Яков Аракин - Практический курс английского языка 2 курс

слова, он направился к двери. 4. Я не знаю этих мест, не могли бы вы повести нас туда? 5.

Какой же выход из положения вы предлагаете? 6. Боюсь, что стол здесь будет вам мешать.

XI. Make up dialogues:

a) between Rose and Mrs. Burlow (after the performance);

b) between the old clown and his wife (before he went on to the stage);

c) between two readers (about the episode described in the passage and the author of

the story).

ХII. Insert prepositions or adverbs where necessary:

1. Don't worry your pretty little head ... the mysterious visitor. 2. By arranging good

marriages for her daughters she expected to make......all the disappointments of her own career. 3.

He sat quite still and stared with those wide immobile eyes of his ... the picture. 4. He has a bath ...

cold water every morning. — Oh! He is made ... iron, that man. 5. Are we ... the way? — No, you

couldn't have come more fortunately. 6. I suppose it was natural... you to be anxious ... the garden

party. But that's all... now. There's nothing more to worry ... . 7. He arrived ... the Lomond Hotel,

vегу hot and sweaty and exhausted and had an obscure feeling that they would take one look ... him

and then ask him to go ... .

ХIII. Make up a story, using the words and phrases from Essential Vocabulary

I.

XIV. Translate the following sentences into English:

1. Войдя в холл, она посмотрела вокруг и направилась к зеркалу. 2. Она ухватилась за

мою руку, чтобы не упасть. 3. Мы спускались к реке, держась за ветки деревьев. 4. Целый

вечер мальчуган не выпускал из рук игрушку. 5. Больной был настолько слаб, что выпустил из

рук чашку, она упала и разбилась вдребезги. 6. Дети в соседней комнате подняли страшный

шум, и он никак не мог сосредоточиться на письме. Конечно, он мог заставить их пойти в сад,

но ему не хотелось показывать жене, что дети мешают ему. 7. Сильно взволнованный, он

искал выхода из неприятного положения, но не мог прийти ни к какому решению. 8. Мама

очень беспокоится о твоем здоровье. И я тоже. 9. Она была сильно накрашена, и то, как она

говорила и смеялась, привлекало общее внимание. 10. «Я всегда знал несколько способов

разбогатеть. Но для меня, между прочим, всегда было проблемой удержать деньги в руках».

Пожилой пассажир говорил еще много, все в том же духе, и к удовольствию всех

находившихся в вагоне. 11. Мистер Вебб носил высокие каблуки, чтобы компенсировать свой

маленький рост. 12. Нельзя, чтобы всегда все было по-твоему. Если ты будешь так себя вести,

ты только наживешь врагов.

XV. Test on synonymy. Consult Notes on pp. 18 and 201.

1. Prove that the following words are (or are not) synonyms:

way — road — path — track — highway — street;

to be anxious — to be sorry — to worry — to trouble — to bother — to be upset;

to want — to be eager — to be anxious.

2. Point out the synonymic dominant of each group.

3. Explain how synonyms of each group differ one from another according to

differentiations suggested in Notes on Synonyms.

4. Synonyms within the following pairs differ by style. Point out which of them are

bookish, colloquial or neutral.

(Consult the context in which they are used in the text.)

picture house — cinema

to get on in years — to age

to

endeavour — to try

to sing (perform) — to render

desolate — sad

to clap —

to applaud

XVI. Go over the text again and try to discuss the following:

1. How does the author describe the music-hall? Point out the contrasting characteristics.

What kind of atmosphere is created by the author in the fragment? By what devices is the effect

achieved?

2. How does the author make the reader understand that Rosa is a kind-hearted girl, capable

of understanding and compassion? Which method of characterization does the author use?

3. Comment on the selection of words in the fragment.

4. Comment on the syntax of the fragment and its stylistic value.

XVII. a) Translate the text into Russian:

It was time to go. Francis Woburn put on his enormous hat, started talking about himself

again, and they walked down to the Coliseum. He was much taller than she had supposed him to be

— though perhaps it was the absurd hat — and she felt a little dumpy thing, though a nice sensible

little dumpy thing, as she trotted along by his side, pretending to listen, but busy all the time telling

herself that here she was, Rose Salter, going to the Russian Ballet at the Coliseum, with a tall,

superfine, very Londonish young man. It was all very strange indeed.

They climbed to one of the balconies of the gigantic theatre, which seemed to Rose the most

splendid and exciting place she had ever seen. Dozens of players down below were tuning up. All

round them, superfine persons, not unlike Francis Woburn, were studying their programmes. Then

the lights died away, except those that illuminated the curtain so beautifully. The music began, and

Francis Woburn stopped talking. Rose instantly forgot his very existence. The music was very

strange, not like any she had heard before, and not at all comfortable and friendly and sweet. Rose

did not know whether she liked it or not; she could not keep it at a distance to decide about it; she

was simply carried away and half drowned by the colossal waves of sound; she was overwhelmed by

its insistent beat and clang. The curtain was magically swept away, and the stage blazed at her. She

was staring at a new country, a new world. It was as if the last great wave of music had taken her and

flung her over the boundaries of this world. The little people77 in these new countries lived their lives

only in movement. Sometimes they were dull. Sometimes they were silly. But at other times they

were so beautiful in their energy and grace, so obviously the creatures of another and better world

than this, a world all of music and colour, that Rose choked and ached at the sight of them.

People clapped. Francis Woburn clapped. But Rose did not clap. Just putting her hands

together, making a silly noise, was not good enough for them. She gave them her heart.

(From "They Walk in the City" by J. B.Priestley)

b) Comment on the following aspects of the fragment:

1. How does the author describe the music? What does he mean by saying that the music was