Текст книги "Практический курс английского языка 3 курс"
Автор книги: Владимир Аракин
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4 . I n e x c l a m a t i o n s , impressed, e. g.
He's due home tomorrow.— How ۸ marvellous! Magnificent.
EXERCISES
1." Listen carefully to the following conversational situations. Concentrate your attention on the intonation of the replies.
Verbal Context
Which one shall I choose?
Drill
Have you heard about Pat?
S t a t e m e n t s (impressed, self-satisfied,
Did you see any lions?
Who painted this?
challenging, censorious, discla im ing responsib ility)
Who was top of the class?
Yes. (Isn't it scandalous!) Lots.
It's good, isn't it?
Me. (Aren't I clever!)
Can you see?
Jane. Don. Hugh. Keith.
Wasn't it a good lecture?
Marvellous.
Have you ever been to York?
Perfectly.
It was better the second time, wasn't it?
Very good.
I was very cross with him.
Many times.
Shall we be in time?
Much better
It was rather odd, wasn't it?
Naturally. Anyone would be. We'll be ahead of time. It was
Can I have a word with you?
incredible. By all means. I simply hated it. I just can't tell you
Did you like it? Are you fond of him?
how much
he means to me.
What was the party like?
First rate. I don't know when I've enjoyed myself so much. I
Did you save time?
was able to do it in half the time.
It's up to you. You must make up your own mind.
S p e c i a l q u e s t i o n s (challenging, antagonistic,
disclaiming responsibility)
You could surely find the money somewhere.
Where?
You'll have to accept.
Why?
You pay for it.
How?
Well, borrow a ruler.
Whose?
I can't see you today.
When, then?
I've left my hat behind.
Where, pray?
Would you mind passing the book?
What book?
I'll make it soon, I promise.
Yes, but how soon?
Don't forget to bring your camera.
Which one?
Would Max have a game?
Why not ask him?
I've had this pain for days.
Why don't you do something about it?
G e n e r a l q u e s t i o n s (impressed, challenging, an-
tagonistic)
You can't go in there. I'll punch your head.
Can't I? (We'll see about that.)
They've nowhere to live.
Wil you? (And who'll help you?)
I wouldn't put up with it.
Haven't they?
You ought to apologize.
Wouldn't you?
You don't know what you're talking about.
Oh, ought I, indeed?
It was a shame he had to give up.
Oh, don't I?
Larry will be terrible as Hamlet.
Yes, wasn't it?
Can you imagine him?
May I take this newspaper?
I m p e r a t i v e s (discloiming responsibility, hostile)
How do you advise me to get there?
Do. Please.
Who are the flowers from?
Fly.
I hate it, but what can I do?
Guess.
I don't really want to go.
Tell them you hate it.
Don't talk with your mouth full.
Refuse, then.
It's not much of a cut.
Don't you do it, then.
So far I haven't had time.
Then don't make so much fuss about it.
Thank you very much.
Start now, then.
May I borrow this book for a while ?
Don't mention it.
I'm going to risk it, in spite of what you say.
Keep it as long as you like.
I'm most terribly sorry.
Don't say I didn't warn you, then.
Don't give it another thought.
E x c l a m a t i o n s (impressed)
John's got it now.
Oh! (That's different.)
You can have it back on Sunday.
Fine! (That's plenty soon enough.)
I've finished that.
I'll introduce you to him.
Good! (You were quicker than I expected.)
Did you finish that job?
Thanks!
Did you pass your exam?
Heavens, yes!
I'm so sorry I was rude.
Ages ago!
I'm awfully sorry.
Of course!
John may treat us.
I should think so, indeed.
I've missed my turn.
No doubt! (But it's too late for apologies.)
May I come too?
Not him! (He's far too mean.)
Thank you so much.
Serves you right! (You should pay more attention.)
The more the merrier.
Not at all! Thank you!
2. Listen to the replies and repeat them in the intervals. When pronouncing the Rise-Fall make your voice rise from a fairly low to a high pitch and
then fall quickly to a very low note. Do not forget to blend the words together.
3.Listen to the verbal context and reply in the intervals.
4.In order to fix Intonation Pattern XIV in your mind, ear and speech habits repeat all the replies yourself until they sound perfectly natural to you.
See that your Russian pronunciation habits do not interfere.
5.Listen to a fellow-student reading the replies. Tell him what his errors in intonation are.
6. Listen to your teacher reading the verbal context below. Reply by using one of the drill sentences. Pronounce it with Intonation Pattern XIV. Say
what attitude you mean to render.
Verbal Context
Her parents will never approve of her taste.
Wil they touch upon all the questions in the article?
Drill
You have very little experience in teaching English.
Surely, not.
Has he made any effort to fix the tent?
Precisely.
He is going on a hiking tour.
Probably. (But I'm going to gain some.)
She arouses everybody's admiration.
Certainly. But it's not so easy.
Spare her nerves.
I thought you knew about it.
How long will it take you?
We are not surprised. She is so beautiful and clever.
How did he accept it?
I don't think you quite understand what she's done.
They are going to make some inquiries about the affair.
A month or two, at any rate.
They can't spare you any time now.
He was full of indignation, I think.
Make a note of her telephone number now.
When?
Frankly speaking I am quite well aware of it.
But why didn't they tell us before?
She displays no enthusiasm about the work.
Why didn't you do it in time?
She refuses every present of his.
What difference does it make, may I ask?
Eight o'clock won't suit her either.
Whoever would if the work isn't interesting?
I can't admit she is wrong.
Her name is on the list.
What's the use of doing that?
Has he proposed to her?
What time is suitable for her then?
He promised to do everything in time.
Who can? Why not, I wonder?
We are far from indifferent to what you're doing.
Why should you worry about it?
You shouldn't have touched upon such things in public.
Everybody without exception is ready to do it.
Did he do it, in fact? Are you really? Shouldn't I?
She dreams of having this book.
The ten o'clock train won't suit us.
Yes, I know, but can you? Buy it for her, then.
How can I make inquiries about the train's departure?
Wil you enter her name in the list?
Go by the six o'clock one. Phone them.
I reminded him of his promise.
With pleasure!
Wil they accept my apology?
Good of you! Why, naturally! No doubt!
Wil you make an effort to do it again?
Yes, do.
May I help myself?
Be sensible, then. Well, then invite her.
Don't treat me like a baby.
You suggest a better one. With pleasure!
I ought to invite her.
Why, certainly!
That's a silly plan.
Good for you! Well done!
Wil you lend a hand, Tom?
So much the better!
I got really cross with them.
No wonder the car wouldn't start!
Nikki's not coming.
The petrol tank was empty.
7. Pronounce the drill sentences with Low Fall. Observe the difference in attitude.
8. Your teacher will suggest a verbal context. You in turn respond to it by using Intonation Pattern XIV. The drill will continue until every
student has participated. Keep the exercise moving rapidly.
R e f e r e n c e m a t e r i a l f o r t h e t e a c h e r
Why didn't you take advantage of an opportunity to tell them the truth?
Isn't it a decent film?
What are you going to do to clear everything up?
Who told you the time doesn't suit us?
Why didn't he try to propose to her?
Jane is on the list of students going to London.
What inspired the poet to write the verses?
She couldn't accept his gifts.
His action aroused everybody's indignation.
Their unexpected coming was a surprise to us.
Why were you not frank with him?
Can you spare me a few minutes?
Why don't you do anything to gain more experience in writing essays?
We can't approve of her being idle all the time.
Is he dreaming of a good collection of stamps?
He made no effort to make everybody sure he was right.
Couldn't you let me know about it before?
My shoes are too tight.
He was cross because you beat him.
What weather we're having!
Don't treat me like a baby.
You seem very happy about your success.
Can we afford to buy it?
We ought to stay in tonight.
9. Your teacher will suggest a verbal context. You in turn respond to it by using:
a).statements, sounding self-satisfied, challenging, censorious, disclaiming responsibility;
b)special questions, sounding challenging, antagonistic, disclaiming responsibility;
c)general questions, sounding impressed, challenging, antagonistic;
d)imperatives – disclaiming responsibility;
e)exclamations – impressed.
10.Make up a conversation between two hikers using phrases with Intonation Pattern XIV.
11. This exercise is meant to develop your ability to hear and reproduce intonation. Listen to the extract from «Three Men in a Boat» by Jerome
K.Jerome carefully sentence by sentence (see p. 356). Mark the stresses and tunes. Practise reading the text according to the model you have listened
to.
12.This exercise is meant to develop your ability to read and narrate a text with proper intonation.
a) Listen to the text. Write it down. Mark the stresses and tunes. Practise reading the text.
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. Retell the story according to the model you have listened to.
13.Read and retell any extract from «Three Men in a Boat» by Jerome K. Jerome.
SECTION THREE
Temporizers. Emphatic Stress
Temporizers
EXERCISES
l. Listen carefully to the following conversational situations. Concentrate your attention on the intonation of the replies.
Verbal Context
What about you, darling?
And what do you think of London, Mrs. Thompson?
Would you like to stay up on deck or go down below?
There's apple tart and cream, or chocolate trifle.
Is it possible to see anything of London in one or two days?
(While shopping.)
I've been told that there are no winter sports in England.
Do you think I shall have time for that?
How many rooms are there in the house?
Do you want it short or just trimmed?
Wil you have anything to drink, sir?
What would you say are the most popular games in England
Let me see, one, two, three ...
today?
Well, I'm rather thirsty.
Well, I don't care for beer.
Oh, I don't know.
Drill
Well, yes, but, of course, not half enough.
Well, you might, but if I were you, I should leave that for some
Er – I beg your pardon, I didn't quite catch what yoü said.
other day.
Now, let's see, what else did I want.
Well, you see, the English winter isn't very severe as a rule,
Er – not too short.
Well, I suppose football.
and we don't often have the chance of skiing, skating or
tobogganing.
2. Listen to the replies and repeat them in the intervals. Have a pause after the temporizers. Pronounce them on the low level and with the Low
Rise.
3. Listen to the Verbal Context and reply in the intervals.
4. In order to fix the intonation of the temporizers in your mind, ear and speech habits repeat the replies yourself until they sound perfectly
natural to you.
5. Listen to a fellow-student reading the replies. Tell him what his errors in intonation are.
6. Read the drill sentences according to the model. Observe the intonation of the temporizers.
Don't waste potatoes. Just scrape them doing.
Hurry up, or we might be late.
I – er – well, that's what I'm doing
She always wants to be on the safe side.
N-no, we have plenty of time.
Shall we put up at this hotel?
Y-yes, but who doesn't.
I like my native town like nothing else on earth. Don't you
Er – we may, but we'd better find another one.
find it fascinating?
Wel – er – yes, it's rather nice.
I heard James got settled at last. Do you know his new
Let me see. Yes, I've got it.
address?
Well, you know, not quite.
Do you feel well enough to do the job?
Er – to tell you quite frankly, yes, I am.
Are you going to report me?
Oh, er – n-no, I think she is rather intrusive.
Don't you think she is charming?
Y-yes, I think I have.
Have you by any chance caught a glimpse of this stranger?
Well, rather, but a shade uneasy.
Did he look in good health and spirits?
7. Make up short dialogues using the temporizers to gain the time to think over what to say next.
8.This exercise is meant to develop your ability to read and narrate a text with proper intonation.
1. Listen to the following texts. Write them down. Mark the stresses and tunes. Practise reading them.
2. Listen carefully to the narration of the texts. Observe the peculiarities in intonation-group division, pitch, stress and tempo. Note the use of
temporizers. Retell the texts according to the models you have listened to.
Thumbing a Lift
To hitchhike successfully in any country you must be able to do two things: attract attention and at the same time convince the driver at
a glance that you do not intend to rob or murder him. To fulfil the first requirement you must have some mark to distinguish you at once
from all other hitchhikers. A serviceman, for instance, should wear his uniform, a student his scarf. In a foreign country an unmistakable
indication of your own nationality will also arrest the driver's attention.
When I hitchhiked 9,500 miles across the United States and back recently I wore a well-tailored suit, a bowler hat and a trench-
coat, and carried a pencil-thin rolled black umbrella. My suitcase was decorated with British flags. Having plenty of luggage, moreover,
I was not likely to be suspected of being a dangerous lunatic. I then had to get across to the driver the idea that I was a bona fide
traveller, and needed to get somewhere cheaply.
But even with careful preparation, you must not assume that the task will be easy. You should be prepared to wait a little, for there
are drivers who confess to a fierce prejudice against, not to say hatred, of, hitchhikers, and would no more pick up a hiker than march
from Aldermaston to London. In America my average wait was half an hour, but I have heard of people waiting all day, they
presumably took less pains to make themselves conspicuous.
Nor must you assume that all the drivers who stop for you are nice, normal people. On one occasion I found myself driving with
two boys of about nineteen who turned out to be on the run from the police, and were hoping to use me as an alibi. There are also
lesser risks: you may find yourself in a car of a fascist fanatic, a Mormon missionary, or just a bad driver. You cannot tell of course,
until you are in the car. But you soon learn the art of the quick excuse that gets you out again.
If the hitchhiker in the United States will remember that he is seeking the indulgence of drivers to give him a free ride, and is
prepared to give in exchange entertainment and company, and not go to sleep, he will come across the remarkable, almost legendary,
hospitality of the Americans of the West. It will also help if he can drive – I think that I drove myself about 4,500 of those 9,500 miles I
hitchhiked in the US.
(From "Mozaika", No. 6, 1969)
May Week in Cambridge
The most interesting and bizarre time of the year to visit Cambridge is during May Week. This is neither in May, nor a week. For
some reason, which nobody now remembers, May Week is the name given to the first two weeks in June, the very end of the Uni-
versity year.
The paradox is pleasantly quaint, but also in a way apt. May Week denotes not so much a particular period of time as the gener al
atmosphere of relaxation and unwinding at the end of the year's work. It starts for each undergraduate when he finishes his exami-
nations and it continues until he "goes down" at the end of the term.
Everything as far as possible has to happen in the open air – parties, picnics on punts, concerts and plays. May Week seems al -
most like a celebration of the coming of the spring, till then ignored in favour of sterner matters like examinations, and this spirit of
release seems to take over the entire town.
People gravitate towards the river and on to the Backs which are the broad lawns and graceful landscaped gardens behind those
colleges which stand next to the river: Queens, King's, Clare, Trinity Hall, Trinity and St. John's. The river banks are lined with strollers
and spectators and there is a steady procession of punts up and down the Cam, some drifting slowly and lazily, others poled by
energetic young men determined to show off their skill.
Meanwhile the colleges are preparing feverishly for the various events in which May Week culminates. The most important of
these are the May Balls for which some girls plot years in advance to get invitations and the May Races.
Rowing plays a very important part in Cambridge life, and no less than 128 crews of eight compete in the "Mays", which are rowed
over a period of four days.
Music and drama also have a part to play in the festivity. Nearly every college in the University (and there are over twenty of them)
holds a May Week Concert; at Trinity for example, there is a concert of Madrigals at which the performers and most of the audience sit
in punts at dusk beneath the willows. Many of the colleges present a play in the open air. At Corpus Christy College the set ting is the
medieval courtyard in which Christopher Marlowe lived over 400 years ago, at Queens, a Tudor Court.
At the Art theatre, the "Footlights", a famous University club which specializes in revue, puts on its annual show. There is also a
concert in King's College Chapel, but it is almost impossible for the casual visitor to get tickets for this.
The climax of May Week and for many undergraduates the final event of their university life, is the spate of college May Balls when
the river is lit up with coloured lights and flaming torches, braziers glow in the gardens, marquees are erected in flood lit courts, ball -
room orchestras compete for dancers with string bands and pop groups and punts glide romantically down the river. And in the silver
light of dawn couples in evening dress stroll leisurely, perhaps rather dreamily through the Backs and the narrow deserted streets,
until it is time to punt upstream through the meadows to breakfast at Granchester or some other equally attractive spot.
(From "Mozaika", No. 6, 1969)
Joseph Mallord William Turner
This English painter and engraver was born in London on April 23, 1775. After a sporadic elementary education Turner devoted
himself to the study of art and entered the Royal Academy schools in 1789. He was elected a member of the Academy in 1802, and,
as a teacher from 1808 of an Academy course in perspective, he exerted a powerful influence on the development of English
landscape engraving. He travelled a great deal, especially in Italy, and found inspiration for many of his later paintings in Venice. His
ardent admirer, John Ruskin, devoted some of the most eloquent passages of "Modern Painters" to a description of his work. Trained
by the sound architectural draughtsman and topographical artist Thomas Malton, Jr., and developing under the influence of the great
English seventeenth century landscapists, Turner extended English topographical painting beyond the antiquarian and reporting limits,
transforming it into a Romantic expression of his own feelings. Graphically this took form most clearly in his hundreds of water-
colours; in them spatial extent appears bathed with atmosphere and light. The effects he achieved in water-colours Turner transferred
to oil painting as well. His colours, often of high intensity, retain their relative values effectively and, when coupled with accurate
drawing of shapes, as in the early "Derwenter" with the "Falls of Lodore" or the late "Norham Castle– Sunrise" are kept within control
by the artist. In 1807, Turner began a series of etchings and mezzotints from his own drawings, for a book to be entitled Liber
Studiorum. The work, discontinued in 1820, grew out of his admiration for Claude Lorrain's Liber varietatis. Turner died at Chelsea on
December 19th, 1 8 5 1 , regarded as the titular cofound– er, with Thomas Girtin, of English water-colour landscape painting.
(From "Mozaika", No. 3, 1966)
Emphatic Stress
M o d e l s : Today's out of
WhenNcan you ,come, may I
the question,
ask?
too.
Was he really so
'Absolutely A terrible.
bad?
When the speaker wants to draw special attention to a word in a sentence he makes it more prominent than the other stressed
words. It is given a greater degree of force and has wider range of pitch (the High Fall, the Rise-Fall, etc.). .
Such extra stress singles out the nuclear word (or words) to emphasize the attitudinal meaning. This type of sentence stress is
called emphatic.
EXERCISES
9. Listen carefully to the following conversational situations. Concentrate your attention on the nuclear word marked by the emphatic
stress in the replies.'
Verbal Context
But you don't really mean to say that you couldn't love me if
Drill
my name wasn't Ernest?
But your name is Ernest.
Yes, Mr. Worthing, what have you got to say to me?
You know what I have got to say to you. Finished what may I
Mamma! I must beg you to retire. This is no place for you.
ask?
Besides, Mr. Worthing has not quite finished yet.
I am glad to hear it. A man should always have an occupation
Do you smoke? – Well, yes, I must admit I smoke.
of some kind.
How old are you? – Twenty– nine.
A very good age to be married at.
Well, I own a house in Belgrave Square.
What number in Belgrave Square?
I was in a hand-bag – a somewhat large, black leather
In what locality did this Mr. James or Thomas Cardew come
hand-bag, with handles to it – an ordinary hand-bag, in
across this ordinary hand-bag?
fact.
I would strongly advise you, Mr. Worthing, to try and acquire
May I ask you then what you would advise me to do ?
some relations as soon as possible, and to make a definite
You know his brother has measles.
effort to produce at any rate one parent, of either sex
He ought to be isolated.
before the season is quite over.
If you don't believe me, look for yourself.
Most of the children here have had measles.
So you have done it at last.
I have got him isolated – in a kind of way.
Why didn't you speak to my father yourself on the boat?
That may be your idea of isolation. I'm afraid it isn't mine.
Yes, at least Cokane's done it.
You had no right to speak to me that day on board the
I didn't particularly want to talk to him.
steamer.
It was you who spoke to me. Of course I was only glad of the
chance.
Why does he help you like that?
Because that's the only way he can help me.
10. Listen carefully to the replies and repeat them in the intervals. Single out the emphatic stress with your voice.
11. Listen to the Verbal Context and reply in the intervals.
12. In order to fix Emphatic stress in your mind, ear and speech habits repeat the replies yourself until they sound perfectly natural to you.
13. Listen to your fellow-student reading the replies. Tell him what his errors in intonation are.
14. Read the conversational situations above.
15. Listen carefully to the following dialogue. Mark the stresses and tunes. Observe the means of singling out the nuclear word. Practise the
dialogue.
When does the train for Clacton leave?
In a quarter of an hour's time.
When is it due to arrive there?
Ten fifty-seven.
What's the time of the next Clacton train?
Twelve five.
Which do you think will be less crowded?
Oh, the later one.
Which platform does it depart from?
Number fourteen.
What's the price of a single third class ticket?
Fourteen and eightpence.
What's the difference between that and a first class?
Seven shillings exactly.
Where do I change for Braintree?
At Witham Junction.
How do I get to platform fourteen?
Over the bridge and straight on.
Where will I find the left– luggage office?
It's quite close to platform twelve
16. Read the following conversational situations. Observe the position of logical stress in the replies. Make the stress emphatic
wherever possiblef Give your own replies to the same verbal context
I don't believe he could be such a nuisance.
We can't put up there for the night.
What am I to do with the potatoes?
You mustn't believe all the gossip you hear.
Harris started to peel the potatoes.
Then let's try some other place.
We worked steadily for 25 minutes and did
You must scrape them.
4 potatoes.
Why didn't George do the same?
Would you like me to play the banjo?
It's absurd to have only 4 potatoes in an Irish stew.
Harris has got a headache.
I think I'll try something else.
But you have never learned to play it.
Shall I play some more?
The music might do him good.
Mr. Brown has met with an accident on his way there.
You ought to.
I'm sure she will make friends with her relatives.
I'm afraid I can't stand your music.
She is evidently a very nervous person.
So he has.
She certainly will.
I know she is.
17. Read the following situations. Apply the logical or emphatic stress where necessary. Make your speech expressive enough.
Whatever his difficulties, no matter if he railed against the dirt and poverty which he often had to combat, she always had the same
reply: "It's real work anyway." (AJ.Cronin)
Now I find myself in your company, Doctor Oxborrow, maybe you'll find it convenient to explain how Tudor Evans, Seventeen Glyn
Terrace, came off my list on to yours. (AJ.Cronin).
D i a n a : There's such a smell of burning, Daddy. I think something's on fire. Can I go down and see?
N u r s e (sniffing): There is a smell of burning. I'll go. (J.Galsworthy)
C o l o n e l : If I'm to put money in, I'm bound to look at it all round.
L e v e r (with lifted brows): Please don't imagine that I want you to put money in. (J.Galsworthy)
C o l o n e l : Don't say anything against Molly, Nell!
M r s . H o p e : Well, I don't believe in husband and wife being separated. That's not my idea of married life.
(The Colonel whistles guizzically.) Ah, yes, she's your niece, not mine! (J.Galsworthy)
S i r C h a r l e s (politely): Oh! Wel ! I don't understand her, of course.
J o a n : You don't want to understand her.
S i r C h a r l e s : Not very much, perhaps. (J.Galsworthy)
"Who has done this?" exclaimed Miss Mills, succouring her friend.
I replied, "I, Miss Mills, I have done it!" (Ch.Dickens)
"Why do you trouble me s o ! " she cried, reproach flashing from her very finger-ends.
"I trouble you? I think, I may ask, why do you trouble m e ? " (T.Hardy)
18. Read the following dialogue. Mark the stresses and tunes. It is not expected that each member of the group will mark the text in exactly
the same way. Finally practise reading your corrected variant. Retell it.
"Are you Miss Barlow?"
"Yes, aren't you Doctor Page's new assistant?"
"That's hardly the point, though as a matter of fact I am Doctor Manson. I believe you have a contact here: Idris Howells."
"Yes, I know."
"Don't you realize it's quite against the rules to have him here?"
"If Idris had stopped off, he'd have missed his milk, which is doing him such a lot of good."
"It isn't a question of his milk. He ought to be isolated."
"That may be your idea of isolation. I'm afraid it isn't mine."
"You must send that child home at once."
"Doesn't it occur to you that I'm the mistress of this class? You may be able to order people about in more exalted spheres. But
here it's my word that counts."
"You're breaking the law! You can't keep him here. If you do I'll have to report you."
"Then you had better report me. Or have me arrested. I've no doubt it will give you immense satisfaction."
(From A.J.Cronin "The Citadel". Adapted)
19. Authors frequently indicate by putting a word in italics that it should be made prominent. The situations below are taken from books by
different writers. How do you think they intended them to be pronounced and why?
Look here, you! We've come a long way to buy furniture. I said furniture. Not this kind of junk. (A.J.Cronin)
"But you'd better tell us quick how you come to bank that money for yourself when it's Doctor Page's money and you know i t . . . . "
"It's mine. Joe Morgan made me a present of it." "A present! Ho! Ho! I like that." (AJ.Cronin)
"But I'll never get it," he fretted as he paced up and down, "never, never, never. No, he couldn't be so lucky!" (AJ.Cronin)
"Gentlemen!" cried Andrew in a panic. "Please, please! How can we ever do anything if we quarrel among ourselves. Remember
what we're here for?" (AJ.Cronin)
It's like old times to hear you talk that way. I can't tell you how I love it. Oh, it's beginning all over again. I am happy, darling, happy!
(AJ.Cronin)
M r s . B a r t h w i c k : Out of her hand? Whose hand? What bag – whose bag?
J a c k : Oh! I don't know – her bag – it belonged to – a woman. M r s . B a r t h w i c k : A woman? Oh! Jack! No! (J.Galsworthy)
M r s . H o p e : The green-flies are in my roses already! Did you ever see anything so disgusting! (J.Galsworthy)
20. Make up a talk using the following phrases.
Yes, what is it now?
I think you're being very silly.
Look here (Nora), I'm tired
It's no use talking, o f . . .
I hate ...
Now don't be bitter about it.
Don't be silly.
Why do you keep ... ?
I can't bear it.
Good heavens!
Stop being funny.
Oh, what a pity!
What's the use of staying in bed?
What did you say?
21. Read the following extract from «Three Men in a Boat» by Jerome K. Jerome. Use logical and emphatic stress in it wherever possible.
There was silence for a moment, and then George's father said:
"Joe!"
"What's the matter, Tom?" replied Joe's voice from the other end of the bed.
"Why, there's a man in my bed," said George's father, "here's his feet on my pillow."
"Well, it's an extraordinary thing, Tom," answered the other, "but I'm blest if there isn't a man in my bed, too!"
"What are you going to d o ? " asked George's father.
"Well, I'm going to chuck him out," replied Joe.
"So am I," said George's father valiantly.
There was a brief struggle, followed by two heavy bumps on the floor and then a rather doleful voice said:
"I say, Tom!"
"Yes!"
"How have you got on?"
"Well, to tell you the truth, my man's chucked me out."
"So's mine! I say, I don't think much of this inn, do you?"
"What was the name of that inn?" said Harris.
"The Pig and Whistle'," said George. "Why?"
