unless ... . 5. We thought we knew Italian having studied it from books, but we had some difficulty ... . 6. It's not
always easy to teach children to read. Some children have special .... 7. The door was so narrow that we had some .... 8. With so many
other things to occupy my mind, I had not given Wilson .... 9. The two old gentlemen were obviously displeased with the interruption.
They gave us a ... . 10. I'm not astonished at his refusal to help us at all. That is precisely ... .11. Now it's quite evident that we shan't
be able to finish the work on time. That's ... . 12. I know that he's sorry about what happened, but I am none ... . 13. The boy is
naughty, but I like him none ... . 14. I think it only fair to tell you that that's all ... .15. He's a connoisseur of art and he surely knows a
good painting when ... . 16. This young actress has got real talent. I assure you I know a good actress when ... . 17. You cannot imag -
ine a more delightful person to.... 18. If you're in need of advice, you cannot find a better person to ... .
2. Suggest the beginning matching up the end:
1. ... to go further because he was afraid. 2. ... to refuse if you think the plan is unwise. 3. ... we ought to have a good trip there.
4 ... we shan't get home before dark. 5. ... in getting the information. So don't fret. 6. ... in understanding what she said because of her
bad French. 7. ... , seemed to hesitate and then walked on. 8. "... a ring, it's urgent." 9. ... what it's going to be if we can't find some
better explanation. 10. ... what you expected a teacher to be. 11 ... for knowing the truth. 12. ... for being frank and straightforward.
13. ... to hope for. 14. ... when he heard it. 15.... to have a chat with. 16. ... to work with.
3.Paraphrase the following sentences using the Speech Patterns:
1. He seemed unwilling to give advice, afraid of responsibility, I think. 2. Don't be shy of calling if you need me. 3. If I'm not mis-
taken, this is but a temporary job. 4. Don't do anything if you don't hear from me. 5. We're going on a hike next Saturday, if the
weather does not turn out nasty. 6. I always find it difficult to remember dates, they just slip my memory. 7. It was rather difficult for
me to understand the article. 8. He laughed apologetically and said, "So that's it. How on earth did you guess the truth?" 9. Tom
shrugged his shoulders. "What next, I wonder?" 10. The landlady looked critically at the three young men and closed the door in their
faces. 11. At seeing me Jovella sighed with relief. 12. It's just the thing I was afraid of. 13. If I had my time over again, I should act
exactly in the same way. 14. I did not like the boy less for being a bit naughty. 15. Wealth did not make him happier in the least.«16.
"I'm aware that that's my only hope," said the man. 17. "Is there nothing else for me to look forward to?" asked Cora. Allan made no
comment. 18. Soames was a good judge of paintings. 19. He is a well-read person and a real connoisseur of French poetry. 20. I'm
fond of the South-West of Moscow. I don't think there is a better district to live in. 21. He thinks there is no better place to have a rest
in than Scotland.
4.Respond to the following statements and questions using the Speech Patterns:
1. Why on earth didn't you turn to me for help at once? 2. Do you think it's absolutely necessary for me to come? 3. Do you think
here's anyone else who knows about it? 4. You're an hour late. I thought you would never come. 5. How did you manage to get the
book? It's no longer on sale. 6. Did the girl scream when she was given an injection? 7. I hear he's had a bad fall. 8. Will you let him
know of the change in our plans? 9. I think I must have the matter out with her. 10. Whatever makes you go to this village every sum-
mer? 11. I'm only asking you to dust the flat. 12. Are you sure the painting is worth buying? 13. Is this young poet really a promising
one? 14. Would you advise me to wait a little?
5.Translate the following sentences into English using the Speech Patterns:
1. Сью взялась за ручку двери, но все еще не решалась войти в комнату. 2. Если вам понадобится моя помощь, не
стесняйтесь и звоните мне в любое время. 3. Если я не ошибаюсь, собрание отложили до понедельника. 4. Я бы предпочла
остановиться в гостинице, если только она не переполнена. 5. Нам было нелегко найти эту ули цу, потому что ее еще нет на
плане и никто не знал, где она находится. 6. Я так долго переводила статью потому, что у меня были трудности с
техническими терминами. 7. Генри глубоко вздохнул и сказал: «Никогда бы не подумал, что эта работа окажется такой
трудной». 8. Энн бросила беглый взгляд на заголовки статей в газете и отложила ее. 9. Я все рассказала ей. – Именно этого
вы и не должны были делать. 10. Не надо было поднимать одной этот ящик! – Право же со мной от этого ничего не
случилось. Вы зря беспокоитесь. 11. Вы можете звонить ей весь день и все же ничего не добьетесь: она не поднимает трубку.
12. Джим прекрасно знал, что это все, на что он мог надеяться. И все же он не отчаивался. 13. Вот все, что я должен ска зав
тебе. Надеюсь, ты отнесешься к этому серьезно. 14. Кирилл прекрасно разбирается в старинных вещах. Вы бы лучше
спросили у него, стоит ли эта ваза таких денег. 15. Никогда не встречал человека, с которым было бы так интересно
поговорить,
6.Make up two sentences of your own on each pattern.
7.Make up and act out in front of the class a suitable dialogue using the Speech Patterns.
TEXT SEVEN THE HAPPY MAN
By Somerset Maugham
William Somerset Maugham (1874-1966), a well-known English novelist, short-story writer, playwright and essayist, was the son of a British diplomat.
He was educated at King's School in Canterbury, studied painting in Paris, went to Heidelberg University in Germany and studied to be a doctor at St.
Thomas Hospital in England. Although Somerset Maugham did not denounce the contemporary social order, he was critical of the morals, the narrow-
mindedness and hypocrisy of bourgeois society. It was his autobiographical novel Of Human Bondage (1951) and the novel The Moon and Sixpence (1919)
based on the life of the French artist Paul Gauguin, that won him fame. Somerset Maugham was also a master of the short story.
Somerset Maugham's style of writing is clear and precise. He does not impose his views on the reader. He puts a question and leaves it to the reader to
answer it. When criticizing something he sounds rather amused than otherwise.
It is a dangerous thing to order the lives of others and I have often wondered at the self-confidence of the politicians, reformers
and sucMike who are prepared to force upon their fellows measures that must alter their manners, habits, and points of view. I have
always hesitated to give advice, for how can one advise another how to act unless one knows that other as well as one knows
himself? Heaven knows, I know little enough of myself: I know nothing of others. We can only guess at the thoughts and emotions of
our neighbours. Each one of us is a prisoner in a solitary tower and he communicates with the other prisoners, who form mankind, by
conventional signs that have not quite the same meaning for them as for himself. And life, unfortunately, is something that you can
lead but once; mistakes are often irreparable and who am I that I should tell this one and that how he should lead it? Llfels a diffi-
cult business and I have found it hard enough to make my own a complete and rounded thing; I have not been tempted to teach my
neighbour what he should do with his. But there are men who flounder at the journey's start, the way before them is confused and
hazardous, and on occasion, however unwillingly, I have been forced to point the finger of fate. Sometimes men have said to me,
what shall I do with my life ? and I have seen myself for a moment wrapped in the dark cloak of Destiny.
Once I know that I advised well.
I was a young man, and I lived in a modest apartment in London near Victoria Station. 1 Late one afternoon, when I was
beginning to think that I had worked enough for that day, I heard a ring at the bell. I opened the door to a total stranger. He asked me
my name; I told him. He asked if he might come in.
"Certainly."
I led him into my sitting-room and begged him to sit down. He seemed a trifle embarrassed. I offered him a cigarette and he had
some difficulty in lighting it without letting go off his hat. When he had satisfactorily achieved this feat I asked him if I should not
put it on a chair for him. He quickly did this and while doing it dropped his umbrella.
"I hope you don't mind my coming to see you like this," he said. "My name is Stephens and I am a doctor. You're in the medical, I
believe?"
"Yes, but I don't practise."
"No, I know. I've just read a book of yours about Spain and I wanted to ask you about it."
"It's not a very good book, I'm afraid."
"The fact remains that you know something about Spain and there's no one else I know who does. And I thought perhaps you
wouldn't mind giving me some information."
"I shall be very glad."
He was silent for a moment. He reached out for his hat and holding it in one hand absent-mindedly stroked it with the other. I sur-
mised that it gave him confidence.
' ?1I hope you won't think it very odd for a perfect stranger to talk to you like this." He gave an apologetic laugh. "I'm not going to tell
you the story of my life."
When people say this to me I always know that it is precisely what they are going to do. I do not mind. In fact I rather like it.
"I was brought up by two old aunts. I've never been anywhere. I've never done anything. I've been married for six years. I have
no children. I'm a medical officer at the Camberwell Infirmary.2 I can't stick it any more."
There was something very striking in the short, sharp sentences he used. They had a forcible ring. I had not given him more than
a cursory glance, but now I looked at him with curiosity. He was a little man, thick-set and stout, of thirty perhaps, with a round red
face from which shone small, dark and very bright eyes. His black hair was cropped close to a bullet-shaped head. He was dressed in
a blue suit a good deal the worse for wear. It was baggy at the knees and the pockets bulged untidily.
"You know what the duties are of a medical officer in an infirmary. One day is pretty much like another. And that's all I've got to
look forward to for the rest of my life. Do you think it's worth it?"
"It's a means of livelihood," I answered.
"Yes, I know. The money's pretty good."
"I don't exactly know why you've come to me."
"Well, I wanted to know whether you thought there would be any chance for an English doctor in Spain?"
"Why Spain?"
"I don't know, I just have a fancy for it."
"It's not like Carmen, you know."
"But there's sunshine there, and there's good wine, and there's colour, and there's air you can breathe. Let me say what I have to
say straight out. I heard by accident that there was no English doctor in Seville.3 Do you think I could earn a living there? Is it
madness to give up a good safe job for an uncertainty?"
"What does your wife think about it?"
"She's willing."
"It's a great risk."
"I know. But if you say take it, I will; if you say stay where you are, I'll stay."
He was looking at me intently with those bright dark eyes of his and I knew that he meant what he said. I reflected for a moment.
"Your whole future is concerned; you must decide for yourself. But this I can tell you: if you don't want money but are content to
earn just enough to keep body and souljogether, then go. For you will lead a wonderful life."
He left me, I thought about him for a day or two, and then forgot. The episode passed completely from my memory.
Many years later, fifteen at least, I happened to be in Seville and having some Jriflingjiiilisposition asked the hotel porter whether
there was an English doctor in the town. He said there was and gave me the address. I took a cab and as I drove up to the house a little
fat man came out of it. He hesitated when he caught sight of me.
"Have you come to see me?" he said. "I'm the English doctor."
I explained_my_£irand and he asked me to come in. He lived in an ordinary Spanish house, with a patio,4 and his consulting room
which led out of it littered with papers, books, medical appliances, and lumber. The sight of it would have startled a squeamish
patient. We did our business and then I asked the doctor what his fee was. He shook his head and smiled.
"There's no fee."
"Why on earth not?"
"Don't you remember me? Why, I'm here because of something you said to me. You changed my whole life for me. I'm Stephens."
I had not the least notion what he was talking about. He reminded me of our interview, he repeated to me what we had said, and
gradually, out of the night, a dim recollection of the incident came back to me.
"I was wondering if I'd ever see you again," he said, "I was wondering if ever I'd have a chance of thanking you for all you've
