Владимир Аракин - Практический курс английского языка 3 курс [calibre 2.43.0]

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?"

"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