Владимира Дмитриевича Аракина одного из замечательных лингвистов России предисловие настоящая книга

• Название: Владимира Дмитриевича Аракина одного из замечательных лингвистов России предисловие настоящая книга
• Дата: 12.10.2022
• Размер: 3.02 Mb.
• Имя файла: Arakin2 (1).doc
• Тип: Книга; #730147
• страница: 21 из 45

TEXT. SEEING PEOPLE OFF By Max Beerbohm⁶⁹

On a cold grey morning of last week I duly turned up at Euston⁷⁰ to see off an old friend who was starting for America.

Overnight we had given a farewell dinner, in which sad­ness was well mingled with festivity.

And now, here we were, stiff and self-conscious on the platform; and framed in the window of the railway-carriage, was the face of our friend; but it was as the face of a strang­er — a stranger anxious to please, an appealing stranger, an awkward stranger.

"Have you got everything?" asked one of us, breaking the silence.

"Yes, everything," said our friend, with a pleasant nod.

There was a long pause.

One of us, with a nod and a forced smile at the traveller, said:

"Well"

The nod, the smile, and the unmeaning monosyllable were returned conscientiously.

Another pause was broken by oneof us with a fit of coughing. It was an obviously assumed fit, but it served to pass the time. There was no sign of the train's departure.

A middle-aged man was talking earnestly to a young lady at the next window but one to ours. His fine profile was vaguely familiar to me. The young lady was evidently Amer­ican, and he was evidently English; otherwise I should have guessed from his impressive air that he was her father.

In a flash I remembered. The man was Hubert Le Ros. But how he changed since last I saw him! That was seven or eight years ago, in the Strand. He was then (as usual) out of engagement, and borrowed half-a-crown. It seemed a privilege to lend anything to him. He was always magnetic. And why his magnetism had never made him successful on the London stage was always a mystery to me. He was an excel­lent actor.

It was strange to see him, after all these years here on the platform of Euston, looking so prosperous and solid. It was not only the flesh he had put on, but also the clothes, that made him hard to recognize. He looked like a banker. Any­one would have been proud to be seen off by him.

"Stand back, please!"

The train was about to start and I waved farewell to my friend. Le Ros did not stand back. He stood clasping in both hands the hands of the young American.

"Stand back, sir. please!"

He obeyed, but quickly darted forward again to whisper some final word. I think there were tears in her eyes. There certainly were tears in his when, at length, having watched the train out of sight, he turned round.

He seemed, nevertheless, delighted to see me. He asked me where I had been hiding all these years: and simulta­neously repaid me the half-crown as though it had been bor­rowed yesterday. He linked his arm in mine, and walked me slowly along the platform, saying with what pleasure he read my dramatic criticism every Saturday. I told him, in return, how much he was missed on the stage.

"Ah, yes," he said, "I never act on the stage nowadays."

He laid some emphasis on the word "stage," and I asked him where, then, he did act.

"On the platform," he answered.

"You mean," said I, "that you recite at concerts?"

He smiled.

"This," he whispered, striking his stick on the ground, "is the platform I mean."

"I suppose," he said presently, giving me a light for the cigar which he had offered me, "you have been seeing a friend off?"

He asked me what I supposed he had been doing. I said that I had watched him doing the same thing.

"No," he said gravely. "That lady was not a friend of mine. I met her for the first time this morning, less than half an hour ago, here," and again he struck the platform with his stick.

I confessed that I was bewildered. He smiled.

"You may," he said, "have heard of the Anglo-American Social Bureau."

I had not. He explained to me that of the thousands of Americans who pass through England there are many hun­dreds who have no English friends. In the old days they used to bring letters of introduction. But the English are so inhospitable that these letters are hardly worth the paper they are written on.

"Americans are a sociable people, and most of them have plenty of money to spend. The AA.S.B. supplies them with English friends. Fifty per cent of the fees is paid over to the friend. The other fifty is retained by the AA.S.B. I am not, alas, a director. If I were, I should be a very rich man indeed. I am only an employee. But even so I do very well. I am one of the seers-off."

I asked for enlightenment.

"Many Americans," he said, "cannot afford to keep friends in England. But they can all afford to be seen off. The fee isonly five pounds (twenty-five dollars) for a single traveller; and eight pounds (forty dollars) for a party of two or more. They send that in to the Bureau, giving the date of their departure, and a description by which the seer-off can identify them on the platform. And then — well, then they are seen off."

"But is it worth it?" I exclaimed,

"Of course it is worth it," said Le Ros. "It prevents them from feeling out of it. It earns themthe respect of the guard. It saves them from being despised bуtheir fellow-passengers — the people who are going to be on the boat. Besides, it is a great pleasure in itself. You saw me seeing that young lady off. Didn't you think I did itbeautifully?"

"Beautifully," 1 admitted. "I envied you. There was I —"

"Yes, I can imagine. There were you, shuffling from foot to foot, staring blankly at your friend, trying to make con­versation, I know. That's how I used to be myself, before I studied, and went into the thing professionally, I don't say I am perfect yet. A railway-station is the most difficult of all places to act in, as you discovered for yourself."

"But," I said, "I wasn't trying to act. I really felt."

"So did I, my boy," said Le Ros. "You can't act without feeling. Didn't you see those tears in my eyes when the train started? I hadn't forced them. I tell you I was moved. So were you, I dare say. But you couldn't have pumped up a tear to prove it. You can't express your feeling. In other words, you can't act. At any rate," he added kindly, "not in a railway-station."

"Teach me!" I cried.

He looked thoughtfully at me,

"Weil," he said at length, "the seeing-off season is practi­cally over. Yes, I'll give you a course, I have a good many pupils on hand already; but yes," he said, consulting an or­nate note-book, "I could give you an hour on Tuesdays and Fridays,"

His terms, I confess, are rather high. But 1 do not grudge the investment.

VOCABULARY NOTES

1. serve υt/i 1.служить, е.g. No man can serve two mas­ters. He serves as gardener (no article!). He served three years in the army (navy). These shoes have served me two years. A wooden box served as a table,

2. подавать на стол, е.g. The waiter served the soup, Dinner is served,

3. обслуживать, е.g. There was no one in the shop to serve me.

to serve smb. right, е.g. It serves you right for having disobeyed me.

service n 1. служба, е.g. Не was in active service during the war. He has been in the Diplomatic Service for three years.

2. обслуживание, е.g. The meals at this restaurant are good but the service is poor. The train service is good here.

3. услуга, одолжение, е.g. She no longer needs the ser­vices of a doctor. My room is at your service.

servant n слуга, прислуга

2. familiar adj 1. знакомый, привычный, as a familiar voice (face, name, scene, handwriting, song, melody, tune, scent, smell, etc.)

to be familiar to smb., to be familiar with smth., е.g. You should be familiar with the facts before you start investiga­tion. He is familiar with many languages. Her face seems fa­miliar to me.

2. близкий, интимный, е.g. Are you on familiar terms with him? Don't be too familiar with him, he's rather a dis­honest man.

3. фамильярный, е.g. Don't you think he is a bit too fa­miliar with her?

familiarity n близкое знакомство, фамильярность

3. impress υt запечатлевать в уме, производить впечат­ление; to impress smb., е.g. This book did not impress me at all. I was greatly (deeply) impressed by his acting. What impressed you most in the play?

impression n впечатление; to make (produce) an impres­sion on smb., to leave an impression on smb., e, g. His speech made a strong impression on the audience. Punish­ment seemed to make little impression on the child. Tell us about your impressions of England. The group left a good (poor, favourable) impression on the examiner.

impressive adj производящий (глубокое) впечатление, as an impressive ceremony (sight, scene, person, gesture, etc.), е.g. The scene was quite impressive.

4. obey υt/i повиноваться, подчиняться, слушаться, е.g. Sol­diers must obey orders. Children must obey grown-ups. But слушаться совета — to follow one's advice

Ant. to disobey

obedience n послушание, повиновение, покорность, е.g. Parents demand obedience from their children.

Ant. disobedience

obedient adj послушный, покорный, е.g. Не is an obedi­ent boy. The children have been obedient today.

Ant. disobedient, naughty [of a child)

5. light n свет, освещение, as sunlight, daylight, moon­light, gas light, electric light, е.g. The sun gives light to the earth. I got up before light. The light began to fail. Lights were burning in every room. Bring a light quickly! We saw the lights of the city. Look at the matter in the right light.

Ant darkness

by the light of smth. при свете чего-л.

to stand in smb.'s light загораживать кому-л. свет; (fig) мешать кому-л., стоять у кого-л. на дороге

to throw (shed) light on smth. проливать свет на что-л. е.g. These facts shed (a) new light on the matter.

to put (switch, turn) on (off) the light зажигать (гасить) свет

to give smb. a light дать прикурить, e. д. Give me a light, please.

to come to light обнаруживаться, выявляться, е.g. New evidence has recently come to light.

Light at the end of the tunnel свет в конце туннеля, е.g. As the exams approached, she felt that at last she could see the light at the end of the tunnel.

light adj светлый, as a light room, a light day; light hair, a light complexion; light brown (blue, green, grey, etc.)

to get light светать, е.g. It gets light very early these summer mornings.

light (lit or lighted) υt/i 1. зажигать(ся), as to light a lamp (a candle, a fire), е.g. He lit a lamp. Please light the stove.

to light a cigarette закурить

Ant. turn off (the gas), blow out (a candle), put out (a fire)

2. освещать (up), е.g. The streets were brightly lit up. The room was lighted by six windows. Our houses are light­ed by electricity. The burning building lit up the whole dis­trict. The rising sun lit up the mountain tops.

sunlit, starlit (night, sky), moonlit adj

6. prevent υt предотвращать, предупреждать, мешать; to prevent smb. from (doing) smth., to prevent smth., е.g. Rain prevented the game. I'll meet you at six if nothing prevents. Illness prevented him from doing the work. How-can you prevent it from happening? Something prevented him from coming (prevented his coming).

prevention n предотвращение; Proverb: Prevention is bet­ter than cure.

7. earn υt 1. зарабатывать, е.g. He earns a good wage because he works for a fair employer.

to earn one's living зарабатывать себе на жизнь, е.g. She earned her living by sewing.

2. заслуживать, е.g. His first book earned him the fame of a novelist. The teacher told her pupils that they had earned a holiday. Her good work earned her the respect of her colleagues.

earnings n pl заработок, е.g. He has spent all his earn­ings.

8. do (did, done) υt/i 1. делать, выполнять, заниматься чём-n., as to do one's work, duty, shopping, morning exer­cises

е.g. You did well (wrong) to refuse. Having nothing bet­ter to do I went for a walk. There's nothing to be done now. No sooner said than done. Well begun is half done.

to do a sum решать арифметическую задачу

to do one's best делать все возможное, е.g. I must do my best to help him,

2. причинять: to do good, to do harm, е.g. This medi­cine won't do you any good. His holiday has done him a world (a lot, a great deal) of good. It will do you more harm than good.

3. приводить в порядок, as to do one's hair (room, bed, etc.), е.g. I like the way she does her hair. Will you do the beds while I do the window?

4. осматривать достопримечательности, е.g. Did you do the British Museum when you were in London? We often see foreigners in Moscow doing the sights.

5. подходить, годиться: that will (won't) do, е.g. It won't do to play all day. The room will do us quite well. It won't do to sit up so late. This sort of work won't do for him. Will this sheet of paper do?

6. процветать, преуспевать, е.g. Le Ros did well in the Bureau. Everything in the garden is doing splendidly. She is doing very well at school.

to do away with smth., е.g. Smoking should be done away with.

to have to do with smb. (smth.), е.g. He has to do with all sorts of people. We have to do with facts, not theories.

to have smth. (nothing, not much, little, etc.) to do with smb. (smth.), е.g. I advise you to have nothing to do with him. What have I to do with it?

NOTES ON STYLE

1. There are two main characters in this story: Le Ros and the narratоr, i. e. the person telling the story (also called "the I of the story"). The narrator is an assumed personality and should by no means be confused with the author of the story. It would be as naive to associate the narrator of this story with Max Beerbohm as to associate the boy on whose behalf "How We Kept Mother's Day" is told with Stephen Leacock. The character of the narrator is frequently intro­duced in fiction. It is a stylistic device, especially favoured by short-story authors (see "A Day's Wait" by Hemingway or "A Friend in Need" by W. S. Maugham), which helps the reader to look at the described events as if "from within".

2. Inversion (change of the usual order of words) may be used for stylistic purposes either to focus the read­er's attention on a certain part of the sentence or to achieve an emotional effect, е.g. ... and framed in the window of the railway-carriage, was the face of our friend...

3. Repetition is another stylistic device used for the purposes of emphasis. It may consist in repeating only one word, so that with each repetition the emotional tension increases, e.g. ... but it was as the face of a stranger — a stranger anxious to please, an appealing stranger, an awk­ward stranger.

The repetition of the same syntactical pattern twice or several times is called syntactical parallelism, е.g. It prevents them from feeling out of it. It earns them the respect of the guard. It saves them from being despised by their fellow-passengers.

ESSENTIAL VOCABULARY (I)

Words

banker n final adj obedience n

bureau n guess υ obedient adj

departure n impress υ obey υ

disobedient adj impressive adj platform n

earn υ light υ prevent υ

envy υ move υ serve υ

familiar adj mystery n service n

fellow-passenger n sociable adj

Word Combinations

to see smb. off to wave farewell to smb.

to break the silence to shuffle from foot to foot

to pass the time to make (leave, produce)

to be familiar with smth. (to smb.) an impression on smb.

in the old days (in the olden days) to put out the light

a letter of introduction to serve smb. right for...

to earn one's living

EXERCISES

1. Bead the text and explain the following points (A. Grammar, B. Word usage, C. Style):

A. 1. Explain the use of tenses in: a) the second sentence of the text; b) the following sentence: "A middle-aged man was talking earnestly to a young lady...".

2. Point out sentences in which oblique moods are used and explain the meaning conveyed by the form of the verb in each case.

3. Comment on the use of the auxiliary did in "he did act".

4. Why is the indefinite article used before the word di­rector in "I am not, alas, a director"?

B. 1. Explain the meaning of "the next window but one". (Make up sentences of your own with the pattern "the next ... but one".)

2. Find a pair of antonyms in the passage beginning with "In a flash" and explain their meanings. Use them in sentenc­es of your own.

3. What is the meaning of the word platform in the follow­ing fragment: ... "On the platform," he answered. "You mean," said I, "that you recite at concerts?"

4. Comment on the meaning of keep in "Many Americans ... cannot afford to keep friends in England" (cf.: to keep dogs, horses, to keep a cat, a canary, etc.). What is the effect achieved by the unusual word combination to keep friends and by the whole sentence ("Many Americans cannot afford to keep friends in England", i. e. some of them can and prob­ably do)?

5. How do you understand the words feeling out of it in "It prevents them from feeling out of it"?

C. 1. a) What is the author's purpose in using inversion in: "framed in the window ... was the face of our friend"? b) Why is the word stranger repeated four times in the second part of the same sentence? What is the effect achieved by the repeti­tion?

2. What is the effect achieved by the syntactical parallel­ism in the passage beginning with "Of course it is worth it"? ("It prevents them...", "It earns them...", "It saves them...")

3. Point out passages bearing touches of humour. Does the author present the character of Le Ros seriously or hu­morously? (ironically? satirically? mockingly?) Illustrate your answer by sentences from the story.

II. a) Write the transcribed words in traditional spelling. Explain the rules for reading. Think of some other words spelled in the same way:

1. klRsp, pRs, lRst; 2. 'prPspqrqs, "kPnSI'enSqs, "kPnSqs, 'Pbviqs, ' xNkSqs; 3. saIt, laIt, dI'laIt; 4. E:n, 'E:nINz, 'E:nIstlir; ges, 'veIgI.

b) Mark the stresses and explain the reading rules. Translate the words into Russian:

hospitable — hospitality; prosperous — prosperity; fes­tive — festivity; final — finality.

III. a) Write oat from the story the sentences with the following words:

stiff — awkward; obviously — evidently; earnestly — gravely; to recognize — to identify; prosperous — rich; to force — to pump up.

b) Explain the difference between the synonyms within each pair. (See Notes on p. 18.) When in doubt, consult dictionaries.

IV. Answer the questions. Argue your answers:

1. Where is the scene laid in the story? 2. How did the seers-off feel and why? What were they doing to pass the time? 3. What made the narrator of the story think that the man who was seeing off a young lady was not her father? 4. Who was the man? Under what circumstances had the narrator met him before? What made him hard to recog­nize? 5. What made the narrator ask Le Ros where he acted? 6. Why did the answer make him think that Le Ros recited at concerts? 7. Why was he bewildered when Le Ros said he had first met the young lady he was seeing off less than half an hour before? 8. What can you say about the activities of the Anglo-American Social Bureau? 9. How can you explain Le Ros's success as an employee of the Bureau? 10. How did, in Le Ros's opinion, the seeing-off ceremony help Amer­icans? Do you think it was a good idea? 11. What is the implication of the word afford applied to friends? Can friends really be afforded or not afforded? 12. Did Le Ros take seri­ously his job and himself in the role of a professional seer-off? How does it characterize him? 13. What is the author's (not the narrator's!) attitude to Le Ros? What is the author's irony directed against?

V. Study Vocabulary Notes, translate the illustrative examples and a) give synonyms of:

naughty adj, good adj (about a child), put an end to;

b) give antonyms oft

familiar adj, obey υ, departure n, light n, light υ;

c) give derivatives of:

press, serve, prevent, earn, obey, familiar.

VI. Fill in appropriate words (coasult Essential Vocabulary (I) list):

1. He advised Frank, "You'll do better if you stay at school until seventeen. It can't do you any... ." 2. Atthe age of thir­teen Frank Cowperwood was able ... a little money now and then. 3. The auctioneer noticed Frank and was... by the solid­ity of the boy's expression. 4. After his lonely dinner Soames ... his cigar and walked out again. 5. Jim... the captain's order to ride for Doctor Livesey at once. 6. No one could... Captain Flint's orders. 7. They could not many till Salvatore had done his military .... 8. I knew that his heart was ... by the beauty and the vasmess and the stillness. 9. I shall choose the job I am most... with. 10. The miller was counting over bis money by the ... of a candle. 11. "I'm at your..." means "I'm ready to ... your commands". 12. He was peering into the darkness ... by a single candle. 13. "Why don't you go Into the country?" repeated June. "It would ... you a lot......!" 14. They were at their little table in the room, where Carrie occasionally ... a meal. 15. When the boy was with us he was friendly and....

VII. Express in one word (see Text Eight aad Vocabulary Notes):

a payment made in return for one's work, coming last at the end of smth., to do what one is told, the effect produced on the mind or feelings, a side view of the human face, pale in colour, to bring food and put it on the table, something strange or secret, fond of society.

VIII. The following statements are not true to fact Correct them, using the conversational formulas given in the Reminder:

Example: The author turned up at Euston to meet a friend of his.

— Oh, no, he didn't. He turned up at Euston to see his friend off.

1. The seers-off felt quite at ease on the platform. 2. No one tried to break the silence on the platform. 3. The fit of coughing helped the situation. 4. There was every sign of the train's immediate departure when they came to the plat­form. 5. The face of Le Ros didn't seem familiar to the narra­tor. 6. Le Ros was very sorry to see the narrator. 7. Le Ros said he worked on the stage. 8. Le Ros said he was a director of the Anglo-American Social Bureau. 9. The narrator fully understood why Le Ros had been unsuccessful on the stage. 10. Le Ros explained that all the fees were paid over to the employees. 11. Le Ros looked like a beggar when the narra­tor saw him on the platform. 12. The narrator didn't envy Le Ros. 13. Le Ros said that one can act without feeling. 14. There were no signs of Le Ros being moved when he saw the young American off. 15. The narrator was not moved when seeing his friend off. 16. The narrator wanted Le Ros to teach him to conceal his feelings.

R e m i n d e r: I'm afraid I don't agree. I think you're mis­taken (there). I don't think you are right. I see what you mean, but.... I'm not so sure. On the contrary! You can't be seriousl I doubt it. I disagree with you. I should't say so. I object to it. Far from it. Surely not. Noth'ing of the sort! Just the other way round!

IX. Insert prepositions where necessary:

1. I saw the mysterious stranger ... the morning. 2. I met her ... the first time ... a warm sunny morning ... last spring. 3. I recognized her face ... the window. 4. I saw no sign ... envy ... her eyes. 5. Did you confess ... anything ... return? 6. Wait... me ... platform No. 3 ... the St. Petersburg railway-stafion ... half past ten. 7. What have you got ... your hand? 8. I never acted ... the stage. 9. She smiled ... her fellow-passengers. 10. I heard him recite ... a concert ... last week. 11. Talk ... her ... the fee. 12. He struck the table ... his hand. 13. Did they supply you ... everything? 14. I recognized her ... your description. 15. Just a minute. I shall consult... the timetable. 16. What prevented you ... confessing ... every­thing? 17. The situation is very awkward, but I think I can help ... it. 18. ... other words you haven't obeyed ... my in­structions. 19. They ran ... carriage ... carriage ... the plat­form. 20. He said it... a fit... anger. 21. She nodded ... me ... a grave air. 22. It's a mystery ... me. 23. I wasn't satisfied ... her vague answer. 24. I can't tell you how we all miss ... you. 25. I can't do ... this text-book. 26. I can hardly see anything ... this light. 27. Do you think I can do my lessons when you are standing ... the light? 28. Has he many pupils ... hand?

X. Translate these sentences into Russian:

1. Sitting at her bureau she gazed at the familiar objects around her. 2. You've done me a great service. How shall I ever be able to repay you for your kindness? 3. It will never do to obey your every impulse. 4. In this town you'll never find a nursery-maid for love or money. People here have lost taste for domestic service. 5. In his handsomeness and assur­ance Charles Ivory was dramatically impressive. 6. It was only two weeks later that Frank took his departure from Wa­terman and Company. 7. By this time Silver had adopted quite a friendly and familiar tone. 8. That was how he always remembered her afterwards: a slender girl waving farewell to him from the sunlit porch.

XI. Try your band at teaching.

Say what yon would do in the teacher's position:

Mary was an excellent pupil from the first day she en­tered school. She was known to all the teachers as "the ex­ceptionally bright girl." She was the envy of many children who openly admitted that they would like to be like her. At home, she was placed on a pedestal," nothing was ever de­nied to her. The children expected and accepted that Mary's work was always perfect. One can imagine the shock every­one experienced when one day Mary flew into a rage when she missed three words in a spelling test, and her results were worse than some others'. First Mary tore up her paper, then she proceeded to tear up her spelling book. She screamed that the others cheated, that she was always the best and always will be.

ХII. a) Retell the text: 1) in the third person; 2) as if yon ware the narrator's friend who was leaving for America; 3) as if you were the young American lady; 4) as if yon were Le Ros.

b) Give a summary of the story.

ХIII. Translate these sentences into English:

1. Что-то помешало мне пойти на прощальный ужин. 2. Лицо моего спутника показалось мне знакомым, я, должно быть, где-то видел его раньше. 3. Его критические статьи приносят молодым ав­торам большую пользу. 4. Рекомендательное письмо не произвело на директора никакого впечатления. 5. Он сам зарабатывает себе на жизнь с 16 лет. 6. Я сделал все возможное, чтобы помешать его отъезду. 7. Не читай при свете свечи, это очень вредно для глаз. 8. Справочное (information) бюро находится через два дома отсю­да. 9. Он очень общительный человек. 10. За то, что ты не слушал­ся, ты не получишь сегодня мороженого на сладкое. И. Не загора­живай свет, я не могу разобрать, что здесь написано. 12. В былые времена московские улицы освещались газом. 13. Не завидуйте его заработку: если вы будете работать столько же, сколько рабо­тает он, вы будете зарабатывать не меньше. 14. Мы все были рас­троганы его прощальной речью.

XIV. Act out the scene:

"Where are you for?" the train conductor asked an old lady.

"You're very impertinent," snapped the old lady. "What business is it of yours where I am going? But if you must know, I am bound for Boston."

The conductor obligingly picked up her three bags, found her a seat in the Boston train and put the bags on the rack. As he left the carriage, the old lady leaned out of the window and cackled at him. "I guess I fooled you, you im­pertinent young man. I'm really going to Buffalo."

XV. Go over the text of Unit 8 again to discuss the following in class. Let someone agree or disagree and express their own opinion (see the Prompts suggested):

1. What kind of man is described in the character of Le Ros? Do you consider the character true to life or is it exag­gerated? Which method of characterization does the author use, direct or indirect? (Prove your point.) 2. Is the story just an amusing anecdote or does it contain elements of social satire? (Prove your point) 3. Which lines and passages bear touches of humour? What type of humour prevails in the story? Compare the story with "How We Kept Mother's Day." Which of the two do you consider more amusing and why? Which is more true to life? Which raises more important problems? 4. What can you say about the language of the story? (Touch on: a) selection of words, b) syntax.)

Prompts: true enough; absolutely/exactly/quite; I couldn't agree more; yes, but surely you don't think; yes, but on the other hand; as I see it, in my view (opinion); personally I be­lieve (I feel); I'd just like to say, the way I see it; if you ask me: it's like this; oh, surely not, Vd rather not say anything about.

LABORATORY EXERCISES (I)

1. Listen to the text "Seeing People Оff", mark the stresses and tunes. Repeat it following the model.

2. Respond to the given questions according to the model.

3. Extend the statements. Express your disbelief, surprise or doubt in response to the given sentences. Follow the models.

4. Write a spelling-translation test: a) translate the phrases into English; b) check them with the key.

5. Listen to the text "Climbing" or some other text on the topic "Seeing People off" and write it as a reproduction.

6. Listen to the poem "Adieu, adieul.." by G. G. Byron. Mark the stresses and tunes, repeat it following the model and learn it by heart.