Главная страница Случайная страница

Разделы сайта

АвтомобилиАстрономияБиологияГеографияДом и садДругие языкиДругоеИнформатикаИсторияКультураЛитератураЛогикаМатематикаМедицинаМеталлургияМеханикаОбразованиеОхрана трудаПедагогикаПолитикаПравоПсихологияРелигияРиторикаСоциологияСпортСтроительствоТехнологияТуризмФизикаФилософияФинансыХимияЧерчениеЭкологияЭкономикаЭлектроника

Revision Exercises to Lessons 4, 5, 6

I. Find another way of expressing the following using the vocabulary of Lessons 4, 5, 6:

1. This mystery has overshadowed all my life. 2. He was feeling out of sorts that day. 3. How could it have come without any prelimi­nary symptoms? 4. When he entered the dark corridor some man ran into him. 5. I believe he did it out of spite. 6. Mother is not at all willing to help me in this. 7. How can you explain it? 8. Did he do it on purpose? No, I hope not.

II. Make up situations round the following word combinations:

to be particular about something

to waste one's gratitude

to seem curious

to put one's whole mind on something

to take pains

a sound idea

to take risks '

to hold one's breath [86]

to wear out one's soul and body

to get on very well together

to pronounce a sentence

III. Express the following more concisely:

1. A meeting between a newspaper man and someone from whom he wishes to get statements, opinions, etc. 2. The power or sense of seeing. 3. A patronizing manner. 4. Want of knowledge or experience. 5. One who plays games of chance for money.

IV. Make the statements in the right column more emotional by using the analytical form of the Subjunctive Mood with " should". Intro­duce sentences in the way suggested in the left column.

Model: It is strange | the illness has come without any warning.

It is strange that the illness should have come without any warning.

It is a pity

It is only natural

It is a shame

It is curious

How strange


What a pity

My roommate isn’t yet backing from his trip.

He tried to fight down the fear that made him hold his breath.

Nobody paid any attention to him. I feel cold in this hot room.

You don't want to tell me the truth.

V. Join the following sentences so as to use the Subjective Infinitive Construction.

Model: It is likely. The mystery will cast gloom over my whole

life. The mystery is likely to cast gloom over my whole life.

It is unlikely It is certain I am sure It is likely

The interview will be successful.

He will have heart-breaking troubles all

his life long. They will speak of it with rapture.

VI. Paraphrase the following sentences so as to use " could+Perfect Infinitive" to express doubt, incredulity:

1. It is incredible that they intended to get married.

2. Is it possible that Ellie misunderstood Mr Mangan?

3. It is impossible that Mangan ruined his friend out of ill-nature.

4. I refuse to believe that a girl of your age took life so seriously.

5. I don't believe that she ever tried on that dress. [87]

VII. Replace the infinitives by the Past Perfect, the Past Perfect Continuous or the Past Indefinite as required:

1. They (to talk) for many hours before they (to come) to an ag­reement. 2. At last he (to utter) the words which I (to expect) several days. 3. It (not to snow) for more than a month, so we (not to ski) as we (to plan). 4. When the doctor (to arrive) he (to stay) in the sick-room for more than an hour. While he (to examine) the patient there, we all (to stay) in suspense in the hall.

VIII. Complete the following sentences according to the model. Use " will" in the conditional clause to express volition.

Model: We shall be flattered if you will support us.

1. We can go on very well together if... 2. I shall keep that job for him if... 3. He will be ruined if... 4. You need not be grateful to me if... 5. They will be lucky enough if...

IX. Refer the following sentences to the past. Make necessary changes.

Mode 1: He must be an enthusiast.

He must have been an enthusiast.

1. She must know you well. 2. He must be a good painter.

3. They must get along well together. 4. She must be'in earnest. 5. She must have a lot of self-possession.

X. Compose five tail questions as in the example: He couldn't have missed the train, could he?

XI. Respond to the following questions using the model as shown below (use the so-called repeated questions).

Model: 1.—Wouldn't you show me the manuscript?

—Show you what?

2.— I believe you have consulted your chief, haven't you?

—Consulted who?

1. I think you are inconsiderate, aren't you? 2. Wouldn't you invite him to the party? 3. I hope you don't mind my way.of talking!

4. Your kindness of heart will make it easy for her, won't it?

XII. Disagree with the suggested statements. Use the formulas of disagreement as given in the models below.

Models: 1.—You don't seem to be satisfied with our conditions.

—Yes, I am. 2.—She has a sweet voice.

—No, she hasn't. Just the opposite.

1. Jane is keen on becoming an actress. 2. You don't understand how that can be. 3. He doesn't mean what he says. 4. I don't mind [88] consulting the doctor. 5. My mother knew nothing about this affair. 6. He is sick and tired of their curiosity.

XIII. Make up two-line dialogues patterned on these below. Each dialogue should begin with an elliptical question.

1.—Want a smoke?

—Not much.

2.—Seen Mary?

—Yes, why? '

3.—Back from the theatre?

—No, been at the club. '

4.—Another piece of fish, Dick?

—No, thanks. Had enough.

5.—What about a nap?

—Not now. Later on. Must have a wash first.

XIV. Recast the following sentences substituting the parts of speech indicated in brackets for the italicized words. Make necessary changes:

1. He has a strange look. (verb). 2. The doctor listened patiently to what the man had to say. (noun). 3. His explanation did not con­vince me. (verb). 4. Curiosity is one of her main defects, (adj.). 5. It was a great surprise to us to see her dressed like that. (verb). 6. It will be a pleasure to join you. (verb). 7. His touch on my shoulder was very light, (verb). 8. There is no truth in what you say. (adj). 9. It was only a-suggestion, nothing more. (verb). 10. All his attempts at becom­ing an actor failed, (noun). 11. Thank you for the compliment, (verb). 12. There is no mystery about it. (adj.).

XV. Translate the following into English:

(A) 1. Люди обычно говорят о нем с восторгом. 2. Сейчас трудно определить точно ущерб, нанесенный наводнением. 3. Я раскрою вам секрет, о котором никто еще ничего не знает. 4. Он не имеет права терять время, ему нужно закончить картину. 5. Я говорю то, что думаю.

(В) 1. А не расскажете ли вы мне, какие это были особые обстоя­тельства, заставившие вас поступить именно так? 2. Это следовало бы сделать с помощью нескольких человек. 3. Мне все-таки нра­вится этот фильм. 4. Зачем вы стараетесь меня убедить, что мне не за что вас благодарить? 5. Просто невероятно, что они уехали вместе.

XVI. Fill in the blanks with appropriate prepositions or adverbs if necessary:

1. I'm afraid he doesn't know much — his trade. 2. His eye was caught—a little dark object lying—the table. 3. You should take more care—yourself. 4. They appeared—warning. 5. The interviewer was connected—some local newspaper. 6: Do you spell capital [89]letter? 7. I'll try to put my whole mind—it. 8. Stop talking—business. 9. Are you sure you wish to back——it? 10. Why is he beaming—me all the time? 11. When he opened the book a verse printed—blue leaped— his eyes. 12. He dropped—a chair and closed his eyes. 13. She is quite remarkable—that way. 14. May I ask you a few questions to bring—the main points—your private history? 15. He explained his idea—some of his friends but they didn't appreciate it. 16. It hap­pened — him several years ago. 17. They put—more money—it than one could expect. 18. I believe they will get—very well together. 19. Have you done it—purpose? 20. I'm awfully grateful—you. 21. Your attempts—patronage are rather unpleasant, I should say.

XVII. Draw a scheme for the discussion of the selection below. Com­ment on the text following your scheme.

(Ellie tells Mrs Hushabye about the man she is in love with. His name is Marcus Darnley. Their love is full of romance, besides Mr Darn-ley's past is most romantic too. Hesione is rather sceptical about the whole affair and Mr Darnley's romantic past in particular.)

Ellie [flushing]. Hesione: don't say that you dont believe him. I couldnt bear that.

Mrs Hushabye [soothing her]. Of course I believe him, dear­est. But you should have broken it to me by degrees [Drawingher back to her seat]. Now tell me all about him. Are you in love with him?

El 1 i е. Oh, no. I'm not so foolish. I dont fall in love with people. I'm not so silly as you think.

Mrs Hushabye. I see. Only something to think about—to give some interest and pleasure to life.

Ellie. Just so. Thats all, really.

Mrs Hushabye. It makes the hours go fast, doesnt it? No tedious waiting to go to sleep at nights and wondering whether you will have a bad night. How delightful it makes waking up in the mor­ning! How much better than the happiest dream! All life transfigured! No more wishing one had an interesting book to read, because life is so much happier than any book! No desire but to be alone and not to have to talk to anyone: to be alone and just think about it.

Ellie [embracing her]. Hesione: you are a witch. How do you know? Oh, you are the most sympathetic woman in the world.

Mrs Hushabye [caressing her]. Pettikins, my pettikins; how I envy you! And how I pity you!

Ellie. Pity me! Oh, why?

[A very handsome man of fifty, with mousquetaire moustaches, wearing a rather dandified curly brimmed hat, and carrying an elaborate walking-stick, comes into the room from the hall, and stops short at sight of the women on the sofa.]

Ellie [seeing him and rising in glad surprise]. Oh, Hesione: this is Mr Marcus Darnley.

Mrs Hushabye [rising]. What a lark! He is my husband.

Ellie. But how— [she stops suddenly; then turns pale and sways]. [90]

Mrs Hushabye [catching her and sitting down with her on the sofa]. Steady, my pettikins.

The man [with a mixture of confusion and effrontery, depositing his hat and stick on the tea table]. My real name, Miss Dunn, is Hector Hushabye I leave you to judge whether that is a name any sensitive man would care to confess to. I never use it when I can possibly help it I have been away for nearly a month; and I had no idea you knew my wife, or that you were coming here. I am none the less delighted to find you in our little house.

Е11iе [in great distress]. I dont know what to do. Please, may I speak to papa? Do leave me. I cant bear it.

Mrs. Hushabye. Be off, Hector.

Hector. I

Mrs. Hushabyе. Quick, quick. Get out.

Hector. If you think it better— [he goes out, taking his hat with him but leaving the stick on the table].

Mrs Hushabye [laying Ellie down at the end of the sofa]. Now, pettikins, he is gone. There's nobody but me. You can let yourself go. Don't try to control yourself. Have a good cry.

Ellie [raising her head]. Damn!

Mrs Hushabye. Splendid! Oh, what a relief! I thought you were going to be broken-hearted. Never mind me. Damn him again.

Ellie. I am not damning him: I am damning myself for being such a fool. [Rising] How could I let myself be taken in so? [She begins prowling to and fro, her bloom gone, looking curiously older and harder ].

(From " Heartbreak House" by B. Shaw) [91]

Lesson 7



By John Galsworthy (1867 – 1963)

John Galsworthy is a well-known English novelist, short-story writer, and playwright. He is one of the first critical realists of the 20-century English literature. The “Forsyte Saga”, which embraces “The Man of Property” (1906), “In Cansery” (1920), and “To Let” (1921), is considered his masterpiece. The trilogy delineates the lives of the members of the family, centering about Soames Forsyte, the man of property. It is an exposure of the emptiness, hypocrisy and blind egoism of the comfortable moneyed class. Several generations of the Forsytes are taken as the epitome of the class. Step by step the author unfolds before his readers the gradual decay and decline of the bourgeoisie. But for all that Galsworthy’s criticism is mainly ethical and aesthetical, for he cannot overstep the limitations imposed upon him by his own class – the upper middle class.

To understand the extract presented here the reader must be aware of the following facts: Irene had been Soames’s wife for some years. It was not a love-match on her part. The only feeling Soames managed to stir up in his wife was strong aversion to him and to Forsytism he presented. In the end she left him, and many years later married Soames’s cousin Jolyon Forsyte, the black sheep of the family – a watercolour painter. She had a son by him, whom both of them doted upon.

Through Soames never ceased loving Irene, he married too, for he wanted an heir who would succeed to his property. His daughter Fleur became the apple of his eye.

The opening chapter of “To Let” presents a chance meeting of Jon and Fleur who fall in love with each other at first sight. Fate brings them together several times and they decide to marry. Te young people know nothing about the history of the family and cannot perceive why Soames and Irene are against of their union.

Fleur and Jon meet secretly bur are soon found out, as it is seen from the extract below. [92]

© 2023 :: MyLektsii.ru :: Мои Лекции
Все материалы представленные на сайте исключительно с целью ознакомления читателями и не преследуют коммерческих целей или нарушение авторских прав.
Копирование текстов разрешено только с указанием индексируемой ссылки на источник.