Текст книги "Практический курс английского языка 3 курс"
Автор книги: Владимир Аракин
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someone in the story felt:
You can guess how he felt.
What do you think he did?
And then do you know what he did?
Imagine my surprise when he ...
You'll never guess what happened next.
Narrative techniques like these will help make a story more dramatic.
7.Read the text and retell it. Use the narrative techniques of Ex. 6.
Picnic
My elderly cousin came to stay with us just before our youngest daughter's birthday. We were a little apprehensive whether we
ought to arrange the usual picnic celebration because my cousin loathes meals in the open air. However she was determined not to
spoil our plans and said she did not mind being left at home. On the day itself, seized by some sudden impulse, she elected to come
with us, much to our surprise. It was certainly a day to tempt anyone out, even the most inveterate anti-picnicker: a clear blue sky,
glorious sunshine and a gentle breeze.
We duly arrived at our favourite picnic site, a field beside a river, and everybody, except my cousin, had a lovely and most re-
freshing bathe before we settled ourselves for our meal under the willow trees. While we were eating, a herd of cows from the ad-
joining field began to amble through the open gateway, unnoticed by my cousin. We like cows but guessed that they would be as
little to her fancy as picnics and so hoped that they would go quietly back, satisfied that we were harmless. But one by one they
gradually advanced nearer and nearer. When my cousin chanced to look up, their eyes confronted hers. With one shriek of horror she
leapt into the air and ran, not to the car, where she might have taken refuge, but towards a gap in the hedge, so small that she could
not possibly have crawled through it. The cows, full of curiosity, gave chase. We were convulsed with laughter but my husband
managed to pull himself together, rounded up the cows, drove them back through the gateway and shut the gate. We thought that
disaster had been averted but our shaken guest, walking unsteadily back to us through a marshy bit of the field that the cows had
trampled into mud, lost her balance and fell on her face. A hot cup of coffee did nothing to restore her composure, so we had no
alternative but to pack up and go home. Never again, my cousin vowed bitterly, would she be so foolish as to go out on a picnic.
8. a) Tell the story of «Picnic» as the cousin might have told to her boy-friend, b) Work in pairs. You will tell each other the story in your own
words. Keep interrupting with questions, c) Imagine that you are an elderly cousin. Describe in your own words what happened to you on the day
after the picnic, d) Suppose you had been present at this event. Describe what you would have seen when the cows came into sight. Use your own
words as far as possible and do not include anything that is not in the passage, e) Imagine that you are the cousin. Describe what you saw and did.
9. In a narrative you can choose whether to report exactly what was said or report the main points of what was said.
Here are some ways of reporting the main points of what was said:
He wanted to know ...
He wondered ...
He tried to find out...
He mentioned something about...
He hinted that...
I found out that...
10. Read the following dialogue. Report the main points of what was said. Use the opening phrases of Ex. 9.
Newsagent's shop. Sunday morning. A young married couple, Anne and Jim, meet Ronald Marcer, a middle-aged librarian, while buying the Sunday
newspapers.
Ronald: "Sunday Telegraph", please. Thank you.
J i m : We would like all the Sunday papers. Why ... hullo, Mr. Marcer.
R o n a l d : Hullo.
J i m: You know my wife, Anne, don't you?
R o n a l d : Yes. We've met once or ... How are you?
A n n e : Yes, of course. How are you, Mr. Marcer?
R o n a l d : Buying up the whole of the paper shop this morning?
J i m: Well... We want to plan our summer holiday you see. And it's about this time of year especially that... that all the holiday ad -
verts appear in the ...
A n n e : So we thought we'd have a good look at about everything that's going.
R o n a l d : I see ... Yes ... You have to book up early these days. Are you thinking of going somewhere ?
J i m: Yes ... we are. The trouble is ... the money.
R o n a 1 d: Ah yes. Now there's the rub. Now why don't you try the same holiday as my wife and I had last year? Does a package
holiday attract you?
J i m: Well that sounds OK. What do you think, Anne"?
A n n e : A package holiday ... But ... well you know these organized holidays ... you know what they are like. Everybody doing
everything together, ... all at the same time. You sometimes need to lose the others for a bit.
R o n a l d : That does surprise me. You wanting to escape from the madding crowd. As I remember, you were always the life and
soul o f . . .
J i m : If that's how you'd care to put it. But getting away from the others at times ... you know ... never harmed anyone.
R o n a l d : Look ... How about a walking tour?
A n n e : But how do we go about arranging it?
R o n a l d : Let's walk, shall we? We're going the same way I think. Let's cross here, shall we?
A n n e : Watch out. You will get run over.
J i m : Whew. Narrow escape. We nearly didn't have any holiday .
11. Decide how you can make your narrative of the story «Picnic» as interesting as possible. Add detail and dialogue. Imagine what happened
before the first scene and after the last scene.
12. Dramatize the story «Picnic». Bring necessary accessories.
13.Work in pairs. Put the story «Picnic» into a dialogue form.
14.Controlling a narrative.
You can signal the beginning of a spoken personal narrative like this:
Did I ever tell you about the time I . . .
That reminds me of the time I . . .
Funny you should mention this, because something similar happened to me once...
A story often has changes of direction and digression. You can signal the end of digression like this:
Anyway ...
As I was saying ...
To get back to the story ...
And we can speed up the end of the story by cutting out irrelevant detail and saying:
To cut a long story short...
Anyway, what happened in the end was ...
15.Read this simple story and try to memorize the main points. When you are ready tell your partner the story and be prepared for interruption.
Tell the story from memory. Use narrative technique. When you have told this story, listen to your partner's story and keep interrupting with
questions.
A Traveller's Tale
In the autumn of 1935, when I was a young man, I was travelling in the north-west of India. One evening, after hunting in the forest
all day, I was returning alone to the place where I had put up my tent. It was getting dark, and I was walking along a narrow path. On
my right was a wide river; on my left, a thick, dark forest. Suddenly I saw two green eyes looking at me from among the trees. A man-
eating tiger was getting ready to jump on me.
What could I do? Should I jump into the river and hope to save my life by swimming? I looked to the right. In the river there was
an immense crocodile waiting to welcome me with its mouth wide open.
I was so frightened that I shut my eyes. I heard branches moving as the tiger jumped. I opened my eyes. What do you think had
happened? The tiger had jumped right over me and was now in the jaws of the crocodile. That's a true story, believe it or not.
1. Do you believe this story? 2. Try to describe a very improbable experience like the traveller in "A Traveller's Tale", making
your account sound as truthful as possible. 3. Do you know of any stories (legends, popular beliefs) that might or might not be true?
Give all the details you can and express your attitude to them.
16.Work in pairs or small groups. Help each other to remember your hiking tours:
2. An unforgettable evening.
3. An embarrassing situation.
4. A frightening experience.
5. An experience which made you laugh.
Listen to each other's narrative but don't interrupt except to find out more details.
17.Sit in a circle. Every alternative person is A and the person on his or her right is B. If you are A, tell the person on your right a story, an
experience, a joke or a funny story about a walking tour. If you are B, listen to the story from the person on your left and tell it to the person on your
right. And so on round the class until the story comes back to the person who told it first. Was the story you told recognizable on its return? Tell the
others how it had changed. Then it's B's turn to tell a story to the person on his or her right. And so on round the circle.
18.Role-Playing.
C h a r a c t e r s :
Mrs. Alia Cordon– a discussion leader. A writer, aged 40, has been a member of various hiking tours, knows their advantages and
disadvantages.
Mrs. Jane Wilson – a scientific research worker. A lot of time in the library, laboratories. An experienced hiker. Hiking is her hobby
Mrs. Margaret Drew– a teacher, rather advanced in years. Used to be a devoted hiker in her youth.
Mrs. Pauline Jenkins – a librarian, aged 25, a bit shy. Wishes to have a lot of friends. Is a bit tired of her everyday routine. Feels
rather lonely.
Miss Ann Thompson – a very experienced psychologist. Theoretically believes that hiking can be of some help to her patients but
thinks that it can hardly be regarded as an ideal way of spending a holiday.
Miss Helen Green – a romantic girl of 20. Loves nature. Tries and sees beauty everywhere. Writes poems about nature, sunsets,
seasons of the year, birds, flowers, etc. Is not in good health. Thinks hiking can help.
Mrs. Katherine Morrow– a housewife. Has a large family. Is knee-deep in children having four of them. Very busy at home. A bit
tired of cooking and the rest of housework.
Miss Diana Hubble – a student, goes on a hike every other weekend. Has been to various places. Is fond of independence and
freedom of choice.
Mrs. Morris Cardew– a journalist, travels much by air, by train, by car, by sea. Always pressed for time. Very seldom has a
possibility to walk. Doesn't think it necessary.
Mrs. Alia Gordon (opening)
When the people of the future will turn their attention to the twentieth century, they will surely choose the label "legless peo ple"
describing us, people of the 20th century. Don't you think hiking is certainly a way out of this dangerous situation and thus a splendid
way to have a holiday. People of the 20th century are always in a hurry; they are short of time, travel at high speeds. Very often we
are deprived of the use of our eyes. In our hurry we fail to see anything on our way. Hiking seems to be the ideal way to see
everything with our own eyes, to touch everything. Certain inconveniences. Lack of great comfort. Dependence on weather and other
things. But a lot of advantages. So, the pleasure one gets from hiking is worth the trouble taken.
2.Mrs. Jane Wilson
1) 20th century people forget how to use their legs. Men, women, children move in cars, buses, etc. from a very early age. In houses
– lifts, escalators to prevent people from walking. Hiking – a superb thing in this respect. (Ask for Mrs. Margaret Drew's opinion.)
2) Inconveniences are not great, though they exist. Modern camping sites are well equipped with hot and cold running water, shops,
even dance floors. Tents – comfortable. Portable furniture is light. Gas stoves – excellent coffee and tender steaks. (Ask for
Pauline Jenkins's opinion.)
3.Mrs. Margaret Drew
1)Hiking – an ideal thing but only for the young. A lot of inconveniences, significant for those not already young. Mosquitoes,
packing and re-erecting a tent, many heavy things to carry. No real comfort. Is it a kind of a holiday of relaxation to overcome lots of
difficulties and inconveniences?
2)Agrees that hiking is cheap. But you get what you pay for. When hiking you don't pay much and you don't get much.
4.Mrs. Pauline Jenkins
1)Hotels provide more comfort, greater variety of food. But remote strained atmosphere of hotels, cold and unfriendly formal
greetings between the residents. Hiking – enormous opportunity to meet different people, share your pleasures, make friends.
2)Hiking provides you with a real change from everyday living. You get up earlier, go to bed earlier, develop a hearty appetite. (Ask
for Mrs. Katherine Morrow's opinion.)
5Miss Ann Thompson
1)Ideal way of spending a holiday is getting relaxed and away from other people. Camping sites are crowded. Many people go on a
hike. You must meet a lot of people, get acquainted with them. Making friends is not an easy task for everybody. Even if a place is
beautiful, all the beauty is gone because of the number of people. (Ask Helen Green's opinion.)
2)A person on a hike is quite helpless. Something goes wrong, help is required. Where to go? What to do? (Ask Diana Hubble or the
hostess of the discussion.)
6.Miss Helen Green
1)Nothing can spoil the beauty of nature. Walking is the best way to enjoy nature. Can explore beautiful distant places which cannot
be done in a car, or sitting in front of the "one-eyed" monster – TV set.
Being in the open air is an advantage in itself. You improve your health, you train your body, you develop your senses.
7.Mrs. Katherine Morrow
1)Hiking is not a real holiday for the family. No real rest. Wife has to cook, to do washing up under primitive conditions. No
change'for her. You sit in front of TV, you see beautiful places, you read a book, you live wonderful lives and you have a real holiday.
Hotels also provide rest and freedom for everyone in the family.
2)Much depends upon the weather. Rain, drizzle, dull weather, erecting a wet tent are not enjoyment in themselves.
8.Miss Diana Hubble
1)Hiking is an ideal way of spending a holiday. You are free to choose. You don't like the place or it is too crowded, you can sim ply
get up and go or stay as long as you like. You're the boss, have tremendous mobility.
2)A person seldom goes on a hike alone, in isolation. Telephone booths, people eager to cooperate. Hiking has other advantages. The
cheapest way of spending a holiday. Don't think much about the clothes. Any clothes will do.
9.Mrs. Morris Cardew
1)Hiking seems to be ideal, though hardly is. The 20th century is the time of great emotional stress. Trying to escape from crowds,
from everyday routine people put themselves into the circumstances they are not used to. Strain in itself.
2)In the 20th century a lot of information is required. Even on a holiday you must see many things, must move fast, be able to get to
many places. Hiking, walking can hardly be of any help.
Unit Two
SPEECH PATTERNS
1. If I were asked to cite a single reason, for your preeminence, I would point to your creation of a special world.
If you could have shot this in colour, would you have?
I would certainly give you the number of my room if I had one.
I wouldn't have gone, if I hadn't made up my mind.
2. When I was a child, I suffered from an almost complete lack of words.
The headmaster showed a considerable lack of cooperation with the governing body.
The plants died for lack of water. His lack of wit was quite evident.
3. Was it only the accident of the puppet theatre that sent you the way of theatre rather than of books?
It was a foolish rather than a malicious remark. He relied on his wit rather than his knowledge. She is
ignorant rather than stupid.
4. Do you direct it in your head ? – In a way.
Did the play impress you ? – In a way. The work was well done in a way. He is clever in a
way.
5. What I need is to come in contact with others.
What the child needs is punishment. What the fellow needs is self-respect. What I need is advice.
6. My impulse has nothing to do with intellect or symbolism.
It has nothing to do with the original plan.
My decision has nothing to do with your explanation.
The answer has nothing to do with the question
EXERCISES
1. Complete the following sentences using the Speech Patterns:
1. It was ... a witty remark. 2. The officer is stubborn ... . 3. The family suffered f o r . . . . 4. If I were invited to the concert ... .
5. ... is courage. 6. The article ... art. 7. She is known f o r . . . . 8. ... to go and see for yourself. 9. She is an experienced secretary ... .
10. Your remark ... with the problem under discussion. 11. She should be interested ... . 12. He spoke ungraciously ... . 13. She is poor
and always feels ... . 14. If Pete had many friends ... . 15. ... is discretion. 16. ... with Adam's arrival. 17. I liked Maurice ... until I got
to know him. 18. The children were noisy .... 19. ... I would say he was right.
2. Paraphrase the following sentences using the Speech Patterns:
1. He is not concerned with their accommodation. 2. I think the room was not so cold, it was very damp. 3. The girl said she liked
hiking, though she disliked certain things. 4. I can't accept her explanation, but at least I can understand it. 5. I wish you hadn't made
an appointment with the lady, but I am not in your place. 6. The girl wasn't plain. She was clumsy. 7. I have no dealings with the
papers. 8. He showed that he was unable to find words with which to express his thanks. 9. I think the group requires some extra
help. 10. He is a boring person. I don't find him amusing. 11. She has no relationship with the Browns. 12. Everybody knows that she
has little wisdom. 13. She requires a good rest. 14. The good-natured March girls managed to lead interesting lives despite the
family's reduced circumstances. 15. "Tell me all about it, Jo. I must know everything."
3. Translate the following sentences into English:
1. Он скорее мудрый человек, нежели хитрый. 2. Безусловно, ваши предложения по-своему значимы, но они не затрагивают
глубины процесса. 3. Его речь характеризуется недостатком такта. 4. Если не будет удушающей жары, мы отправимся в
путешествие уже завтра утром. 5. Отсутствие сплетен – вот, что вам необходимо. 6. Ко мне это не имеет никакого
отношения. 7. Мы согласны, что это скорее допустимое решение проблемы, а не разумный выход из положения. 8. Этот
художник по-своему талантлив, но мне его картины не нравятся. 9. Недостаток времени не позволил молодому ученому
завершить эксперимент. 10. Ваши замечания не затрагивают существа ее работы. 11. Спокойный, надежный человек для
руководства отделом– вот, что им нужно. 12. Если бы ты не положила столько соли в воду, огурцы бы не горчили. 13. Я бы
охарактеризовала его скорее как опытного педагога, а не как талантливого учителя. 14. Затруднительное материальное
положение в семье не помешало ей получить высшее образование.
4. Make up two sentences of your own on each pattern.
5. Make up a dialogue using the Speech Patterns and act it out.
TEXT TWO
ENCOUNTERING DIRECTORS
By Ch.Samuels
Interviewing Ingmar Bergman
(Extract)
Ingmar Bergman – a famous Swedish film director, writer and theatre producer was born in 1918. His psychological
films are well known all over the world. Crisis (1945), Smiles of Summer Night (1956), Seventh Seal (1957), Wild
Strawberries (1958), The Silence (1963), Autumn Sonata (1978) are only a few films made by him. I.Bergman himself
wrote the scripts for most of his films and won awards for many of them. In the focus of his attention people's fates are
put. The people usually have a lot of problems. Bergman focuses attention on the fate of individuals, on their problems
and their search for life's meaning. Many of his»characters are isolated people who suffer from the harsh realities of the
cruel world in which they live. It is difficult to understand the majority of Bergman's films since the distinction between
reality and the world of the imagination is blurred.
S a m u e l s : Mr. Bergman, I'd like to start with a rather general question: If I were asked to cite a single reason for
your pre-eminence among film directors, I would point to your creation of a special world. You are, in fact, very much
like a writer. Why didn't you become one?
B e r g m a n : When I was a child, I suffered from an almost complete lack of words. My education was very rigid; my
father was a priest. As a result, I lived in a private world of my own dreams. I played with my puppet theatre.
S.: And —
B.: Excuse me. I had very few contacts with reality or channels to it. I was afraid of my father, my mother, my elder
brother – everything. Playing with this puppet theatre and a projection device I had was my only form of self-expression. I
had great difficulty with fiction and reality; as a small child I mixed them up so much that my family always said I was a liar.
S.: I want to interrupt you for just a moment. This description of your childhood resembles one classic description of the genesis
of a writer. Was it only the acqident of the puppet theatre that sent you the way of theatre rather than of books?
B.: No. When I began writing I liked it very much. But I never felt that writing was my cup of tea. And I always lacked words; it
has always been very difficult for me to find the word I want. I have always felt suspicious both of what I say and what others say to
me. I always feel something has been left out. When I read a book, I read very slowly. It takes me a lot of time to read a play.
S.: Do you direct it in your head?
B.: In a way. I have to translate the words into speeches, flesh and blood. I have an enormous need for contact with an audience,
with other people. For me, words are not satisfying.
S.: With a book, the reader is elsewhere.
B.: When you read, words have to pass through your conscious mind to reach your emotions and your soul. In film and theatre,
things go directly to the emotions. What I need is to come in contact with others.
S.: I see that, but it raises a problem I'm sure you've often discussed. Your films have emotional impact, but since they are also the
most intellectually difficult of contemporary films, isn't there sometimes a contradiction between the two effects? How do you react
when I say that while I watched "The Rite", my feelings were interfered with by my baffled effort at comprehension?
B.: Your approach is wrong. I never asked you to understand, I ask only that you feel.
S.: And the film asks me to understand. The film continuously makes us wonder what the spectacle means.
B.: But that's you.
S.: It's not the film?
B.: No. "The Rite" merely expresses my resentment against the critics, audience, and government, with which I was in constant
battle while I ran the theatre. A year after my resignation from the post, I sat down and wrote the script in five days. The picture is
just a game.
S.: To puzzle the audience?
B.: Exactly. I liked writing it very much and even more making it. We had a lot of f u n while we were shooting. My purpose was
just to amuse myself and the audience. Do you understand what I mean?
S.: I understand, but certain members of the audience can't resist pointing out that Bergman is sending messages, he thinks, but
what are they and why?
B.: You must realize – this is very important! – I never ask people to understand what I have made. Stravinsky once said, "I
have never understood a piece of music in my life. I always only feel."
S.: But Stravinsky was a composer. By its nature, music is non– discursive; we don't have to understand it. Films, plays, poems,
novels all make propositions or observations, embody ideas or beliefs, and we go to these forms —
B.: But you must understand that your view is distorted. You belong to a small minority that tries to understand. I never try to un-
derstand. Music, films, plays always work directly on the emotions.
S.: I must disagree. I'm afraid I didn't make myself clear —
B.: I must tell you before we go on to more complicated things: I make my pictures for use! They are made to put me in contact
with other human beings. My impulse has nothing to do with intellect or symbolism: it has only to do with dreams and longing, with
hope and desire, with passion.
S.: Does it bother you when critics interpret you through these items?
B.: Not at all. And let me tell you, I learn more from critics who honestly criticize my pictures than from those who are devout.
And they influence me. They help me change things. You know that actors often change a film, for better or worse.
S.: May I ask you how "The Touch" differs from the one you intended?
B.: I intended to paint a portrait of an ordinary woman, for whom everything around was a reflection. Bibi Anderson is a close
friend of mine – a lovely and extremely talented actress. She is totally oriented towards reality, always needing motives for what she
does. I admire her and love her. But she changed the film. What Bibi Anderson did made the film more comprehensible for ordi nary
people and more immediately powerful. I agreed with all her changes.
S.: You use music less and less in your films. Why?
B.: Because I think that film itself is music, and I can't put music in music.
S.: If you could have shot all your films in colour, would you have?
B.: No. Because it is more fascinating to shoot in black and white and force people to imagine the colours.
S.: Do you work in colour now– to any degree – because you feel that the audience demands it?
B.: No. I like it. At the beginning, it was painful, but now I like it.
S.: Why do you use so much dialogue in your films?
B.: Because human communication occurs through words. I tried once to eliminate language, in "The Silence", and I feel that
picture is excessive.
S.: It's too abstract.
B.: Yes.
S.: Some people have criticized your films for being too theatrical – particularly – the early ones. How do you answer this
charge?
B.: I am a director —
S.: But aren't the two forms different?
B.: Completely. In my earlier pictures, it was very difficult for me to go from directing in the theatre to directing films. I had al -
ways felt technically crippled – insecure with the crew, the cameras, the sound equipment – everything. Sometimes a film succeed-
ed, but I never got what I wanted to get. But in "Summer Interlude", I suddenly felt that I knew my profession.
S.: Do you have any idea why?
B.: I don't know, but for heaven's sake a day must always come along when finally one succeeds in understanding his profession!
I'm so impressed by young directors now who know how to make a film from the first moment.
S.: But they have nothing to say. (Bergman laughs.)
ESSENTIAL VOCABULARY
Vocabulary Notes
1. point n 1) the sharp end., tip, as the point of a pin (needle, knife, stick, pen, pencil, weapon, tool, etc.); 2) a small dot or a full stop, as 4.6 (four point six); 3) the essential thing, part, the most important thing in a speech, story, action, etc., e. g. The point is that it is
no ordinary case. I don't see your point. You've missed the whole point, to the point relevant to the subject, as to come (to stick, to be)
to the point, e. g. I wish he would come to the point, to speak (to stick, to keep, to be) to the point, e. fir. Your answer is not to the point,
ant. to be off the point, e. g. Your answer is off the point, to make a point of doing smth. to regard smth. as essential, e. g. He made a point of reading English every day. 4) a single item; to agree (or disagree) on some points, e. g. We disagreed on several points. 5)
special quality, as one's weak (strong) point, e. g. Singing is not his strong point. 6) purpose, use, e. g. What's your point in coming?
There is no (not much) point in doing that. His remarks lack point. 7) a precise or particular moment, as a turning point in one's life,
e. g. At this point in his reflections he paused. When it came to the point (when the moment for action came), he refused to help, to be
on the point of doing smth. to be about to do smth., e. g. He was on the point of leaving. 8) a stage or degree, as the boiling (freezing,
melting) point; 9) a unit measuring gain or loss, e. g. He scored 23 points. 10) a position from which something is viewed, as a point
of view, e. g. My point of view is different.
point vt/i 1) to call attention to, e. g. He pointed to a large building. 2) to point out. to show, e. g. The teacher pointed out several mistakes in the composition (to the student).
pointless adj without aim or purpose, meaningless, as pointless questions, remarks.
2.dream n 1) thoughts or images passing through the mind during sleep, as to have bad dreams, to awake from a dream, e. g. I had a funny dream last night. 2) something imagined, e. g. She had dreams of being an actress.
dream vi 1) to imagine, fancy, e. g. Don't waste time dreaming. I never dreamt of suspecting him. 2) to have dreams, see in a
dream, e. g. He often dreams. Stop dreaming and get on with your work.
dreamy adj given to reverie, fanciful, vague, as dreamy eyes, e. g. John lay listening to the dreamy music.
dreamer n one who dreams; one who has impractical or romantic ideas or plans.
3.mix vt/i 1) to make or prepare by putting together, e. g. Mix the eggs with milk before you fry them. Oil and water will not
mix. 2) to mix up to confuse, e. g. Don't mix up these two words. She mixes up these two sounds. 3) to be mixed up in smth. to be
involved in smth., e. g. I won't be mixed up in this affair.
mixer n 1) a kitchen utensil or an electric appliance having one or more beaters and used in mixing, beating, blending, etc.
foodstuffs. 2) one who associates with others in society, e. g. He is a good mixer.
mixed adj 1) consisting of different things of the same general kind, as a mixed school, mixed feelings, e. g. We were a mixed
company. 2) confused, as to get mixed, e. g. Everything has got mixed in my head. You are getting mixed.
4.suspicion n a feeling of doubt or distrust, as to arouse suspicion, e. g. His manner aroused suspicion, above suspicion, e. g. He is above suspicion, on suspicion, e. g. He was arrested on suspicion of murder, under suspicion, e. g. He is under suspicion.
suspicious adj 1) causing suspicion, e. g. A suspicious-looking man was seen in the street. 2) feeling or showing suspicion, to be
(to get, to feel) suspicious of smb. about smth. e. g. The people were at first suspicious of the newcomer.
