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ЖУРНАЛ ДЛЯ ИЗУЧАЮЩИХ АНГЛИЙСКИЙ ЯЗЫК (Contents © Издательство «ГЛОССА» Главный редактор И. Цветкова Редакционная коллегия: Т. Булановская Л Кравцова Н. Лаврова Э. Медведь Н. Мыльцева И. Ланге В. Портников Зав. редакцией С. Асадчев Редактор Л. Кравцова Художники И. Белов А. Масейкина М. Митрофанов М. Комарова Технический редактор В. Ковалевский Корректоры Л. Кудрявцева Е. Абрамова Подготовка макета В. Ковалевский Адрес редакции: 109817, Москва, Покровский бульвар, 8. Тел,: 916-10-23, тел ./факс: 917-90-07. ISBN 5-7651-0007-4 Лицензия на издательскую деятельность ЛР № 070349 от 07.04.97 г. Свидетельство о регистрации средства массовой информации № 013977от 28.07.95г. Подписной индекс 34290 в каталоге Федеральной службы почтовой связи Российской Федерации, с 128 Отпечатано в типографии ENGLISH-SPEAKING WORLD Alfred Hitchcock: The Master of Suspense............ 2 Follow-Up Activities ............................... 6 FICTION J. B. Priestley. Adventure (continuedfrom No. 4’98). 8 LANGUAGE CLUB...................................... 14 BUSINESS CLASS. Making a Proposal.................. 16 DEBATING SOCIETY. Who Cares About AIDS?........ 17 LOOKING BACK The Birth of the ‘Seventh Art’..................... 18 Quiz ...............................................24 HISTORY & MYSTERY The Strange, True Story of Dracula .................26 HUMPTY DUMPTY. The Sultan Who Loved to Eat .... 30 NATURE. Sharks (continuedfrom No. 4’98) ............34 FASHION. Who Wears Glasses?.........................37 MUSIC & MUSICIANS Celine Dion: My Heart Will Go On .................. 38 BLUFF CLUB ........................................ 39 WOMAN’S PAGE. Elizabeth Taylor’s Recipes ...........40 CURIOSITY PAGE......................................41 FOR ADVANCED READERS Oscar Wilde. The Modern Millionaire ................42 SCHOOL THEATRE. Fenced-in Neighbours ...............44 ETIQUETTE. Saying the Right Thing. Personality Test . . 48 BAKER STREET CLUB. The Blackmailer..................49 SCHOOL-LEAVERS DEPARTMENT ..........................50 INTERVIEW. Handshake ...............................52 HUMOUR. Hollywood Humour ...........................55 ANSWERS............................................ 56
Alfred Hitchcock: THE MASTER OF SUSPENSE ... aacC , tw (text сслеасп суыс &еал (шщ. v-e aaw.! LET'S IMAGINE A FILM WITH THREE MEN SITTING IN A ROOM. There is a bomb hidden in the room, but the men don't know about it. Neither does the audience. The men are engaged in small talk, but no one is really interested. Then the bomb explodes. The audience is surprised, but there has been no suspense. ENGLISH-SPEAKING WORLD Hitchcock was a family man. He liked to be at home with his books and his pictures, his wife, his dog, his daughter and her family, and a tiny circle of close friends. suspense [sas pens] мучительная неизвестность, напряжение audience ['oidians] публика, зрители to be engaged [in'ge'^d] in быть занятым (чем-л.) small talk ['sms I to:k] легкая светская беседа, разговор ни о чем to explode [iks plaud] взрываться to gc off зд. взрываться unbearable |лп bearabl] невыносимый, нестерпимый sigh of relief ['sa1 av ri'li:f] вздох облегчения to delay [di lei] задерживаться, медлить, мешкать Now let's change the situation a little. This time, the audience knows that the bomb is ready to go off, but the men in the film don't. Now the small talk has a dramatic effect. It becomes unbearable. The audience wants the men to get out of the room, but they don't go. Someone makes a move to leave, and the audience makes a sigh of relief. But someone delays, and the tension builds again. One of the greatest masters of suspense was Alfred Hitchcock (1899-1980). He knew how to keep the viewers on the edge of their seats and developed his skill to the point of high art. THE AUDIENCE MUST SUFFER 'Always make the audience suffer as much as possiWe,' Hitchcock liked to say. If you have seen Psyche, you know what suffering is. The film opens with a young girl's arrival at a small motel. You feel at once that the girl has picked the wrong place to spend the night. The motel is run by a tension ['tenjn] напряжение to build [bild] зд. возрастать, увеличиваться to keep the viewers on the edge of their seats заставить зрителей волноваться skill мастерство to the point of high art до уровня высокого искусства Psycho ['saikau] псих, психопат, Психо to suffer ['SAfa] страдать, переживать
• - у -... -тег- - - tftlft Hitchcock begins* ftii fijm-makfiig сагёёг writing titles for the famous Players’ tasky 3 Coi npany (now v Pazamotmf Pictures). • * 4 925 Hrfchcock directs bis first film The ! Measure Garden. 1926 Hitchcock mates his lirsx suspense film The lodger, the story :<$ а femHy who mistaken- j » ly suspect their roomer to be Jack lh« Ripper. * ' 1930s Hitchcock directs such, classic suspefee' : fifins as The Mao Who Knew TooMuch The . Thjrty-nJne Steps-, Sabotage, >pd The Lady j yarfishes, The Thiffy~nirte Steps, an* exciting chase film, wins an* award tor the best directed J picture. Hitchcock is becoming world-famous. ! 193ft Hitchcock moves to America; I .1940 Fte makes his first American picture,. Йе»-becca, based.’on a novel by Daphne Du Maurfer. It wins an awaftf as the best picture of | the year. Hitchcock turns out success after sub- t ' - . ... " <«: Ф .& .. ' ’ .. . .. « * ‘.cess. л . , . : IMfisin Hollywood Hitdicodk^usually makes a film Д year. Among the important films' are Suspicion, Shadow, of a Doubt, lifeboat, and : ‘ a*- . *> i Коре, 1950s HifcbcOck matef several big- budget suH : pfense films starring some of me faading actors and actresses of Tjollywood- .jlWse frlmS ihctude Strangers on -a. Train, Dial fd for Murder, Й^г Window, To-patch a thief; the Man Who Knew Too Much fa remake of .the ‘ Ift34 fitml, Vertigo, and Nbfth by Northwest, * 1955 Hitchcock enters Television with his j famous series .Hitehcotk Presents.'Television,' . Hitchcock jokea, -Ttas brought murder into the home whefefctetofigs.' '1’960% Hitchcock creates Such brilliant tfirilfefs 1 < as Psycho, The birds, atid Marnie IftjZl Hitchcock retum^tp ^England; 1970$ Hitchcock makes his last films, Prenzy and Pain Uy Plot. Tft79-A year before his death In 198G' Hitchcock te®iyes the American ffirMnstitute's Life Achievement Award. This year he iS also. I knighted by Queen EJi zabeth i I. KNOW MORE THAN THE ACTORS It is said that no matter how many times you have seen Psycho, you always experience fear and suspense. strange young man and his crotchety old mother... Almost immediately the girl is stabbed to death in her cheap motel shower. You are terrified, but that's only the beginning. Though the film becomes less violent as the plot develops, you get more and more frightened. Hitchcock keeps you in suspense till the very end. The nerve-racking music adds to the effect. THE AUDIENCE SHOULD Hitchcock uses various tricks to create the atmosphere of suspense in his films, but the main thing, according to his theory, is that the audience knows more than the actors. You know that the actor is in danger, you would like to step in and help him, but you cannot! All you can do is suffer in silence and hope for the best. The Lodger Жилец roomer ['ru:ma] жилец, постоялец Jack the Ripper Джек-Потрошитель The Lady Vanishes Леди исчезает chase film фильм-погоня award [a'wo:d] награда to turn out выпускать Suspicion [sos'pijn] Подозрение Lifeboat Спасательная шлюпка Rope Канат remake [zri:meik] новая версия фильма Vertigo ['va.tigou] Головокружение North by Northwest К северу через северо-запад where it belongs где ему и место Marnie ['ma:ni] Марии Frenzy [ frenzi] Исступление Family Plot Семейный заговор to knight [nait] посвящать в рыцари, возводить в рыцарское звание crotchety [ krotjiti] сварливая to stab to death убить ножом violent [zvaiolont] насильственный, жестокий as the plot develops по мере развития сюжета nerve-racking [ пз:7 raekirj] зд. пронзительный to add to the effect усиливать эффект varous ['vearias] различный, разнообразный to hope for the best надеяться на лучшее
Vertigo fe probably one of the most discussed worksby Alfred Hitchcock. It should be seen фиге than once to be understood. It s a double-identity thriller that has several classic Hitchcock tricks. Hitchcock makes the audience share the mam character's contusions and uncertainties. James Slewart, as Scottie, is baffled by the identity of the gid he loves. Who is Madeleine? Who is ludy? Are they really the same girl? The audience suffers with him. Madeleine falls to het death from a belltower. At this point Hitchcock seems to take the audience into the brain of his main character. Scottie suffers from vertigo, or dizziness caused by a fear of height By clever camera work and props, the audience is made to experience the vertigo that Scottie feels. They share Scottie's terror and shock at the horrifying death. I he tension builds almost to the breaking point. DANGER CAN BE FOUND EVERYWHERE You have probably seen The Birds, one of Hitchcock's best films. It is based on a short story by Daphne Du Maurier, but Hitchcock adds horror of his own. The action takes place in sunny California, but the bright daylight soon becomes dangerous. For some unexplained reason, all the birds begin to attack people. These small peaceful creatures suddenly become killers. Beaks and claws become deadly weapons. One of the most chilling scenes in the film is also one of the quietest. Four people are sitting in a closed room. They know the birds are outside, ready to attack. The child, the young man, the young woman, and the older You can see Alfred Hitchcock in nearly all life films (in small silent roles/of course). Sometimes he is just < passerby or passenger on a bus, but his tans always notice him! double-identity thriller [ dAbI ai'dentiti 'Grilo] зд. “приви-денческий” триллер (триллер с мотивом “раздвоения личности” to share [fee] разделять confusion [ken'fju^n] замешательство, смущение uncertainty [An'se:tnti] неуверенность to baffle [ boefI] озадачивать, сбивать с толку belltower [bel,taua] колокольня vertigo ['V3:tigau] головокружение dizziness ['dizinis] головокружение fear of height [hart] страх высоты Daphne Du Maurier [ daefni du: mo:riei] Дафна Дюморье creature [ kri:tje] создание, живое существо beak клюв claw [kb:] коготь deadly weapon ['dedli 'wepen] смертельное оружие chilling [ tjilig] леденящим душу
woman look at each other with terror in their eyes. Nothing happens. There is no sound. Hitchcock spins out the silence for a long time. Then a shutter blows open. The man goes to close it, and his arm is bloodied by the birds waiting outside. This little scene sends shivers down your spine and prepares you for worse to come. HORROR RESIDES IN EVERYDAY LIFE Danger can be found everywhere, but real horror, Hitchcock believes, resides in everyday life. If a murder is committed in a lonely house on a hilltop, you feel a certain amount of excitement. But you are not really involved. 'Those are only actors,' you say, as you open another bag of popcorn. But put the murder into an everyday setting and the situation changes. 'That could be me;' you think. In Rear Window, the action takes place in an ordinary-looking apartment house. Jimmy Stewart, the hero, has broken his leg and cannot move around. He spends his time looking out into the courtyard and at other the apartments. The film deals with his efforts to tell what he has seen and to have the murderer caught. At first no one believes him, but the audience knows better. The climax of the film comes when the murderer enters Stewart's apartment to kill him. You realize that Stewart is in great H’tchcvck loved a practiced Jake. Once he got into an elevatoi and started teljihg atl exciting anecdote in a loud voice. JCist before the end of the story, he• gcgt off the elevator Everyone wanted to shout out, 'Finish that stt>ryk Mt Hitchcock strolled calmly awav. apartments. One day, he sees a murder committed in one of danger, even before he does. Stewart cannot move around. He is trapped. Hitchcock spins out the suspense until the audience is on edge. Then comes the swift climax, and the film is over. The murderer is captured — and Stewart breaks his other leg! 'Wow!' you exclaim. 'That was exciting!' We all like to be scared — safely! to spin out затягивать, растягивать a shutter blows open ветром распахиваются ставни sends shivers down one’s spine (от этой сцены) мурашки бегают по спине to reside [n zaid] жить; быть присущим, свойственным to commit [ke'mit] a murder совершить убийство hilltop [ hiftop] вершина холма ycu are not really involved [in volvd] зд. непосредственно вас это не касается Rear Window Окно во двор apartment [о pa:tmant] house амер, жилой многоквартирный дом courtyard [ ko:tja:d] внутренний двор effort ['efat] попытка climax [ klaimaeks] кульминационный момент; развязка Не is trapped. Он в ловушке. on edge в нервном состоянии, в напряжении swift быстрый to scare [skea] пугать practical joke розыгрыш elevator [ eliveite] амер лифт exciting [ik saitiij] захватывающий увлекательный to stroll [stroul] прогуливаться, зд. идти неспешной, фланирующей походкой
FOLLOW-UP ACTIVITIES 1. Are the following sentences True or False? 1. Alfred Hitchcock has his own theory of how suspense should be built. 2. Hitchcock believes that the audience should suffer as much as possible. 3. Hitchcock makes the audience suffer by making his films more and more violent as the plot develops. 4. According to Hitchcock, the audience should never know more than the actors. 5. If a murder is committed in a lonely house on a hilltop rather than in an ordinary apartment house, the audience will be more frightened. 6. Music, too, can help create the atmosphere of suspense. 7. The action of Psycho takes place in a large expensive hotel. 8. In Vertigo the hero suffers from dizziness. 9. Hitchcock used Daphne Du Maurier’s stories only once. 10. Hitchcock began his film-making career in Hollywood. 11. Rear Window has a happy ending. 12. We can see Alfred Hitchcock in small silent parts in most of his films. 2. Discussion Questions 1. What is suspense? 2. Do you like to be scared — safely, of course? Why? 3. According to Hitchcock, which would probably be more scary as the scene of a murder: a lonely house deep in the woods or a McDonald’s cafe? Why? 4. How does Hitchcock create the atmosphere of suspense in his films? 5. If the audience knows more than the actors, how does it feel? 6. Does the use of delay help create the atmosphere of suspense? 7. What did Hitchcock mean by saying that ‘danger can be found everywhere’? 8. What’s the main idea of The Birds? 9. What is Rear Window about? 10. In The Man Who Knew Too Much the murder of a diplomat is going to be committed at a concert. The shot will ring out at the very moment the cymbals will drown out the shots. How do you suppose Hitchcock builds suspense for the expected murder? 11. Why do you think Hitchcock’s films are so popular? 12. Which of Hitchcock’s films have you seen? Did you experience fear and suspense? 3. The following events are scrambled. Can you arrange them in proper order, as they happened? (a) Hitchcock moves to Hollywood. (b) Hitchcock puts his programme, Hitchcock Presents, on television. (c) Rebecca wins an award as the best picture of the year. (d) Hitchcock directs The Lodger, his first suspense film. 4. If you do the puzzle on the next page, you will iearn one of Hitchcock’s famous aphorisms.
1. Hitchcock’s first name. 2. Someone makes a move to leave, and the audience makes a sigh of.... 3. But someone (s), and the tension builds again. 4. The English for “бомба”. can be found everywhere. 6. These small peaceful creatures may become killers. 7. Alfred Hitchcock was the master of 8. Hitchcock’s first suspense film. 9. Hitchcock uses various.. suspense in his films._ 10. ‘Always make the audience Hitchcock liked to say. (s) to create the atmosphere of 11. Hitchcock’s first Hollywood film. 12. 1 as much as possible,’ you exclaim. ‘That was exciting!’ as the plot develops, you 13. Though the film becomes less get more and more frightened. 14. The action of Psycho takes place at a small cheap...... 15. The motel is run by a strange young man and his.........old mother... 16. The English for “напряжение”. 17. The English for “ужас”. 18. One of Hitchcock’s last films. 19. Hitchcock knew how to keep the viewers on the....... of their seats. 20. The English for “убийство”. 21. The centre of the American film industry situated in Los Angeles. 22. The English for “сюжет”. 23. The English for “закалывать ножом”. 24. If a murder is committed in a lonely house on a hilltop, you feel a certain amount of excitement. But you are not really .. 25. But put the murder into an everyday.....and the situation changes. ‘That could be me!’ you think. 26. Danger can be found everywhere, but real horror......(s) in everyday life. 27. We all like to be scared — 28. ‘...and remember, the next you hear may be your own!’ 29. The English for “страх”. 30. One of Hitchcock’s most discussed films. 31. ‘Television has brought murder into the belongs.’ 32. The English for “публика, зрители”. — where it 33. Hitchcock developed his skill to the point of high (answers on page 56)
The two girls greeted Mr Lux too and sat on each side of Hubert, very near. He was introduced. The flatfaced young man was Meakin, the red-haired girl was Patsy, the blonde, who was now squeezing Hubert’s arm, was Dot. Mr Lux ordered whiskies for all the company and then explained to Meakin in whisper “what was doing”. Meanwhile the two girls were making a friend of Hubert. They did this by squeezing his arms, tapping his feet with their feet, and talking about him as if he wen1 not there. “Patsy, dear,” said the terrible Dot, “he is a nice boy,” And she put her cheek to his face for a moment. Hubert felt very uncomfortable. He tried to produce a cynical laugh but something went wrong with it and he only smiled. “Watson, old man!” cried Mr Lux across the table. “Enjoy yourself.” Hubert was not sure that he was enjoying himself. He decided to leave the Sports Club very soon. There were many things here that he didn’t like, though the red-haired Patsy was certainly pretty and a figure in the tradition of an adventure. Patsy took her glass and said to Hubert: “I am thirsty. I should like some champagne.” Hubert merely smiled. He had only four pounds with him, and he needed every shilling of it. Buying champagne had never been part of the adventures that he had dreamed for himself. So he said nothing and waited. “Here, Luxy,” cried the other girl, “what about it? I want some champagne too.” “Ah, these girls,” said Mr Lux. He gave a nod to his friend Meakin, and rose from his chair. “Well, We shall have a bottle. Just give the order, Watson. I shall come back in a minute.” And he w^ent awray. In a few minutes the waiter brought champagne, and there were no signs of Mr Lux. The waiter filled the glass- to squeeze [skwirzj сжимать in whisper [wispo] шепотом tapping his feet with their feet касаясь его ног своими cheek [tji.k] щека to enjoy oneself хорошо проводить время, веселиться merely [Tniali] только gave a nod кивнул
es and said to Hubert, “Two pounds five shillings, sir, if you please.” Hubert stared at him. “If you please,” repeated the waiter, looking Hubert straight in the eyes. “But — isn’t it — Mr Lux...” They were all looking at him now. There was no way out. Hubert put down three pound notes and had to give the waiter five shillings as a tip. Two pounds ten! A stupid adventure. But he was thirsty. He drank his champagne and feeling fresh, he filled his glass and the glasses of his three companions again. Hubert felt that somebody was staring at him. He looked up and met the eyes of a young man in a blue suit who had just crossed the room. This unpleasant-looking fellow now stood before their table, and suddenly pushed his long neck out, so that his face came nearer and nearer to Hubert. “All right, Tommy, all right,” cried Dot in a trembling voice. Tommy made an angry noise, looked at all of them once more and then left them. Hubert drank some more champagne. He needed it after making the acquaintance of Tommy. But he had not finished making acquaintances this evening. A very fat and most disgusting woman arrived at the table. “Hallo, hallo!” she cried sitting down in front of them. “Have a drink, Tiny?” said Dot, pushing over the bottle. “This is a friend of Luxy’s, and a very nice boy.” “Pleased to meet you,” said Tiny, “but I didn’t catch the name.” “Watson,” Hubert said, hating her. Before Hubert had time to make more acquaintances a whistle rang through the room. It stopped the piano and the dancing at once and brought everybody to waiter [weita] официант there were no signs [sainz] of нигде не было видно straight [streit] прямо There was no way out. Выхода не было. tip чаевые stupid [stjurpid] глупый suddenly pushed his long neck out вдруг вытянул вперед свою длинную шею trembling [ tremblir;] дрожащий to make the acquaintance [ek'weintens] of smb познакомиться с кем-либо disgusting [dis'gAStirj] отвратительный I didn’t catch the name я не расслышала твоего имени
their feet. All the lights went out except one above the door near them. Dot and Meakin hurried Hubert through the door holding him at each side by his arms. Hubert could feel that Tiny, the fat and disgusting woman, was behind, pressing against him. It could not be anything else but a police raid. All that Hubert wanted to do now was to get safely away. At last they were in a dark street, where several small cars were standing. Into one of these they all crowded. Meakin started the car at once and drove at a great speed through some dark streets. Then they stopped at some tall house. Dot got out first, took out a key and opened the door. “Hurry up,” she said. Hubert hesitated. “I don’t think I shall come in, thank you,” he began. “Of course you will go in,” said Meakin and caught his arm. “If you don’t, you will be arrested in a minute.” Hubert was too frightened to argue with him, so he followed Dot and Tiny (Patsy had disappeared during the raid) up a staircase and Meakin went behind him all the way. They entered a small flat of two rooms. It was a horrible place. It smelled of old blankets, cheap perfume, whisky, cigarettes and cabbage. There were dirty glasses and cigarette ends on the table and on the floor. Hubert looked at his watch. It was a quarter to one. He might have been in his bed now, after having had a cup of tea and a pipe with John at their flat, which seemed to him now a paradise. Dot and Tiny brought some cigarettes and whisky, which they all began drinking out of dirty glasses. Meakin pushed the bottle over to Hubert, but he refused. He had had more than enough of this adventure. Suddenly Meakin said: “Do you hear that?” They all listened, staring at one another. Somebody was coming up the staircase. Dot got up and switched off the light. whistle ['wisl] свисток brought everybody to their feet заставил всех вскочить на ноги it could not be anything else but a police raid. Это, несомненно, была полицейская облава. to crowd [kraud] набиться (в машину) to argue ['a:gju:J спорить blanket [ ЫадкЩ одеяло cheap perfume ['p3:fju:m] дешевые духи cigarette ends окурки He might have been in his bed now Он мог бы быть сейчас в постели paradise [ pgeredaiz] рай Не had had more than enough С него было более чем достаточно
The footsteps stopped at the door. A key turned. Then the light was switched on again and Hubert saw that two men were standing at the door. One of them was the sinister Tommy. The other was a taller and older man with a big nose. They came into the room, shutting the door behind them. “You did not expect cur visit,” said the older man. “Oh, no, Meakin,” he cried as Meakin made a little movement. bu shall stand where you are!” And he put his hand into his pocket and produced a revolver. Dot and Tiny screamed. “What is the idea, Jarvey?” said Meakin. ‘You know the idea, Meakin,” said Mr Jarvey. “I know you have got them. Tommy was watching Luxy. Bring them out quick, or I’ll flatten you.” “I have not got them, never had them,” said Meakin. “Go through him, Tommy,” said Mr Jarvey. Then he looked at Hubert. “Hallo, who is this?” “His name is Watson,” said Dot. “Luxy brought him to the Club.” “Friend of Luxy’s, eh? Where do you come in?” Hubert tried to reply, but at this moment Mr Jarvey brought his revolver to Hubert’s nose and he felt almost suffocated. “Nothing there, Tommy?” cried Mr Jarvey still holding the revolver in Hubert’s face. “All right, we shall try this fellow too. Now, Mr Watson, empty your pockets quickly. Help him, Tommy. He is shivering so hard that it will take much time.” Everything in Hubert’d pockets was taken out on the table, his note-case, watch, cigarette-case, two or three letters, and — to his astonishment — a small leather bag. It did not belong to him, this bag; he had never seen it before. Mr Jarvey opened the bag. Hubert s^w the jewels there for one second, before Mr Jarvey put the bag into his pocket. to expect [iks'pektj ожидать You shall stand where you are J Стой на месте! to scream [ski km] кричать What is the idea...? Это что еще за дела? ...or I’ll flatten you а то я из тебя лепешку сделаю Go through him Обыщи его Where do you come in? Ты еще тут при чем? he felt almost suffocated ['SAfekeitid] он почувствовал, что у него перехватило дыхание empty your pockets вынь все, что у тебя в карманах to shiver [ Jive] дрожать note-case бумажник astonishment [estanijmeni] удивление leather [ lede] кожаный to belong [bi log] принадлежать jewels [ dsirelzj pl драгоценности
“I don’t know anything about the bag, really I don’t,” Hubert said. “Mr Jarvey came up to Hubert, “Who gave you that bag, you little rat? Say something.” “I tell you I don’t know anything about it,” cried Hubert. And he began telling them how he had met Mr Lux at the coffee-stall and was taken by him to the Club. Mr Jarvey stopped him. “I sec,” he said. “Was it your idea, Meakin, to plant the bag in case you were stopped by the police? Anyhow, we shall soon know. You come with us, Meakin. And as for you,” he turned to Hubert, “don’t let me see you about again.” Then the three men went out and shut the door. And now at last the two women began to talk. ‘You ought to be ashamed of yourself, young man,” said Tiny. “Oh, shut up,” cried Hubert. ‘You know very well I haven’t done anything. I am going.” He went to the table to collect his things. But Tiny put her hands quickly over the things. “Just a minute, young man,” she said. “Give me those things,” cried Hubert with angry tears in his eyes. The fat horrible woman was now holding his letters. “He calls himself Watson,” she said. “And what do I see here? All to Hubert Graham!” One of the letters had been addressed to him at the flat, the other to the office. She read aloud both addresses. “Giving himself false names, and then trying to get girls into trouble. That is his game.” “And a dirty7 game too,” said Dot. “He will have to pay for it,” said Tiny, taking the remaining notes from his case. ‘ One pound ten shillings, that is all that he has got, and calls himself a gentleman.” to plant [plaint] подсунуть (кому-л. что-л.) don't let me see you about again ты мне больше на глаза не попадайся You ought to be ashamed of yourself Как тебе не стыдно Oh, shut up Да заткнись ты and then trying to get girls into trouble и пытается завлечь девушек в беду Т А л»; e* w,.. ";А еЖ «Г Ж' .«< .<«' " ЖЙ к. Л
Now she was looking at the letters one of which was from his parents. “There are some people who would be surprised to learn about his goings-on,” she said. “Yes,” replied Dot, “but we mustn’t be too hard upon him. He is young. That is a nice watch, Tiny. Perhaps if he gives you that, you will give him his letters back.” “It is letting him off too light,” said the horrible woman, taking up the watch. She threw over the letters which Hubert instantly put into his pocket. Then he took his keys, and his empty note-case. “Give me my watch,” he cried in a trembling voice. Tiny grinned, “Hubert Graham, calling himself Watson,” she began, and at the same time Dot opened the door. “You get out of here as quickly as you can, or you will get yourself into some more trouble. And remember, Tommy will come back in a minute, so you can wait for him — if you really must see him.” Hubert ran down the staircase and the last thing that he heard, as the door shut behind him, was their laughter. He knew they were laughing at him, and he knew that he deserved it. And it was the last bitter drop in the cup of his misery7. It was some time before he found his way to his flat. He might have been at home two hours ago, with four pounds in his note-case, his watch in his pocket and his self-respect intact. John was still in the sitting-room with a book and an empty cup in front of him. “Hallo, young man!” he said. “Oh, but it is late. Where have you been? I shall make a cup of tea for you.” ‘Yes, thank you,” said Hubert and he sat happily in his arm-chair, safe at home at last. goings-on похождения we mustn’t be too hard upon him не будем слишком строги к нему It is letting him off too light Так он слишком легко отделается to grin ухмыляться You get out of here Убирайся отсюда to deserve [di'Z3:v] заслуживать bitter [ bite] горький misery [ mizeri] страдания It was some time before he found his way Прошло порядочно времени, прежде чем он нашел дорогу Не might have been at home two hours ago Он мог бы быть дома два часа тому назад intact [in taekt] нетронутый, неуязвленный
SHAKING HANDS Have you ever noticed how you shake hands? According to Peter and Karen Viney, different people have different handshakes. In their new coursebook Handshake they give the following classification of different kinds of handshake: (a) The ‘bone crusher’ handshake (b) The ‘upper hand’ handshake (c) The firm handshake (d) The limp handshake or ‘dead fish’ (e) The two-handed handshake 1. Study the pictures below. Can you match the pictures with the handshakes?
2. People who work with their hands (artists, musicians, surgeons, etc) often give a limp handshake. What can you tell about people from their handshakes? PRONUNCIATION CLASS Here is a shopping list. Can you read it correctly? e.g. She has a firm handshake. I think she’s a confident person. Use the words below. 3. How many adjectives can you find in this word square? UFG I CQABKDF NERVOUSXTZO FASALESJWCR RGXADWEAKTM IGCHXEERFULA EREYWTTVGPL NECONF I DENT DSSHY I VUN I C LIMPLREHTCM YVWARMYQ L EO RESTRONGEZL (answers on page 56) TONGUE TWISTER Don’t trouble trouble Until trouble troubles you. It only doubles trouble And troubles others too. FOR EXPERIENCED TRAVELLERS What do you call a person who comes from... Australia __________________________ Belgium_____________________________ Japan ______________________________ Egypt ------------------------------ Switzerland ________________________ Denmark ____________________________ Iraq_______________________________ Poland _____________________________ Portugal____________________________ Spain ______________________________ Based on Handshake by P. Viney & K. Viney Reprinted with kind perm sston of the Moscow Office of Oxford Uni ✓ersity Press
MAKING A PROPOSAL I'he Godfather is a film about the New York Mafia. In the film, Sollazzo, a gangster, makes a proposal to the man they call ‘The Godfather’, Don Corleone. Here is the script. SOLLAZZO. Don Corleone. I need a man who has powerful friends. I need a million dollars in cash. I need, Don Corleone, those politicians that you carry in your pocket like so many nickels and dimes DON CORLEONE. What is the interest for my family? SOLLAZZO. 30%. In the first year, your end should be 3...4 million dollars. And then it would go up. DON CORLEONE. And what is the interest for the Tattaglia family? SOLLAZZO. I’ll take care of the Tattaglias ... out of my share. DON CORLEONE. So I receive 30% for finance, political influence and legal protection. That’s what you’re telling me. SOLLAZZO. That’s right. DON CORLEONE. Why did you come to me? Why do I deserve this generosity? SOLLAZZO. If you consider a million dollars in cash just finance... ti salute, Don Corleone. nickels and dimes small American coins of not much value (5 c. and 10c.) your end your return the Tattaglia family one of Don Corleone’s big rivals 1. Read the script and make a summary of the deal in the box below. WHAT DOES SOLLAZZO WANT? What is He offering? 2. Now look at the script and notice how the meeting is structured. In which order do these stages occur? (a) Don Corleone summarises. (c) Sollazzo says what he wants. (b) Don Corleone asks what is in it for him. (d) Sollazzo explains what he s offering. 3. Here is some of the language you can use for each of those four stages. Write the phrases and sentences in the appropriate boxes. If you are making an offer HOW TO SAY WHAT YOU WANT HOW TO SAY W! lAT YOU'RE OFFERING And if you re listening to an offer... HOW TO SUMMARISE THE DEAL HOW TO ASK ABOUT YOUR INTERESTS (answers on page 56} Based on Powerhouse, An Intermediate Business English Course, by David Evans Reprinted with kind permission of the Moscow Office of Addison Wesley Longman Limited
WHO CARES ABOUT AIDS? Millions of people throughout the world have AIDS. It’s an extremely 2020 there will be over 40 million orphans under the age of 15 in the serious disease and it often leads to death. Of the 30 million people living with AIDS in the world 9 out of 10 do not know that they are infected. 7 thousand young people aged 10-24 are infected with AIDS every day. 5 young people are infected with AIDS every minute. By the year world. Most of these children will have lost their parents to AIDS. This poster is from South Africa — the country that has been hit hardest. Look at it, then read what different people say about the problem. Who do you agree with? Is it important to care about AIDS? DEBATING SOCIETY • I’ve got AIDS. I don’t want to die. I don’t understand why people forget about this serous problem. Anybody — black or white, male or female, rich or poor — can get AIDS. • We don’t realize that it’s only the tip of the iceberg. People all over the world must combine their efforts and stop the further spread of this terrible disease. • People with AIDS have medical problems but they are normal people. They want to have friends and enjoy themselves. Why do other people avoid them? You can’t get AIDS if you speak to a person with AIDS, can you? • Young men shouldn’t be fooled into believing that being manly means having unprotected sex with many women. Being manly is the ability to stand up to negative pressure from friends. • Everybody knows that AIDS involves unprotected sex and drugs. So if someone has AIDS, it’s their problem, not mine. It’s probably their fault, too. • Why should I care about AIDS? I don’t have it, and I don’t know anybody who has it. I’m sure I’ll never get it because I lead a healthy life. с I think that people with AIDS are dangerous to society. They have no right to live among us. They should be kept in reservations. • I’m an optimist. I’m sure that by the time I grow up, scientists will have found some anti-AIDS pills.
THE BIRTH OF T Can you imagine life without films or television, cinema's little sister? Today we can watch television 24 hours a day, we can go to the cinema or put a cassette into our video when we want. We can even make video films ourselves. But imagine the surprise and the shock that people felt when they saw the first films in 1895! There was no sound, no colour and the films were very short: they lasted from 60 to 90 seconds! Besides, they did not tell a story. They were glimpses of real life: a military parade, a running horse, a boxing match, the ocean... One of the first films showed a train coming towards the camera. The audience panicked and ran away! The frightened people were sure that the train was coming into the theatre. The early films were shown in music halls, theatres, cafes and even shops. Travelling projec-t i о n i s t s brought the films to smaller cities and country towns. IS IT ART? The cinema was the perfect popular entertainment. It was not expensive and, at first, the audience consisted mainly of workers. The rich and intellectual classes ignored it. They didn't think it was art. For example, the London Times wrote about one of the Lumiere brothers' first shows in 1896 and didn't mention the cinema again until 1904! glimpse [glinrps] зд. картинка (реальной жизни) military parade [ niiliteri pe reid] военный парад audience ['o:diens] публика, зрители projectionist [pra'd3ekfonist] киномеханик unenlarged [,Anin la:d 3d] не-увеличенный to run идти (о фильме) peephole [zpi:pheul] глазок, смотровое отверстие spool [spu:l] катушка, намоточный барабан parlour ['pa:le] зал, салон to replace [ri'pleis] заменять to contribute [kan'tribju:t] делать вклад, содействовать invention [in'venjn] изобретение motion-picture camera кинокамера projector [pre'djekte] кинопроектор basement ['be*sment] подвал newsreel ['nju:zri:l] кинохроника comedy shot ['komedi ZJot] комедийный эпизод entertainment Lente teinment] зрелище, развлечение
ГНЕ 'SEVENTH ART Pioneers of the Russian cinema are Protazanov, Gard n, Bauer, and later Eisenstein, Pudovkin, Dovzhenko. The first films in the West were mamly melodramas or comedies. In Russia, they were very often historical films or screen versions of the best novels. FILMS BEGIN TO TELL STORIES Gradually films became longer and started to tell stories. Edwin S. Porter was one of the first directors who made such a film in 1903. It was The Great Train Robbery, the first Western in the history of the cinema. It told a primitive but dramatic story about bandits holding up a train. Gilbert M. Anderson (Bronco Billy) played in this film, as he said, 'everything but the camera'. He rode a horse. He was a passenger on the train who was killed and he was also the bandit who shot him. This 11-minute film became a sensation al hit. Porter's film and the storytelling films that followed made the cinema still more popular. In the United States, 'nickelodeons' pear. Nickelodeons' were cinemas (5 cents) to see The Western was the only type of early film which was unique to the cinema. People knew comedies, romances, police stories and melodramas from the theatre. But the Western was new, and especially popular with children. to ignore [ig no:] не замечать, игнорировать gradually [graedjuali] постепенно to hold (held) up совершить налет, ограбить nickelodeon [,nikl'aiidian] дешевый кинотеатр to afford [e'fo:d] позволять себе silent film [,sailant 'film] немой фильм title ['taitl] титр several short films. It was much cheaper than other entertainments and everybody could afford it. As soon as the films learned to tell stories, they began to film the classics. Silent films had orchestras, organists or pianists. Later, printed titles were invented. The titles gave dialogue, descriptions of action, or commentary. SPECIAL EFFECTS Film-makers soon learned how to use special effects. The first known special effect was created in 1895 by Alfred Clark in The Execution of Mary, Queen of Scots. It was a simple trick: the camera was stopped and the actress replaced with a doll. In the mid-191 Os the first new theatres opened in the USA and Europe. They were called 'dream palaces' because of the fantastic luxury of their interiors. unique [jir'nrk] единственный в своем роде, уникальный romance [ra'maens] любовная история melodrama [zmeladra:ma] мелодрама screen version ['skri:n уз:]п] экранизация luxury [ lAkJeri] роскошь interior [in'tiaria] интерьер
In Europe, special effects were developed by a French film-maker Georges Melies. A professional magician by trade, Melies made a lot of interesting experiments. Between 1896 and 1913 he produced, directed and acted in more than 500 films! Many modern special effects can be traced to the work of this talented man. Unfortunately, most of these films are lost. With special effects films become more exciting, and sometimes more frightening. When directors make their films, they can use many special effects. For example, in the film Who Framed Roger Rabbit cartoon characters play with live actors. HOLLYWOOD In 1911,, the first studio was opened in Hollywood, Los Angeles. Film-makers soon realised that Southern California's climate was perfect for shooting films all the year round. And the area had settings for nearly any film — it had mountains, desert and ocean. Soon nearly all important American studios were in the film-making capital of the world. The men who ran Hollywood studios were businessmen and their main aim was Hollywood and it became Making films is expensive. On the average, it costs 36 million dollars to produce a film. Some of this goes to pay the actors, and large sums can be spent on special effects. Marketing the film to the public may cost another 17 million dollars... to make money. They soon realized that the best way to do this was to standardize their films. When the audience liked a certain kind of film, the studios made many more of exactly the same kind. By the 1920s, 80 percent of world films were produced in Hollywood. Today, special effects have become a film industry in itself. They are usually created by computer, like this one from The Mask. The Hollywood sign is 'a sign of disillusion' for many people who make their pilgrimage there, dreaming of a career in the movies. exciting [iksaiting] захватывающий, увлекательный execution Leksi'kju^n] казнь to develop [di'velep] создавать, разрабатывать; развиваться) magician [тэ'бз^п] иллюзионист to trace [treis] восходить, прослеживаться to shoot [fu:t] (shot) снимать (фильм) Who Framed Roger Rabbit? Кто подставил кролика Роджера? live [la;v] живой on the average [ aevrid3] в среднем disillusion [?disi lu3n] разочарование pilgrimage [ pilgrimid3] паломничество aim [eim] цель to standardize ['staendedaiz] стандартизировать
MOVIE STARS As the industry developed, it created a new phenomenon: the international star. World travel was still slow and difficult in those days, but millions of people in different countries could see the same actors and actresses at the cinema. Their faces, and later their voices, were familiar to people in the countries they never visited. It was an entirely new experience to see a 'star', someone to identify with and love from a distance. All over the world, from Paris to Tokyo, from London to New York, millions of people stood in long queues to see their favourite stars. A famous star could make any film a certain success. So the studios went to great lengths to make their actors into stars. The publicity department gave them an image, and often a name. They dictated the clothes the stars wore, where they lived, what parties they went to... Today, Hollywood is not what it was. Many studios have moved to other places. The film stars have also moved to areas like Beverly Hills and Malibu. But visitors to Hollywood today can go to the famous Chinese Theatre and see the footprints and autographs of famous film stars. They can go down the Walk of Fame and see the golden stars on the pavement... to go to great lengths идти на все, стараться изо всех сил publicity [рл blisiti] department отдел рекламы footprint [ futpnnt] след, отпечаток ноги autograph [o:tagra:t] автограф Walk of Fame Аллея Славы phenomenon [fi'nominan] (pl phenomena) явление, феномен familiar [fa'milia] знакомый, известный experience fikspiarians] зд. переживание, ощущение to identify [ai dentifai] отождествлять, сравнивать
By 1916, Charlie Chaplin had what was probably the best-known face in the world. The public transformed him from a star into a mythic figure. Cartoons, poems and comic strips under the Chaplin name appeared in newspapers. Chaplin dolls, toys and boots were manufactured. This little man made the whole world laugh with his films. Like many silent film stars, he didn't succeed in 'talkies'. ART OR RELIGION? The popularity of the cinema led to the first attacks against it. Church leaders condemned the new form. They thought that the cinema would steal souls and lead people away from religion. Indeed, early cinemas looked like temples, and people worshipped their favourite film stars. TALKIES The era of the talking film began in 1927 with the enormous success of Warner Brothers' The Jazz Singer. The film mostly told its story with titles, but it had three songs and a short dialogue. There were long queues in front of the Warner Theatre in New York... The silent film was dead within a year. The first 100% sound film, Lights of New York, appeared in 1928. The first colour films were made in the 1930s. Before that films were usually tinted. The Soviet flag in Sergei Eisenstein's Battleship Potemkin was tinted red. The introduction of colour was less revolutionary than the introduction of sound. The silent film soon disappeared, but the black-and-white films are made even today. The 1930s was the golden era of the Hollywood studio film. It was the decade of the great movie stars — Greta Garbo, Marlene Dietrich, Jean Harlow, Mae West, Katharine Hepburn, Bette Davis, Cary Grant, Gary Cooper, Clark Gable — and of a new generation of great directors. It was also the time when two new kinds of films — the musical and the gangster film — first appeared on the screen. Mary Pickford, 'America's Sweetheart', was one of the early stars of silent cinema. She was also the first female millionaire. "I can't afford to work for only 10,000 dollars a week," she used to say. Thousands of young girls went to Hollywood hoping to become rich and famous like her. to transform [traens'fo-.m] зд. превращать mythic [miOik] мифический cartoon [ka:'tu:n] зд. юмористический рисунок с текстом (карикатура) comic strip [ komik ,strip] комикс talkie ['to:ki] разг, звуковое кино, звуковой фильм condemn [kan'dem] осуждать soul [soul] душа temple ['tempi] храм to worship [ W3.jip] поклоняться; боготворить sweetheart [swi:tha:t] возлюбленная era [ iore] эра, эпоха overdose [auvadaus] передозировка
The most important aspect of the cinema was that, for the price of a ticket, people could dream for a few hours. The little boy who went to a Saturday matinee in Manchester or Marseilles could imagine he was a courageous cowboy. The mother in Birmingham or Berlin could imagine she was Scarlett O'Hara in the arms of Rhett Butler. Today, no one disputes cinema's place as the 'seventh art'. According to Derek Malcolm of The Guardian, "Cinema has provided as many great artists over the last 100 years as literature, the theatre, and any of the other arts." Marilyn Monroe was a perfect example of a Hollywood studio star. Her great beauty made her a world-famous sex symbol. But in spite of her success in films, Monroe had a tragic life. She died at the age of 36 from an overdose of sleeping pills. Since her death she has become one of the most written-about film stars in history. Vivien Leigh (Scarlett O'Hara) and Clark Gable (Rhett Butler) in Gone with the Wind. Greta Garbo was one of the few silent film stars who succeeded in 'talkies'. The two words that appeared on billboards — 'GARBO TALKS' — sold more tickets than any other advertisement in the history of the cinema. 'If you wake up in the morning feeling rotten, If you quarrel with your wife, If the taxes are due, If your kid has the measles,4 If you lose your job and if the whole world seems black, Remember there is always this consolation: GARBO TALKS!' wrote a Hollywood comedian and the public happily repeated these lines. Manchester [ maentjiste] Манчестер Marseilles [marseilz] Марсель courageous [ke'reid3os] смелый, храбрый Birmingham ['b3:miijem] Бермингем Berlin [Ьз/lin] Берлин to dispute [dis'pju:t] ставить под сомнение, оспаривать; сомневаться billboard [ bilbo:d] афиша advertisement [od'valismsnt] реклама to feel rotten [Totn] отвратительно себя чувствовать taxes ere due [dju:] пора платить налоги measles ['miizlz] корь consolation [,konsa'leifn] утешение sound [saund] film звуковой фильм to tint [tint] подкрашивать, тушевать matinee ['maetinei] фр. дневной спектакль или киносеанс
1. ACTORS Match the picture and the actor. Charlie Chaplin • Robert De Niro • Jean Paul Belmondo • Marlon Brando Kevin Kostner • Michelle Pfeiffer • Marlene Dietrich • Richard Gere 2. FILM DIRECTORS Match the first names with the surnames of famous directors. 1. Woody 2. Orson 3. Alfred 4. Ingmar 5. Bernardo 6. Steven 7. Federico 8. Roman 9. Andrei a. Spielberg b. Bergman c. Allen d. Bertollucci e. Tarkovsky f. Welles g. Polanski h. Hitchcock i. Fellini 3. FILM GENRES Match the genre with the description. a. western b. science fiction c. thriller d. comedy e. horror f. cartoon g. musical 1. A film with lots of music and dance. 2. A film in which unnatural and frightening things happen, such as dead people coming to life, people turning into animals, etc. 3. An action-packed film about cowboys, horses and gunfights. 4. A film about space travel or life in an imaginary future. 5. A film made by photographing a set of drawings. 6. A suspense film full of violence and crime. 7. An amusing film with a happy ending.
4. FILMS Match the picture with the film. The Silence of the Lambs • Pretty Woman • Star Wars • Titanic • Snow White Chostbusters • The Piano • Some Like it Hot • Interview With the Vampire 5. MOVIE TALK 1. You tell the actors what to do: you are the a. director b. producer c. cameraman 2. Your uncle is financing the film. What is he called? a. the director b. the producer c. the bank manager 3. Your sister created the story and wrote the actors' words. She is: a. a scriptwriter b. an editor c. a playwright 4. The person who puts all the different pieces of the film together is called: a. a cameraman b. an editor c. a scriptwriter 5. You want to start filming. What do you say ? a. Camera! b. Motor! c. Action! 6. You want to stop filming a scene. What do you say? a. That's enough! b. Cut! c. Stop! 7. One of your friends wants to play a silent part in a crowd scene. What will s/he be called. a. a star b. a co-star c. an extra 8. The actors and actresses engaged in your film are called: a. the cast b. the heroes c. the company
Of course, you are familiar with the famous vampire Dracula. How much of the Dracula that thrills modern readers and film-goers is fact? How much is fiction? Read the story and you will probably understand how legendary figures can develop. Vampire stories... Hounds howl in the night. A young girl cries out, then is silenced. At dawn her body is found, dead but peaceful, with a faint smile on her face. She is pale, drained of blood, with two tiny puncture marks on her neck. Count Dracula has struck again! Count Dracula has struck again! During the day he is a corpse. But at night he attacks innocent people, mostly girls, and drinks their blood. His victims die and become vampires themselves. That scene, or one like it, has been repeated in dozens of Hollywood movies through the years. Count Dracula, lord of the vampires, is one of the most popular villains of horror stories. His evil deeds never fail to thrill us. Yet hardly anyone knows the true story of Count Dracula. Most of us imagine that he was simply made up, like Frankenstein 's monster. THE STRANGE, TRUE STORY OF DRACULA The popular Dracula of the Hollywood movies was indeed made up. This version of the Dracula story was first told by an author named Bram Stoker, who wrote the novel Dracula in 1897. Bram Stoker's Dracula was based partly on fact. There really was a Count Dracula, who lived hundreds of years ago in Transylvania. In the fifteenth century, Transylvania lay between Hungary and the Ottoman Turkish Empire. The Hungarians and the Turks fought over Transylvania for centuries. Those were religious wars: the Hungarians and the Transylvanians were Christians, while the Ottoman Turks were Muslims. One of the Christian leaders in the wars was Vlad III, Prince of Walachia. He was called Dracul, or "Dragon", for being fierce in battle against the Turks. After he died, his place was taken by his son, also named Vlad. This Vlad called himself "Son of the Dragon" — or, in Romanian, Dracula. Accounts say, he committed a lot of cruelties. He impaled his enemies by the hundreds. But to the poor people of Walachia he was also a patriot and a hero. Most of Vlad's victims, after all, were rich merchants and nobles who oppressed the poor. Vlad made the mistake, though, of impaling too many powerful nobles. He had become Prince of Walachia in 1456. By 1462 he made so many enemies that the king of Hungary had him arrested and thrown into prison. Vlad remained in prison until 1476. Then the king — needing a good fighter against the Turks — released him and restored him to the princely throne of Walachia. After only a few vampire ['vsempaio] вампир Count Dracula [kaunt 'drsekjula] граф Дракула to thrill [Gnl] вызывать трепет fiction ['fik](a)n] зд. вымысел howl [haul] выть to silence ['sailans] заставить замолчать dawn [do:n] рассвет faint [feint] слабый drain [drein] вытекать, утекать (She is drained of blood — зд. Ее кровь выпита) puncture marks [pArjktJa rna:ks] зд. следы укусов corpse [ko:ps] труп innocent [‘inasnt] невинный villian ['vilan] злодей, негодяй his evil deeds never fail to thrill us. Bee его злодеяния повергают нас в ужас, monster [‘monsta] чудовище Transylvania [/trsensil veiniaj Трансильвания Christian ['kristion] христианин Muslim ['mAzlim] мусульманин Walachia [wo leikia] Валахия dragon [ draeg(o)n] дракон, демон fierce [lias] свирепый, жестокий account [a'kaunt] зд. описание, рассказ commit [ka mit] совершать cruelty [ kru:elti] жестокость
months, though, Prince Vlad was assassinated. The historical Dracula was dead. (There is, however, no evidence that the killer drove a stake through Vlad's heart.) The true adventures of the Count, and how he turned from a fifteenth-century warrior into a villain of Hoilywood horror movies, are the strangest of all the tales of Dracula. The story of Dracula shows how a single seed of fact can grow into a tree of legend and fantasy that hardly even reminds us of its historical origin. The story of Vlad Dracula's cruelty continued to spread through Europe. To the true stories of Dracula, many imaginary ones, were added. It was in the late 1 800s, the time when the fashion for gothic horror was strong, when Bram Stoker knew the legends of Vlad Dracula. The original Dracula legends never made him out to be a vampire, but that did not bother Stoker. When he found the tales of Dracula, he realized they were what writers call a "hook"— a bit of history or legend that could be the basis for a good story. In Stoker's Dracula story you will hardly recognize the true Prince Vlad, impaler and Turk-fighter. Instead, Stoker turned Dracula into a perfect gothic villain. When the novel was published, in 1897, it was an immediate hit. People loved it. Today, more than ninety years later, people still love it. Yet, where the truth about Dracula didn't fit into a good story, it has been ignored and forgotten. Where something that never happened would make the story more exciting (such as having Dracula drink blood), storytellers haven't hesitated to add to the story. This is the way that most famous legends have grown. to impale [im'peil] пронзать, протыкать merchant [ mo:tf(e)nt] купец, торговец noble [noublj знатный to oppress [a'pres] угнетать to throw into prison бросить в тюрьму to release [ri'lirs] освобождать, отпускать to restore [ris'to:] восстанавливать princely throne [prinsli 'Graun] кня,кеский трон to assassinate [a'saesineit] вероломно убивать evidence pevidans] свидетельства, факты, данные to drive a stake through the heart пронзить сердце seed [si d] семя to spread [spred] (spread) распространяться gothic ['goGik] готический bother [ bode] беспокоить, волновать hook [huk] крюк, крючок hit [hit] успех (to be a hit иметь шумный успех, произвести сенсацию) fit [fit] подходить (зд. по смыслу, идее) ignore [ig'no ] игнорировать to hesitate ['hez’teit] колебаться 5-6'98

4ear, far, wherever you are ou’ll be safe in my heart if you learn these verbs by heart s bite hide eat beat bit hid ate beaten bitten hidden eaten give forgive forbid forget gave forgave forbade forgot given forgiven forbidden forgotten break wake speak broke woke spoke broken woken spoken do go did went done gone choose freeze steal chose froze stole chosen frozen stolen fallen see be saw was were lay shake take shook took shaken taken AH***— I become became come came run ran seen been lain become come run rise ride drive write blow grow know throw draw fly show swear wear tear beg'n ring sing swim drink rose rode drove wrote blew grew knew threw drew flew showed swore wore tore began rang sang swam drank risen ridden driven written blown grown known thrown drawn flown shown sworn worn torn begun rung sung swum drunk learn lend send spend mean dream keep sleep smell hold leave meet feed lead read bring think teach burnt learnt lent sent spent meant dreamt kept slept smelt held left met fed led read brought thought taught burnt learnt lent sent spent meant dreamt felt kept slept smelt held . left met fed led read brought thought taught buy fight catch bought fought caught bought fought caught make made made pay paid paid lay laid laid say said said stand stood stood understand understood understood get got got sell sold sold tell told told retell retold retold sit sat sat have had had build built built find found found hear heard heard lose lost lost shoot shot shot stick stuck stuck win won won Fcost cost cost cut cut cut hit hit hit hurt hurt hurt let let let set set set shut shut shut spread spread spread put put put
Once there was a sultan who loved to eat. He ate three or four times a day. One after another, he ate yoghurt soup and potatoes with yoghurt and meat with yoghurt and fruit with yoghurt. His dining-room was beautiful. There were large mirrors, thick carpets and expens- ive furniture in it. Music was played. Birds sang in their cages. Every day, the sultan looked in the mirror. He smiled when he saw how fat and round he was. 'I am sure I'm the fattest, roundest sultan in the world,' he thought. One day the sultan found that it was very difficult for him to walk: his body was too heavy. He couldn't wear his beautiful clothes: they were too small. The sultan couldn't get into his bath. A new bath was made, large enough to hold two elephants! Ten men helped the sultan to get into the bath. Ten men helped the sultan to get out again. The sultan was getting fatter and fatter. His beautiful expensive bed broke under him, his throne got a crack... Something had to be done. The sultan called his best magician. 'I am too fat. I can't wear my beautiful clothes! I can't sit on my throne! I can't walk in my garden! I want to get thinner. Try some of your magic spells!' The magician tried his best magic spell but it didn't help. He tried another one. The sultan didn't get thinner. 'I'm too old,' said the magician. 'I can't help you. You must find a doctor.' The sultan's men went out all over the kingdom, crying: 'Listen! Listen! sultan ['SAlten] султан yoghurt ['joget] йогурт mirror ['mire] зеркало expensive [ik'spensiv] дорогой, дорогостоящий furniture [farnitfe] мебель cage [keidj] клетка round [raund] круглый body [ bodi] тело heavy [ hevi] тяжелый to wear [wee] (wore; worn) носить to hold [heuld] (held; held) держать; вмещать throne [Qreun] трон ... got a crack [kraek] дал трещину Something had to be done. Нужно было что-то делать, kingdom [ kirjdem] королевство magician [me djifn] волшебник magic spell Lmaedjik spel] волшебное заклинание
The Sultan has become too fat. He must have a doctor to help him to become thin again. Who can help the Sultan? Your prize will be great.' Doctors hurried to the palace from all parts of the kingdom. Each one was sure that he could help the sultan. The first doctor looked at the sultan. Then he said, 'My Sultan, you must eat nothing but fruit.' The sultan tried for a week to eat nothing but fruit. He had fruit for breakfast, lunch, afternoon tea, and dinner. He tried to eat nothing but fruit. Oh, he ate between meals now and then. Some potatoes with meat, or white bread with butter and jam... And nothing was better than a few plates of honey cakes. At the end of the week, the fist doctor came to see the sultan. The sultan was fatter than ever. shouted the sultan. 'Give him nothing but fruit.' Another doctor looked at the sultan. Then he said, 'My Sultan, you must take nothing but hot tea.' The sultan tried for a week to take nothing but hot tea. He had hot tea for breakfast, hot tea for lunch, hot tea for dinner. Oh, he ate between meals now and then, because he was so hungry. Some rice with meat, some bread with jam and, of course, honey cakes. At the end of the week, the second doctor came to see the sultan. The sultan was fatter than ever. 'Take him away! Put him in prison!' shouted the sultan. 'Give him nothing but hot tea.' The third doctor came. 'Give the sultan hot baths every day,' he said. The sultan had hot baths every day but between baths he ate and ate. So this doctor was sent to prison, too. prize [praiz] награда to hurry ['hAn спешить, торопиться palace ['paelis] дворец nothing but fruit только фрукты (ничего, кроме фруктов) meal [mi:l] еда, прием пищи (завтрак, обед, ужин) to eat between meals перекусить now and then время ст времени honey cake ['hAni zkeik] пирожок с медом More and more doctors came. 'Nothing but meat!' said one doctor. 'No music at meals!' said another. 'Nothing but yoghurt!' 'Nothing but rice1' One after another, forty doctors tried to wise page. after another, forty doctors were put in prison. As for the sultan, he grew fatter and fatter. * * * furniture from a whole The suktan was fatter than ever. Султан стал еще толще. Put him in prison! Посадите его в тюрьму! rice [rais] рис wise [waiz] мудрый hamal ['hssml] носильшик paqe [peid3] паж to lift [lift] поднимать palace. On his back he carried the furniture of a whole house. 'Hamal!' called the sultan's page. 'Come to the palace!' The hamal put down the furniture.
house/ said the page. 'Lift our sultan into his bed/ For a minute the hamal looked at the sultan. He knew of the sultan's problems. 'What does it matter if he sits on his throne or gets into his bed? He will be dead in forty days!' the hamal said. 'What did you say?' asked the sultan. 'You'll be dead in forty days,' said the days.' page. 'How do you know?' 'I just know,' answered the hamal. 'Believe me. You prison!' shouted the l sultan. Two men caught the ; hamal and took him to й prison. As for the sul- tan, suddenly he was not hungry at all. At breakfast he ate a little brown bread. At lunch he had fruit. At afternoon tea he had a little honey cake. At dinner he ate a small piece of meat. He didn't eat between meals. He couldn't look at potatoes, rice and jam. Day after day passed. The sultan was very sad. At the end of twenty days he got up. His feet felt funny, but he could walk again. He walked in his palace hour after hour. Only twenty more days! strange happened to them. Now they were too big for the sultan. On the thirty-ninth day, the sultan made younger brother. The forty-first day came. It was sunny and bright. Birds sang in the trees of the sultan's garden. Suddenly the sultan jumped to his feet. This was the forty-first day! He was not dead! 'Send for that hamal!' he cried. The page hurried to the prison. He saw there forty doctors and all of them were thin. 'This is the forty-first day,' said the hamal. 'You are right,' said the page. 'And sultan has sent for you.' the 'There you are!' cried the sultan, sitting up in bed. 'This is the forty-first day. And I'm 'Maybe,' answered the hamal. Then his eyes shone. For a minute the sultan could not say a word. Then a great smile came over his face. He jumped out of bed. He danced about the room. He touched He’ll be dead [ded] in forty days! Он умрет через сорок дней! to believe [bi'li:v] верить It’s a lie [lai]! Это ложь! to make a will составить завещание He passed the kingdom on to his younger brother. Он передавал королевство своему младшему брату Send for that hamal! Пошлите за носильщиком! alive [е laiv] живой shone [Jon] прошедшее время глагола shine светить(ся) scales [skeilz] весы until the scales are even [’i:vn] пока чаши весов не сравняются to order ['o:de] приказывать treasure [Чгезэ] сокровище than a sultan should be чем подобает султану
his thin arms, his thin legs, his thin neck. Yes, he was thin. 'Bring me our new scales!' he shouted. The biggest scales in the kingdom were brought to the sultan. The sultan sat down in the dish at one side of the large scales. 'Now fill up the other dish with gold until the scales are even,' ordered the sultan. The other dish was filled with gold until the great pile was even with the smiling sultan. 'This gold, hamal, is your prize,' said the sultan. 'Take it, and be happy!' The hamal took his treasure, thanked the sultan and left the palace. 'Co to the prison,' said the sultan to the page, 'and tell the doctors that they are free!' One by one, the forty doctors climbed the stone steps. They were happy to see the bright sun again. As for the sultan, he became no fatter than a sultan should be. FOLLOW UP 2. Find 10 names of food that the sultan liked to eat. 1. Find 8 differences. P Y О G H TABLE R I С E Z L A M P О BUTTE P R I S О TEETH E P О T A A G О L HONEY U R T О M R О О M E Z F E E T О R R A Q R U К T О N I L L J E T G G A T О E S M N R A T CAKES 3. Which word is different? a. bed, mirror, gold, throne b. joghurt, milk, tea, potatoes c. prison, fat, round, happy d. neck, arm, clothes, foot e. breakfast, lunch, hungry, dinner f. sultan, page, doctor, palace (answers on page 56)
(Continued from No 4'98) J Sharks swam in the sea long before dinosaurs walked the earth — more than 400 million years ago. There are no more dinosaurs left on our planet, but there are still plenty of sharks. What makes a shark a shark? Among other features, it has a cartilaginous skeleton lighter than bone, and skin covered with toothlike scales called denticles. Besides the five senses that humans possess, sharks have the so called ampullae of Lorenzini, electro-receptors so sensitive that they can detect fields as weak as five-billionths of a volt per centimetre. Different sharks have different habits. Some kinds live in the depths of the ocean and are very seldom seen. Others are found near the surface. Some species of sharks live in coastal waters, but others dwell far out at sea. A few species enter rivers and lakes. For example, Bull Sharks have been captured in the Amazon River in Brazil, in the Ganges River in India, and in the Mississippi River in the United States. Bull Sharks often feed on other sharks and have attacked swimmers. Some sharks, as the Great White, are loners, others like to gather together. Blue Sharks are called the wolves of the sea because they stay together in dinosaur [ dainaso:] динозавр feature [ fi:tja] особенность, признак, характерная черта cartilaginous [ ka:ti'la3d3anas] хрящевой toothlike [ tuzOIaik] зубовидный scale [skeil] чешуя denticle ['dentikl] кожный зуб to possess [pa'zes] обладать, владеть ampullae [aem puli:] of Lorenzini (sing ampulla) ампулы Лоренцини sensitive [ sensitiv] чувствительный packs. Blue Sharks often follow ships for days. A long time ago sailors took it as a bad omen. They thought that someone was going to die. Today we know that sharks follow ships because of the noise they make. When the garbage is thrown into the water the sharks stop and eat it. to detect [di'tekt] обнаруживать, улавливать billion [ biljon] миллиард volt [vault] вольт surface ['S3:fis] поверхность coastal ['kaustl] прибрежный to dwell (dwelt) обитать, жить species [ spi;[i:z] (pl без измен.) вид, род Bull Shark [bulwark] бычья акула to capture [ kaeptja] ловить loner I'leuna] одиночка pack [ раек] стая bad omen ['auman] дурное предзнаменование garbage ['gaibidj] мусор Whale Shark [ weil[a:k] китовая акула Nurse Shark ['ns:sfa:k] акула-нянька shallow [Jaelau] мелкий to pump [рлтр] over перекачивать gills [gilz] жабры motionless [Tnaujnlis] неподвижный J
species, for example the Whale Shark Shark, which are rather slow-moving. Most sharks are fast and powerful swimmers, but there are or the Nurse The Nurse Shark lives among reefs in shallow tropical waters. Unlike most species of sharks, the Nurse Shark can pump water over its gills. Therefore, it doesn’t have to swim constantly and often lies motionless on the sea bottom. Nurse Sharks have attacked people, but most of these attacks were caused by the victim, who foolishly grabbed a motionless animal by the tail. Very often, sharks are accompanied by pilot fish and remoras. The pilot fish swims alongside; the remora attaches itself to the body of the shark. The pilot fish does not lead the shark to prey, as was once believed, and it escapes the shark’s jaws only because of its unusual agility. Some sharks are dangerous, others are harmless. A diver can ride on the back of the Whale Shark without any risk. Most fish lay eggs. But most sharks do not. Their babies are born alive and completely developed. They do not need parental care. A baby A shark’s brain is small but its teeth are big. It has many rows of teeth. When a tooth breaks off, a new tooth moves up to take its place. In some species new teeth replace the rows of older ones as often as once a week! What do sharks eat with all these teeth? Fish and more fish, other sharks, seals, turtles, crabs. Almost anything that swims in the sea. Sometimes they have ‘eating orgies’. At such moments they are especially active, and their jaws rip not only into the food source but also into one another. Although their voracity is legendary, sharks also fast for long periods, when they live on the oil in their livers. Sometimes sharks eat things that are not food. No one knows why. All these things have been found inside big sharks: a wallet, a fur coat, a drum, a bottle of wine, a chest of shark is called a pup. The pup of the Great White Shark is almost the size of a man. As soon as they are born the pups go their own way. It isn’t safe to stay near a hungry mother. jewels, a barrel of nails, and a suit of armourl Do sharks eat people? Yes, they do. ‘The jaws closed around his torso... The fish bit down, and the last thing Hooper saw before he died was the bottom [botem] дно victim [ viktim] жертва to grab [graeb] хватать pilot [ pallet] fish рыба-лоцман remora ['remere] ремора, рыба-прилипала to attach [o'tsetj] прикрепляться) prey [prei] добыча to escape [i'skeip] удирать, ускользать agility [э d3iliti] ловкость, проворство harmless [ ha-mlis] безвредный developed [di vetept] развитый parental care [pe renti kee] родительская забота row [you] ряд to replace [ri'pleis] заменять seal [si:l] тюлень orgy ['o:d3i] оргия to rip вонзаться food source [so:s] зд. съедобная живность voracity [ve'raesiti] прожорливость to fast [fa:st] поститься, голодать liver [ live] печень wallet f'wolit] бумажник drum [с!глт] барабан chest [tjest] сундучок (с драгоценностями) barrel [ baerl] бочка suit of armour ['а:тэ] доспехи torso [ to-.seu] торс, туловище
eye gazing at him through a cloud of his own blood.’ (Peter Benchley. Jaws) However, specialists say, more people die from bee stings than from shark bites! If a person is near a shark, the shark may attack. But it doesn’t happen very often. Fewer than 100 shark attacks a year are reported throughout the world. Most of these attacks occur in the tropical zone between 21° north and south of the Equator. The most dangerous shark in the sea is the Great White Shark. It is so named after its white belly. The Great White shark may be more than 6 metres. It can sink a boat, it can bite a man in two, it can even swallow a man whole. It circles its prey, appearing from nowhere, and often approaching from below. to gaze [geiz] пристально смотреть, уставиться bee sting [stig] укус пчелы to occur [э кз:] случаться, происходить belly [ beli] живот to sink [sirjk] (sank; sunk) топить to swallow [ swoteu] проглотить flesh [flej] мяо smoked [smoukt] копченый pickled [pikld] маринованный fin плавник safety [ seifti] rules правила безопасности wound [wu:nd] рана smoothly fsmuzdli] плавно, ровно thrashing [ Oraejig] резкий to injure [ indja] причинять боль Sharks do not go hunting for people. But people do go hunting for sharks. In fact, the flesh of some sharks is an excellent food. It may be prepared in different ways — fresh, salted, smoked, or pickled. Shark fin soup is also delicious. People who go hunting for sharks have to be very careful. A shark may look dead. Then all of a sudden it can “wake up” — and attack!
WHO WEARS GLASSES? No one knows when and where people first wore glasses. Europeans probably began wearing them in the 1200s. Marco Polo, an Italian trader and traveller, reported that he saw people wearing glasses in China in 1275! In the last century, shops sold new and used glasses. Customers simply tried on glasses until they found the ones that helped them see better — and fit their faces! No one liked wearing glasses because they were unfashionable and often expensive. Women who needed glasses tried to look as fashionable as possible by carrying lorgnettes, glass lenses attached to fancy handles. Sometimes women hid their eyepieces in jewelled fans like the one below. Can you find the eyepiece in the bottom centre of the fan? Today, more and more people wear glasses. It has become fashionable! The frames are lighter than ever and they are in all shapes, styles and colours. The most popular today are frames made of colourful metal. This collection glasses is coo t wearing f you wear glasses, you’re in great company! Every fourth person in the world wears glasses! у the 1900s, people’s eyes got more attention — and more glasses. “ Women’s glasses also became more popular. Some say it’s because cars were developed. If a woman with poor eyesight wanted to drive, she had no choice but to wear her glasses! After World War Two, eyeglasses took a giant step from looking weird to looking wonderful as new plastic frames began to replace heavier metal ones. lorgnettes [lo/njet] лорнет lens [lenz] линза, оптическое стекло to attach [e'taetj] прикреплять fancy ['fsensi] замысловатый, причудливый eyepiece ['aipi:s] окуляр jewelled ['d^ireld] украшенный драгоценностями fan [faen] веер giant ['c^aiant] огромный, гигантский weird [wiad] странный cooi [ku:l] разг, модный, первоклассный Think Your Vision is Perfect? Look at these lines. Which line is longer? They are the same size! Most people will say that the top line is longer because it’s more work to move your eyes up and down than to move them side to side.____________ Try this trick: Ask a friend to draw the figure above, trying to make both lines the same length. Now measure the lines. The top line will almost always be shorter than the bottom line!
MUSIC & MUSICIANS MY HEART WILL GO ON Music by James Horner Lyrics by Will Jennings Every night in my dreams I see you, I feel you. That is how I know you go on. Far across the distance and spaces between us You have come to show you go on. Near, far, wherever you are, I believe that the heart does go on. Once more, you open the door And you’re here in my heart, And my heart will go on and on. Love can touch us one time and last for a lifetime, And never let go till we’re gone. Love was when I loved you, and one true t’me to hold to. In my life we’ll always go on. Near, far, wherever ycu are, I believe that the heart does go on. Once more, you open the door And you’re here in my heart, And my head will go on and on. You’re here, there’s nothing I fear, And I know that my heart will go on. We’ll stay forever this way, You are safe in my heart, And my heart will go on and on. SHE is the most successful female singer in the world and her Titanic theme tune topped British charts for five weeks. She comes from a tight family unit. СйПпе was the youngest of 14 children (nine girls and five boys). She grew up in humble circumstances in a tiny house near Montreal. Her parents worked hard but money was tight and music often paid the bills. The Dion family was singing and dancing at weddings and panies. Cuiline’s father was the family’s band leader. He also did all kinds of jobs, and her mother never worked. СйНпе laughs: ‘Are you kidding, raising 14 kids’’ Every Sunday the family grew bigger. All neighbours and friends wanted to be round them, and they never locked the door. In 1980, the 12-year-old СйПпе already showed an extraordinary vocal range. Rene Angelil, a music entrepreneur in Quebec, recognized a star voice and paid fcr Chine’s first album. Dion quickly became a national treasure in Canada. Her song My Heart Will Go On has won two Golden Globe Awards. СйНпе has houses near Montreal and in Florida, but isn’t driven by a desire for money. She rates health and happiness above everything else. ‘I consider a human being who has had happiness and health has had it all. Everything extra is a blessing.’ in humble circumstances ['S3 kamstans.z] в стесненных обстоятельствах money was tight с деньгами было трудновато Are you kidding, raising 14 kids! Шуточное ли дело вырастить 14 детей! vocal range Lveukl 'reind3] диапазон голоса to rate ценить blessing [ blesirj] благо, дар божий
True or false? lnk ab0 «mes a h Atonal Olympic of the inte Savnarancb-iuan M*on' 3An octopus turns white when frightened or angry. t k Astronomers си ъ 9 sunrises and sixteen a ’ 'n Fafher Christmas7s a w C - a woman. E is the most frequently used letter in the English alphabet. WYou have more than six hundred and twenty muscles in your body. <y The avocado is the most nutritious fruit in the world. It is rich in vitamins, minerals and oil. almost China. The varr/ The official languages of the United Nations are Arabic, Chinese, English, French, Russian and Spanish. e<*>’ very poVae to sue ' ц shows you bave ,ur tongue out evil thoughts- -tn Sharks swam in the sea long before dinosaurs walked the earth. л In Tibet 2.0 at someone. , ,,4 larEest country. It covers Russia is the United States or 1 I twice the territory of e.tne to contain [kan'tein] содержать graphite ['graefait] графит to mourn [тэт] оплакивать, скорбеть octopus [ oktopos] осьминог to blink [blirjk] моргать hexagon ['heksegen] шестиугольник frequently ffrkkwantli] часто muscle ['rru\sl] мышца, мускул avocado [ aevo ka:dau] авокадо nutritious [nju strifes] питательный ostrich [ ostritf] страус evil [zi:vl] злой, дурной (answers on page 56)
Elizabeth Taylor's recipes WOMAN’S PAGE “I love to experiment with food and I think that diet food can taste delicious,” says a famous American film star Elizabeth Taylor. Here are some of her recipes. BAKED APPLE For one medium apple: 3/4 tablespoon currants or raisins. 1/2 orange, chopped. 1 tablespoon sugar 1/2 teaspoon cinnamon 1. Wash and core apples. 2. With a sharp knife, score skin horizontally around fattest part. 3. Mix other ingredients and pack into apple. 4. Place apple into baking dish filled with 1 tablespoon water. 5. Bake until soft. GARLIC CHICKEN 1 medium chicken, cut into pieces 2 tablespoons margarine 4 large garlic cloves 4 tablespoons vinegar 1 glass dry white wine 2 teaspoons mustard 1 teaspoon tomato paste 1 teaspoon flour 2 teaspoons water salt and pepper 1. Brown chicken in hot margarine. 2. Add garlic and cook over low heat for 20 min (until chicken is tender). 3. Remove chicken to serving disk and keep warm. 4. Pour all but a tablespoon of margarine from pan and add vinegar. 5. Turn up heat and boil until liquid is reduced to about 2 tablespoons. 6. Add wine, mustard and tomato paste, mix well and continue to boil. 7. Mix flour with water in a small pan and simmer gently until thickened. Pour in vinegar cream. Mix well, add salt and pepper to taste. 8. If necessary, warm sauce before spooning over chicken. Bon appetite! currant [ kArant] смородина raisins [Teiznz] изюм to chop рубить, шинковать cinnamon ['sinaman] корица to core [ко:] удалить сердцевину to score [sko:] делать насечки clove [klauv] зубок to simmer [ sima] кипятить на медленном огне
CURIOSITY PAGE The world is so full of a number of things, I'm sure we should all be as happy as kings. R. L. Stevenson Ш BEST TREAT FOR A COLD According to scientists, the best remedy for cold is social life. They dropped the common cold virus into the noses of 276 healthy people aged between 18 and 55 and found that gregarious people were less likely to catch colds. Even if they did, the infection was less severe. remedy ['rem'di] лекарство, лечебное средство virus ['vairasj вирус gregariuos [gn'geeries] общительный severe [si'via] сильный (о простуде) THE MOST PORTRAYED CHARACTER Experts say that the most portrayed character on the screen is Sherlock Holmes. The Baker Street detective has been portrayed by some 75 actors in more than 211 films since 1900. In horror films, the character most often portrayed is Count Dracula, created by the Irish writer Brain Stoker (1847-1912). to portray [portrei] играть, изображать (на сцене или в кино) IN FAVOUR OF BEINQ MARRIED There are plenty of jokes about the trials of being married. And we all know that being married doesn’t necessarily mean living happily ever after. But did you know that married people live longer and suffer from fewer chronic illnesses than single people do? In contrast, divorced people have a greater risk of dying early. Widowed people, too, tend to die younger than married folks. In addition, single men are much more likely than married men to experience serious emotional breakdowns. to suffer [ SAfa] страдать chronic ['kronikl хронический single ['siggl] одинокий to divorce [di'vo:s] разводиться, расторгать брак widowed [ widoud] овдовевший to tend [tend] иметь тенденцию folks [fouks] pl люди to experience [iks'piarians] испытывать, переживать emotional breakdown [irnoujanl 'breikdaun] эмоциональное (нервное) расстройство HE OVERDID IT Hollywood directors will sometimes go to great lengths to achieve the effects they want. When Cecil B. De Mille was filming The Ten Commandments in 1956, he was not satisfied with the crowd of actors playing Israelites as they heard the Commandments from Moses. The actors, he felt, did not display the correct degree of emotion. So De Mille announced that a member of the moVie cast had died that morning, leaving eight children behind. He asked the actors to observe two minutes of silence out of respect for their dead colleague. The actors stood quietly, expressions of shock and sadness on their faces. De Mille kept the cameras rolling and got exactly what he wanted to film. Afterwards he told them he had made up the story about the cast member’s death. to overdo fouva'du:] (overdid; overdone) переборщить, перестаратося to go to great lengths ни перед чем не останавливаться, идти на все to achieve [a'tfi:v] достигать, добиваться effect [i'fekt] результат, цель Israelite ['iznalaitj израильтянин, еврей commandment [ka'ma:n(d)mant] заповедь Moses fmauziz] Моисей cast [ka:st] состав исполнителей to observe silence ... out of respect for почтить память (покойного коллеги) молчанием to rol’ [raul] крутиться, работать (о камере) HOLLYWOOD OR BOLLYWOOD? What country has the biggest film industry in the world? India, which produces nearly 800 new feature films a year. “Everybody west of 1 urkey watches Hollywood movies,” says director Blondie Singh. “But everybody east of Turkey watches Bollywood movies. More people in the world watch our films.” fhe Indian film industry is based in Bombay (“Bollywood”), Madras and Calcutta. It usually produces melodramas and romantic films about forbidden love affairs — all musicals. Tradition requires a minimum of six songs per film. feature film ['ti:tfa .film] художественный фильм Turkey ['t3:ki| Турция Bombay [bom'bei] г. Бомбей Madras [ma draes] г. Мадрас Calcutta [kael kAta] г. Калькутта love affair [Iav ajea] любовная история to require [ri'kwaia] требовать WHAT DO THEY DREAM ABOUT? Psychologists say that women are more likely to dream about famous people, politicians, pop stars and actors than men. psychologist [saikalad3ist] психолог
The Model Millionaire Oscar Wilde Unless one is wealthy there is no use in being a charming fellow. Romance is the privilege of the I rich, not the profession of the unemployed. The poor should be practical and prosaic. It is better to have a pei manent income than to be fascinating. These are the great truths of modern life which Hughie Erskine never realized. Poor Hughie! I Intellectually, we must admit, he was not of much importance. He never said a brilliant or even an * ill-natured thing in his life. But then he was wonderfully good-looking, with his crisp brown hair, his clear-cut profile, and his grey eyes. He was as popular with men as he was with women, and he had every accomplishment except that of making money. He had tried everything. He had gone on the Stock Exchange for six months; but what was a butterfly to do among bulls1 and bears2? He had been a tea-merchant for a little longer, but had soon tired of it. Then he had tried selling dry sherry. That did not answer; the sherry was a little too dry. Ultimately he became nothing, a delightful, ineffectual young man with a perfect profile and no profession. To make matters worse, he was in love. The girl he loved was Laura Merton, the daughter of a retired colonel who had lost his temper and his digestion in India, and had never found either of them again. Laura adored him, and he was ready to kiss her shoe-strings. They were the handsomest couple in London, and had not a penny-piece between them. The Colonel was very fond of Hughie, but would not hear of any engagement. “Come to me, my boy, when you have got ten thousand pounds of your own, and we’ll see about it,” he used to say; and Hughie looked very glum in those clays, and had to go to Laura tor consolation. x One mornmg>aSrne was on his way to Holland Park, where the Mertons lived, he dropped in to see his friend Alan Trevor. Trevor was a painter. Personally he was a strange rough fellow, with a freckled face and a red, ragged beard. However, when he took up the brush he was a real master, and his pictures were eagerly sought after. When Hughie came in he found Trevor putting the finishing touches to a wonderful life-size picture of a beggar-man. The beggar himself was standing on a raised platform in a corner of the studio. He was a wizened old man, with a wrinkled face, and a most piteous expression. Over his shoulder was flung a coarse brown cloak, all tears and tatters3; his thick boots were patched and cobbled, and with one hand he leant on a rough stick, while with the other he held out his battered hat for alms. “What an amazing model!” whispered Hughie, as he shook hands with his friend. “An amazing model?” shouted Trevor. “I should think so! Such beggars as he are not to be met with every day! A living Velasquez! My stars! What an etching Rembrandt would have made of him!” “Poor old chap!” said Hughie, “how miserable he looks! But I suppose, to you painters, his face is his fortune?” ‘Certainly,” replied Trevor, “you don’t want a beggar to look happy, do you?” ’’flow much does a model get for sitting? asked Hughie, as he found himself a comfortable seat on a divan. “A shilling an hour.” ’’And how much do you get for your picture, Alan?” “Oh, for this I get two thousand!” “Pounds?” ‘ Guineas4. Painters, poets and physicians always get guineas.” “Nonsense, nonsense! Why, look at the trouble of laying on the paint alone, and standing all day long at one’s easel! It’s all very well, Hughie, for you to talk, but I assure you that there are moments when Art almost attains to the dignity of manual labour. But you mustn’t chatter; I’m very busy. Smoke a cigarette, and keep quiet.” After some time the servant came in, and told Trevor that the framemaker wanted to speak to him. "Don’t run away, Hughie,” he said, as he went out, “I will be back in a moment.” The old beggar-man took advantage of 7 revor’s absence to rest for a moment on a wooden bench that was behind him. He looked so forlorn and wretched that Hughie could not help pitying him, and felt in his pockets to see what money he had. All he could find was a sovereign5 and some coppers. “Poor old fellow,” he thought to himself, he wants it more than I do”, and he walked across the studio and slipped the sovereign into the beggar s hand. The old man started, and a faint smile flitted across his withered lips. “Thank you, sir,” he said, “thank you.”
Then Trevor arrived, and Hughie took his leave, blushing a little at what he had done. He spent me day with Laura, got a charming scolding for his extravagance, and had to walk home. That night he strolled into the Palette Club about eleven o’clock, and found Frevor sitting by himself in the smoking-room. “Well, Alan, is your picture finished?” he asked. “Finished and framed, my boy!” answered Trevor; “and by the way, the old model you saw is quite devoted to you. 1 had to tell him all about you — who you are, where you live. What your income is, what prospects you have----“ “My dear Alan,” cried Hughie, “I shall probably ind him waiting for me when I go home. But of course, you are only joking. Poor old wretch! I wish I could do something for him. I think it is dieadful that anyone should be so miserable. I have got heaps of old clothes at home — do you think he would care for them7 His rags were falling to bits.” “But he looks splendid in them,” said Trevor. “I wouldn t paint him in a frock coat for anything. What you call rags I call romance. However, I’ll tell him of your offer.” “Alan,” said Hughie seriously, “you painters are a heartless lot.” “An artist’s heart is his head,” replied Trevor. ’’And now tell me bow Laura is,” said Trevor. “The old model was quite interested in her.” “You don’t mean to say you talked to him about her?” said Hughie. “Certainly I did. He knows all about the relentless colonel, the lovely Laura, and the 10,000 pounds.” “You told that old beggar all my private affairs?” cried Hughie, looking very red and angry. “My dear boy,” said Trevor, smiling, “tha old beggar, as you call him, is one of the richest men in Europe. He could buy all London tomorrow without overdrawing his accounts. He has a house in every capital, dines off gold plate, and can prevent Russia 1 2 3 4 5 going to war when he chooses.” “What on earth do you mean?” exclaimed Hughie. “What I say,” said Trevor. “The old man you saw in the studio is Baron Hausberg. He is a great friend of mine, buys all my pictures and that sort of thing, and he gave me a commission a month ago to paint him as a beggar.” “Baron Hausberg!” cried Hughie. “Good heavens! I gave him a sovereign!” “Gave him a sovereign!” cried Trevor, and he burst into roar of laughter. “My dear boy, you’ll never see it again.” “I think you might have told me, Alan,” said Hughie sulkily, “and not have let me make such a fool of myself.” > Hughie walked home, feeling very unhappy, and leaving Alan Trevor in fits of laughter. The next morning, as he was at breakfast, the servant brought him up a card on which was written, “Monsieur Gustave Naudin, de la part de M. le Baron Hausberg.” “I suppose he has come for an apology,” said Hughie to himself; and he told the servant to snow the visitor up. An old gentleman with gold spectacles and grey hair came into the room, and said, with a slight French accent, “Have I the honour of addressing Monsieur Erskine?” Hughie bowed. “I have come from Baron Hausberg,” he continued. “The Baron has commissioned me to bring you this letter”; and he extended a sealed envel pc. On the outside was written, “A wedding present to Hugh Erskine and Laura Merton, from an old beggar,” and inside was a cheque for 10,000 pounds. When they were married Alan Trevor was the best man, and the Bat on made a speech at the wedding breakfast. “Millionaire models,” remarked Alan, “are rare enough; but by ove, model millionaires are rarer still!” 1 bull a person who buys business shares in expectation of a price rise 2 bear a person who sells business shares in expectation of fall in prices 3 all tears and tatters old and torn 4 guinea f'gini] a former British gold coin, worth of 1.05 pounds 5 sovereign ['sovrin] a former British gold coin worth 1 pound
I SCHOOL THEATRE - / V FENCED-IN NEIGHBOURS Characters: Setting: By Julia and Andrey Kuzmenkov Mrs. Vivian Hills Mr. Grossman, her lawyer Mr. Morley Catcott A big living-room with two doors on opposite sides. There is a small table with a telephone and two armchairs in the centre of the room. SCENE 1 From the left enter Mr. Catcott, humming a melody. He drops in an armchair and dials a number. Mr. Catcott: Hello, John. Catcott speaking. (Pause.) I’m all right, thanks. I’ve bought a new house at last. (Pause.) Yes, I’m quite happy about it. (Pause.) No, not alone. I’ve got a neighbour, a certain Mrs. Hills. (Pause.) Haven’t seen her yet. I hope she’ll sell her part of the house to me. (Pause.) What am 1 doing? Oh, nothing. Just thinking of going somewhere to celebrate... the fact. (Pause.) Join you in the bar? Why not! Right now? Yes, that’ll be fine. Bye, John. (Stands up and leaves.) SCENE 2 From the right enter Mrs. Hills and Mr. Grossman. He takes a long piece of barbed wire out of his bag, hangs it across the room so that the telephone, the table and one armchair are on his side. Mr. Grossman (to Mrs. Hills)'. It should be here, right in the middle of the room. (Produces the plan of the house on a big sheet of paper and attaches it to the wire). Look, Mrs. Hills, there is the door to enter your side of the house, then the hall, half of the living-room we have just divided, half of the kitchen, the bathroom and the bedroom. And this is Mr. Catcott’s part: he has the door to his hall, half of the living-room, half of the kitchen and another bedroom. Mrs. Hills: I see. And if Mr. Catcott wants to use the telephone or the bathroom? Mr. Grossman: Then he’d go jump in the lake. You just tell him he’d better find another house. This is your protection order. (Gives her another paper.) It is mentioned here that the moment he tries to enter your part of the house he breaks the law and will have to answer for it. So, Mrs. Hills, if it happens, let me know. Mrs. Hills: I’d rather you call me Vivian. I’ve got a divorce at last. Mr. Grossman: OK. Are you satisfied, Mrs. Hills ... err... Vivian ? Mrs. Hills: Quite. Everything’s fine. There is only one problem — Mr. Catcott. Mr. Grossman: You haven’t seen him yet?
Mrs. Hills: No, but I think he is my exhusband’s friend. Mr. Grossman: Let’s make things difficult for him so that he’ll get out of here. Mrs. Hills: Yes, the sooner the better. {Enter Mr. Catcott.) Mr. Catcott (surprised)'. 1 wonder what it’s all about? Mrs. Hills: A very nice good morning to you, Mr. ... Mr. Catcott, right? I’m Mrs. Hills. And this is Mr. Grossman, my lawyer. Mr. Catcott: Glad to meet you. Mrs. Hills (sarcastically)'. Glad to meet you, my dear neighbour. Mr. Catcott: Please, madam, could you tell me what’s going on. I can’t see... Mrs. Hills: All in good time, Mr. Catcott. It’s all very simple. This is your part of the house and that is mine. I’ve put up this fence to protect myself from any intrusion. Mr. Catcott: But why the fence? I don’t understand you, Mrs. Hills. Mrs. Hills: Don’t you? You are my ex-husband’s friend and ... oh, I hate you both... Mr. Catcott (interrupting her): That’s not true! I’m not his friend, he only sold me the house where I intended to live alone. Look herd', what if I gave you, say, $ 20,000 for your part? That’d save us a lot of trouble. Mrs. Hills: Not so fast, Mr. Catcott! First, it is hard to believe that you are not Mr. Hills’s friend. Then, I like this house and I won’t sell it to anybody. Here is my protection order — just in case you dare to interfere with my property. (Hands it to Mr. Catcott) So if you try to come to my part you’ll find yourself in prison. Mr. Grossman here will see to it. Mr. Catcott (studying the paper): But that’s nonsense. You can’t... Mr. Grossman: It’s no use, Mr. Catcott. And it’s in your own interests not to make any problems. I hope, as a gentleman, you’ll respect the lady’s privacy. Mr. Catcott: But Mrs. Hills... Mrs. Hills: Г m not going to be called Mrs. Hills any longer, I’m sick and tired of the name. And I don’t care to have any further conversations with you. Mr. Catcott (mockingly): Be it so, then. Let’s speak in an official way. (To Mr. Grossman): Mr. Grossman, could you tell your client that I’d like to live in harmony. You might as well explain to her that for a lonely man the pleasure of seeing an astonishingly good-looking young woman compensates for the troubles given by the barbed-wire fence in the living-room. Inform her that if she wants to use my part of the kitchen or anything at my end I’d be only glad to have her. Mr. Grossman {coldly): Mrs. Hills, Mr. Catcott wants me to tell you he has no hard feelings. Mr. Catcott: Please, tell her also that I don’t regard her as an enemy. I hate her husband for making all that trouble. And, I take it, it will be all right to shake hands — but, according to the protection order, it’ll have to be her hand on my side of the fence. (To Mrs. Hills, bowing): Right? Mrs. Hills: Hmm... Mr. Grossman: Mr. Catcott, Mrs. Hills wants me to remind you of the protec-
SCHOOL THEATRE tion order. Making passes at her is also against it. (To Mrs. Hills, who stretches her hand to Mr. Catcott across the fence): What on earth are you doing, Mrs. Hills ... err... Vivian? Mrs. Hills: Oh, sorry, Mr. Grossman. I’ve acted on impulse. 1 think, Mr. Catcott is a good sort. I wanted to make things as difficult for him as possible and he was nice about it. Mr. Grossman: Mr. Catcott, Mrs. Hills’s not going to make any further statements, she must obtain some important documents from the court. Let’s go, Vivian. (Takes her by the elbow and practically drags toward the door.) Mr. Catcott (after they have left, bewildered)'. What a situation... (Curtain.) SCENE 3 Mr. Catcott is silting with a guitar singing a song. Enter Mrs. Hills. She is listening, unobserved. Mrs. Hills (after he has finished)'. Has anyone told you that you’ve got a talent for singing? Mr. Catcott: Eh? No, not even my wife. You’re the first. Mrs. Hills: Your wife? You are married, then? Mr. Catcott: I was married. My wife died three years ago. Mrs. Hills: I’m sorry, Mr. Catcott. By the way, have you got settled in the new place ' {Begins to lay the table and makes co) ее in an electric pot.) Mr. Catcott: Not yet, I’m afraid. It’s not so easy. 1 haven’t got any cups and plates in my half of the kitchen, there are only some saucepans on the stove. Mrs. Hills: That’s too bad. Why don’t you go to a restaurant? Mr. Catcott: I’m not used to it. Anyway, cooking is no problem for me. But what about the bathroom... um... suppose I want to have some water? Mrs. Hills: You would like a cup of coffee, then? I see you are dying for it. Mr. Catcott: I’d rather have one, thank you. Mrs. Hills: Some cream and sugar? Mr. Catcott: Yes, please. Mrs. Hills (handing him a cup): Here you are. Help yourself. Mr. Catcott: Thanks. But why take the trouble, Mrs. ... err...? Mrs. Hills: Coffee, you mean? Oh, that’s nothing, forget it. It’s just a little neighbourly gesture. And my name is Vivian. Mr. Catcott: And I’m Morley. (Enter Mr. Grossman.) Mr. Grossman (apologizing): I’m awfully sorry, Vivian, the door was open and I thought something’s gone wrong. (Angrily)-. What’s the matter, Mrs. Hills? Did the gentleman try to interfere with your property? Mrs. Hills: No, the initiative was mine. Mr. Grossman: I don’t like it this way, Mrs. Hills. You must not break the order yourself. Mrs. Hills: Why, I’ve already broken the ice giving him my hand, remember? Mr. Grossman (dramatically, in a low voice): Maybe he is setting a trap. Mrs. Hills (laughing): Are you, Mr. Catcott? (He shakes his head.) Mr. Grossman, for your personal, private and confidential information, my giving him coffee was against the Jaw. But 1 think
now 1 can do without the lawyer’s help, can’t I, Morley? (He nods. Mrs. Hills produces a pair of scissors from the drawer and cuts the wire.) Mr. Grossman: Now I don’t quite understand. Mrs. Hills... Vivian, you... Mrs. Hills (interrupting him)'. Really, Mr. Grossman? (Goes to Mr. Catcott’s part.) (To the spectators) Thank you, ladies and gentlemen. 1 think you all understand that our case is closed. (Curtain.) MR. CATCOTT’S SONG Her face is a charming mask And her voice helps her with the task, Her lips tell me words of note My heart whispers: watch and wait. But her smile promises so much And her hand trembles at my touch, Her eyes seek to meet my glance, My heart whispers: that’s your chance.
SAYING THE RIGHT THING PERSONALITY TEST What would you do in these situations? 1. You’re walking along on a train when you knock over someone’s coffee. What would you say? A ‘I’m terribly sorry.’ В ‘It’s your fault That was a stupid place to put it.’ C ‘Sorry. Are you OK? I’ll get you another one.’ 2. You arrive at the door of a depart ment store at the same time as someone else. What would you do? A say ‘After you' В say nothing, but walk through the door first C say ‘Excuse me’ politely, then walk through the door first 3. You’re at work. You walk into an office. A colleague that you don’t know very well is crying. What do you do? A say ‘Sorry’, and leave the room В sit down next to her and say ‘You look upset. Would you like to talk about it?’ C say ‘What’s wrong? You're supposed to be working!’ 4. You phone a colleague during the early evening about a work problem. They answer the phone and you can hear the sound of people talking. Wha* do you say? A ‘Sorry to call you at home. Are you having dinner? I can call later.’ В ‘I want to talk to you about a problem at work.’ C ‘Sorry to bother you, but it is important. We have a problem at work.’ 5. Your company has a no smoking policy, which you agree with. A visitor walks into your office and lights a cigarette. What do you say? A ‘You’re not allowed to smoke here.’ В ‘Smoking causes cancer.’ С ‘I hope you don’t mind, but I’m afraid we have a no smoking policy here.’ 6. You’re in a hotel and the TV in the neighbouring room is very loud. You’re trying to get to sleep. What de you do? A knock on the wall with your shoe, and shout ‘Turn that noise off! I’m trying to sleep!’ В knock on the door of the neighbouring room and say, ‘I’m sorry, but your TV is rather loud and I’m trying to sleep. Would you mind turning it down?’ C call the reception desk and ask them to request your neighbours to turn their TV down 7. You’re having coffee in a restaurant with an acquaintance. The bill arrives, and your acquaintance takes it. What do you say? A nothing В ‘Thank you.’ C ‘Let me pay.’ 8. Your colleague has won 10,000 pounds in a lottery. What do you say? A ‘Congratulations! That’s wonderful!’ В ‘I never win anything!’ C ‘Can you lend me 100 pounds until next month? I’ll pay you back.’ Here are the scores: 1A1B0C2 5A1E0C2 2 A 2 В 0 C 1 6A0B2C1 3 А1 B2 CO 7 АО В1 C2 4A2B0C1 8A2B1C0 Add uo your score, then look at page 56 to see what your score means. (From: Handshake by Peter and Karen Viney. Reprinted with kind permission of the Moscow Office of Oxford University Press)
THE BLACKMAILER Tom Hunt sat in front of me, sipping coffee and staring unseeingly out of the window at the garden below. We had talked about different things but he did not seem to be interested in anything. At last he said: "I’d like to tell you what happened after the death of my father." Hunt’s father died two months ago and Tom inherited his large estate in East Hampton. 1 hree weeks ago he moved there with his beautiful young wife. "Do you remember Martin Blunder, father’s gardener?" Tom asked. I didn’t remember him. Tom described him as a short fat man with a smiling face and beady eyes. "I dismissed him when I moved to East Hampton. That was last month. But three days ago the gardener came to my office and demanded a hundred thousand dollars. He claims that he saw Mr. Hunt draw ing up another will, naming my brother in Alaska as his sole heir." I don’t know why, but I didn’t believe that the gardener had told the truth. So I asked Thomas to continue the story. "The news hit me like a thunderbolt. True, we had often quarrelled with dad over Veronica. He had been against our marriage from the very beginning. Probably that was the reason why he decided to cut me off the inheritance. The gardener claims that he possesses the second will. ‘It will cost you a good deal more than I am asking,’ he said. ‘As it is dated November 31 - a day later than the executed will - it will be legally recognized.’" "What did you do?" I asked my friend. Hunt answered that he had refused to pay. But then the gardener tried to bargain, asking for fifty thousand and then for twenty-five thousand dollars. ' "I paid nothing. I just kicked him out," said Tom in the end. Tom did the right thing as it was quite clear that the gardener had invented the whole story. There was one serious drawback in the gardener’s story. What was it? (answers on page 56)
Предлагаем вашему вниманию часть вступительного экзамена в один из специализированных вузов Москвы Л/ючшйайзЯе все /Яекс/Ям. Каждый овфмвок в левой колонке (1, 2, 3, У, 5) имее/Я свое н[юдолзкение в Hf/авой колонке (Л, В, С, 2), £}. Сос/ЯавыЯе из них логически связанные [гасеказы. В шс/Яе о/Яве-/Яов нсишзшиЯе циф[ювые и вдквенные соозЯве/Яс/Явиа начала и здюдолмсениа [игссказов. IAs she came nearer, she saw a table under a big tree in front of the house. The table was a large one, but the three were all crowded together at one corner of it. “No room! No room!” they cned when they saw her coming. “There’s plenty of room!” she said and sat down in a large armchair at the other end and looked round the table. “Have some wine,” she heard a polite voice. She looked all round the table, but there was nothing on it but tea. 21 knew Louise before she married. She was then a thin delicate girl with large and melancholy eyes. Her father and mother adored and worshipped her, for some il’ness, scarlet fever, I think, had left her with a weak heart and she had to take the greatest care of herself. They thought that their daughter was much too delicate for marriage. But they were not too well off and Tom Maitland was rich. He promised to do everything in the world for Louise and finally they entrusted her to him. Tom Maitland was a big strong fellow, very good-looking and a fine athlete. He adored Louise. With her week heart he could not hope to keep her with him long and he made up his mind to do everything he could to make her few years on earth happy. He gave up the games he was so good at not because she wished him to (she said, “I am glad when he plays golf and hunts”) but because it so happened that she always had a heart attack whenever he was going to leave her for a day. A The police came quickly when the alarm was sounded, and they say that the features of the dead man were terribly distorted by the effects of the shot, but he was identified as the fallen president by both Goodwin and the barber Esteban. The next day the telegraph wire was of the president’s flight from the capital. In San Mateo the revolutionary/ party had seized power without opposition. В Then a terrible thing happened. While they were waiting for the coffee, the head waiter, with a smile on his false face, came up to them bearing a large basket full of huge peaches. Peaches were not in season then. Lord knew what they cost. He knew too — a little later, for his guest, going on with her conversation, absent-mindedly took one. “You see, you’ve filled your stomach with a lot of meat and you can’t eat any more. But I’ve just had a bite and I shall enjoy a peach.” The bill came and when he paid the money he found that he had only three francs left for the waiter. When he walked out of the restaurant he had the whole month before him and not a penny in his pocket.
3The plans for catching the president and his companion seemed to have every chance of success. “The ports were carefully watched and Goodwin held himself responsible for the district about Coralio. The news had been told only to trusted members of the political party which wanted to come to power. Sentinels had been placed at frequent intervals for a mile both right abd left along the shore from Coralio, and a dozen of patrols walked the streets of the town, unsuspected. Goodwin himself took part in the watch. C“What day of the month is it?” one of them said, turning to Alice; he had taken his watch out of his pocket, and was looking at it uneasily, shaking it every now and then, and holding it to his ear. Alice thought for a minute or two and then said, “The fourth.” “Two days wrong! I told you butter wouldn’t be good for the watch!” he added looking angrily. “It was the best butter,” the other two replied in a low voice. “Yes, but you shouldn’t have put it in with the bread-knife, some crumbs must have got in as well.” Alice had been looking over his shoulder with some curiosity. “What a funny watch!” she remarked. It tells the days of the month and doesn’t tell what time it is!” 4 His room at the top of the boarding house was very small. It was almost an attic. The furniture was poor. For this room with two meals a day he paid thirty-four shillings a week. This was almost all he had. The money he had got from his grandfather was spent during his college years. Now his pay for the assistantship and for the extra work of demonstrating in Bacteriology was one hundred guineas a year. This was a very small sum, of course. On Saturday, when he paid his board and lodgings he had about five shillings left in his pocket for his luncheons and for clothes, house, books, tobacco. In short, he was very poor, and he had to wear his old shabby uniform because he had nothing else to wear. 5 “Coffee?” he asked. “Yes, just an ice-cream and coffee,” she answered. He was not worried about the money now, so he ordered coffee for hirnself and an ice-cream and coffee for her. “You know, there’s one thing I believe in,” she said, as she ate the ice-cream. One should always get up from a meal feeling one could eat a little more.” ‘Are you still hungry?” he asked faintly. “Oh, no, I’m not hungry; you see, I don’t eat luncheon. I have a cup of coffee in the morning and then dinner, but I never eat more than one thing for luncheon.” DShe outlived her husband. He caught his death of cold one day when they were sailing and she needed all the rugs there were to keep her warm. He left her a comfortable fortune and a daughter. Her friends said, “It is wonderful that she has managed to survive the shock.” Her friends expected her speedily to follow her poor husband to the grave. Indeed they already felt terribly sorry for Iris, her daughter. They said, “She will be left parentless.” They were very attentive to her. She said, “I do not know how, with my poor health, I am going to bring up my dear Iris.” Her friends asked her, “Why don’t you marry again?” Oh, with her heart it was out of the question, she answered. Who would like to be bothered with an invalid like herself? E However, these difficulties troubled him very little. His life at Levenford had taught him much: to drink waiery milk, to eat poor food. Besides, he was sure that everything would change very soon, that his future would be brilliant. He was too busy with his plan, that would carry him to a great and immediate success to worry about trifles. When he reached his attic, he stood for a moment studying the paper which Usher had given him back. Miss Jean Law, his neighbour, approached him and said, “You’ll be late for tea. Hurry up! The gong went five minutes ago.”
Focusing on Total Communication Peter Viney, co-author of Handshake, talks about the rationale behind the course. INTERVIEW ’ ’ « Peter, what kind of coursebook is Handshake? I suppose Handshake is sitting somewhere between a general coursebook and a business coursebook. We think it’s a rather new type of coursebook in that we're aiming for a wide range of people w ho are interested in English for practical purposes - it's not just a business course and it's not just a general course. Although it's a British-based coursebook. Handshake has a very large American English element, so it’s also mid-Atlantic in that wav г ; w What motivated you to write this type of coursebook? J^L.«Well. we've always been interested in learning languages rather than passing exams, and I think you can divide the world into twogroups. At some point people arc going to go on to study English as an academic subject and other people are not; they're going to use it for practical purposes, and we were most interested in the group who were learning English for use, not for passing examinations. A lot of our interest and technique in this kind of material goes back a very long way. in fact probably to when we first starred teaching in the early 70s, when we were doing a lot more work with roleplay and we had very orally-biased classes. Since then, what motivated us was that we were reading a lot of non-ELT material on communication skills. In fact, most of our sources are non-ELT sources. That's one of the things that makes it different. Ч. . о What advantages, if any, does it give over a more traditional coursebook? A lot. .Motivation is one of the first ones; it’s a very active course indeed. Another thing is novelty Because we've grouped fairly traditional material and J because the language will always consist of tenses, vocabulary and pronunciation, we’ve put things into new groupings. So although many- of the elements will be known, it w ill be novel to have them put together in this way So it won't seem to be: 'Oh, we’re doing the Present Continuous again' or ’Oh, we're domg the Present Perfect again . It will be: 'Oh, we're looking at proximity' or ‘We're looking at receiving information’, or something like that. Another main factor, I think, is context. When you choose context for a coursebook, you know that the context will excite some people and will bore others completely. Not evcrvbods is interested in motor cars or Charles Dickens or whatever. This context is what humans do, and we found that all learners arc interested in human behaviour. So the context is particularly' interesting. Why is it important to know about non-verbal forms of communication? L There have been many major studies of this in the last few years. They come to a i f general consensus that 35% of face-to-face communication is verbal - and that includes intonation and stress, rather than just language - and 65% is nonverbal. Another survey that breaks it down, which is one of the most highly regarded ones — this is on actual face-to-face communication - savs that 7% is z verbal, 38% is inflexion or tone of voice (which is included in this book), and 55% is nonverbal. That means, in fact, that a course which doesn't bring in inflexion, tone of voice and nonverbal communication is missing 93% of what’s happening in the conversation. One of the things that people have asked us most about in this course is body' language (one of the units). People think,'Wowd, Body Language'. This is very exciting and it’s an element which runs all the way5 through I would say that that's not all the book's about. There’s one unit out of nine on, basically, body language, although it's referred to lot more to it than just that. them how to do it, but we're examine what happens in their own culture, but it's not a book about want them to follow a British or an American model. American culture basically. important thing in the book -cultural awareness. You can divide culture into 'achievement ( I 7 $ Handshake seems to place a lot of emphasis on the learner examining his or her own style of communication. Why is this? Well, I suppose we're interested in how people learn. One of the main elements in the workbook is called 'Thinking about your Learning’ and we investigate how people learn, but we also look at how people communicate. We look at certain models in the book, such as 'I-loss to criticize somebody’ and we ask students to examine their own personal behaviour compared to British and American behaviour. 'They analyse it from their own point of view and then they'll try i • criticizing or receiving criticism in various ways because we want them to recognize that there are many possible models - for example, criticism. One of the things we don't do is we don't cry to change what the student is personally comfortable with. We want them to examine their own culture and we want them to compare their culture with British and advances in Britain or Shakespeare or Dickens, and 'behaviour culture’, and we're interested in this book in behaviour culture, how people behave in different cultures, not in the landmarks or achievements or ’English policemen are wonderful’ — that kind of thing.
ГЛОССА Как подписаться на журнал "Speak Out и литературу на иностранных языках. НА ПОЧТЕ по каталогу Федеральной службы почтовой связи Российский Федерации. Подписной индекс 34290. Полное наименование "Журнал для изучающих английский язык “Speak Out”. Страница каталога 128. Подписная цена на полугодие (3 номера) — 33 руб. + стоимость доставки. ПО ПОДПИСНОМУ КУПОНУ (см. ниже), перечислив деньги на расчетный счет: ООО “НВ И УП “Глосса”. ИНН 7701130850 р/с 40702810900070000805, БИК 0445583056, к/с 30101810200000000056 в КБ “СБС-Агро”, г. Москва Оплату ПОЧТОВЫМ ПЕРЕВОДОМ необходимо согласовать с издательством. По этому подписному купону Вы можете оформить редакционную подписку на журнал, заказать ранее вышедшие номера журнала, а также издания, указанные в купоне. -V. НН —— —— : X..-. — —Г*- —T XVT' ..«•Л- мм — —— —••-.•.уу- уи. л,, ,» WM — _г- — —н —. . ггг. ——. — —— -.X'”’ -7—4 м^_ — — ~г- —-.-Г— jmy. •— ; ПОДПИСНОЙ КУПОН Издательство “ГЛОССА” | 109817, г. Москва, Покровский бульвар, д. 8, комн. 232. I Тел./факс 917-90-07. Тел. 916-10-23. _ мм .-м— —с. __ ли. •—х— —~ » —• •—' vr- т-«х 5 От ; । । Фамилия Шифр ’ Автор Наименование Кол-во * Цена Сумма Н И - Имя ГО «SPEAK OUT» Подписка на журнал «Speak Out» на 1-е полугодие 1999 г. 35-00 Г1 Цветкова И. В. и др. «Английский язык для школьников Отчество i и поступающих в ВУЗы» 25-00 Г2 Цветкова И. В. и др. * «Английский язык для школьников и поступающих в ВУЗы» од пп Название организации I I (I !исьменные тесты j ZU-UU ГЗ Мыльцева Н. А., Жималенкова Т. М. «Универсальный справочник по грамматике английского языка» 35-00 1 i । 1 1 1 1 1 1 Адрес с I 1 1 1 1 1 I, t i Тел. __ ' Факс Г5 «SPEAK OUT» «Журнал «Speak Out» № 1 1997» 10-00 Гб «SPEAK OUT» «Журнал «Speak Out» № 2-3 1997» 12-00 Г7 «SPEAK OUT» «Журнал «Speak Out» № 4-5 1997» 12-00 Г8 «SPEAK OUT» «Журнал «Speak Out» № 6 1997» 10-00 Г9 «SPEAK OUT» «Журнал «Speak Out» № 1-2 1998» , 13-00 Г10 «SPEAK OUT» Г11 «SPEAK OUT» «Журнал «Speak Out» № 3 1998» 11-00 «Журнал «Speak Out» № 4 1998» 13-00 Г12 «SPEAK OUT» «Журнал «Speak Out» № 5-6 1998» 15-00 Г13 Конан Дойл «Собака Баскервилей» Книга для чтения на английском языке 14-00 Г14 Цветкова И. В. । Рабочая тетрадь к книге для чтения «Собака Баскервилей» 7-00 Г15 С. Моэм । 1 . и «Рассказы» Книга для чтения на английском языке 12-00 Г17 О. Генри «Короли и капуста» Книга для чтения на английском языке 12-00 Г18 А. Кристи । «Подвиги Геракла» Книга для чтения на английском языке 12-00 Г19 А. Кронин । «Юные годы» Книга для чтения на английском языке 13-00 Г20 А Кронин «Путь Шеннона» Книга для чтения на английском языке 13-00 j Ответственное лицо: i । Фамилия Имя 1 Отчество । Тел. _ 1. Факс г 1 г ь %. г Г21 Э. По । " 1 „ .. _ «Золотой жук» (с рабочей тетрадью) Книга для чтения на английском языке 12-00 Г22 Цветкова И. В. и др. ! «Deduction puzzles» Книга для чтения на английском языке 13-00 Г23 О. Уайльд «Счастливый принц. Сказки» Книга для чтения на английском языке 12-00 Г24 О. Уайльд । «Портрет Дориана Грея» Книга для чтения на английском языке 12-00 Г25 В. Lockett 1 «Beyond the Dictionary» Сборник необычных английских слов и выражений 20-00 Г26 Клементьева Т. Б. «Lotto «Happy English» Лото «Счастливый Английский» 24-00 I V Г27 Мыльцева Н. А. и др. «Учебный видеокурс «HELLO» 2 видеокассеты + книга, прод. 190 мин. 210-00 ИТС )ГО ПО ЗАКАЗУ: Стоимость пересылки по почте (см табл^ ВСЕГО К ОПЛАТЕ. 1 Примечание. Для получения полного Прайс-листа и условий отправки Вам необходимо обратиться в издательство “Глосса”. СТОИМОСТЬ ПЕРЕСЫЛКИ ПО ПОЧТЕ Заказ — » — 0 4- 50 руб 51 4-100 руб. ... .... 50% стоимости заказа ....45% —» — Заказ 301 4-400 руб — » — 401 4- 500 руб. ... ,... 30% .... 25% стоимости заказа — » — — » — 101 4-200 руб. ... ....40% — — » — 501 4- 600 руб. ... .... 20% — » — — » — 201 4- 300 руб. ... ....35% — » — — » — 601 4- 700 руб. ... .... 15% — » — По более крупным заказам стоимость пересылки уточняется отдельно (по телефону или письмом).
Московский пеЗааозический коллеЗж N 3 Мы готовим настоящих профессионалов, широко образованных, способных обеспечить высокий уровень образования в России XXI века, по специальностям: * учитель иностранного языка основной школы (английский, немецкий, французский языки) на базе 11 классов * учитель начальной школы с правом преподавания иностранного языка на базе 11 классов * учитель начальной школы на базе 9 и 11 классов * учитель-воспитатель детей дошкольного и младшего школьного возраста Новая, очень перспективная специальность на базе 11 классов * воспитатель детских дошкольных учреждений на базе 9 и 11 классов * социальный педагог на базе 11 классов / Обучение бесплатное f Форма обучения дневная s Выплачивается стипендия и дотация на питание По ряду специальностей организована вечерне-заочная форма обучения. НАШИ ВОЗМОЖНОСТИ В колледже Вас ждут прекрасные преподаватели, среди которых доктора и кандидаты наук, авторы современных учебников, пособий, программ. * У нас создана особая эмоциональная среда взаимоуважения и сотрудничества. НАШИ СТУДЕНТЫ - НАШИ КОЛЛЕГИ К их услугам прекрасно оснащенные аудитории с аудио- и видеоаппаратурой, компьютерные кабинеты, богатейшая библиотека, бассейн. * Учебные планы предполагают наряду со спецдисциплинами основательную общегуманитарную подготовку: музыка, история искусств, литература. * Интересна и насыщенна студенческая жизнь в колледже. Диапазон широк: от научного студенческого общества до дискотек и КВН. * И еще одна немаловажная деталь: наш колледж находится в самом центре Москвы, поэтому добираться к нам очень удобно. ВАШИ ПЕРСПЕКТИВЫ Выпускники колледжа действительно высоко ценятся в общеобразовательных учреждениях Москвы. * Лучшие школы, гимназии, лицеи, детские комплексы с удовольствием принимают на работу наших выпускников. После окончания колледжа у Вас будет реальная возможность выбора интересного, престижного и выгодного места работы. * А еще у Вас будет столь же реальная возможность продолжить образование и получить университетский диплом и высшее педагогическое образование за 1,5-2 года без отрыва от места работы. ПРИХОДИТЕ, НАШ КОЛЛЕДЖ ЖДЕТ ВАС, БУДУЩИЕ КОЛЛЕГИ! Наши телефоны: Наши адреса: 299-03-51 103059 Москва, 299-04-72 ул. Садовая-Самотечная, 8 Гранатный переулок, 8
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ANSWERS ANSWERS TO CROSSWORD (No. 4) Across: 3. Pharaoh. 8. Egypt. 10. Herostratus. 11. tomb. 13. queen. 15. chariot. 16. hieroglyph. 18. Nile. 19. lighthouse. 21. Artemis. 25. Herodotus. 26. Bible. 28. Babylon. 29. temple. 31. Romans*. 32. pyramid. 33. ivory. Down: 1. Zeus. 2. statue. 4. Helios. 5. Olympia. 6. sphinx. 7. sarcophagus. 9. sceptre. 12. Phidias. 14. architect. 15. capital. 17. Alexander. 20. Mausolus. 22. marble. 23. God. 24. homage. 27. Amazons. 30. Mummy. * Уважаемые читатели! Редакция приносит извинения за допущенную опечатку в кроссворде, напечатанном в № 4’98. Следует читать 31. People of the Roman Empire. ALFRED HITCHCOCK: THE MASTER OF SUSPENSE 1. 1. T 2. T 3. F 4. F 5. F 6. T 7. F 8. T 9. F 10. F 11. T 12. T X l.(d) 2.(a) 3.(c) 4. (b) 4. 1. Alfred 2. relief 3. delay 4. bomb 5. danger 6. birds 7. suspense 8. (The) Lodger 9. trick 10. suffer 11. Rebecca 12. wow 13. violent 14. motel 15. crotchety 16. tension 17. horror 18. Frenzy 19. edge 20. murder 21. Hollywood 22. plot 23. stab 24. involved 25. setting 26. reside 27. safely 28. scream 29. fear 30. Vertigo 31. home 32. audience 33. art DRAMA IS LIFE WITH THE DULL BITS LEFT OUT. CINEMA QUIZ 1. 1. Jean Paul Belmondo 2. Charlie Chaplin 3. Marlon Brando 4. Kevin Kostner 5. Robert De Niro 6. Marlene Dietrich 7. Richard Gere 8. Michelle Pfeiffer 2. 1. c 2. f 3. h 4. b 5. d 6. a 7. i 8. g 9. e 3. 1. g 2. e 3. a 4. b 5. f 6. c 7. d 4» 1. Ghostbusters c2,. Interview with the Vampire 3. The Piano 4. Pretty Woman 5. The Silence of the Lambs 6. Snow White 7. Some Like It Hot 8. Star Wars 9. Titanic 5. 1. a 2. b 3. a 4. b 5. c 6. b 7. c 8. a HUMPTY DUMPTY 2. Across: yoghurt, rice, butter, potatoes, honey cakes Down: tea, fruit, meat, jam 3. a. gold b. potatoes c. prison d. clothes e. hungry f. palace BLUFF CLUB All the statements are true. ETIQUETTE LANGUAGE CLUB Scoring Shaking Hands E 1. (e) 2. (d) 3. (b) 4. (a) 5. (c) 3. Across: nervous, weak, cheerful, confident, shy, limp, warm, strong Down: unfriendly, aggressive, cold, wet, firm, assertive, gentle, nice, formal Pronunciation Class youghurt I'joget], [jeuget] sausage ['sosid3], ['so:sid3] pizza [ pi:tsQ] margarine [,ma:d3a'ri:n] champaign [jaern'pein] liqueur [li kjua], [Н'кз:г] muesli ['mju:zli] ketchup f'ketjep] For Experienced Travellers Australian; Belgian; Japanese; Egyptian; Swiss; Dane (Danish); Iraqi; Pole Polish); Portugese; Spaniard (Spanish) 1-3 People may think you’re rude and officious. You need to study the rules of social interaction. 4-7 Sometimes you aren’t very polite. Maybe you’re embarrassed in social situations. Don’t be afraid to speak to people. 8-12 You try to be polite and helpful, but sometimes you don’t want to get involved — you don’t pay enough attention to other people’s problems. 13-16 You’ re polite and often charming. But be careful! Perhaps sometimes you aren’t assertive enough. BAKER STREET CLUB No legal will could be dated November 31. November contains only 30 days. SCHOOL-LEAVERS DEPARTMENT 2. D; 3.A; 4. E; 5. В