Unit six text six anthony in blue alsatia by Eleanor Farjeon icon

Unit six text six anthony in blue alsatia by Eleanor Farjeon



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UNIT SIX

TEXT SIX
ANTHONY IN BLUE ALSATIA*

By Eleanor Farjeon

Eleanor Farjeon wrote delightful and distinctive poems for children. Her first novel was "Ladybrook", a tale of Sussex country life which retained that delicate humorous touch which characterized the work she did for children. Her sensitiveness to beauty and true understanding of the essential qualities of romance find expression in this charming rhapsody.


Skipping his breakfast paper one day, bewildered, as he always was, by vital facts about Home Rails, Questions in the House, and Three-Piece Suits: facts grasped, as he knew, instantaneously in their full import all over England by different orders of mind from his, through which they slipped as through gauze, Anthony's roving eye
was captured by certain words in a paragraph headed

Mouchard (near the Jura Mountains)

Jura Mountains... Blue smoke... a blue-eyed Alsatian... a Concertina... the Blue Alsatian Express... many miles from nowhere... haymaking damsels in white sunbonnets... hayrakes... laughing at us...

^ A Minor Mystery

Anthony's eye roved no more. He felt that the gauze, which could not contain the torrents of the world's activities, might house this butterfly and not brush off its bloom. He read the paragraph with attention. It described the breakdown "many miles from nowhere"
of the Blue Alsatian Express at the foot of the Jura Mountains. It described the blue smoke rising from a heated axle, the engine-driver sprinting along the lines like a madman, soldiers jumping out on the line and playing a concertina, a nervous woman-passenger wondering what had happened; it indicated the plutocratic luxury of the corridor train with its restaurant; it told of the blue mountains and the blue sky, and "the hay-making damsels in white sunbonnets and [158] hayforks on their shoulders" who "are laughing at us over the hedgerows".

And then came the paragraph headed "A Minor Mystery" which ended the account of the accident.

"One mystery about this train will never be solved. When it first came to a standstill a quiet little man, who looked like a country farmer, packed up his things, climbed out of the train, and deliberately walked away from it without any outward sign of annoyance, hesitation, or distraction, crossing the fields and disappearing into a wood.

Had the breakdown occurred within easy reach of his own home or destination?"

"Oh, no," said Anthony, answering the journalist, "of course not!"

Why should it? It was most unlikely.
And — annoyance? Why should the little man be annoyed? And where was the Mystery, Minor or Major?

Railways — it is their drawback — compel you to travel to somewhere. You, who desire to travel to Anywhere, must take your ticket to Stroud or Stoke, and chance it. The safest plan is to choose some place with a name like Lulworth, Downderry, or Nether Wallop; such places surely cannot go far wrong/ But even though they prove to be heaven in its first, second, or third degree, still, there you must go, and nowhere else; — and think of the Seventh Heavens you flash through continually on your way there, Heavens with no names and no stations, Heavens to which no tickets are issued. To whom has it not happened, time and again, on his way to the Seaside, the Moors, or the Highlands, to cry in his heart, at some glimpse of Paradise from
the carriage windows: " ^ That is where I really wanted to go — that is where I would like to get out! That valley of flowers, that cottage in the birch-glade, that buttercup field with the little river and a kingfisher — if only the train would stop!" — But it never does.

Never? Once it did. Anthony laughed aloud at that Minor Mistery in his morning paper. Where was the Mystery? Luck had been with the quiet little man, and he did the only thing there was to do.

..."Why have we stopped?" asked the nervous lady who sat opposite Anthony in the stuffy carriage.

"Ha-ha-ha! Ha-ha-ha!" laughed a fresh young voice outside.

"Preposterous, preposterous! I shall be late!" snorted a fat millionaire.

"I want my lunch," puffed his fat wife. "I refuse to go without my, lunch!" [159]

Anthony looked out of the window. A hedgerow bowed with blossom, beyond it a meadow in full flower, long flowering grass, threaded with flowering stems, lace-white, chicory-blue flowers, a profusion of flowers shimmering in the long grass. In one part of the meadow the grass lay mowed in swathes, the sweet flowers with it. A party of young peasants, in loose white shirts and embroidered jackets and aprons, lay in the grass munching honey-cake and drinking light beer. One tall young fellow, splendid as a god, stood edgeways in the sunlight,
his bright scythe shining. A few girls stood and stooped in the long grass, picking the flowers; some wore wreaths of the blue and white flowers, some were laughing under their white sunbonnets, some used, some rested on their rakes, all were sweet and fresh and frank.

"Oh, why don't we go on?" moaned the nervous lady. "Oh, what has happened?"

Passengers spoke on all sides. "We are held up!" "We have broken down!" "Bandits! — these dreadful foreign parts!" "The engine is on fire!" "The engine-driver has gone mad!"

"Oh, oh, oh!" moaned the nervous lady in the carriage.

"Ha-ha-ha!" laughed the gay young voices in the air.

"I shall be late, I tell you!" fumed the fat millionaire.

"Are we never going to eat?" puffed his wife.

Beyond the meadow of flowers and haymakers lay the blue mountains, as blue as dreams, as Paradise. Soft dim woods lay between the meadow and the slope. At the very edge of the woods, as though it had just stepped out of the trees and set foot on the grass, was a tiny
cottage with a balcony. In the fringe of trees meandered little paths and a little stream, and some goats. The scent of hay and flowers and aromatic trees filled the carriage.

"La-la-la-la, ti-ti-ti-ti!" A soldier sitting on the rails was singing ^ The Blue Danube to a concertina played by another soldier.

The girls in the meadow began to dance.

"Oh, what is it, what is it? " wailed the nervous lady.

"Food, food!" puffed the fat one.

"How late, how late I shall be!" repeated her husband.

"Keep the doors shut — don't let them come in!" implored the nervous lady, wringing her hands.

"Ha-ha-ha!" laughed the dancing girls, "ha-ha-ha!"

'Swish!" sang the young god's scythe. – Anthony got his little bag from the rack and opened the carriage door. The nervous lady gave a tiny shriek.

"Ah!" don't let them in!" [160]

"Late! late! late!"

"Lunch is served. Come!"

Anthony crossed the rail and found a gap in the blossoming hedge. In the hayfield, nearly hidden in flowers, was a crooked footpath. It led over the meadows to the little wood at the foot of the blue mountains. He followed it unhesitatingly. He left behind him the dancing laughing flower-gatherers, the young god mowing, the peasants drinking, the soldiers playing, the Blue Alsatian Express containing the millionaire who would be late — for what? For what could one be late? One was in Blue Alsatia. To which there are no tickets.

He entered the little wood and was lost to sight.

At the back of the cottage, barefoot by the little stream, stood a girl of sixteen, a lovely grey-eyed child, feeding her kids from a bundle of hay in her apron, at which they pushed and pulled. She wore a white chemise and a blue embroidered skirt. When the kids were rough she thrust them from her with her brown toes, and laughed like music. On a bench by the cottage stood a pitcher and a wooden bowl.

Her eyes met Anthony's. She let fall her apron, and the sweet hay tumbled down, a full feast for the kids. She went to the bench, filled the bowl with milk, and offered it to Anthony with a bit of honey-cake, her grey eyes smiling. As he drank, she made a simple gesture.

"Stay," she said.

The Blue Alsatian Express went on without him.

Anthony stirred his tea-cup. In the next column was an account of Last Night's Debate on —

He skipped it.


^ ESSENTIAL VOCABULARY

Vocabulary Notes

1. skip vt/i 1) spring, jump or leap quickly or lightly from one foot on to the other, e.g. He skipped out of the way (i.e. jumped quickly to one side). 2) jump over a rope (called a skipping-rope) which is made to swing under the feet and over the head 3) pass over; leave
out, e.g. You've skipped a sentence here. 4) read smth. hastily, omitting parts, e.g. The book was given me for one day only, and I just skipped it. Syn. skim

Word Discrimination: skip, skim.

Skip implies omitting those parts of the reading stuff which one considers dull or of no importance. [161]

Skim, on the contrary, lays a stress on the fact that the reader picks out the parts which interest him, reading only choice places (cf. with the main meaning of skim, as to skim the cream from the milk).

2. Vital a essential; necessary to the existence of smth., as a vital necessity, of vital importance; e.g. This is a matter of vital importance to us.

Vitality n vital force; strength; vigour, e.g. His features were handsome enough, but they lacked vitality.

3. Grasp vt/i 1) seize firmly with the hand, as to grasp a rope, a person's hand 2) (fig.) understand with the mind, e.g. I saw he was unable to grasp my meaning. She fully grasped the argument.

4. Capture vt 1) make a prisoner of; catch, e.g. Our army captured 1,000 enemy soldiers. 2) get by force, skill or a trick, e.g. Tom was so clever that he captured all the prizes at school; capture smb.'s attention (interest, sympathy, curiosity, etc.) attract smb.'s attention (arouse interest, sympathy, curiosity), e.g. This advertisement is sure to capture the public attention, capture smb.'s eye attract attention, e.g. He wasn't sure whether the colour scheme could be defined as vivid or garish, but the picture certainly captured the eye.

5. ^ Minor a less; smaller (not followed by than); comparatively unimportant, as the minor planets; a minor injury; a minor matter; a minor mystery; minor repairs

minority n the smaller number or part, e.g. He had never liked to find himself among the minority.

Ant. major a greater or more important, as the major part of one's life, the major issue on the agenda; major matters, etc.

majority n the greater number or part, e.g. The optimism of the majority finally prevailed over the fears and doubts of the minority.

6. Breakdown n 1) an accident (to machinery or to an electric power system or to trains, trams, cars, etc.) which causes work or activity to stop, e.g. There was a breakdown on the railway and all the trains were two hours late. 2) a failure of the mind or of the body
to work well, caused by doing too much work or by overstrained nerves, e.g. My impression is that he is on the verge of a nervous breakdown.

^ Break down become disabled or useless; suffer a physical or mental weakening; collapse, e.g. The machinery broke down. His health broke down. All our plans broke down.

7. Destination л the place to which a thing or person is going or being sent or which a person wants to reach, e.g. Finally we were [162] informed that he had left the town, but no one seemed to have any idea of the destination.

Destine vt determine the future of (usu. in the passive), e.g. They were destined never to meet again.

Destiny n 1) what happens to a person or thing in the end, esp. what is thought to be determined in advance, e.g. It was his destiny to die in a foreign country. 2) the power that is supposed to control events; fate, e.g. Destiny sometimes plays strange tricks on human
beings.

8. Issue vi/t give or send out; publish; distribute, as to issue commands (banknotes, stamps, a newspaper, etc.), e.g. How many newspapers are issued in this town?

Issue n 1) putting forth or sending out; publication, as the issue of a newspaper; to buy new stamps on the day of issue; the most recent issues of a newspaper 2) a problem; a point in question; something about which there is debate or argument, as to debate an issue; to raise a new issue; to argue political issues 3) a result, outcome or consequence, as the issue of a battle (war, etc.)

9. Shimmer vi emit a faint or wavering light, as moonlight shimmering on the water

Shimmer n a wavering shine, as the shimmer of pearls Syn. shine, glimmer, glitter, glisten, sparkle, gleam

Word Discrimination: glitter, sparkle, shimmer, glimmer, glisten, gleam.

1) The synonyms above differ, first of all, by the intensity of light each of them describes. The following scale of intensity might be suggested for these verbs (beginning with the highest degree of intensity): sparkle — glitter — glisten — gleam glimmer shimmer.

2) Another line of discrimination is connected with the nature of light or brightness described by each of the verbs. Sparkle and glitter describe scattered scintillation realized in a series of irregular, small, but bright flashes of light. The same wavering nature of light, but of a fainter degree, is implied by shimmer and glimmer. Cf. The bright sea was sparkling in the sun. The icebergs were coldly glittering against the green water. Through a faint mist the stars were dimly glimmering. We lazily watched the moonlight shimmering on the water.

In glisten the wavering character of light is less emphasized. Cf. The lake glistened in the moonlight (= reflected the moonlight and shone smoothly). The lake shimmered in the moonlight (= reflected the moonlight in tiny sparks). [163]

Gleam means to send out a ray or beam of light, especially one that is faint or one that comes and goes at intervals, as "the gleam of a distant lighthouse", or "fireflies gleaming in the night".

3) Note an emotional colouring which sometimes can be discerned in some of these synonyms. Cf. Her eyes sparkled with merriment. Her eyes coldly glittered with anger. Her eyes glistened with tears. Her eyes gleamed with malice.

4) Note also that stars sparkle on a warm summer night, glitter on a cold winter night, glimmer through the mist. Diamonds sparkle or glitter; gold and silver glisten; brocade and taffeta shimmer; an unpowdered nose or a perspiring face may glisten.

10. Gap n 1) a break or opening; a hole (in a hedge, fence, etc.), e.g. We must see that there is no gap in our defences. 2) a blank; a space that is not filled; a wide separation (in views, sympathies, etc.) as a gap in a conversation (in one's knowledge, in a story), a wide gap between their views, etc., e.g. The age gap was too great: he was fifteen years her senior, fill a gap supply smth. that is Tacking, e.g. He read the book without real interest, but just in the hope of filling the gap in his knowledge on the subject, bridge a gap build up a connection, e.g. Now she realized that her new activities did nothing to bridge the gap between her interests and her husband's.

^ Generation gap differences of opinion (tastes, manners) arising between parents and children or, in general, between representatives of different age groups.

Word Combinations and Phrases

a different order of mind from smb.'s time and again

the account of smth. luck had been (was) with (him)

come to a standstill (he did) the only thing there was to do

(we are) held up within easy reach of smth.

(you must) chance it on fire set foot on smth. (in a place)

(such places) cannot go (far) wrong lost to sight


EXERCISES

1. a) Listen to the recording of Text Six and mark the stresses and tunes,
b) Repeat the text in the intervals after the model. [164]

2. Find the following words. Consult a dictionary, transcribe the following
words and practise their pronunciation:

bewildered, instantaneously, gauze, paragraph, concertina, damsel, torrent, passenger, plutocratic, luxury, hedgerow, deliberately, annoyance, hesitation, destination, journalist, continually, paradise, preposterous, millionaire, chicory-blue, profusion, swathe, loose, embroidered, apron, edgeways, scythe, wreath(s), balcony, meander, aromatic, chemise, honey-cake, gesture, debate

3. Practise the pronunciation of the following word combinations paying attention to the phonetic phenomena of connected speech:

Questions in the House; in their full import; he felt that the gauze; contain the torrents; he read the paragraph; it described the breakdown; it indicated the plutocratic luxury; which ended the account; a quiet little man; why should the little man; and nowhere else; that cottage in the birch-glade; at that Minor Mystery; in the stuffy carriage; shimmering in the long grass; and drinking light beer; moaned the nervous lady; laughed the gay young voices in the air; fumed the
fat millionaire; between the meadow and the slope; sitting on the rails; laughed the dancing girls; opened the carriage door; don't let them in; crossed the rail and found a gap in the blossoming hedge; to the little wood at the foot; in her apron; she thrust them; and the sweet hay tumbled down; filled the bowl

4. Read the following passage of descriptive character; from "Anthony looked out of the window" up to "...all were sweet and fresh and frank". Observe the intonation group division, the rhythm and all the phonetic phenomena of connected speech.

5. Study the following proverbs, a) Translate them into Russian or supply their Russian equivalents, b) Practise their reading paying attention to the vowels, all the phonetic phenomena of connected speech and intonation:

1. Make hay while the sun shines. 2. A burnt child dreads the fire. 3. Experience is the mother of wisdom. 4. Nothing venture, nothing have. 5. Experience keeps a dear school, but fools learn in no other. 6. Every country has its customs. 7. Two is company, but three is none. 8. Strike the iron while it's hot. 9. A hungry belly has no ears. 10. Hares may pull dead lions by the beard. [165]

6. Read the text and consider its following aspects.

a) Explain:

vital facts about Home Rails, Questions in the House, and Three-Piece Suits; different orders of mind from his; many miles from nowhere; We are held up! We have broken down!

b) Comment on the punctuation in the passage entitled "Mouchard (near the Jura Mountains)".

c) Express in simpler language the sense of the sentence "He felt that the gauze, which could not contain the torrents of the world's activities, might house this butterfly and not brush off its bloom." Point out the stylistic devices used in the sentence and comment on their effectiveness. Do you accept the comparison with a butterfly or do you consider it too ornate? Give your reasons.

d) Justify the length of the sentence beginning "It described the blue smoke..."

e) Analyse the stylistic devices used in the author's digression beginning "Railways — it is their drawback...". Point out inversion, repetition, rhetorical question and comment on their purpose. Indicate the syntax of the second part of the passage and the rhythmic effect achieved. Can you detect any sound-imitative effects? What does the rhythm of the extract imitate? Comment on the rhythmic value of "But it never does. Never? Once it did" in its relation to the preceding extract. Comment on the names of places (Lulworth, Downderry, Nether Wallop) which, in the author's opinion, "cannot go far wrong". Why can't they? Suggest some typical Russian countryside names with the same kind of implications.

f) Think of a suitable heading for the episode beginning "Why have we stopped?" What is the role of the extract in the structure of the story? Comment on the composition device by which the episode is introduced in the texture of the story.

g) Analyse the stylistic values of the fragments beginning "A hedgerow bowed with blossom...", ending "...all were sweet and fresh and frank" and from "Beyond the meadow of flowers" to "filled the carriage". What words and phrases give atmosphere to the passages? Is it a realistic description? How is its dream-like quality created? Do you consider the description sweetish and sentimental or do you think that it serves its purpose? If so, what purpose? Support your opinion.

h) Comment on the contrast provided by the fragments of dialogue interchanging with the descriptive passages referred to in item g).

What is the purpose of the device? Indicate the rhythmic effects achieved, especially in the passage beginning "Oh, what is it?...", ending "Lunch is served. Come!".

i) Point out the climax of the story motivating your choice. [166]

j) Comment on the composition device used in the last three lines of the story.

7. Copy out from Text Six the sentences containing the word combinations and phrases and translate them into Russian.

8. Paraphrase the following sentences using the word combinations and
phrases:

1. "Are you really going to spend your holiday in that horrid village, at the other end of the world?" "It's not so horrid, you know, it's a lovely place." "Probably, for people who think and feel differently from myself. As for me, I've rented a charming little cottage in a place from which you can get up to town in a very short time."" Glad to hear it. Only what's the good of going to town when you're on holiday?" '!f>h, it's just that I sometimes get tired of green meadows and yellow buttercups and simply long to tread on asphalt and to have a meal at a restaurant. I've told you dozens of times that I'm not in the least nature crazy." "Then, what's the point of leaving town at all?" "Oh, everybody does, you know. I always say, do as others do,
and you won't make a mistake." 2. In the morning paper there was a detailed description of an unpleasant incident which occurred on a lonely country road thirty miles from London. Jean Gatsby, the famous film star, was driving her car. In a side road Miss Gatsby's car was stopped by three armed men. Yet, fortunately for the young actress, at the critical moment another car appeared on the road. Miss Gatsby had no other way out but scream loudly for help. The car
stopped, and the masked gangsters ran to the wood and disappeared there. 3. "The pen is burning. I'll run and let out the sheep." "It's blazing! You'll burn yourself." "There's nothing for it, I must risk it."

9. Compose short situations in dialogue form using the word combinations and phrases. Pay attention to the intonation patterns of the stimuli and responses to convey proper attitudes.

10. Translate the following sentences into English using the word combinations and phrases:

1. Он решил, что если он будет внимательно следить за соседями по столу и делать все, как они, он не ошибется. 2. На этот раз нам не повезло. Наша машина сломалась. Она остановилась в пустынном месте. Поблизости не было ни одной деревни, до которой было бы легко добраться. Хоть бы какая-нибудь машина проехала! Но не тут-то было. Нам ничего не оставалось, как довериться случаю и ждать. 3. Он прекрасно понимал, что лю- [167] дям с иными вкусами и наклонностями его хобби, наверное, показалось бы смешным. 4. В газетной заметке сообщалось о бандитском налете, которому подвергся пассажирский поезд в горах Адельяно. 5. Он вздохнул с облегчением, когда вступил,
наконец, на палубу корабля. Скоро берега чужой земли пропали из вида. Снова и снова он повторял себе: «Домой! Я возвращаюсь домой!» б. «Вас к телефону!» — улыбаясь, сказала хозяйка дома. Он вышел в переднюю, взял трубку. Незнакомый голос
в трубке сказал: «Завод горит. Немедленно приезжайте».

11. Answer the following questions:

1. In what way did Anthony read his morning paper? 2. Why couldn't he concentrate on vital facts in the paper? 3. Why was it that the article about the breakdown of the Alsatian Express captured his attention? 4. What were the contents of the article? 5. What was the
"minor mystery" connected with the accident? 6. What is the drawback of the railways in the author's opinion? Do you share this opinion? 7. Have you ever experienced the feeling described in this paragraph and summed up in the words: "If only the train would stop!" ? Describe an incident when you did. 8. How did it happen that Anthony found himself in a carriage of the Blue Alsatian Express? (Was it a real fact or only his day-dream?) 9. What did he see when he looked out of the window? 10. The rest of the passengers were also fascinated by what they saw out of the windows, weren't they? 11. Why was it that Anthony was the only passenger who seemed to appreciate the loveliness of the place? 12. Why did Anthony leave the train?
13. Where did he go? 14. Whom did he meet? 15. Then he returned to the train, didn't he? 16. Comment on the final paragraph of the story: how did Anthony, all of a sudden, return to his tea-cup and his paper again? 17. What is the point of the story?

12. Study the vocabulary notes and translate the examples into Russian.

13. Fill in the blanks with "shimmer", "glimmer", "glitter», "sparkle", "glisten", "gleam" and their derivatives:

1. Stars were ... in the frosty sky. 2. Her golden hair seemed to ... in the sunlight. 3. The satin of her dress... in the candlelight, and her bare neck and arms ... with diamonds. 4. The mirror dimly ... in the corner of the darkened room. 5. The snow faintly... in the moonlight. 6. The
... icicles were shedding gay tears. 7. The polished furniture ... and the [168] crystal chandelier gaily... 8. The distant snow-capped mountain-peaks faintly... through the mist. 9. His black face ... with sweat, but the eyes ... with gaiety. 10. The lake ... in the dazzling hot sun. 11. Tears ... in her eyes. 12.1 was startled by the fury ... in his eyes. 13. The lights of the harbour, usually so bright, just... through the fog.

14. Translate the following sentences into Russian paying special attention to
the words and word combinations in italics:

A. 1. She wasn't a cultivated reader, an amusing plot being all she asked from a book. She skipped descriptions, and the author's digressions bored her to death. 2. "I will not conceal from you that the Prime Minister's presence at the Conference is a vital necessity." 3. "Monsieur Poirot, I have come to consult you upon a matter of the most vital urgency. I must ask for absolute secrecy." 4. "Mr. Vole," said the solicitor, "I am going to ask you a very serious question, and one to which it is vital I should have a truthful answer." 5. Jack sighed, grasped his golf club firmly, but at this moment a strange sound captured his attention. 6. "I know it's difficult for you to grasp, but the theatre of today has at last acquired a social conscience, and a social purpose." 7. The letter came by the six o'clock post. An illiterate scrawl, written on common paper and enclosed in a dirty envelope with the stamp stuck on crooked. Mr. Mayherne read it through once or twice before he grasped its meaning. 8. She stared at him, her eyes filled with a deep, unspoken sorrow, like the eyes of a small captured monkey he had seen on the docks. 9. The boy at the table, making every effort to give full attention to his studies, was resentful of their conversation that captured his interest. 10. By now he was not nearly so certain as he had been that he had really heard the cry — the natural result of trying to recapture a lost sensation.

B. 1. Charlie Chaplin's "The Circus" comes to us like a surprise gift from history, the cinematic equivalent of a suddenly discovered minor masterpiece by Mozart or an unearthed James Joyce manuscript. 2. This, then, was the British expert described by Lady Willard as being a minor official at the British Museum. 3. Young Bleibner was suffering from some minor skin trouble. 4. A few yards down that unfrequented road a large car is standing, apparently broken down. 5. The constant stale of strain under which she has been working recently may lead to a serious breakdown. 6. As Ferris taxied uptown he glimpsed at intersections the lingering sunset, but by the time he reached his destination it was already autumn dark. 7. The
little girl was eleven — beautifully ugly as little girls are apt to be who [169] are destined after a few years to be inexpressibly lovely. Vitality is born early in such girls. It was utterly in evidence now, shining through her thin frame in a sort of glow. 8. As seen from one of its seven hills, Richmond was beautiful, with its broad streets, its noble trees and the shimmer of the gently flowing river. 9. The Army Bill was under discussion and it was clear Jefferson Davis thought none but himself qualified to speak on the issue. 10. Don't stray from the point at issue. I want to get to the bottom of this. 11. He was trying to catch a gleam or gesture that would lessen the gap which lay between his present and his past. 12. The boy was struck dumb by a suave turn of carpeted stairs and a pendant glitter of chandeliers and a mute gleam of gold frames. 13. He continued then for a moment to turn the brooch this way and that in the light to see it sparkle. It sparkled very nicely. 14. His skull and face were shining from a recent scrubbing, so that the little bridgeless nose glistened between the protective points of the cheekbones. 15. Her eyes opened wider as she contemplated the sea-green figured velvet, the shining brass, silver, and
glass, the wood that gleamed as darkly brilliant as the surface of a pool of oil. 16. The sun was glaring from the pale sky, and just over the horizon a shifting silvery haze was shimmering.

15. Translate the following sentences into English using your active vocabulary:

1. У него была удивительная память, которая мгновенно схватывала и прочно удерживала всю особо важную информацию. Лекции он не записывал, но после мог воспроизвести все, что говорил лектор, в подробностях, без единого пробела. Накануне экзамена ему нужно было только бегло просмотреть учебник, и все знали, что счастье и на этот раз ему не изменит. 2. «Вы читали этот роман? » Он поднял со стола книгу. — «Я перелистала его». 3. Ответить просто, что она едет в Сан-Франциско, значило бы оказаться в глазах спутников самой заурядной пассажиркой, направляющейся к самому обыденному месту назначения, и потерять всякую надежду привлечь к себе
внимание или возбудить интерес. 4. Симфония № 40 и симфония «Юпитер» считаются самыми значительными произведениями Моцарта. Однако великому композитору не было суждено услышать их: при жизни его они ни разу не исполнялись. 5. Читая любой детективный роман, читатель заранее знает, что преступник неизбежно будет схвачен и наказан. Это — существенный нравственный аргумент в пользу данного жанра. [170] 6. Почти всю ночь он блуждал в тумане, пока его внимание не привлек отдаленный свет, тускло блеснувший во мраке. 7. В вечернем выпуске газеты вы найдете подробный отчет о сегодняшних дебатах в парламенте. 8. Досадно, когда такую прекрасную музыку используют только для того, чтобы заполнить паузу между передачами. 9. Большинство экспертов пришли к заключению, что этот портрет, до сих пор приписывавшийся
Ван Дейку (Van Dyck), на самом деле является подделкой, выполненной неким второразрядным художником девятнадцатого века. 10. Исход битвы при Ватерлоо должен был решить судьбу не только Англии и Франции, но и большинства европейских государств.

16. Give eleven brief situations in which you will say the following (may be done in pairs):

1. I bet you've only skipped it. 2. It is a thing of vital importance. 3. I'm afraid it will be difficult for him to grasp that... 4. ... captured the eye. 5. of minor importance. 6. He was destined to... 7.... to a destination unknown. 8. It was a nervous breakdown. 9. to lack vitality.
10. a gleam of hope (understanding, sympathy). 11. a wide gap between ....

17. Render Text Six.

18. Give the gist of Text Six.

19. Reread Text Six to speak on the following points of its composition and style.

a) Comment on the merits (or demerits) of the composition. What do they call this type of composition (the end returning the reader to the place and time indicated in the beginning)?

b) Is the plot of minor or of major importance in this story? If not the plot, what is it that matters here?

c) Comment on the end of the story. Is the reader led to expect this kind of end or is there an element of suddenness?

d) What kind of man is the hero of the story? What method of characterization is used?

e) Comment on and illustrate the various devices used to make the style suit the subject. Which of them do you consider especially effective?

f) Make a detailed analysis of the rhythmic effects in the whole story. [171]

g) Point out lines bearing touches of irony or humour. Prove which it is.

h) How does the author use epithets? What is the author's purpose in repeatedly using the epithet "blue"?

i) Find examples of the author's keen sensibility to scenery. Are there any evidences of poetic sensitiveness? In what lines?

j) Comment on the language. Compare it with the language of "The Escape".

20. Complete the following dialogues. Use your active vocabulary. Express proper attitudes in the stimuli and responses by adequate intonation means. Observe the rhythm and stresses:

1. "Why on earth did he leave the train? Can you account for it?" "I think I can. You see, ..."

2. "If only the train would stop!" "Why should it?"...

3. "Do you really mean to take me to that horrid place for the holidays?" - "But, darling, it's a lovely place!" - "Lovely, indeed! Many miles from nowhere with not even a cinema!"

4. "Why don't we go on? What has happened?" - "Nothing has happened. It must be a station." - "Oh, it's most unlikely. Look out of the window. Does it look like a station?" -"Hm, not much."

21. Make up dialogues on the suggested situations using the given phrases. Convey proper attitudes both in the stimuli and responses following the instructions given in each situation:

1. A young man is boasting of his traveling experiences. To hear him, he has been roaming through all the world and seen everything there is to see. As he is evidently making it all up, his friend sounds sceptical.

a) Did you really? (Have you really?) Indeed? Is that so? You don't say so! You can never tell. I don't believe it. I (rather) doubt it. It is most unlikely! You must have imagined it. Tell it to the marines. Dear me! Just fancy! Well, I never! Who'd have thought it! It's amazing!..
It's incredible!

b) But I assure you... Not the slightest doubt about it. I've seen it with
my own eyes. You may take my word for it. Do you doubt my word? [172]

2. Two passengers are admiring the landscape out of a railway-carriage window or from a ship deck. One is immoderately enthusiastic about all he (she) sees; the other is bored and intensely dislikes it all.

a) How lovely! What a charming view! Just look at.... I'm thrilled no end. Isn't it marvellous to ...? I love going by train (boat), don't you? If only the train (boat) would stop! This place is divine, isn't it? Don't you find it so? You agree, don't you? It's breathtaking! A riot
of colour!

b) Nothing to speak of. Why should you be so thrilled? Rubbish! Stuff and nonsense! I don't think so. Can't see anything in it. Why, it's just a landscape, isn't it? I'm not the one for nature. It's ridiculous to get so excited about... This modern craze for nature is absurd.

3. Avery old lady is discussing different methods of travelling with her grown-up grandson. She prefers travelling as it was in olden times. The young man naturally likes modern methods.

a) used to; were in the habit of; slow but sure; you can never tell; the new ways; you ought to; you'd better not; mark my words; be on the safe side; you can't be too careful.

b) Why should we (you)...? I think you are wrong there. I'm all for; Times do change. Don't let that upset you. Take it easy. There is something in that but; We mustn't be behind the times. You can't be serious! Absurd! Crawl at a snail's pace,

22. a) Write a newspaper account that might have appeared in the next issue of the newspaper under the title "The Minor Mystery Solved". Begin in the following way:

In our previous issue we acquainted the readers with a curious incident related to the breakdown of the Blue Alsatian Express. During the emergency stop one of the passengers had mysteriously left the train. As we have been informed ...

b) Read your account to your comrades in class. Arrange a competition for the best version.

23. Compose a second part of the story "Anthony in Blue Alsatia" with the view of showing how the newspaper article influenced Anthony's further life, behaviour or psychology.

24. Make a round-table discussion of the story in which one part of the participants will criticize the story pointing out its weak points, and the other will defend it enlarging on its merits. [173]


Практический курс английского языка 5 курс. /Под ред. Аракина В.Д.

М.: ВЛАДОС, 1999. С. 158 – 173

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* Alsatia is a poetical name of Alsace



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