Outline

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XI. Give examples to illustrate the grammatical valency of the following verbs

VIII. Talk about the characters of the story: John, Grace, old Harcourt. Make a list of words and word combinations in the text which you could use to describe the characters' feelings, behaviour and speech.

IX. Translate the following word combinations into Russian paying attention id the lexical valency of the adjectives bright, steady, lonely, faint:

1. a. bright face; a bright future; a bright colour; a bright boy; a bright sky; a bright career 2. a lonely place; a lonely cottage; a lonely traveller; a lonely heart 3. a steady voice; a steady glance; a steady light; a steady wind; a steady young man; a steady friend; a steady price 4. a faint sound; a faint idea; a faint colour; a faint voice; faint traces; faint efforts; a faint attempt

X. Choose nouns from the list given below which can be used as direct objects of the following verbs:

to welcome; to resume; to share; to accept; to offer

Nouns: a meal; a room; food; a proposal; a present; work; a speech; a table; a story; knowledge; expenses; a plan; a guest

to turn; to make; to feel; to run

I. Translate the following sentences paying careful attention to the use of Participle 1 or of without + gerund.

State the function of each participial or gerundial phrases:

1. He cleared his throat and stood up, hoping to be dismissed painlessly. 2. The words came tumbling out. 3. Mr. Cowlishaw knew that he could not do this without sinning against professional etiquette. 4. "It's like this," said the patient, putting his hand in his waistcoat pocket. 5. In a few minutes Tom ran out of the house, looking neither to the left nor the right. 6. Being very honest, he could only tell them the truth. 7. "Do you mind if I take another cigarette for later?" He shook the package to remove another cigarette without waiting for the doctor to answer. 8. Reading the disappointment in her eyes, he decided to reveal his secret. 9. Colonel Ingram ingloriously bolted, overturning a palm in his flight. 10. "Can I do anything for you?" he asked without offering me a seat.

II. Translate the following sentences paying careful attention to the absolute nominative constructions:

1. "Did she have a chill?" he asked, his eyes upon the floor. 2; Mrs. Packletide had already arranged in her mind the lunch she would give at her house in Curzon street, ostensibly in Loona Bimberton's honour, with a tiger-skin rug occupying most of the foreground and all of the conversation. 3. "No one would believe it," said Mrs. Packletide, the colour leaving her face. 4. Enid leant against the counter, with stocks of clothing heaped about her. 5. It was no good worrying herself about these things now, with the holiday so close. 6. The old man just stood there, his whole attitude expressing disapproval. 7. His hands shaking more than ever, he ripped open

the pink envelope. 8. Now he sat down in an armchair opposite Charlie, sat bolt upright with his hands on his knees. 9. His father listened attentively with his head cocked on one side and a smile or a frown on his face. 10. He kept thinking of his father walking away quietly with his head never turning. 11. When Sid told Aunt Polly that Tom was dying, the old woman went speeding upstairs with Sid and Mary at her heels.

III. Translate the following sentences using the structural patterns:

1. He может быть, чтобы он уехал, не назначив дня нашей встречи. 2. Он отказался принять предложение, не объяснив причины своего отказа. 3. Не зная, как объяснить все Грейс, юноша решил не возобновлять разговора. 4. Мистер Каулишо сидел в кресле и дремал над страницами местной газеты. 5. Мальчик выбежал из комнсты, опрокинув на бегу стул. 6. Постарайся объяснить ему это, не задевая его чувств. 7. "Сейчас, наверное, за полночь. В деревне нет ни огонька", - сказал Том. 8. "Нет ни малейшей возможности купить что-нибудь в кредит в их магазине", - сказала миссис Ридли. 9. В вашем рассказе нет ни слова правды. 10. Я не могу поверить, что здесь когда-то был прекрасный город. Сейчас во всей долине нет ни малейшего признака жизни.

IV. Translate the following sentences paying careful attention to the parts in bold type:

1. Глядя в окно, она вдруг увидела незнакомого человека, который, заметив ее, быстро скрылся в кустарнике. 2. Долгое время Енид не могла привыкнуть к образу жизни Деев. 3. Энид старалась подыскать нужные слова, чтобы объяснить, что произошло. 4. Вдруг в коридоре погас свет, и ему пришлось на ощупь отыскивать дверь. 5. " У вас измученный вид. Вы слишком много работали?" 6. "Не следует задирать нос перед старыми друзьями, Элиза", - сказал Хиггинс. 7. Когда он жил в общежитии, он привык делать все сам. 8. У мистера Дулитла седели волосы, и ему приходилось красить их, чтобы не потерять работу. 9. Если бы мистер Бартл решил остаться у Паркеров на несколько дней, Роберту пришлось бы жить в одной комнате с братом. 10. Окончив книгу, она некоторое время сидела молча. Рассказ тронул ее. Он напомнил ей о детстве. 11. Теперь, когда Марвел оказался единственным обладателем таинственных манускриптов Невидимки, он принимал все меры предосторожности, чтобы никто не узнал, где они находятся. 12. Каждый день, удостоверившись, что все двери надежно (securely) заперты, Марвел вынимал книги и читал их. Он обычно засиживался допоздна, стараясь разобрать, что в них написано. Он ни с кем не делился своим секретом. 13. Марвел мечтал стать невидимым. При одной только мысли об этом у него захватывало дух. 14. Поднявшись на четвертый этаж, мистер Клег остановился, чтобы перевести дух (отдышаться). 15. Он едва мог перевести дух, поднявшись на вершину холма. 16. Саймон затаил дыхание, когда услышал чьи-то голоса за перегородкой. Один из них был ему

знаком. 17. Обязательно зайдите к нам, прежде чем вы отправитесь к морю. 18. Я с трудом узнала мать, она очень похудела. У нег не было даже сил, чтобы сидеть в постели. 19. Сидите прямо, не горбитесь! 20. У ребенка была высокая температура, и мать не ложилась всю ночь, ухаживая за ним. 21. "Ты говоришь, что она уехала из Москвы? Ты знаешь это наверняка?"

V. Read the following sentences carefully and suggest Russian equivalents for the word combinations in bold type:

1. I inquired a few particulars and returned to the hotel full of enthusiasm. Unfortunately, I found it hard to make Poirot share my feelings. 2. Rosa had been very fond of Marcia when they had been at school together in Switzerland, and later when they had shared a flat in London. 3. "I am afraid 1 didn't share your mother's taste in clothes. I would give them to her daily maid," said Aunt Agatha. 4. "Well, she's an invalid." We were both silent after that. I glanced sideways at him and I knew he shared my mood. 5. "I share your opinion of Mrs. Carpenter, my dear," said Mr. Morton. 6. He decided that he must divide his objections into five or six short pleasant conversations. 7. He began to spend more and more time with Dedie who shared his love for nature and the outdoors. 8. I believed he was on the verge of confiding some secret which he longed to share with me and could not bring himself to do so. 9. I had a conviction that he, like my father, was in need of comfort and would welcome my desire to share whatever it was that was troubling him. 10. There were only three chairs behind the railing which divided the visitors from the desk of Nickolas's secretary. 11. In the cafe where I usually had lunch there were a lot of people. However, I was lucky and shared a table with an attractive young lady. 12. I could find no good excuse for refusing to go. Sarah was delighted at the prospect, but I did not share her eagerness.

VI. Translate the following sentences using the verbs to share and to divide:

1. Она всегда была готова разделить со мной тревоги и волнения. 2. Деньги разделили на две равные части. 3. Он охотно делился своими знаниями и опытом со своими товарищами. 4. Можно мне сесть за ваш стол? 5. Разделите это число на пять. Сколько будет? 6. Он поделился своим обедом со мной. 7. В комнате была стеклянная перегородка, которая делила комнату на две части. 8. Вы узнаете меня? Мы жили в одном номере в гостинице "Садко" в прошлом году. 9. Я не разделяю вашего мнения по этому вопросу. 10. У нее было такое чувство, что ему очень хотелось поделиться с ней своим секретом.

VII. Make up short dialogues using the following structural patterns:

a) without doing; might have done; needn't be; must have done; I should/would say (have said)

b) there's not a...; to seem to have done; I'm no good at (doing) smth

VIII. Read the story and retell it following the outline given below. Make a list of the words in the text which you could use to develop each point:

THE BOY NEXT DOOR

After L. Baker

Sladen Morris is the boy next door. The girls all think he is fascinating now that he's touched six feet on the wall where his mother had been marking his height since he was two. As for me, I would never go weak-kneed over Sladen.

However, because I'd known him so long, I had some feeling of responsibility toward him, the same as I do toward Jimmy, my Httle brother. That's all it was - neighbourly charity - when I tried to save Sladen from Merry Ann Milburn.

Merry Ann. But I'll bet she was christened Mary, spelled in the plain way. She came to Springdale to visit the Henry Milburns, who are her uncle and aunt.

Mrs. Milburn brought her over for tea one day. She did look wonderful. She's the unfreckled blonde type, with big blue eyes, and she had on one of those "simple" dresses that are just right - the kind I always intened to buy and then discover they cost thirty-nine fifty when I've got only nineteen dollars. Well, while Mrs. Milburn and my Mother were in the room, that girl was "lovely" - you know, positively poisonous. She said high-minded things, designed to make her appear like the model of the younger generation.

As soon as Mrs. Milburn and Mother had gone, Merry Ann changed, as I knew perfectly well she would. "What does one do for amusement in this dull town?" was the first thing she said. "So far from New York."

"Oh," I said, "there are dances at the Country Club every Saturday and in between there's tennis and swimming and -"

She interrupted me. "Are there any interesting men?"

Well, I'd never thought of them as "interesting" before, or.as "menv either for that matter, but I began naming over all the boys in town. I didn't name Sladen because I'd already decided, as a friendly gesture, to save him from this dose of poison.

At that moment Merry Ann looked out of the window, just as Sladen leaped over the hedge - coming over to get me for a game of tennis probably, as he usually does afternoons.

"Which one is that?" Merry Ann asked.

"Oh - that!" I said. "I guess I forgot him. That's Sladen Morris, the boy next door."

"Oh, you forgot him, did you?" said Merry Ann. "Well, I wouldn't forget that one."

Sladen walked right in without knocking, which is an example of his bad manners. For a moment he stood amazed.

"Ah, ha," he said. "Where did you come from?"

"From New York -":

"Do you play tennis? How about a game now?" Sladen asked, ignoring me like the Black Plague.

"I'd love it - I'm practically dying of boredom - but I'll have to go home and change first."

"I'll run you over in Sciatica," Sladen offered. Sciatica is Sladen's car. It's enamelled a brilliant red - a job I helped him with and for which I got nothing but paint under my finger nails;

"Good-bye, Betsy," Merry Ann said. "Do tell your mother how much I enjoyed the lovely afternoon."

Well, the result was that all of a sudden I felt temperamental and I ran upstairs and I flung myself on my bed and I cried. Mother has a regular hunting dog's nose for tears and pretty soon I heard her knock at the door.

"Betsy, dear," she said. "May I come in?"

"Well, yes," I answered, "but I've got a terrible headache."

"Now, I've being thinking," Mother began. "Perhaps you ought to give a party."

For a whole year, I'd been begging to give a party and Mother usually had answered "too expensive", and "wait until you are seventeen" and a dozen other excuses and here shs was suggesting a party herself.

Well, after that everywhere I went there was Merry Ann leading Sladen Morris around like a pet dog. Whereas I had always played with Sladen afternoons, now I picked up a game with whoever was handy and out of the corner of my eye I watched him playing with Merry Ann. She was terrible. She held her racket (when it wasn't in play) as if it were a fan. She wore those little tennis dresses like the ones you see pictures of on movie actresses and, I admit with my usual broad-mindedness, she looked pretty, even when she held her racket as if it were a butterfly net.

And about the party. Mother, once she'd decided I should.involve myself in what I knew perfectly well would be a mistake with Merry Ann around, would not drop the subject. So I heavy-heartedly made lists and invited all the "nice young people" to our house for dinner before the regular Country Club dance.

They all accepted - six boys, eager to have a chance at Merry Ann; and five girls, including me, who came because they wouldn't admit publicly that they were scared of the Milburn menace.

Mother bought me a new dress with yards and yards of white net in the skirt and although it had some "youthful" blue bows on the shoulders, it was not the simple girlish dress that my mother usually selects, therefore I faced the horror of the evening with more bravery than I expected. But that was before they arrived. When they.came, Merry Ann clinging to Sladen's arm, I felt inferior immediately. My dress looked like nothing compared with the whirl of scarlet chiffon that hung on Merry Ann's shoulder by a couple of threads.

Merry Ann did all the conversing and she talked only with the boys - turning her blue eyes limpidly on first one and then, another.

"What's the Country Club like?" she asked. "I usually go dancing at the Stork Club," she added, "so I don't know much about smalltown clubs."

Now I know very well that Merry Ann is a boarding student at St. Catherine's Academy and I know from other such victims that anyone who gets pushed there never sees a neon light except from the window. I bet she's never been to the Stork Club unless, like me, her uncle or some other elderly kind relation took her there for a lemonade on a Saturday afternoon. But I did not say anything.

So everyone wen', off to the Country Club feeling slightly ashamed that he was f)rced to spend the time at such a dull place.

Well, people danced with me - that's the only compensation for being hostess. Finally almost everyone drifted outside and sat around the swimming pool.

Dennis Brown and I walked out and paraded ourselves in front of their chairs. It was just in front of Merry Ann that it happened. I don't say sha tripped me, although it's hard to find a kinder word. Her foot was in my path, anyway - and it took a good stretch to get in there. I fell forward with a terrific splash. As I went down, I heard Merry Ann's laughter.... I didn't come up to face the amused crowd, I just swam under water and headed for the iron ladder on the other side of the pool. From there I planned a quick run to the dressing-room and then home.

My foot felt the ladder and I pulled myself upward and then I discovered that my dress was caught! I pulled, and my lungs felt as if they'd burst.

The next thing I knew I was lying on my stomach on the concrete runway and Sladen was pumping my lungs out. I was too uncomfortable to pay much attention to the fact that all that was left of my new dress was the upper part. As my lungs began to function again, I took a little more interest in the whole scene. Apparently several of the boys had offered themselves as hero of the hour, for not only Sladen's best suit was dripping from his recent dive, but also Dennis's and Bill's and Carter's.

"I'm sorry about this," I finally managed to say. "And it was awfully clumsy of me..."

"You weren't clumsy, but don't talk..." Sladen ordered fiercely.

"Yes, for goodness' sake, keep quiet," Merry Ann added. "Everyone has been caused enough trouble. What was the idea of hiding in the bottom of the pool anyway?"

And then Sladen Morris said the most divine unmanly thing that I shall bless him for until his dying day. "Pop her one, Janet!" he said. "I'm a gentleman and, besides, I'm busy."

"Oh - you awful people!" Merry Ann screamed. "I'm leaving this dreadful place!"

"You boys that are dry can toss a coin," Sladen said. "Whoever loses can drive her home. Or may be Benny and Joe better both go, in case she stabs the driver."

Somehow the way Sladen said it made me feel warm and comfortable, which was silly, for there was nothing tender about the words.

All of us, the wet and the dry, crawled into the cars. Sladen wrapped a blanket round me and drove me home in Sciatica.

"Listen, kid," he said on the way. "I see that I've got to stick a little closer to you - you just aren't responsible. How about not leaving your front porch from now on unless I'm along?"

"It's queer how you sometimes overlook what's right under your nose," Sladen continued, very serious. "Why, Betsy, it's just occurred to me that you are the prettiest girl I know and I've lived next door to you for sixteen years."

He leaned over and kissed me. It was just on the cheek and rather damp since we'd both been swimming so recently, but for some reason it was very romantic and not a bit neighbourly, and all of a sudden I felt beautiful and fascinating. And I gazed on Sladen Morris with new eyes, I guess, because he suddenly didn't look in the least like the boy next door.

1. Betsy makes up her mind to save Sladen Morris from Merry Ann.

2. Betsy fails to protect Sladen Morris from Merry Ann.

3. Betsy's mother suggests a party, and though Betsy is not happy about it with Merry Ann around, she agrees.

4. Merry Ann turns up her nose at everything at the party and spoils everyone's mood.

5. Betsy falls into the swimming-pool to the extreme delight of Merry Ann.

6. Betsy is saved and gets her revenge.

7. Sladen Morris finds he cares for Betsy and offers the girl his protection.

IX. Make up situations based on the story "The Boy Next Door" using the following word combinations and structural patterns:

to catch (get) a glimpse of smb; to be accustomed to; used to; to grope for words; to be sure of oneself; to turn up one's nose at smth; to make sure; to turn over a new leaf; to turn up; not to turn a hair; to be hurt to find; for sure; to feel rather hurt; without doing smth; there's not a...; must have done; now that

X. Read the following sentences and suggest Russian equivalents for the parts in bold type:

1. Since the scene in the wood Мог had made no attempt to meet Rain. He had caught not even a glimpse of her in the intervening days. 2. We were just in time to catch a glimpse of the tall, black-bearded figure as he tiptoed down the passage. 3. Captain Dartle was accustomed to having his way at all costs. 4. Jane not only grew accustomed to her changed appearance, but found she liked it. 5. Accustomed as Evvy was to think the best of everybody, it had

not escaped his attention that the newcomer had been rude to the headmaster. 6. He noticed that the volume contained no more than ninety pages. That was all to the good. He shared Edgar Poe's opinion that poems should be short. 7. I saw that he was amused about some joke shared in secret between them. 8. I dined at the station restaurant by myself. It was crowded and I shared a small table with a man whose appearance amused me... We soon got into conversation. 9. His manner as he shook hands was guarded. Only a keen observer could have detected that he was stirred to the depths. 10. It was a lovely scene. It took his breath away. 11. It was necessary to send round people to give orders and make sure that they were carried out. 12. When she saw me she looked cautiously up and down the street to make sure I was alone. 13. Do you remember that time you were in Rome and I turned up just as you were dressing for a party? You were distinctly annoyed with me. 14. He wished he could have his daughter with him and make sure that she wasn't unhappy. 15. He sounded on the whole pleased to see her, although perhaps a trifle put out that she should have turned up just at that moment. 16. We' ll turn up at about seven-thirty and you can take us to the movies afterwards. 17. "I was a fool not to stay out East. At least I could live cheaply out there, while looking around for something to do. Nothing is turning up here in London. " 18. I was simply disgusted with the girl. Poirot, however, didn't turn a hair. He just bowed and said pleasantly, "Good morning, Miss..." 19. "If I didn't express myself clearly it was because I did not wish to hurt her feelings, or yours." 20. Philip had already discovered that everyone in the studio disliked her; it was no wonder, for she seemed to go out of her way to hurt people. 21. Raymond sat up in his chair and flung away his cigarette with an impulsive gesture. 22. The door next to them opened and their thin pale manservant stepped out. Inside Poirot caught a glimpse of Mr. Rachett sitting up in bed. 23. He began to mount the stairs. When he got to the door of the flat he took a deep breath and rang the bell. 24. He intended to take an opportunity this afternoon of speaking to Irene. A word in time saved nine; and now that she was going to live in the country there was a chance for her to turn over a new leaf! 25. Tom and Caroline gave their words that they would be back by midnight. And now their mother and father were sitting up for them. 26. On we went over the bridge; and it was then that I caught my first glimpse of the Abbey. I caught my breath, for it was beautiful. The first thing that struck me was its size.

Read the poem carefully several times. Can you connect the message of the sonnet in any way with the story called "The Snob"

SONNET XCI

By W. Shakespeare (1564-1616)

Some glory in their birth, some in their skill Some in their wealth, some in their bodies' force, Some in their garments, though new-fangled ill,

Some in their hawks and hounds, some in their horse; And every humour hath his adjunct pleasure, Wherein it finds a joy above the rest: But these particulars are not my measure; All these I better in one general best. Thy love is better than high birth to me, Richer than wealth, prouder than garments' cost, Of more delight than hawks or horses be; And having thee, of all men's pride I boast. Wretched in this alone, that thou mayst take All this away and me most wretched make.^*

Note: Pay attention to the following forms: hath - has; thy - your; be - are; thee - you (Obj Case); thou - you (Nom Case); mayst - may.

REVISION (UNITS SEVEN-NINE)

I. Translate the following situations paying careful attention to the words and word combinations in bold type:

I

1. Миссис Паклтайд была раздосадована, когда узнала, что попала не в того зверя. 2. Через несколько дней Луиза, ее компаньонка, сказала: "Сегодня мне предложили купить загородный дом. Он небольшой, но очень уютный. Я давно мечтаю о таком доме... Но, к сожалению, я без денег сейчас..." 3. Миссис Паклтайд сразу поняла, на что намекает Луиза. Она хорошо знала, что, если она откажется дать мисс Меббин необходимую сумму денег, ее компаньонка немедленно выдаст ее, и все будут смеяться над ней. "Я должна положить конец этому. Мне следовало бы давно расстаться с ней. Но сейчас, при таком положении дел, мне лучше сделать то, что она просит. Это избавит меня от многих неприятных минут в будущем, но мне не следует впредь доверять ей свои секреты ". Мысли одна за другой проносились у нее в голове. 4. Мисс Меббин, казалось, наслаждалась сценой. Она понимала, что у миссис Паклтайд нет выхода. Мисс Меббин многому научилась во время своих путешествий с миссис Паклтайд, поэтому она знала, как обращаться с подобными людьми, и умела извлечь максимум пользы из своего, положения.

II

1. Старик Дей никогда не был груб с Энид, но его отношение к ней оставляло желать много лучшего. Его раздражало, когда Энид пыталась поступать по-своему. Ей всегда давали понять, что она должна знать свое место. 2. Энид часто предавалась

отчаянию. Она ни с кем в семье не могла поделиться своими горестями. Она была одинока. Если бы Энид не любила Гордона, она, возможно, давно бы уехала из деревни, но она не теряла надежды, что Гордон изменит свое отношение к ней. 3. Иногда Энид хотела серьезно поговорить с Гордоном обо всем, но она боялась, что это еще больше осложнит обстановку в доме (in the household). Как бы ей хотелось услышать от Гордона: "Ну что ж, Энид, ты можешь поступать, как хочешь!" Но она понимала, что при порядках, которые были заведены у них в доме, этого никогда не случится. 4. Вот так обстояли дела, когда Энид, наконец, решилась поступить по-своему. 5. В тот день она улучила минутку, чтобы подумать о предстоящей поездке к морю. 6. Она была глубоко обижена, узнав, что Гордон опять подчинился отцу и отложил поездку. Она взглянула на часы. Автобус должен был быть через 20 минут. Она успеет на него. 7. В автобусе она чувствовала себя очень несчастной. Но она не могла поступить иначе. Она надеялась, что её решительный шаг образумит Гордона. "Может быть, он изменится, начнет новую жизнь ", - повторяла она себе, стараясь успокоиться. Но она ошибалась. Гордон был очень похож на своего отца. Страсть к деньгам (lust for money) была у них в роду. 8. Прочитав записку жены, Гордон воскликнул: "Я никогда не думал, что она способна так поступить! Я должен поговорить с ней начистоту ". 9. Получив телеграмму, Энид подумала, что она была несправедлива к мужу. Теперь ей стыдно будет смотреть ему в глаза. 10. Однако, когда Энид увидела на пороге комнаты старика Дея, чувство вины уступило место гневу. Ей хотелось бы захлопнуть у него дверь перед носом, но она не посмела.

II. Render into English:

ВИЗИТ ФРАМТОНЛ В ДЕРЕВНЮ

1. "Я советую тебе поехать в эту деревню и пожить некоторое время у миссис Сэплтон. Это очень симпатичная семья. В прошлом году я там чудесно провела время", - сказала миссис Натл своему младшему брату, очень нервному молодому человеку. Фрамтон согласился, хотя у него совершенно не было настроения ехать в деревню.

2. Так случилось, что когда он приехал, миссис Сэплтон была занята на кухне, и его встретила ее племянница, Вера, очень решительная молодая особа. Вере было 15 лет, и она любила придумывать необыкновенные истории, которые часто пугали знакомых тети.

3. Фрамтону сразу понравилась девушка, но когда она начала рассказывать о трагической гибели мужа тети, ее младшего брата и их спаниеля, он пожалел, что дал себя уговорить остановиться у них в доме. Его тревога уступила место ужасу, когда Вера принялась рассказывать подробности этой трагической истории...

4. "Они пошли туда на свой страх и риск", - продолжала Вера. - Вы знаете, в прошлом году часто шли дожди, и было опасно

охотиться в здешних болотах. Как ни уговаривала их тетя отказаться от мысли идти на охоту в тот день, все было напрасно, они и слушать об этом не хотели. Они твердили, что хорошо знают дорогу и нет никакого риска застрять в болотах... Но... они не вернулись..." Вера тяжело вздохнула. "Если бы они послушались совета тети, ничего подобного бы не случилось. Сегодня ровно год, как они погибли, а тетя все еще их ждет..." Вера так увлеклась своим рассказом, что не заметила, что мистер Натл был на грани обморока.

5. Вдруг из сада донесся лай собаки, и к своему ужасу Фрамтон увидел две фигуры среди деревьев. В то же самое время миссис Сэплтон вошла в комнату. "Здравствуйте, мистер Натл! Очень рада Вас видеть", - сказала она весело, протягивая ему руку. Затем миссис Сэплтон взглянула в окно. "Ну вот и хорошо, обед готов, и наши мужчины возвращаются с охоты".

Холодная дрожь пробежала у него по спине. Мистер Натл испуганно вскрикнул и бросился из комнаты. "Что с ним? - спросила миссис Сэплтон с удивлением. - Вера, что ты ему наговорила? Он выглядел таким испуганным. Ты должна положить конец этому и перестать рассказывать ужасные истории. Ничего хорошего из этого не выйдет, к нам перестанут приезжать..." Вера ответила, как ни в чем не бывало, что это не ее вина. "Наш спаниель, должно быть, напугал его. Мистер Натл сказал мне, что он смертельно боится собак..."

UNIT TEN

JOHN BARLEYCORN

A Ballad

By Robert Burns (1759-1796)

There were three kings into the east, Three kings both great and high, And they had sworn a solemn oath John Barleycorn should die. They took a plough and plough'd him down, Put clods upon his head; And they had sworn a solemn oath John Barleycorn was dead. But the cheerful spring came kindly on, And showers began to fall; John Barleycorn got up again, And sore surprised them all. The sultry suns of summer came, And he grew thick and strong; His head well arm'd wi' pointed spears, That no one should him wrong. The sober autumn enter'd mild, When he grew wan and pale;

His bending joints and drooping head Show'd he' began to fail. His colour sicken'd more and more He faded into age. And then his enemies began To show their deadly rage. They've ta'en a weapon long and sharp, And cut him by the knee; Then tied him fast upon a cart, Like a rogue for forgerie. They laid him down upon his back, And cudgell'd him full sore; They hung him up before the storm, And turn'd him o'er and o'er. They filled up a darksome pit With water to the brim; They heaved in John Barleycorn, There let him sink or swim. They laid him out upon the floor, To work him further woe; And still as signs of life appear'd, They toss'd him to and fro. They wasted o'er a scorching flame The marrow of his bones; But a miller used him worst of all - He crushed him 'tween two stones, And they ha'e ta'en his very heart's blood, And drank it round and round, And still the more and more they drank, Their joy did more abound. John Barleycorn was a hero bold, Of noble enterprise; For if you do but taste his blood, 'Twill make your courage rise, 'Twill make a man forget his woe; 'Twill heighten all his joy; "Twill make the widow's heart to sing, Though the tear were in her eye. Then let us toast John Barleycorn, Each man a glass in hand, And may his great posterity Ne'er fail in old Scotland!

COMMENTARY

1. The poem "John Barleycorn" is written in the form of a ballad. A ballad is a short narrative poem with both lyric and epic elements. Ballads were originally sung by bards or minstrels. The origin of the word is the Latin ballare which means 'to dance. The form of the ballad varies. Burns's ballads are generally folk songs arranged by the poet in this form of poetic art. "John Barleycorn" is a ballad consisting of fifteen stanzas of four lines each. The length of the lines varies. The odd lines (the first, the third) are eight syllable lines; the even lines (the second, the fourth) are six syllable lines. This alteration of lines is typical of the ballad form. This ballad is written in iambic metre, i. e. the even syllables are stressed; the odd - unstressed.

2. "John Barleycorn" is a poetic description of how Scotch whisky is made: the planting of the barley, the harvesting, the threshing, the making of malt, the crushing of the malt and distillation.

Burns undoubtedly meant it as an allegory. John Barleycorn evidently represents the Scottish people, their undying strength in resisting subjugation. It illustrates the joyous and rebellious spirit of Scottish folklore. The depiction of the spirit is built on a stylistic device called personification; barleycorn is represented as a human being. This personification is very skilfully carried out by the poet. John Barleycorn is a human being, 'a hero bold,' a people's hero whose freedom-loving spirit the three kings united to crush.

3. The poem is written in the national English language, but we find in it some peculiarities of dialectal pronunciation and word usage typical of the Scottish dialect. They are still used in the spoken language in Scotland. Thus, the word have in unstressed position was pronounced ha'e [hæ] the preposition with in Scotch is pronounced without the final th, as in wi' pointed spears.

The preposition into in the first line of the poem is also a dialectal word meaning in. In Old and Middle English the prepositions into and in were used indiscriminately. Since the 14th century into in the meaning of in is used only in Scottish.

In the 16th century there was a tendency to leave out i in it in colloquial speech, as in: on't, in't, for't, etc. This omission of i in it is still found in the Scottish dialect. In English poetical language we

very frequently find such omission, e. g. 'tis instead of it is, 'twill instead of it will.

The preposition between was formerly composed of two words: the Old English prefix be- in the meaning of at or near and tween from the Old English word twēჳen in the meaning of two. The form tween is used now only in poetry.

4. It was noted in Unit 5 that there are a number of words or their forms in the vocabulary of Modern English which are called poetic. As most of them are archaic, they are not used in ordinary colloquial or literary English of the present day and are preserved in the vocabulary for special stylistic purposes, mainly in poetry.

Thus in the text of the poem we find the words ta'en, o'er, ne'er. These are contracted forms of the words taken, over, never. It is interesting to note that these contracted forms in the 16th, 17th and even at the beginning of the 18th century belonged to the ordinary spoken language. In the word taken the k had been dropped before alveolar consonants, but later it was reintroduced on the analogy of the other forms of the verb to take.

In the line 'And cudgell'd him full sore' full is an archaic adverb still used in the Scottish dialect. The meaning is very. The word is now considered poetic.

5. As you already know the ending -ed in the Past Tense and Past Participle of regular verbs is pronounced as a separate syllable [id] only after the dental t or d, as in lasted, needed. In other cases it is pronounced either [d] if the ending -ed follows a voiced consonant or a vowel as in surprised, armed, ploughed, or [t] if the ending -ed follows a voiceless consonant as in tossed, crushed. However, in poetry the ending -ed is frequently pronounced as a separate syllable [id] not only after t or d. In that case a special graphical indication may be used on the letter e, as in filléd, heavéd.

This pronunciation of the ending -ed, caused by the requirements of the metre, has called forth the necessity of pointing out the regular pronunciation of -ed after voiced consonants and vowels. This is generally done by the (') which is placed instead of the letter e, as in plough'd, enter'd, turn'd and others.

6. The adverb sore is archaic (poetic). In the sentence 'And sore surprised them all' it means to a great extent, very much. It always carries an additional shade of meaning - to a painful or distressing degree. That is the meaning the word has in the line quoted. (Compare it with the Russian archaic word зело).

7. In poetry the form of the adjective is sometimes used instead of the adverb; for example, in the text of the poem the word mild in the sentence 'The somber autumn enter'd mild' is used instead of the word mildly.

8. The combination of the verb to come and the postpositive on has various meanings. The most general meaning is to advance. In

the sentence 'But the cheerful spring came kindly on? the combination came on means continued to advance.

9. In the sentence 'That no one should him wrong' the pronoun him is placed between the auxiliary verb should and the verb wrong. This word order is not typical of the English language, nor is it typical of the Scottish dialect. It was evidently done by the poet for the sake of rhyme.

10. In the sentence ' 'Twill make the widow's heart to sing' the Complex Object containing an infinitive with the particle to after the verb to make is archaic. In modern English, in Complex Objects that follow the verb to make the Infinitive is used without to. In the Scottish dialect the archaic form still survives.

11. The word wan, the original of which is the Anglo-Saxon word wann (dark, gloomy), is now used mostly as a poetic word.

The meaning of this word is faded or sickly. This is the meaning of the adjective in the sentence 'When he grew wan and pale'.

12. The suffix -en added to adjectives as in darken, deepen, widen and to nouns as in lengthen, strengthen, frighten forms verbs with the meaning implied in the stem. Thus, to sicken means to become sick; to heighten - to make higher, greater in. degree.

13. 'Faded into age'. In this phrase the preposition into introduces the result brought a6out by the action of fading. This is rather a frequent use of the preposition, e. g. She grew into a good-looking girl.

14. The word darksome is composed of the adjective dark and the suffix -some. This, like the above-mentioned suffix -en, is not productive, i. e., new words are not formed with the help of this suffix. But it has survived in such words as tiresome, troublesome, wholesome and a few other words. The word darksome is poetic. In ordinary English the adjective dark is used.

15. In the line 'For if you do but taste his blood' the word but means only and is used here together with the verb do as an emphasizing particle of the verb to taste.

It is frequently used in colloquial English in this function, e. g. if you but know - if you only knew.

16. 'And may his great posterity ne'er fail in old Scotland!' The combination of may + Infinitive is used in exclamatory sentences to express a wish. This form is rather archaic. It is used mainly iri poetry or in certain special cases: in oaths, or in solemn speech, etc, e. g. May he live a hundred years! May you be happy!

EXERCISES

I. Interpret the following sentences:

1. The sultry suns of summer came. 2. His colour sicken'd more and more. 3. He faded into age. 4. They heaved in John Barleycorn.

5. To work him further woe. 6. Their joy did more abound. 7. 'Twill make your courage rise. 8. 'Twill heighten all his joy. 9. 'Twill make the.widow'.s heart to sing,.though the tear were in her eye.

II. Ahswer the following questions:

1. What idea does the poet convey through the image of the three kings being the enemies of John Barleycorn? 2. What agricultural process is described through the image: "They took a plough and plough'd him down, put clods upon his head"? 3. In what stanzas and through what images is the process of the growth and ripening of barleycorn shown? 4. What words does the poet choose to describe the characteristic features of spring, summer and autumn? 5. What period of human life can be characterized by bending joints and drooping head? 6. What conclusion can you draw about the way criminals were treated in Scotland from the lines: "Then tied him fast upon a cart, / Like a rogue for forgerie"? 7. In what lines of the poem is the undying strength of the people hinted at? 8. What is meant by the toast: "And may his great posterity/Ne'er fail in old Scotland!"?

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