Текст книги "Практический курс английского языка 3 курс"

Автор книги: Владимир Аракин

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"Ah, no, then it isn't the same," replied Harris.

'"What do you mean?" queried George.

"Why, it's so curious," murmured Harris, "but precisely that very same thing happened to my father once at a country inn. I've often

heard him tell the tale. I thought it might have been the same inn."

22. Listen to the following dialogue.10 Read it according to the model. Vary intonation patterns thus changing the attitudes expressed in the sentences.

A: I think I'll go shopping today. I want to buy a hat.

B: Why? You've got a hat already.

A: But I can't wear that. It's two years old.

B: That's not very old. My hat's nearly ten years old.

A: Don't be silly. I must have another hat. ...

A: Do you like this green hat?

B: It's not bad. But I like the red one better.

A: The one with the feather? I couldn't wear that!

B: You could. It's quite big enough.

A: Try to be serious. I think I like the green one best.

B: All right, then. I'll pay for it if you like. Fifteen shillings, isn't it?

A: Fifteen pounds, darling. B: What!

23. Make up a dialogue of your own with words and word combinations from the dialogue above. Use logical and emphatic stress in it.

SECTION FOUR

Wide and Narrow Range of Pitch

The meaning of the whole sentence can be emphasized either by widening or narrowing the range of pitch. If the range is wid ened

the pitch level is raised. The stressed and unstressed syllables are said on a higher pitch level. The pitch intervals between the

stressed syllables are greater than in an unemphatic sentence. The nuclear tone has a wider range. The stress is increased.

If the range is narrowed the pitch level is lowered. The stressed and unstressed syllables are pronounced on a lower pitch. The

pitch intervals between the stressed syllables are smaller than in an unemphatic sentence. The nuclear tone has a narrower range.

The words are pronounced almost in a whisper.

The effect produced by widening and narrowing the range is the same as it would be in Russian.

By widening the range the speaker can express different violent emotions such as anger, horror, fear, abhorrence, irritation, impa-

tience, joy, joyful surprise and others.

By narrowing the range the speaker can express sadness, hopelessness, admiration, aversion, regret, reproach, sympathy, hatred,

fear and other emotions.

EXERCISES

10

1. Listen carefully to the following conversational situations. Concentrate your attention on the sentences in which the widening of the pitch

range is heard. Why does the speaker widen the range of his voice? Try to define attitudes and emotions associated with it.

L a d y B r a c k n e l l : Mister Worthing! Rise, sir, from this semi– recumbent posture. It is most indecorous.

G w e n d o l e n : Mamma! I must beg you to retire. This is no place for you. Besides Mr. Worthing has not quite finished yet.

L a d y B r a c k n e l l : Finished what may I ask? (O.Wilde)

L a d y B r a c k n e l l : Where did the charitable gentleman who had a first-class ticket for this sea-side resort find you? J a c k: In a

hand-bag.

L a d y B r a c k n e l l : A hand-bag? (O.Wilde)

L a d y B r a c k n e l l : In what locality did this Mr. James, or Thomas Cardew come across this ordinary hand-bag? J a c k: In the

cloak-room at Victoria Station. L a d y B r a c k n e l l : The cloak-room at Victoria Station? J a c k : Yes. The Brighton line.

L a d y B r a c k n e l l : The line is immaterial. (O.Wilde)

J a c k : May I ask you then what you would advise me to do? I need hardly say I would do anything in the world to ensure Gwen -

dolen's happiness. (O.Wilde)

H a r r y : Nora! Nora! ("Meet the Parkers")

N o r a : Anyhow, I'd have enjoyed the film much more if Elsa Hollywood had been in it, instead of Linda Spangle.

H a r r y : And I'd have enjoyed it more if we hadn't gone at all. N o r a : And I'd have enjoyed it more if you hadn't been so rude to

that woman in front.

H a r r y : Wel I shouldn't have been rude to her if she had stopped chattering when I asked her. ("Meet the Parkers")

H a r r y: I behave better! I like that! Why, if that woman had But look, isn't that a No. 12 bus just going? ("Meet the Parkers")

H a r r y : Don't be too quick about spreading that table-cloth, Nora. I felt a spot of rain.

N o r a : Oh dear, what did I tell you! It's coming on to pour.

R o b e r t : We'd better run for it.

N o r a : Where to? There's no shelter in sight.

R o b e r t : What about that pub we came past?

N o r a : It's much too far away! ("Meet the Parkers")

2. Listen to the situations again and repeat the sentences pronounced with the widening of the pitch range in the intervals, trying to concentrate

on the emotional attitude of the speaker. Widen the range of your voice, say the stressed and unstressed syllables on a higher pitch level than you

would normally do it, make the stresses stronger, pronounce the nuclear tone with a wider range.

3. Listen to a fellow-student reading the sentences with the widened range of pitch. Follow his performance concentrating your attention on his

emotional attitude. Tell him what his errors are.

4. Read the conversational situations above with a fellow-student, observing the widening of the range and the proper emotional attitude.

5. One of the students will suggest a verbal context. Your reaction must be negative and rather violent: it can render such emotions as anger,

irritation, vexation, impatience, horror, etc. Imagine yourself in an appropriate situation and respond, widening the range of your voice. Continue

the exercise until every student has participated.

6. Listen carefully to the following conversational situations. Concentrate your attention on the sentences in which the narrowing of the pitch

range is heard. Why does the speaker narrow the range of his voice? Try to define attitudes and emotions associated with it.

G w e n d o l e n : Whenever people talk to me about the weather, I always feel quite certain that they mean something else. And

that makes me so nervous. (O.Wilde)

J a c k : Miss Fairfax, ever since I met you I have admired you more than any girl... I have ever met since ... I met you.

G w e n d o l e n : Yes, I am quite well aware of the fact. (O.Wilde)

J a c k : You don't know how happy you've made me.

G w e n d o l e n : My own Ernest. (O.Wilde)

L a d y B r a c k n e l l : I have always been of opinion that a man who desires to get married should know either everything or noth-

ing. Which do you know?

J a c k: I know nothing, Lady Bracknell.

L a d y B r a c k n e l l : I am pleased to hear it. (O.Wilde)

L a d y B r a c k n e l l : What number in Belgrave Square?

J a c k : 149.

L a d y B r a c k n e l l : The unfashionable side. (O.Wilde)

L a d y B r a c k n e l l : Are your parents living? J a c k: I have lost both my parents. (O.Wilde)

L a d y B r a c k n e l l : Where did that charitable gentleman who had a first-class ticket for this sea-side resort find you?

J a c k: In a hand-bag. (O.Wilde)

L a d y B r a c k n e l l : Good morning, Mr. Worthing.

J a c k : Good morning! (O.Wilde)

N o r a : I'm expecting Mother – she's coming over for the day.

H a r r y : Good heavens! I didn't know that. ("Meet the Parkers")

H a r r y : Well, I shouldn't have been rude to her if she had stopped chattering when I asked her.

N o r a : I wish you'd behave better in public places. ("Meet the Parkers")

7. Listen to the situations again and repeat the sentences pronounced with the narrowing of the pitch range in the intervals, trying to concentrate on the emotional attitude of the speaker. Narrow the range of your voice, say the stressed and unstressed syllables on a lower pitch level,

than you would normally do it, make the intervals between the stressed syllables smaller. Pronounce the nuclear tone with a narrower range.

8. Listen to a fellow-student reading the sentences with the narrowed range of pitch. Follow his performance concentrating your attention on

his emotional attitude. Tell him what his errors are.

9. Read the conversational situations above with a fellow-student, observing the narrowing of the pitch range and the proper emotional attitude.

10. One of the students will suggest a verbal context. Your reaction must be emotional but not violent. It may express such feelings as sadness,

regret, reproach, sympathy, etc. Imagine yourself in an appropriate situation and respond, narrowing the range of your voice and using the proper

intonation pattern. Continue the exercise until every student has participated.

11. This exercise is meant to develop your ability to render emotional attitudes in reading. Read the following fragments and conversational

situations using the proper intonation patterns. Widen or narrow the pitch range trying to express the attitudes suggested In brackets.

There was a pause. Her eyes, though questioning now, were persistently friendly. Brushing back untidy hair she answered: "Yes, I

know." Her failure to take his visit seriously was sending his temper up again.

"Don't you realize it's quite against the rules to have him here?" (indignation) At his tone her colour rose and she lost her air of

comradeship. (AJ.Cronin)

"Doesn't it occur to you that I'm the mistress of the class? You may be able to order people about in more exalted spheres. But here it's

my word that counts."

He glared at her with raging dignity. "You're breaking the law! You can't keep him here. If you do, I'll have to report you." (rage)

(AJ.Cronin)

When George was playing the banjo, Montmorency would sit and howl steadily, right through the performance.

"What's he want to howl like that for when I'm playing?" George would exclaim indignantly. (Jerome K.Jerome)

"I've learned to play the banjo at last."

"Congratulations, my dear George!" (joyful surprise) (Jerome K.Jerome)

"The boy is exhibiting a bad attack of measles." "Poor little chap!" (regretful sympathy) (AJ.Cronin)

"They've asked me to play the part of Desdemona." "Wonderful! A chance of a lifetime!" (joy)

"Get me hot water and cold water," he threw out to the nurse. "Quick! Quick!"

"But, Doctor," she faltered ... (fear)

"Quick!" he shouted. ( impatience, anger) (AJ.Cronin)

L a d y C h i l t e r n : How dare you class my husband with yourself? How dare you threaten him or me? (anger, indignation) Leave my

house! (scorn, hatred) You are unfit to enter it. ( aversion)

M r s . C h e v e l e y : Your house! A house bought with the price of dishonour. A house everything in which has been paid for by

fraud, (hatred) Ask him what the origin of his fortune is! Get him to tell you how he sold to a stockbroker a Cabinet secret. Learn from

him to what you owe your position. ( hatred, malicious

joy)

L a d y C h i l t e r n : It is not true! (resentment) Robert! It is not true! ( pleading)

M r s . C h e v e l e y : Look at him! (triumph) Can he deny it? Does he dare to? (malicious joy)

S i r R o b e r t : Go! Go at once! (indignation) You have done your worst now. (aversion, hopelessness) (O.Wilde)

S i r R o b e r t C h i 1 1 e r n : What this woman said is quite true. But, Gertrude, listen to me. You don't realize how I was

tempted. Let me tell you the whole thing, (pleading)

L a d y C h i l t e r n : Don't come near me. Don't touch me. (aversion, abhorrence) I feel as if you had soiled me forever. ( hopeless-

ness) (O.Wilde)

12. This exercise is meant to develop your ability to hear out the widening and narrowing of the pitch range in recorded reading and to

reproduce it in proper speech situations.

a) Listen to the dialogue «Waiting for the Bus» sentence by sentence. Write it down. Mark the stresses and tunes. Underline the sentences in

which the widening or the narrowing of the pitch range is heard. Concentrate your attention on the emotional attitude of the speaker in each of

these sentences. Practise the dialogue and memorize it. Perform it at the lesson with a fellow-student.

b) Use the sentences from the dialogue, pronounced with the widened or narrowed pitch range in conversational situations. Practise with a

fellow-student, concentrating your attention on the emotional attitudes you mean to render.

13. Make up a dialogue between two Russian students discussing the system of examinations in English schools. Their opinions differ, and as

they are both involved in the subject their argument gets more and more heated. Imagine yourselves in this situation. Use the proper intonation

patterns to show your involvement. Widen or narrow the range of your voice to express your emotional attitude.

14. This exercise is meant to develop your ability to read and narrate a story with proper intonation.

a) Listen to the text «You see, it was in this way ...». Write it down. Mark the stresses and tunes. Practise reading 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. Retell the text according to the model you have listened to.

15. This exercise is meant to develop your ability to use correct intonation when you act as a teacher.

a) Listen carefully to the extract from the lecture suggested below.11 Mark the stresses and tunes. Your teacher will help you and all the members of the class to correct your variants. Practise reading every sentence of your corrected variant very carefully.

b) Concentrate your attention on the peculiarities of the lecturing style introduced in the text.

c) Act as a teacher. Make up a microlesson applying the structures, vocabulary and intonation of the lecture below.

J . D . O ' C o n n o r : We showed you last time two ways of combining the glide down and the glide up in English sentences. Firstly,

we showed you how it was possible to have a glide up followed by a glide down. And here, as an example, is a sentence from our last

talk, said with the words in a different order:

M i s s Too l e y: If you listen closely you'll hear us use this pattern very often.

O'C.: Then secondly, we said that you could have a glide down followed by a glide up. And taking the same sentence again with

the words in their original order we get the example:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Both these combinations are very common indeed. The glide up followed by a glide down is generally used – not always,

but generally— when the subordinate clause of a sentence is before the main clause: and the glide down followed by a glide up is

generally used when the main clause is before the subordinate clause. I'll just say that again (repeat words in italics). Well now, this

was the case in our two examples. With the subordinate clause first we had:

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: And with the main clause first:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Now today, I think we'll start by considering what would happen to the sentences we have just used if we introduce special

emphasis on one of the words. First just let's hear once more the sentence said with the subordinate clause first: the glide up followed

by a glide down.

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: Now suppose that we want to draw special attention to the word 'closely' – to stress the fact that we want you to listen really

closely– how do we do that? Wel just listen, and you'll hear that a different tune is used.

T.: If you listen closely you'll hear us use this pattern very often. If you listen closely you'll hear us use this pattern very often.

O'C.: Now that pattern wasn't a glide up followed by a glide down, was i t ? No, it was a high dive followed by a glide down. And the

rule is this: if the subordinate clause has a specially emphasized word in it, you must use a high dive. (Repeat.)

11

SECTION FIVE

Intonation Pattern XV

(LOWPRE-HEAD +) LOW ASCENDING HEAD + HIGH (MID)

RISE (+ TAIL)

Before the High Rise the Low Head often starts very low but then rises gradual y, syl able by syl able, ending just below

the starting pitch of the nucleus.

The high rising nucleus begins in high level; the medium rise begins in mid level. This intonation pattern is used;

1 . I n s t a t e m e n t s , heard in official speeches, lectures, over the radio (in latest news programmes); or in colloquial speech to

draw the listener's attention by using this somewhat occasional intonation pattern, e. g. /English ^leather goods | are „also of ^great

de'mand in other countries.

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

a ) i n g e n e r a l questions when they sound very inquisitive, important, willing to discuss; sometimes with a shade of disbelief or

impatience, e. g,:

/Have you lived here 'long?

b ) i n s p e c i a l questions, sounding insistent, inquisitive with a shade of doubt or sometimes even mockery, e. g.

"And /what have you been Hdoing hither 'to?" I asked him.

3 . I n i m p e r a t i v e s , used as official announcements, e. g.:

/Have your passports 'ready, please.

EXERCISES

1."' Listen carefully to the following situations. Concentrate your attention on the phrases pronounced with the rising head + High Rise.

"Do you stay in town all day?" "Sometimes I do and sometimes I don't."

As a matter of fact I'm going in the same direction myself, so if you come with me I'll show you.

"And now what sweet will you have, Mrs. Thompson?"

"There's apple tart and cream or chocolate trifle."

"We're sure to have a good crossing."

"Oh well, I'll risk it, but if the worst comes to the worst, don't blame me."

"Do you travel much?"

"Not more than I can help by sea. I've crossed the channel once before but frankly I did not enjoy it."

"Why don't you fly across?"

"I think I shall one of these days. It couldn't possibly be worse than a really bad sea crossing."

Tennis is played all the year round, on hard courts or grass courts in summer and on hard or covered courts in winter.

"About how long will it be before I die?"

"You aren't going to die."

"I heard him say a hundred and two."

"People don't die with a fever of one hundred and two." (E.Hemingway)

I sat down and opened the Pirate book and commenced to read but I could see he was not following, so I stopped.

"About what time do you think I'm going to die?" he asked. (E.Hemingway)

"A five shilling book of stamps, please, and a large registered envelope."

"Will this size do?"

"I'm told one ought to see the British Museum."

"Do you think I shall have time for that?"

"I think the best way from here is to walk across Regent's Park."

"Is it much of a walk?"

However I'm quite ready to enter your name should your answers be what a really affectionate mother requires, Do you smoke?

(O.Wilde)

Now to minor matters.

Are your parents living? (O.Wilde)

"And where is that?"

"Down here, sir."

"Would you put us up?"

"Oh, I think we would." "Will you show us the way?" "Yes, sir."

"Are you a Devonshire girl?" "No, sir."

"Have you lived here long?" "Seven years." (J.Galsworthy)

(On the boat.) This way for the Dover boat. Have your passports ready, please. Pass up the gangway. First class on the right,

second class on the left.

2. Listen to the situations again. Find sentences pronounced with Intonation Pattern XV. Define their communicative type and the attitudes

expressed by them.

3. Listen carefully to the sentences with Intonation Pattern XV and repeat them in the intervals. Make your voice start very low and rise

gradually on stressed syllables, then end with high or medium rise reaching the highest possible level.

4. In order to fix the intonation of the rising head + High Rise in your mind, ear and speech habits repeat the sentences with this pattern

yourself until they sound perfectly natural to you

5. .Listen to your fellow-student reading these sentences. Tell him what his errors in the intonation are.

6. This exercise is meant to compare the Intonation Patterns XIV and XIII (rising Head + High Rise and high Head + High Rise). Read the

following fragments with both Intonation Patterns. Observe the difference in attitudes.

He flushed and said: "Are you Miss Barlow?"

She said: "Aren't you Doctor Page's new assistant?"

He said: "Don't you realize it's quite against the rules to have him here?"

She said: "If Idris had stopped off, he'd have missed his milk, which is doing him such a lot of good."

She answered stubbornly: "If you don't believe me, look for yourself."

He laughed contemptuously: "That may be your idea of isolation. I'm afraid it isn't mine."

He warned her: "If you don't obey my instructions I'll have to report you." (AJ.Cronin)

"And now I have a few questions to put to you, Mr. Worthing. While I'm making all these inquiries, you, Gwendolen, will wait for me

below, in the carriage." (O.Wilde)

"I know nothing, Lady Bracknell."

"I'm pleased to hear it. I do not approve of anything that tampers with natural ignorance." (O.Wilde)

"She needs awakening."

"Are you going to awaken her?" (J.Galsworthy)

Well, Robert, have you made up your mind yet what you want to do when you leave college? ("Meet the Parkers")

"Do you like dancing?"

"Yes, very much. Do you dance?"

"What do you think I ought to see first?"

"Do you like art galleries?"

7.

This exercise is meant to show the difference in the pronunciation of the same replies with the rising head and the high head + High

Rise. Read the following replies with both intonation patterns. Observe the difference in attitudes they render

Can I keep this book a bit longer?

Are you going to keep it for a couple of weeks?

We ought to follow his advice.

Must we always follow his advice?

I've just been playing badminton.

If you had a good time I can't blame you for being late for

Whose photo do you think this is?

lunch.

Oh, you broke the window!

You don't seem to recognize the photo of your own father.

They're supposed to be different.

If I did it on purpose you could scream like that.

He says he made up his mind.

Are they really different?

They're late again.

Does he really mean what he says?

Don't take any notice of them.

8. Think of your own examples (5 for every communicative type) pronounced with Intonation Pattern XIV. Use them in conversational

situations.

9. Listen to the extract from «The Apple-Tree» by J. Galsworthy (see p. 251). Find sentences pronounced with Intonation Pattern XIV. Observe

the attitudes expressed by them.

10. Listen to your teacher suggesting the contexts. Respond by using Intonation Pattern XIV.

She doesn't look a day over thirty.

Does it matter all that much?

He's a good chap. It's absolute truth.

Can I count on that? What makes you think so?

We've both got the same answer.

Are you sure enough?

There's somebody's bag in the car.

What are you going to do about it?

I shall be at home by tea-time.

Would you believe it?

How did you manage to do it?

What makes you think so ?

Now, isn't that peculiar?

Are you sure enough? Would you believe it? But is it likely?

How do yoy_know it's there?

Who's going to believe it?

Are you sure enough?

Do you really mean it?

How can you know exactly? What makes you think so ?

11.

This exercise is meant to develop your ability to hear and reproduce the intonation in proper speech situations.

Listen to the dialogue «On the Boat» sentence by sentence. Mark the stresses and tunes. Practise the dialogue.

Record your reading. Play the recording back immediately for your teacher and fellow-students to detect the errors in your pronunciation. Practise

the dialogue for test reading and memorize it.

Pick out of the dialogue sentences pronounced with Intonation Pattern XIV. Use them in conversational situations.

12.Give conversational situations with the phrases of the following type.

This way to...

I think I shall, one of these days ...

Pass up t h e . . .

It couldn't possibly be worse than ...

Here we are!

Yes, just.

Would you like to ...

Well, I suppose we'd better get ready for ...

Oh, I don't know ...

I say, you haven't got anything ... , have you?

I'm not much of a ...

I don't think I'm quite as foolish as that.

Oh, you won't be ... today.

As a matter of fact I don't think I have ...

We're sure to ...

Still, thanks, all the same ...

Oh well, I'll risk it, but if the worst comes" to the worst, don't

blame me. ... but frankly I didn't enjoy it.

Why don't you ...

13. Think of the possible situations in which phrases pronounced with Intonation Pattern XIV can be used according to the meaning

expressed by them.

14. This exercise is meant to develop your ability to read a text with proper intonation and give a summary of it.

1. Listen to the extract from «The Man of Destiny» by B. Shaw (see p. 179) sentence by sentence. Mark the stresses and tunes. Observe the

peculiarities in intonation-group division, pitch, stress and tempo. Practise reading it.

2. Record your reading. Play the recording back immediately for your teacher and fellow-students to detect your possible errors. Practise the

extract for test reading.

3. Give a summary of the text.

15. Read the following dialogues according to the suggested intonation.

1. Departure

16. This exercise is meant to develop your ability to pronounce different com municative types of sentences with all the possible intonation

patterns and explain the difference in attitudes they render.

Read the following sentences with all the intonation patterns possible for these communicative types. Observe the difference in meaning.

His behaviour can hardly be regarded as noble.

How did she take the unexpected news?

Did Jack happen to be in Paris at that time?

Enter Mr. Jackson's name in this list.

This poem has an irresistible charm.

Did he know enough about her life to speak with confidence about it?

Oh, that won't do!

It seemed a fascinating idea.

Where did they get settled at last?

Don't get involved in it.

You've made a mess of the job.

You let him alone.

He seemed to lose heart in the business after that.

Give my best wishes to your Mother.

Why do you interest yourself in this affair?

Aren't you Doctor Page's new assistant?

Don't you realize it's quite against the rules to have him here?

Good morning, Doctor Manson.

17. Listen to the following poems. Mark the stresses and tunes. Read and memorize them.

Nursery Rhymes

Jack and Jill went up the hill

To fetch a pail of water J

ack fell down and broke his crown

And Jill came tumbling after.

Twinkle, twinkle little star,

How I wonder what you are.

Up above the world so high,

Like a diamond in the sky.

In winter I get up at night,

And dress by yellow candle light.

In summer quite the other way,

I have to go to bed by day.

I like to go out in the garden,

I like to get up on the wall.

I like to do any thing really,

But I hate to do nothing at all.

There was a young man of Devizes,

Whose ears were of different sizes.

One was so small

It was no use at all,

But the other won several prizes.

One two three four,

Mary at the cottage door.

Five six seven eight,

Eating cherries off a plate.

There was a little girl

And she had a little curl,

Right in the middle of her forehead.

When she was good she was very very good,

But when she was bad she was horrid.

Give a man a pipe he can smoke.

Give a man a book he can read.

And his home is bright

With a calm delight

Though the room is poor indeed.

Hush, Hush, Little Baby

Hush, hush, little baby.

The sun's in the West,

The lamb in the meadow

Has lain down to rest,

The bough rocks the bird now.

The flower rocks the bee,

The wave rocks the lily,

The wind rocks the tree.

And I rock the baby

So softly to sleep It must not awaken

Till daisy buds peep.

James James Morrison Morrison

Whereby George Dupree

Took great care of his mother,

Though he was only three.

James James said to his mother,

"Mother," he said, said he:

"You must never go down to the end of the town

If you don't go down with me."

James James Morrison's mother

Put on a golden gown,

James James Morrison's mother

Drove to the end of the town.

James James Morrison's mother

Said to herself, said she:

"I can get right down to the end of the town

And be back in time for tea."

King John put up a notice,

"Lost or Stolen or Strayed!

James James Morrison's mother

Seems to have been mislaid.

Last seen wandering vaguely,

Quite of her own accord,

She tried to get down to the end of the town

Forty shillings reward!"

James James Morrison Morrison

(Commonly known as Jim)

Told his other relations

Not to go blaming him.

James James said to his mother,

"Mother," he said, said he:

"You must never go down to the end of the town

Without consulting me."

James James Morrison's mother

Hasn't been heard of since.

King John said he was sorry,

So did the Queen and the Prince,

King John (somebody told me)

Said to a man he knew:

"If people go down to the end of the town,

Well, what can anyone d o ? "

The Arrow and the Song

H.W.Longfellow

I shot an arrow into the air,

It fell to earth, I knew not where;

For, so swiftly it flew, the sight

Could not follow it in its flight.

I breathed a song into the air,

It fell to earth, I knew not where;

For who has sight so keen and strong,

That it can follow the flight of a song?

Long, long afterward, in an oak

I found the arrow, still unbroke;

And the song, from beginning to end,

I found again in the heart of a friend.

Song

A. Tennyson

Sweet and low, sweet and low,

Wind of the western sea,

Low, low, breathe and blow,

Wind of the western sea!

Over the rolling waters go,

Come from the dying moon and blow,

Blow him again to me;

While my little one, while my pretty one sleeps.

Sleep and rest, sleep and rest,

Father will come to thee soon;

Rest, rest, on mother's breast,

Father will come to thee soon.

Father will come to his babe in the nest

Silver sails all out of the West,

Under the silver moon.

Sleep, my little one, sleep, my pretty one, sleep ...

Twilight

G.G.Byron

It is the hour when from the boughs

The nightingale's high note is heard;

It is the hour when lovers' vows

Seem sweet in every whispered word;

And gentle winds and waters near,

Make music to the lovely ear.

Each flower the dews have lightly wet,

And in the sky the stars are met,