052 Katherine Mansfield Short Stories PDF

КЭТРИН
МЭНСФИЛД
Учебное пособие
для чтения и обсуждения
Москва
Издательство Менеджер
1999
ББК 81.2 Англ
М97
К. Мансфилд. Короткие рассказы. Учебное пособие/

Составители Костина С.Г.., Хлебникова И.Н. 2-е изд.—
М.: «Издательство Менеджер», 1999 — 192 с.
ISBN 5-8346-0006-9
Пособие по домашнему чтению включает в себя рас

сказы К. Мэнсфилд, снабженные большим количеством
разноообразных упражнений, направленных на расши
рение словарного запаса и развитие навыков устной речи.
Пособие расчитано на учащихся старших классов
школ, гимназий и лицеев.
© «Издательство Менеджер», 1998.

ISBN 5-8346-0006-9
Предисловие
Предлагаемое учебное пособие включает несколько рас
сказов известной английской писательницы Кэтрин
Мэнсфилд и предназначается для занятий по домашне
му чтению с учащимися старших классов общеобразова
тельных школ, гимназий, лицеев. Цель пособия — нау
чить учащихся критически и осмысленно подходить к ли
тературному произведению, представляющему интерес
как в идейном, так и в художественном и языковом отно
шении.
Упражнения и задания, включенные в пособие, направ
лены на пополнение и идиоматизацию словарного запаса
учащихся, на развитие навыков устной речи.
В пособии содержатся упражнения двух видов. А —
лексические упражнения: их выполнение должно пред
шествовать обсуждению текста в классе. В — речевые уп
ражнения: этот вид заданий включает вопросы по содер
жанию произведений, характеристике действующих лиц,
оценке их поступков, а также вопросы, касающиеся ос
новных проблем рассказов.
Упражнения носят разнонаправленный характер. Пре
дусматривается проверка понимания прочитанного, уг
лубленная работа над вокабуляром, а также повторение
некоторых грамматических явлений, представляющих
трудности для учащихся.
Упражнения с заданием "Explain and expand on the fol
lowing" предназначены для контроля понимания текста
учащимися и, кроме того, они призваны научить школь
ников интерпретировать текст своими словами.
Собственно грамматические упражнения основаны на
грамматическом материале, встречающемся в текстах. Их
цель — повторить те разделы грамматики английского
языка, которые представляют специфические трудности.
Упражнения на предлоги и артикли вводятся в пособие
на том основании, что даже учащиеся старших классов
обычно допускают большое количество ошибок в их упот
реблении.
Пособие снабжено также вступительной статьей об ав
торе предлагаемых рассказов, комментариями и англо
русским словарем.
3
Katherine Mansfield
(1888 — 1923)
1
K a t h e r i n e Mansfield is t h e p s e u d o n y m of K a t h
leen B e a u c h a m p , a w e l l - k n o w n s h o r t - s t o r y w r i t
2
er, w h o enjoys t h e r e p u t a t i o n of being a n English
Chekov. S h e w a s b o r n in N e w Zealand in t h e f a m
ily of a p r o m i n e n t Wellington businessman. A t t h e
a g e of 14 she w a s sent to Q u e e n ' s College, London,
w h e r e she r e m a i n e d for four years. S h e h a d a t a l
e n t for music a n d for w r i t i n g and w h e n h e r p a r
e n t s c a m e to L o n d o n to t a k e h e r h o m e , K a t h e r i n e
3
w a s r e l u c t a n t to g o . S h e talked h e r p a r e n t s into
4
a c c e p t i n g t h a t she w a s serious in h e r a m b i t i o n to
b e c o m e a w r i t e r a n d for t h a t she m u s t b e allowed
to live in London.
K a t h e r i n e Mansfield's first stories a n d s k e t c h e s
w e r e published in t h e periodical " T h e N e w Age",
5
to w h i c h she b e c a m e a r e g u l a r c o n t r i b u t o r . H e r
first book of short-stories, "In a G e r m a n Pension",
a p p e a r e d in 1911. In 1912 she b e g a n to w r i t e for
" R h y t h m " , a l i t e r a r y periodical e d i t e d b y J o h n
M i d d l e t o n M u r r y , a w e l l - k n o w n critic. M u r r y ,
w h o m she m a r r i e d in 1918, e n c o u r a g e d a n d culti
6
v a t e d h e r obvious t a l e n t , w h i c h e x p r e s s e d itself
b e s t in d e e p l y psychological stories. H e r second
book, "Bliss a n d O t h e r Stories", a p p e a r e d in 1920
a n d h e r third, " T h e G a r d e n P a r t y " , in 1922. It w a s
t h e last of h e r w r i t i n g s to be published in h e r life
7
time .
8
K a t h e r i n e Mansfield w a s v e r y delicate in h e a l t h .
S h e h a d suffered from tuberculosis since 1917. S h e
9
led a w a n d e r i n g life in s e a r c h of h e a l t h a n d w r o t e
4
u n d e r difficulties. S h e died in F r a n c e in J a n u a r y ,
1923, at t h e a g e of t h i r t y - f o u r . T w o m o r e collec
tions of stories w e r e p u b l i s h e d a f t e r h e r d e a t h ,
10
m a k i n g five books, a total of e i g h t y - e i g h t s t o r i e s .
You'll r e a d some stories b y a British l a d y - w r i t e r
w h o is k n o w n as a g r e a t m a s t e r of s h o r t - s t o r y . T h e
peculiar features of h e r stories a r e t h e symbolic use
of objects a n d incidents a n d a c c u r a c y of detail. S h e
is not usually concerned so m u c h w i t h t h e d e v e l o p
11
m e n t of t h e p l o t . Describing h e r c h a r a c t e r s she
doesn't so m u c h stress w h a t t h e y do, b u t w h a t t h e y
a r e a n d w h a t t h e y feel. S h e is m o r e i n t e r e s t e d in
12
their inner life, w h i c h is n a t u r a l l y r e v e a l e d t h r o
u g h t h e i r behavior.
K a t h e r i n e Mansfield declares t h a t life m u s t be
1 3
t a k e n as it i s . S h e n e v e r s a w a n y n e c e s s i t y to
14
c h a n g e it. Yet in spite of t h e objectivity s h e p r o
claims, t h e r e a d e r can easily feel h e r s y m p a t h i e s .
15
S h e is v e r y sensitive t o class distinctions a n d h e r
16
s y m p a t h y is a l w a y s on t h e side of t h e h a v e - n o t s ,
t h o u g h she usually w r i t e s a b o u t t h e English u p p e r
class. Besides t h a t , a n y kind of egoism and p r e t e n c e
17
on t h e p a r t of h e r bourgeois c h a r a c t e r s is t r e a t e d
w i t h irony. "A C u p of T e a " is r e p r e s e n t a t i v e in this
18
respect .
In h e r stories K a t h e r i n e Mansfield w i s h e s "to
s h o w t h e complexity of life". T h a t ' s w h y children
a r e often chosen as t h e m a i n c h a r a c t e r s . C h i l d r e n
g e n e r a l l y r e a c t painfully to s u d d e n c o n t r a s t s or
n e w unfamiliar situations.
W e h o p e t h a t you'll enjoy stories b y K a t h e r i n e
Mansfield, t h a t a r e really lively, fresh a n d n a t u r a l .
5
Notes
'pseudonym ['sjuxtanim] — псевдоним
2
enjoys the reputation — имеет репутацию
3
was reluctant to go — не хотела уезжать
4
she talked her parents into accepting... — (зд,) она
заставила родителей признать...
5
to which she became a regular contributor — куда
она регулярно отсылала свои рассказы
6
encouraged and cultivated her obvious talent — он
способствовал развитию её явного таланта
7
it was the last of her writings to be published in her
life time — это было последнее произведение, опуб
ликованное при её жизни
8
was delicate in health — у нее было слабое здоровье
9
she led a wandering life — она вела странствующий
образ жизни
10
a total of... — всего, в общей сложности
11
the development of the plot — развитие сюжета
12
which is revealed — которая проявляется
13
life must be taken as it is — жизнь нужно прини
мать такой, какая она есть
14
in spite of — несмотря на
15
she is very sensitive to... — она остро чувствует
16
the have-nots — неимущие; бедные
17
on the part — со стороны
18
is representative in this respect — показательна в
этом отношении
List of Vocabulary
to have a talent for
to talk smb into doing smth
ambition (n); ambitious(a)
to accept
to edit; editor; edition
6
psychology; psychological
to suffer from (some disease)
peculiar
incident
to be concerned with smb, smth
sympathy
to treat smb/smth with...
A . Training Excercises
1. Find in the text sentences in which the vocabulary

of the list is used. Translate these sentences into
Russian.
2. Express the same notion using words and word-

combinations from the list.
1) to h a v e a n a p t i t u d e , a n ability
2) to p r e p a r e a m a n u s c r i p t for publication
3) special
4) t h e science of t h e m i n d a n d m e n t a l activities
5) to r e g a r d , to b e h a v e t o w a r d
3. Give definitions for the following expressions us
ing an English-English dictionary and think of your
own examples to illustrate their usage:
1) to talk s m b into doing s m t h
2) to be c o n c e r n e d w i t h s m t h , s m b
3) s y m p a t h y
4) to suffer from
5) ambition
4. Find in the text the English equivalents for the fol
lowing expressions. Use them in the sentences of
your own.
7
Видный (известный); стремление стать п и с а
телем; были опубликованы; глубоко психологич
н ы е р а с с к а з ы ; писать с большим трудом; в в о з
р а с т е 34 лет; точность детали; поведение; необ
ходимость; провозглашать объективность; к л а с
совые р а з л и ч и я ; относиться с иронией; главный
герой; незнакомая ситуация; живой; естествен
ный; сложность ж и з н и .
5. Find in the text the following idiomatic expressions,
explain their usage and make up situations to il
lustrate their meaning:
to enjoy t h e r e p u t a t i o n of...; a t t h e age of...; w e l l -
k n o w n ; to lead a life; in s e a r c h of; in spite of; to
be on t h e side of; in this respect;
6. Find in the text sentences with the Passive Voice;
comment on its usage; translate the sentences into
Russian and use the Russian translation for back
translation into English.
7. Make up a number of true-false statements based

on the contents of the foreword.
B. S p e e c h Excercises
8. Answer the following questions:

1) W h a t is K a t h e r i n e Mansfield?
2) W h e r e did s h e come from?
3) H o w did s h e find herself in London?
4) W a s t h e beginning of h e r l i t e r a r y c a r e e r s u c
cessful?
5) W h o played a n i m p o r t a n t role in h e r life?
6) W h a t w a s t h e reason for h e r e a r l y d e a t h ?
8
7) H o w m a n y collections of stories did s h e w r i t e ?
8) W h a t a r e t h e peculiar f e a t u r e s of K a t h e r i n e
Mansfield's stories?
9) W h a t is h e r m a i n concern w h e n describing h e r
characters?
10) Is s h e sensitive to class distinctions?
11) W h o m does s h e a l w a y s s y m p a t h i z e w i t h ?
12) W h y a r e c h i l d r e n often chosen b y K a t h e r i n e
Mansfield a s t h e m a i n c h a r a c t e r s of h e r s t o
ries?
13) W h y did Mansfield once call herself " A n E n
glish C h e k o v " ?
9. Paraphrase, explain and expand on the follow
ing:
1) K a t h e r i n e Mansfield enjoys t h e r e p u t a t i o n of
being a n English Chekov.
2) K a t h e r i n e w a s serious in h e r a m b i t i o n to b e
come a w r i t e r .
3) J o h n Middleton M u r r y e n c o u r a g e d a n d culti
v a t e d h e r obvious talent.
4) K a t h e r i n e M a n s f i e l d w a s v e r y d e l i c a t e in
health.
5) S h e is k n o w n as a g r e a t m a s t e r of s h o r t story.
6) K a t h e r i n e Mansfield declares t h a t life m u s t be
t a k e n as it is.
7) In h e r stories Mansfield w i s h e s "to s h o w t h e
complexity of life".
8) H e r stories a r e really lively, fresh a n d n a t u r a l .
10. Once Katherine Mansfield formulated a writer's
task: "The artist takes a long look at life. He says
softly, "So this is what life is, is it? And he proceeds
to explore that. All the rest he leaves." Do you
agree with this statement? Give your reasons.
9
11. Sum up what you've learned about Katherine
Mansfield. Give her character-sketch. What do
you consider the most typical features of Mans
field: a) as a p e r s o n ; b ) as a w r i t e r ?
Give your reasons for whatever you say. Use the

words and phrases from the vocabulary list and
excercises 4 and 5.
12. Topics for discussion.

1) K a t h e r i n e Mansfield's childhood.
2) T h e beginning of h e r l i t e r a r y career.
3) T h e peculiarities of h e r l i t e r a r y style.
4) K a t h e r i n e Mansfield's v i e w s on life a n d t h e
w r i t e r ' s role in it.
5) Children a s t h e m a i n c h a r a c t e r s of m a n y of h e r
stories.
I
A n d after all t h e w e a t h e r w a s ideal. T h e y could

not h a v e h a d a m o r e perfect d a y for a g a r d e n - p a r
1
t y if t h e y h a d o r d e r e d i t . Windless, w a r m , t h e sky
w i t h o u t a cloud. T h e g a r d e n e r w a s w o r k i n g since
early m o r n i n g c u t t i n g t h e g r a s s a n d s w e e p i n g t h e
2
l a w n s until t h e grass s e e m e d to shine. As for t h e
roses, h u n d r e d s h a d come out in t h e night.
Breakfast w a s not yet over before w o r k m e n come
3
to p u t u p a t e n t .
4
" W h e r e do you w a n t t h e m to p u t t h e t e n t , m o t h
er?"
"My d e a r child, d o n ' t ask me. I leave e v e r y t h i n g
to you this year."
B u t Meg, t h e elder sister, could not help t h e m e n .
S h e h a d w a s h e d h e r hair before b r e a k f a s t a n d s h e
sat d r i n k i n g h e r coffee w i t h a g r e e n towel on h e r
head. Joze a l w a y s c a m e d o w n to b r e a k f a s t in a silk
kimono.
"You'll h a v e to go, Laura; y o u ' r e so artistic."
A w a y L a u r a flew, still holding h e r piece of b r e a d -
a n d - b u t t e r . Four m e n stood in t h e g a r d e n . T h e y
5
c a r r i e d sticks a n d c a n v a s .
L a u r a c a m e u p to t h e m , t r y i n g to look b u s i n e s s
like.
"Good m o r n i n g " , she said, copying h e r m o t h e r ' s
voice. "Oh — er — h a v e you come — is it a b o u t t h e
tent?"
" T h a t ' s right, miss", said t h e tallest of t h e m e n
a n d smiled d o w n at her.
His smile w a s so friendly t h a t L a u r a t h o u g h t , h o w
v e r y nice w o r k m e n w e r e ! A n d w h a t a nice m o r n -
12
ing! B u t s h e m u s t t h i n k a b o u t business. T h e tent.
W h e r e shall w e p u t it up?
6
"A c o r n e r of t h e t e n n i s court", s h e s u g g e s t e d .
" B u t t h e b a n d will be in one corner."
"Look h e r e , miss, t h a t ' s t h e place. N e a r t h o s e
t r e e s . O v e r t h e r e . T h a t ' l l b e fine."
L a u r a w a s eating h e r b r e a d - a n d - b u t t e r as s h e lo
oked a t t h e w o r k m e n w a l k i n g to t h e place w h e r e
t h e t e n t would be p u t u p . Only t h e tall m a n w a s
7
b e h i n d . He b e n t d o w n , picked a flower, p u t it to
his nose, a n d smelt it. W h e n L a u r a s a w t h a t s h e
forgot a b o u t t h e tent. S h e w o n d e r e d a t h i m — h e
c a r e d for t h e smell of a flower. Oh, h o w w o n d e r
fully nice w o r k m e n w e r e , s h e t h o u g h t . W h y co
u l d n ' t she h a v e w o r k m e n for friends r a t h e r t h a n
8
t h e silly b o y s w i t h w h o m she d a n c e d ? It is all t h e
fault of t h e s e a b s u r d class distinctions.
" L a u r a , L a u r a , w h e r e a r e you? T e l e p h o n e , L a u
ra!" a voice cried from t h e house.
9
"Coming!" A n d she r a n over t h e lawn, across t h e
v e r a n d a a n d into t h e house. In t h e hall h e r f a t h e r
a n d h e r b r o t h e r L a u r i e w e r e p u t t i n g on t h e i r h a t s
r e a d y to go to t h e office.
After a talk over t h e t e l e p h o n e w i t h h e r friend
10
L a u r a p u t back t h e r e c e i v e r a n d sat still listen
ing. All t h e doors in t h e house s e e m e d to b e open.
T h e front door-bell r a n g a n d t h e i r maid, Sadie,
r a n to open t h e door. A m a n said something. Sadie
a n s w e r e d , "Oh! I d o n ' t know. Wait, I'll ask Mrs.
Sheridan."
" W h a t is it, S a d i e ? " L a u r a c a m e into t h e hall.
11
"It's t h e florist , Miss Laura."
12 13
N e a r t h e door stood a wide t r a y full of p o t s of
r e d lilies. N o t h i n g b u t lilies, big r e d flowers.
13
"О — Oh, Sadie!" said L a u r a . S h e b e n t d o w n to
t h e m a s s of lilies. " I t ' s s o m e m i s t a k e " , s h e said.
"Nobody e v e r o r d e r e d so m a n y . Sadie, go a n d find
mother".
B u t at t h a t m o m e n t Mrs.Sheridan joined t h e m .
"It's q u i t e r i g h t " s h e said. "Yes, I o r d e r e d t h e m .
A r e n ' t t h e y beautiful?" S h e t o u c h e d L a u r a ' s a r m .
"I w a s passing t h e shop y e s t e r d a y , a n d I s a w t h e m
in t h e w i n d o w . And I s u d d e n l y t h o u g h t for once in
m y life I shall h a v e e n o u g h lilies. T h e g a r d e n - p a r
ty will be a good excuse."
"But I t h o u g h t you said you d i d n ' t w a n t to t a k e
p a r t in t h e p r e p a r a t i o n s " , said Laura. S h e p u t h e r
a r m r o u n d h e r m o t h e r ' s neck a n d kissed her.
"My d e a r child, you w o u l d n ' t like a logical m o t h
er, would y o u ? "
In t h e k i t c h e n t h e cook h a d finished m a k i n g t h e
sandwiches.
" G o d b e r ' s h a s come", said t h e maid, coming into
t h e kitchen. She h a d seen t h e m a n pass t h e w i n
dow.
14
T h a t m e a n t t h e c r e a m p u f f s h a d come. G o d
b e r ' s w e r e famous for t h e i r c r e a m puffs. N o b o d y
e v e r t h o u g h t of m a k i n g t h e m at h o m e .
"Bring t h e m in a n d p u t t h e m on t h e table, m y
girl", o r d e r e d cook. S a d i e b r o u g h t t h e m in a n d
w e n t back to t h e door. L a u r a and Jose t h o u g h t t h e y
w e r e too g r o w n - u p to care a b o u t such things. All
t h e s a m e t h e y a g r e e d t h a t t h e puffs looked v e r y
good. Very.
15
" H a v e one e a c h , m y d e a r s " , said cook. " Y o u r
m o t h e r w o n ' t know."
Oh, impossible. C r e a m puffs so soon after b r e a k -
14
fast. B u t t w o m i n u t e s l a t e r J o s e a n d L a u r a w e r e
eating t h e m with great pleasure.
" L e t ' s go into t h e g a r d e n b y t h e back door", s u g
g e s t e d L a u r a . "I w a n t to see t h e m e n p u t t i n g u p
t h e t e n t . T h e y ' r e s u c h nice m e n . "
B u t a t t h e b a c k door stood cook, Sadie, G o d b e r ' s
m a n a n d H a n s , t h e b o y w h o w o r k e d in t h e h o u s e .
Something had happened.
Notes
1
They could not have had a more perfect day... if they
had ordered it. — У них не было бы более подходя
щего дня... даже если бы они его заказали. (Сосла
гательное наклонение. Perfect — идеальный, совер
шенный.)
2
lawn — газон
3
to put up a tent — установить тент
4
Where do you want them to put the tent...? — Где ты
хочешь, чтобы они установили тент? (объектный
инфинитивный оборот)
5
canvas — холст, парусина
6
suggest [sa'd3est] — предлагать
7
bend (bent; bent) — наклоняться
8
workmen for friends rather than the silly boys — ра
бочих в качестве друзей, а не глупых мальчиков
9
Coming! — Иду!
10
receiver [ri'si:v9] — трубка
11
florist — торговец цветами
12
tray — поднос
13
pot — горшок
14
cream puff — слойка с кремом
15
have one each — съешьте по одной
15
List of Vocabulary
to seem; it seems that...
to look (+adj) (-business-like)
to be behind; to fall behind
to care for smb/smth; about
fault
class distinctions
, ' to do smth
to be ready
for smth
to take part in smth
to mean; meaning; meaningful
, s m t h
to order
smb to do smth
1. Reproduce the situations from the story where the

vocabulary of the list is used.
2. Suggest words and word-combinations for the

following (from your active vocabulary).
1) to be less a d v a n c e d t h a n ; inferior to
2) to be concerned; to h a v e an inclination (to) or
affection (for)
3) significant
4) responsibility for being w r o n g
3. Explain the meaning of the following phrases us
ing an English-English dictionary.
1) class distinctions
2) to o r d e r s m t h
3) it seems t h a t
4) to look business-like
16
4. Paraphrase the following sentences using the
words from the list:
1) H e failed in t h e e x a m i n a t i o n b u t h e d o e s n ' t
a p p e a r to feel a n y sorrow.
2) T h o u g h h e is 16 a l r e a d y , h e h a s n ' t m a d e so
m u c h p r o g r e s s as o t h e r boys of his age.
3) S h e is a good pupil, she is a l w a y s willing to
work.
4) T h e doctor told m e to s t a y in bed.
5) T h e P r e s i d e n t shook h a n d s w i t h e v e r y o n e ,
w i t h o u t differences of r a n k .
5. Translate the following into Russian paying atten
tion to the italicized parts.
1) "It w a s all m y faultl" exclaimed L a u r a .
2) E v e r y b o d y in t h e family w a n t e d to take part
in t h e p r e p a r a t i o n s for t h e g a r d e n p a r t y .
3) K a t h e r i n e Mansfield w a s v e r y sensitive to class
distinctions.
4) E v e r y t h i n g seemed ready for t h e p a r t y .
5) W h a t did g a r d e n p a r t i e s a n d boxes a n d d r e s s
es mean to t h e d e a d m a n ?
6) L a u r a ' s m o t h e r d i d n ' t care m u c h for t h e life of
t h e poor.
6. Write out from the text the sentences which
include the English equivalents of the following
Russian words and word-combinations and use
them in sentences of your own.
Б е з в е т р е н н ы й день; у с т а н а в л и в а т ь тент; с т а
р ш а я сестра; спускаться к з а в т р а к у ; д р у ж е с к а я
у л ы б к а ; н а к л о н я т ь с я ; р а з г о в о р по т е л е ф о н у ;
проходить мимо; взрослые; всё равно; с большим
удовольствием; предлагать.
17
/. Think of the nouns that can be modified by the
adjectives. Put down all the possible word-com
binations.
Nice; logical; beautiful; perfect; w a r m ; early; a r
tistic; business-like; friendly; silly; famous; wide;
right.
8. Explain the meaning of the following phraseolog
ical units and say in what connection they are used
in the text.
A good excuse; all t h e same; to t a k e p a r t in; to be
famous for; to h a v e s m b for s m b ; for once in o n e ' s
life; after all.
9. Explain the use of articles or their absence in the
sentences:
1) "Laura, L a u r a , w h e r e a r e you? Tele
p h o n e , L a u r a ! " A voice cried from t h e house.
2) "Sadie, go a n d find mother."
3) Breakfast w a s not y e t over w h e n
w o r k m e n c a m e to p u t u p _a tent.
4) " T h a t ' s right, miss ", said t h e tallest of t h e men.
5) "I t h o u g h t you said you d i d n ' t w a n t to
t a k e p a r t in t h e p r e p a r a t i o n s . "
10. Fill in the blanks with prepositions if necessary:
1) T h e g a r d e n e r w a s w o r k i n g early
m o r n i n g c u t t i n g t h e grass.
2) B u t Meg could't help the men.
3) S h e sat drinking h e r coffee a green tow
el on h e r head.
4) L a u r a c a m e to t h e m , t r y i n g to look
business-like.
18
5) In t h e hall h e r f a t h e r a n d h e r b r o t h e r L a u r i e
were putting t h e i r h a t s r e a d y to go
t h e office.
6) After a talk the telephone with her
friend, L a u r a p u t t h e receiver and sat
still listening.
7) G o d b e r ' s w e r e f a m o u s their cream
puffs.
/ /. Define the word-forms ending in - i n g . Translate
the sentences into Russian, use the Russian trans
lation for back translation into English.
1) T h e g a r d e n e r w a s w o r k i n g since e a r l y m o r n
ing c u t t i n g t h e g r a s s a n d s w e e p i n g t h e lawns.
2) L a u r a c a m e u p to t h e m t r y i n g to look b u s i n e s s
like.
3) L a u r a w a s e a t i n g h e r b r e a d - a n d - b u t t e r as s h e
looked a t t h e w o r k m e n w a l k i n g to t h e place w h e r e
t h e t e n t would b e p u t u p .
4) In t h e k i t c h e n t h e cook h a d finished m a k i n g
t h e sandwiches.
5) Nobody e v e r t h o u g h t of m a k i n g c r e a m puffs
at home.
12. Find the sentences in the text in which the Past
Perfect Tense is used. Comment on its usage.
Translate the sentences into Russian.
13. Use participles in paraphrasing the following:

1) "Good m o r n i n g " , said L a u r a to t h e w o r k m e n
a n d tried to copy h e r m o t h e r ' s voice.
2) L a u r a p u t b a c k t h e receiver a n d sat still a n d
listened.
3) N e a r t h e door stood a w i d e t r a y of r e d lilies
w h i c h m o t h e r h a d o r d e r e d a d a y before.
19
4) " G o d b e r ' s h a s come", said t h e m a i d w h e n she
c a m e into t h e kitchen.
5) "I w a n t to see h o w t h e m e n will p u t u p t h e
tent."
14. Study the following phrases. Recall how they
were used in the text. Make your own sentences
with each:
1) to p u t u p ; to p u t on; to p u t back
2) to come out; to come d o w n (to...); to come u p
(to...)
15. Make a list of words and word-combinations that
are used to describe Laura.
16. Present the dialogue between Laura and her

mother about lilies in narrative form.
B. Speech Excercises
17. Introduce the main characters of the story.

Summarize the author's method in presenting
her characters. Pick out verbs and adjectives
characterizing each of the personages. Take
notice of their behaviour and manner of speech.
What do we learn about the characters through
their behaviour, through their actual and inner
speech?
18. What is your opinion of Laura's behaviour dur

ing preparations for the garden party? How does
it reveal her personality? What kind of a girl is
she?
20
19. Reread the fragments about the workmen who
came to put up the tent. For what purpose does
the author introduce these small character-
sketches which are seemingly irrelevant for the
main line of the story?
20. Account for Laura's statement: "It is all the fault

of these absurd class distinctions." Is it a casual
remark or a belief coming from the girl's (or the
author's) outlook? Give your reasons.
21. Comment on the following statements, quoting

the text if necessary. Use the following openings
(Make sure you understand their meaning.):
I ( d o n ' t ) see e y e t o e y e w i t h . . .
A t any r a t e . . .
I w o u l d n ' t say s o . . .
In fact . . .
It's a d o u b t f u l s t a t e m e n t .
Just t h e o t h e r w a y r o u n d .
I'm in t w o m i n d s a b o u t i t .
That's w h e r e I a g r e e / d i s a g r e e w i t h . . .
It m a y b e t r u e t o s o m e e x t e n t b u t . . .
The w a y I s e e i t . . .
It's n o t as s i m p l e as all t h a t . . .
etc.
1) T h e w e a t h e r w a s ideal for t h e g a r d e n - p a r t y .
2) E v e r y b o d y in t h e family w a s e a g e r to t a k e p a r t
in t h e p r e p a r a t i o n s .
3) L a u r a h a d to h e l p t h e w o r k m e n b e c a u s e she
w a s t h e artistic one in t h e family.
4) L a u r a t h o u g h t t h e w o r k m e n w e r e w o n d e r
fully nice b e c a u s e t h e y w e r e smiling f r i e n d -
21
ly a n d one of t h e m e v e n c a r e d for t h e smell
of a flower.
5) T h e r e w a s some m i s u n d e r s t a n d i n g b e t w e e n
Laura and her mother.
22. Make up key-questions that will cover the con
tents of the chapter under study. Use your active
vocabulary.
23. Sum up the contents of the chapter in 5-7 sen

tences. Be ready to discuss the setting and the at
mosphere of the chapter.
II
"What's the matter? What's happened?"

" T h e r e ' s b e e n a t e r r i b l e accident", said cook. "A
m a n killed."
"A m a n killed! W h e r e ? How? W h e n ? "
B u t G o d b e r ' s m a n w a s n ' t going to let a n o t h e r one
tell his story.
"Do you k n o w t h e s e little h o u s e s not far f r o m
h e r e , miss?" h e said. "Well, t h e r e ' s a y o u n g m a n li
1
ving t h e r e , Scott, a c a r t e r . His h o r s e got f r i g h t
ened at a t r a c t o r a t t h e corner of H a w k e S t r e e t this
m o r n i n g a n d h e w a s t h r o w n out on t h e b a c k of his
2
h e a d . Killed."
"Dead!" L a u r a looked a t G o d b e r ' s m a n .
"Dead w h e n t h e y picked h i m u p . T h e y w e r e t a k
ing t h e b o d y h o m e w h e n I c a m e u p h e r e . " A n d h e
said to t h e cook, " H e ' s left a wife a n d five little
children."
"Jose, come h e r e " , L a u r a c a u g h t h e r sister's h a n d
a n d p u s h e d h e r t h r o u g h t h e k i t c h e n door.
"Jose", she said in h o r r o r " , h o w a r e w e going to
stop e v e r y t h i n g ? "
"Stop e v e r y t h i n g , Laura!'' cried Jose in surprise-
" W h a t do you m e a n ? "
"Stop t h e g a r d e n - p a r t y " , said L a u r a .
B u t Jose w a s still m o r e surprised. "Stop t h e g a r
d e n - p a r t y ? M y d e a r L a u r a , d o n ' t be so stupid. W e
c a n ' t do a n y t h i n g like t h a t . D o n ' t be so silly".
"But w e c a n ' t h a v e a g a r d e n - p a r t y w i t h a m a n
d e a d not far from our h o u s e " , L a u r a cried.
T h a t w a s not q u i t e right, b e c a u s e t h e little h o u s
3
es stood in a l a n e w h i c h led u p to t h e S h e r i d a n s '
23
house. A r o a d r a n b e t w e e n . T h e y w e r e little h o u s
es p a i n t e d b r o w n , a n d v e r y poor. In t h e little g a r
dens t h e r e w a s nothing b u t cabbages a n d sick hens.
W o r k e r s lived t h e r e w i t h their families. T h e r e w e r e
m a n y c h i l d r e n of all ages. W h e n t h e S h e r i d a n s
w e r e little t h e y w e r e not allowed to go t h e r e b e
cause t h e y could catch a n illness. But since t h e y
were grown-up Laura and Laurie sometimes wal
ked along t h e lane.
"And j u s t t h i n k of w h a t t h e b a n d would s o u n d
4
like to t h a t poor w o m a n " , continued L a u r a .
"Oh, L a u r a ! " Jose b e g a n to be angry. "If y o u ' r e
going to stop a b a n d playing e v e r y t i m e someone
h a s a n accident, you'll h a v e a v e r y difficult life. I ' m
as sorry a b o u t it as you." S h e looked a t h e r sister as
she did w h e n t h e y w e r e little a n d fighting t o g e t h
er. "You w o n ' t bring a d r u n k e n w o r k m a n b a c k to
5
life b y being s e n t i m e n t a l " , she said quietly.
" D r u n k ! W h o said h e w a s d r u n k ? " L a u r a t u r n e d
angrily on Jose. "I'm going s t r a i g h t u p to tell m o t h
er", s h e said.
"Do, d e a r " , said Jose.
"Mother, can I come into y o u r r o o m ? " L a u r a said
a t t h e door.
"Of course, child. W h y , w h a t ' s t h e m a t t e r ? W h y
a r e y o u e x c i t e d so m u c h ? " A n d M r s . S h e r i d a n
t u r n e d r o u n d from h e r dressing-table. S h e w a s t r y
ing on a n e w hat.
" B u t listen, m o t h e r " , said Laura. A n d she told t h e
terrible story.
"Of course, w e c a n ' t h a v e our p a r t y , can w e ? "
s h e said. "They'll h e a r t h e b a n d , m o t h e r ; t h e y ' r e
our n e i g h b o u r s ! "
24
To L a u r a ' s s u r p r i s e h e r m o t h e r a n s w e r e d as J o s e
did.
"But, m y d e a r child, t h i n k a little. I t ' s only b y
6
accident w e ' v e h e a r d of i t . If someone h a d died
t h e r e — a n d I c a n ' t u n d e r s t a n d h o w t h e y c a n live
in those little h o u s e s — w e should still b e h a v i n g
our p a r t y , s h o u l d n ' t w e ? "
L a u r a h a d to s a y " y e s " to t h a t , b u t s h e felt it w a s
7
all w r o n g . " M o t h e r , isn't it really t e r r i b l y h e a r t
less of us?" s h e asked.
"Dear", Mrs. S h e r i d a n got u p a n d c a m e o v e r to
her, c a r r y i n g t h e hat. Before L a u r a could stop h e r ,
s h e h a d p u t it on h e r h e a d .
"My child", said h e r m o t h e r , _ i e h a t is y o u r s .
It's m a d e for you. It's m u c h too y o u n g for me. I h a v e
n e v e r seen y o u look s u c h a p i c t u r e . Look a t y o u r
self." A n d s h e took L a u r a to h e r d r e s s i n g - t a b l e .
"But, m o t h e r " , L a u r a b e g a n again. S h e c o u l d n ' t
look at herself: s h e t u r n e d a w a y . This t i m e Mrs.
8
S h e r i d a n lost p a t i e n c e j u s t as Jose h a d done.
" Y o u ' r e v e r y silly, L a u r a " , s h e said coldly. " S u c h
9
people don't expect sacrifices from us. A n d it's not
v e r y nice to spoil e v e r y b o d y ' s p l e a s u r e as y o u ' r e
doing now."
"I d o n ' t u n d e r s t a n d " , said L a u r a a n d she w a l k e d
q u i c k l y o u t of t h e r o o m into h e r o w n b e d r o o m .
T h e r e t h e first t h i n g s h e s a w w a s this nice girl in
t h e m i r r o r in h e r black h a t w i t h gold flowers a n d a
long black ribbon.
N e v e r did s h e t h i n k s h e could look like t h a t . "Is
m o t h e r r i g h t ? " s h e t h o u g h t . A n d n o w she h o p e d
h e r m o t h e r w a s right. W a s s h e silly? J u s t for a m o
m e n t s h e s a w t h a t poor w o m a n a n d t h o s e little
25
children a n d t h e b o d y t h a t w a s c a r r i e d into t h e
house. B u t it all looked like a p i c t u r e in t h e n e w s
p a p e r . "I'll r e m e m b e r it again after t h e p a r t y ' s
over", s h e decided. A n d t h a t s e e m e d t h e best plan.
Notes
1
carter — возчик
2
back of (his) head — затылок
3
lane — переулок
4
would sound like — как будет звучать
5
but you won't bring the drunken workman back to
life by being sentimental — но ты не вернёшь к жиз
ни этого пьяного рабочего тем, что расчувствуешь
ся
6
It's only by accident we've heard of it — мы услы
шали об этом ведь только случайно (эмфатическая
конструкция)
7
but she felt it was all wrong — но она чувствовала,
что всё это не так
8
patience [peifns] — терпение
9
sacrifice [' saskrifais] — жертва
List of Vocabulary
accident
to let smb do smth
stupid
to catch (an illness)
to try smth on
matter
to spoil
26
/. Recall the situations from the story where these

active words and phrases are used.
2. Express the same notion in one word.

1) S o m e t h i n g to w h i c h a t t e n t i o n is given; piece
of business, affair.
2) A n u n f o r t u n a t e occurence; c a t a s t r o p h e .
3) To m a k e useless or unsatisfactory.
3. Use your English-English dictionary to explain the
meaning of the following:
1) to let s m b do s m t h ;
2) to c a t c h a n illness;
3) to t r y s m t h on.
4. Paraphrase the following using your new vocab
ulary:
1) My m o t h e r w o u l d n ' t allow m e to come b a c k
h o m e after eleven p.m.
2) T h e doctor told u s not to come to see P e t e r ,
b e c a u s e w e could b e c o m e ill.
3) W h a t ' s h a p p e n e d ?
4) L a u r a h o p e d h e r m o t h e r w a s right. W a s s h e
silly?
5. Find in the text the English for:
прекрасно в ы г л я д е т ь ; в е р н у т ь к ж и з н и , о ж и
вить; собираться что-либо сделать; подобрать;
в у ж а с е ; взрослый; быть взволнованным; б е с
сердечный; т у а л е т н ы й столик; з а к а н ч и в а т ь с я .
6. Make up situations of your own based on your per
sonal experience. Use the following sentences:
27
1) "What's the matter? Why are you so excited?"
asked the mother.
2) Unfortunately this beautifull dress was too
small for me when I tried it on.
3) "It's not very nice to spoil everybody's plea
sure as you're doing now", my friend told me.
I, 7. Paraphrase and translate:
1) G o d b e r ' s m a n w a s n ' t going to let a n o t h e r one
tell his story.
2) "You w o n ' t bring a d r u n k e n w o r k m a n b a c k to
life b y being s e n t i m e n t a l " said Jose quietly.
3) L a u r a felt it w a s all w r o n g .
4) T h e poor w o m a n , those little children a n d t h e
b o d y t h a t w a s carried into t h e house - t h e y all
looked like a p i c t u r e in t h e n e w s p a p e r .
. 8. a) Form adverbs from the following adjectives and
recall the situations in which these adverbs are
used in the text:
quiet; a n g r y ; terrible; real; cold; quick.
b) Think of the verbs that can be modified by these
adverbs.
9. Find in the text antonyms to the following words.

Use them in sentences of your own.
Wrong; nothing; to stop; heartless; little; s o m e
times.
10. Explain (in English) the meaning of the following
phraseological units and say in what connection
they are used in the story:
to be going to do s m t h
what's the matter
28
by accident
to lose p a t i e n c e
1 /. Study the phrases with "surprise". Use them in
sentences of your own:
to s m b ' s s u r p r i s e ; to cry in s u r p r i s e ; to b e s u r
prised.
12. Translate into English the following sentences
from the text, paying attention to passive construc
tions.
1) "Эта ш л я п к а сделана д л я тебя!"
2) Им не р а з р е ш а л и ходить по переулку, т.к. они
могли подцепить к а к у ю - н и б у д ь болезнь.
3) Л о ш а д ь испугалась трактора, и Скота выбро
сило из повозки.
4) Л и ш ь на мгновение она у в и д е л а эту бедную
ж е н щ и н у , этих м а л е н ь к и х д е т е й и тело, к о
торое внесли в дом.
13. Account for the grammar phenomena marked in
these sentences:
1) G o d b e r ' s m a n w a s n ' t going to let a n o t h e r one
tell his s t o r y (Complex Object).
2) T h e y w e r e t a k i n g t h e b o d y h o m e w h e n G o d
b e r ' s m a n c a m e u p to t h e S h e r i d a n s ' (Aspect
T e n s e form).
3) T h e y w e r e little houses p a i n t e d b r o w n ( P a r t i
ciple II).
4) L a u r a h a d to say "yes" b u t s h e felt it w a s all
w r o n g (Modal phrase).
5) N e v e r did s h e t h i n k she could look like t h a t
(word-order).
6) Mrs. S h e r i d a n got u p a n d c a m e over to h e r ,
c a r r y i n g t h e h a t (Participle I).
29
7) Before L a u r a could stop h e r , she h a d p u t t h e
h a t on h e r h e a d (Sequence of tenses).
!
14. Present the scene with a new hat in indirect
speech.
15. Give a summary of the proceeding events using

active vocabulary from the first part.
16. Tell the story of Godber's man in indirect speech.
17. State whose words these are, what preceded or

followed them, what motives they were prompt
ed by. Use the active vocabulary when describ
ing the episodes. Give your own opinion of these
utterances and discuss their moral aspect.
1) "Jose, h o w a r e w e going to stop t h e g a r d e n
party?"
2) "You w o n ' t bring a d r u n k e n w o r k m a n back
to life b y being sentimental."
3) "Such people don't expect sacrifices from us."
4) "Isn't it really t e r r i b l y h e a r t l e s s of u s ? "
5) "Is m o t h e r right? A m I silly?"
18. Comment upon the scene with a hat. Reveal its
meaning for describing the characters of mother
and daughter and the nature of their mutual rela
tions. Did Mrs. Sheridan present Laura with her hat
because it was too young for her or had she any
other reasons? Prove that Laura wasn't that strong
to oppose her mother.
30
19. Make up a story that Laura might have fold her
mother about the accident.
20. Use your imagination and speak about the dead

man — his appearance, occupation, family life.
21. Describe an incident from your life when you felt

the same as Laura on hearing a terrible story.
Ill
At half past t w o t h e b a n d a r r i v e d a n d w a s placed

in t h e corner of t h e tennis-court. Laurie c a m e back
1
from his office a n d at t h e sight of h i m L a u r a r e
m e m b e r e d t h e accident again. S h e w a n t e d to tell
him. A n d she followed h i m into t h e hall.
"Hallo, Laurie!" He w a s going to his b e d r o o m to
dress for t h e p a r t y . He t u r n e d r o u n d a n d s a w L a u
ra.
2
"My word, L a u r a ! You look so beautiful! W h a t a
c h a r m i n g hat!"
L a u r a said softly, "Really?" a n d smiled u p a t L a u
rie a n d d i d n ' t tell h i m after all.
Soon after t h a t people b e g a n coming. T h e b a n d
b e g a n to play. W a i t e r s r a n from t h e h o u s e to t h e
tent. E v e r y w h e r e w e r e g u e s t s looking at flowers,
g r e e t i n g each other, talking, laughing. T h e y w e r e
like b r i g h t birds t h a t h a d flown into t h e S h e r i d a n s '
g a r d e n for this one afternoon. T h e y all seemed h a p -
РУ-
" D e a r L a u r a , h o w well you look!"
" W h a t a beautiful hat, child!"
3
"Laura, you look quite S p a n i s h . "
A n d L a u r a , v e r y pleased, a n s w e r e d pleasantly,
"Have you h a d tea? W o n ' t you h a v e a n ice?" T h e n
4
she helped h e r m o t h e r with g o o d - b y e s . T h e y stood
side b y side in t h e g a r d e n till it w a s all over. "All
over, All over", said Mrs. S h e r i d a n . "Call t h e o t h
e r s , L a u r a . L e t ' s go a n d h a v e s o m e coffee. I ' m
tired." A n d t h e y all sat d o w n in t h e t e n t .
" H a v e a sandwich, d a d d y dear."
32
" T h a n k s . " Mr. S h e r i d a n a t e one s a n d w i c h a n d
took a n o t h e r . "I s u p p o s e you d i d n ' t h e a r of a n a c
cident t h a t h a p p e n e d t o d a y ? " h e said.
" M y d e a r " , said M r s . S h e r i d a n , " w e did. It n e a r l y
ruined t h e p a r t y . L a u r a insisted w e should p u t it
off."
"It w a s terrible", said Mr.Sheridan. " T h e m a n w a s
m a r r i e d too. Lived q u i t e n e a r , in t h e lane, a n d left
a wife a n d five children, so t h e y say."
5
A silence fell . Mrs. S h e r i d a n p u t d o w n h e r c u p .
S u d d e n l y s h e looked u p . T h e r e on t h e table w e r e
all t h o s e s a n d w i c h e s , cakes, puffs, all u n e a t e n , all
going to be t h r o w n a w a y . S h e h a d one of h e r b r i l
liant ideas.
"I k n o w " , s h e said. " L e t ' s s e n d t h a t poor w o m a n
some of this v e r y good food. It will give t h e g r e a t
est p l e a s u r e to t h e children. D o n ' t y o u a g r e e ? L a u
ra!" S h e j u m p e d u p . " G e t m e a big box from t h e
house."
"But, mother, do you really think it's a good idea?"
said L a u r a . A g a i n s h e felt q u i t e d i f f e r e n t f r o m
t h e m all.
"Of course! W h a t ' s t h e m a t t e r w i t h you t o d a y ?
A n h o u r or t w o ago you w e r e insisting on b e i n g
6
s y m p a t h e t i c , a n d now..."
"Oh, well!" L a u r a r a n for t h e box. H e r mother-
p u t all t h e food into it. " T a k e it yourself, d e a r " ,
said she. "No, wait, t a k e t h e lilies too. People of t h a t
class like lilies."
" T h e flowers will spoil h e r d r e s s " , said practical
Jose. " T a k e only t h e box t h e n . "
It w a s g r o w i n g d a r k as L a u r a w e n t out of t h e
g a r d e n gates. T h e r o a d looked w h i t e a n d t h e little
houses w e r e in d a r k n e s s . H o w q u i e t it s e e m e d af
ter the garden-party.
33
N o w s h e crossed t h e big road a n d e n t e r e d t h e
7
lane, small a n d dark. W o m e n in s h a w l s a n d m e n
8
in t w e e d c a p s h u r r i e d by, children p l a y e d n e a r
t h e doors. L a u r a b e n t h e r h e a d a n d h u r r i e d on. S h e
w a s sorry t h a t she h a d not p u t on a coat. H o w h e r
d r e s s shone! A n d t h e big h a t w i t h t h e ribbon w a s
too bright. W e r e t h e people looking at her? It w a s a
m i s t a k e to h a v e come, s h e k n e w it w a s a mistake.
M u s t she go back? No. Too late. This w a s t h e house.
A g r o u p of people stood n e a r it. T h e y stopped talk
ing a n d looked at her. L a u r a w a s terribly n e r v o u s .
S h e said to a w o m a n s t a n d i n g by: "Is this Mrs.
Scott's h o u s e ? " A n d t h e w o m a n a n s w e r e d : "It is,
9
m y girl." Oh, to be a w a y from this! L a u r a w a l k e d
u p to t h e door a n d knocked. T h e n t h e door opened.
A little w o m a n in black stood a t t h e door.
L a u r a said, " A r e you Mrs. Scott?" But t h e w o m
a n a n s w e r e d , "Walk in, please, miss."
"No", said Laura. "I d o n ' t w a n t to come in. I only
w a n t to leave this box. M o t h e r sent...-—"
T h e little w o m a n seemed not to h a v e h e a r d her.
"Come this w a y , please, miss", she said a n d L a u r a
followed her. S h e found herself in a little k i t c h e n
lighted b y a small lamp. T h e r e w a s a w o m a n sit
ting before t h e fire.
"Em", said t h e little w o m a n w h o h a d let h e r in.
"Em! It's a y o u n g lady." S h e t u r n e d to L a u r a a n d
explained, " I ' m h e r sister, miss. You'll e x c u s e her,
won't you?"
"Oh, b u t of course!" said L a u r a . "Please, please,
d o n ' t w o r r y her. I — I only w a n t to leave—."
B u t at t h a t m o m e n t t h e w o m a n at t h e fire t u r n e d
round. H e r face, red, w i t h swollen eyes a n d swol-
34
len lips, looked t e r r i b l e . It s e e m e d s h e c o u l d n ' t u n
d e r s t a n d w h y L a u r a w a s t h e r e . W h a t did it m e a n ?
W h y w a s this s t r a n g e r s t a n d i n g in t h e k i t c h e n w i t h
a box? A n d she b e g a n crying again.
"All right, m y d e a r " , said t h e other. "I'll t h a n k
t h e y o u n g lady."
L a u r a w a n t e d only to g e t out, to g e t a w a y . T h e
door opened. S h e w a l k e d into t h e b e d r o o m , w h e r e
t h e d e a d m a n w a s lying.
"You'd like to look a t him, w o u l d n ' t y o u ? " said
10
E m ' s sister a n d s h e w a l k e d p a s t L a u r a over to t h e
bed. "Don't b e f r i g h t e n e d , m y girl. C o m e along,
11
m y dear", a n d s h e took d o w n t h e s h e e t . L a u r a
came. T h e r e lay a y o u n g m a n — sleeping so d e e p
ly, t h a t h e w a s far, far a w a y from t h e m both. W h a t
did g a r d e n - p a r t i e s a n d boxes a n d dresses m e a n to
him? He w a s far from all those things.
B u t people h a d to cry, a n d she c o u l d n ' t go out of
t h e room w i t h o u t saying s o m e t h i n g to him. L a u r a
12
g a v e a loud childish s o b .
"Forgive m y h a t " , she said.
A n d this t i m e s h e d i d n ' t wait for E m ' s sister. S h e
found h e r w a y out of t h e door, past all those d a r k
people. At t h e corner of t h e lane s h e m e t Laurie.
"Is t h a t you, L a u r a ? "
"Yes."
" M o t h e r w a s g e t t i n g worried. W a s it all r i g h t ? "
"Yes, quite. Oh, L a u r i e " , she took his a r m a n d
stood v e r y n e a r to him.
" Y o u ' r e not crying, a r e y o u ? " asked h e r b r o t h e r .
1 3
L a u r a shook h e r head. S h e w a s .
Laurie p u t his a r m r o u n d her. "Don't cry", h e said
in his w a r m , loving voice. "Was it awful?"
35
"No", sobbed Laura. "It w a s wonderful. But, L a u
rie — " S h e s t o p p e d , s h e looked a t h e r b r o t h e r .
"Isn't life", she said slowly, "isn't life — " B u t w h a t
life w a s s h e couldn't explain. B u t h e q u i t e u n d e r
stood.
"Isn't it, d e a r ? " said Laurie.
Notes
1
at the sight of him — при виде его
2
My word, Laura! — Честное слово, Лаура!
3
you look quite Spanish — ты похожа на испанку
4
helped her mother with good-byes — помогала ма
тери провожать гостей
5
a silence fell — наступило молчание
6
you were insisting on being sympathetic — ты на
стаивала, чтобы мы выразили сочувствие
7
shawl [Го:1] — шаль
8
tweed cap — твидовое кепи
9
Oh, to be away from this! — О, только бы уйти отсю
да!
10
past — мимо
11
sheet -— простыня
12
sob — всхлипывание
13
She was. — Она плакала. (Вспомогательный глагол
was здесь заменяет сказуемое was crying)
List of Vocabulary
to follow smb
charming
to greet (v); greeting (n)
to put smth off
(that) smb should do smth
to insist o(doingj
n t}i sm
to find oneself
to forgive
stranger
36
/. Recall the situations from the story in which the

2. Choose words and word-combinations from your

active vocabulary to express the following no
tions:
1) a person not k n o w n
2) to go or come after a n o t h e r ; to u n d e r s t a n d
3) highly a t t r a c t i v e ; delightful
4) to postpone; to do s m t h at a l a t e r d a t e
3. Interpret the meaning of the following words and
phrases using an English-English dictionary:
1) to g r e e t each o t h e r
2) to find oneself s o m e w h e r e
3) to insist t h a t s m b should do s m t h
4) to forgive
1) T w o friends said "Hello!" to each other.
2) L a u r a felt u n e a s y in this poor h o u s e in h e r
beautiful d r e s s a n d big hat.
3) Laurie found h e r n e w h a t v e r y a t t r a c t i v e .
4) " W h o is this n e w c o m e r ? " she a s k e d
5) Suddenly L a u r a discovered t h a t she w a s s t a n d
ing in a little k i t c h e n lighted b y a small l a m p .
tion to the italicized words and phrases:
1)1 c a n ' t forgive his r u d e n e s s .
2) E v e r y b o d y in t h e court insisted on his i n n o -
cence...
37
3) My dog a l w a y s b a r k s a t strangers.
4) S u d d e n l y h e found himself sitting n e a r a
charming y o u n g lady. S h e greeted h i m w i t h
a smile a n d began talking. He w a s so n e r v o u s
t h a t he could h a r d l y follow h e r .
Одеться к празднику; в конце концов; не х о т и
те л и л ь д а ? ; совсем рядом; б л е с т я щ а я м ы с л ь ;
в ы р а ж а т ь сочувствие; слишком поздно; п р о х о
дите сюда; впускать; уйти прочь; д а л е к о - д а л е
ко; в порядке; всхлипывать.
7. Choose the correct word to fill in the blanks. Give
your reasons.
1) " D e a r L a u r a , h o w y o u look! (good —
well)
2) M r . S h e r i d a n a t e one s a n d w i c h a n d took
(other — another).
3) "It w a s ", said M r . S h e r i d a n (terribly —
terrible).
4) I t _ d a r k as L a u r a w e n t out of t h e g a r
d e n g a t e s (grew — w a s growing).
5) T h e people stopped (to talk — talking)
a n d looked at her.
6) S h e found herself in a little kitchen, by
a small l a m p (lighting — lighted).
7) T h e w o m a n ' s face, r e d , w i t h swollen e y e s ,
looked (terrible — terribly).
8) "Isn't life," s h e said isn't life..."
(slow — slowly).
8. Insert articles where necessary. Explain your
choice.
38
1) "It will give g r e a t e s t p l e a s u r e to t h e chil
dren."
2) E v e r y w h e r e w e r e g u e s t s , looking a t
flowers, g r e e t i n g e a c h o t h e r , t a l k
ing, laughing.
3) " W h a t beautiful h a t , child!"
4) " H a v e you h a d tea? W o n ' t y o u h a v e
5) "Get m e big box from house!"

"Oh, well!" L a u r a r a n for box.
6) W h a t did garden-parties and
boxes a n d dresses m e a n to him?
9. Explain the meaning of the phraseological units
and say in what connection they are used in the
text.
After all; to b e all over; a brilliant idea; t h e y
say; side b y side.
10. Arrange the following words in pairs of syn
onyms. Use them in sentences of your own.
To excuse; terrible; to spoil; to forgive; a w -
full; to come in; to ruin; to e n t e r .
11. Open the brackets using the appropriate form
of the Infinitive.
1) Laurie w a s going to his b e d r o o m (to dress) for
the party.
2) "Let's (to go) a n d (to have) some coffee.
3) It w a s a m i s t a k e (to come). S h e k n e w it w a s a
mistake.
4) Must she (to go) back? No, too late.
5) "I d o n ' t w a n t (to come) in. I only w a n t (to leave)
this box."
39
6) T h e little w o m a n s e e m e d not (to h e a r ) her.
7) B u t people h a d (to cry), a n d she c o u l d n ' t (to go
out) of t h e r o o m a n d not (to say) s o m e t h i n g to
him.
12. Define the word forms ending in - i n g . Translate
the sentences into Russian.
1) He w a s g o i n g to his b e d r o o m to d r e s s for t h e
party.
2) W h a t a c h a r m i n g h a t !
3) Soon people b e g a n coming.
4) E v e r y w h e r e w e r e g u e s t s looking a t flowers,
g r e a t i n g e a c h other, talking, l a u g h i n g .
5) "An h o u r or so ago you w e r e insisting on b e i n g
s y m p a t h e t i c a n d now..."
6) T h e y s t o p p e d t a l k i n g a n d looked a t her.
7) T h e r e w a s a w o m a n sitting before t h e fire.
8) S h e c o u l d n ' t go out of t h e room w i t h o u t s a y
ing s o m e t h i n g to him.
13. Insert prepositions where necessary.
1) W a i t e r s r a n the house t h e tent.
2) T h e n she h e l p e d h e r m o t h e r t h e good
byes.
3) " L a u r a insisted w e should p u t t h e p a r t y .
4) "Let's send t h a t poor w o m a n s o m e of
this v e r y good food! It will give t h e g r e a t e s t
pleasure t h e children."
5) N o w she crossed t h e big road a n d e n t e r e d
t h e lane, small a n d dark.
6) L a u r a b e n t h e r h e a d a n d h u r r i e d .
7) S h e said a w o m a n s t a n d i n g by: "Is this
Mrs.Scott's h o u s e ? "
8) S h e found herself in a little k i t c h e n lighted
a small l a m p .
40
9) "Please, d o n ' t w o r r y her."
10) B u t that moment the woman turned
round.
11) S h e found h e r w a y o u t of t h e door,
all t h o s e d a r k people.
12) " D o n ' t cry", h e said his w a r m , loving
voice.
14. Sum up the events of the preceeding chapters

using active vocabulary.
15. Describe the girl's visit to the Scotts. When Laura

came to this house and saw the dead man she said:
"Forgive my hat." What did she mean by that?
16. Express your agreement or disagreement with

the following statements. Give your reasons. Use
expressions from Ex.21 (Chapter I)
1) T h e g a r d e n p a r t y w a s a real success.
2) M r . S h e r i d a n w a s s o r r y for t h e poor widow.
3) It w a s really a brilliant idea to send some left
overs from t h e p a r t y to t h a t poor family.
4) It w a s L a u r a ' s m i s t a k e to h a v e come to t h e
Scotts.
5) L a u r a w a s g o o d - h e a r t e d .
17. Sum up what you have learned about
Mrs.Sheridan. Give her character-sketch. Express
your opinion of her. Did she bring up her chil
dren in the proper way? Give your reasons.
18. Give a character-sketch of Laura. What features

in her appeal to you? Use your imagination and
41
say what Laura will do after she has been to see
the poor family. What will she tell her parents, sis
ters and friends about her visit? Will, do you think,
she remain good or will she be like her mother
when she grows up?
Topics for g e n e r a l discussion
7. What is the main idea of the story and how is it

conveyed to the reader? Try to formulate if in
brief.
2. What is the author's attitude towards her charac

ters? With whom does she sympathize, whom does
she condemn? Prove your opinion citing the text.
3. How is the problem of children and parents rela

tions treated in the story? Does the author side with
the children or with the parents?
4. What new information did you get from the story

about the life of the well-to-do people in England?
5. Comment on the title connecting it with the con

tents of the story.
6. What is your opinion of the end of the story? Could

we call it a happy ending? If not, why?
7. How would you formulate the "leading motive"

of the story? Which aspect of human life does the
author mean to show the reader?
I
In t h e afternoon t h e chairs came, a whole big cart
full of little gold ones w i t h their legs in t h e air. A n d
t h e n t h e flowers c a m e . W h e n you s t a r e d d o w n
from t h e balcony a t t h e people c a r r y i n g t h e m t h e
flower pots looked like funny awfully nice h a t s .
Moon t h o u g h t t h e y w e r e h a t s . S h e said: "Look,
t h e r e ' s a m a n w e a r i n g a palm on his head." B u t
she n e v e r k n e w t h e difference b e t w e e n real things
a n d not real ones.
T h e r e w a s nobody to look after S u n a n d Moon.
N u r s e w a s helping A n n i e alter M o t h e r ' s d r e s s a n d
M o t h e r w a s r u n n i n g all over t h e h o u s e a n d t e l e
p h o n i n g F a t h e r to be s u r e not to forget things. S h e
only h a d t i m e to say: "Out of m y w a y , children!"
T h e y k e p t of h e r w a y — at a n y r a t e S u n did. He
did so h a t s being sent back to t h e n u r s e r y . It d i d n ' t
m a t t e r a b o u t Moon. If s h e got t a n g l e d in people's
1
legs t h e y only t h r e w h e r u p and shook h e r till she
2
s q u e a k e d . B u t S u n w a s too h e a v y for that. H e w a s
so h e a v y t h a t t h e fat m a n w h o c a m e to d i n n e r on
S u n d a y s u s e d to say: "Now, y o u n g m a n , let's t r y
to lift you." A n d t h e n h e ' d p u t his t h u m b s u n d e r
S u n ' s a r m s a n d g r o a n a n d t r y to give it u p at last
saying: "He's a perfect little ton of bricks!"
N e a r l y all t h e f u r n i t u r e w a s t a k e n out of t h e d i n
ing-room. T h e big piano w a s p u t in a c o r n e r a n d
t h e n t h e r e c a m e a r o w of flower pots a n d t h e n t h e r e
c a m e t h e goldy chairs.
T h a t w a s for t h e concert. W h e n S u n looked in a
w h i t e faced m a n sat at t h e piano — not playing, b u t
b a n g i n g at it a n d t h e n looking inside. He h a d a b a g
of tools on t h e piano a n d h e h a d stuck his h a t on a
44
s t a t u e against t h e wall. S o m e t i m e s h e j u s t s t a r t e a
to play a n d t h e n h e j u m p e d u p a g a i n a n d looked
inside. S u n h o p e d h e w a s n ' t t h e concert.
B u t of course t h e place to b e in w a s t h e k i t c h e n .
T h e r e w a s t h e i r cook, Minnie, all r e d in t h e face
a n d laughing. Not cross a t all. S h e g a v e t h e m e a c h
a n a l m o n d finger a n d lifted t h e m u p on to t h e flour
bin so t h a t t h e y could w a t c h t h e w o n d e r f u l t h i n g s
she w a s m a k i n g for s u p p e r .
"Ah, b u t you h a v e n ' t s e e n t h e i c e - p u d d i n g " , said
Cook. "Come along." W h y w a s s h e being so nice,
t h o u g h t S u n as s h e g a v e t h e m e a c h a h a n d . A n d
t h e y looked into t h e refrigerator.
Oh! Oh! Oh! It w a s a little house. It w a s a little
pink house w i t h w h i t e s n o w on t h e roof a n d g r e e n
w i n d o w s a n d a b r o w n door a n d s t u c k in t h e door
t h e r e w a s a n u t for a h a n d l e .
W h e n S u n s a w t h e n u t h e felt q u i t e tired a n d h a d
to lean against Cook.
"Let m e touch it. J u s t let m e p u t m y finger on t h e
roof", said Moon, dancing. S h e a l w a y s w a n t e d to
t o u c h all t h e food. S u n didn't.
3
"Now, m y girl, look s h a r p w i t h t h e table", said
Cook as t h e h o u s e m a i d c a m e in.
"It's a picture, Min", said Nellie. "Come along a n d
h a v e a look." So t h e y all w e n t into t h e dining-room.
S u n a n d Moon w e r e almost frightened. T h e y w o u
l d n ' t go u p to t h e t a b l e a t first; t h e y j u s t stood a t
t h e door a n d m a d e e y e s a t it.
It w a s n ' t real night y e t b u t t h e blinds w e r e d o w n
in t h e dining-room a n d t h e lights t u r n e d on — a n d
all t h e lights w e r e red roses. Red ribbons and b u n c h
es of roses tied u p t h e table at t h e corners. In t h e
4
middle w a s a lake w i t h rose petals floating on it.
45
" T h a t ' s w h e r e t h e ice p u d d i n g is to b e " , said
Coook.
T w o silver lions w i t h w i n g s h a d fruit on t h e i r
5
backs, and t h e salt cellars w e r e t i n y b i r d s d r i n k
ing out of basins.
6
All all t h e w i n k i n g glasses and shining plates a n d
sparkling k n i v e s a n d forks — a n d all t h e food. A n d
t h e little r e d table n a p k i n s m a d e into roses...
" A r e people going to eat t h e food?" a s k e d Sun.
"I should j u s t t h i n k t h e y w e r e " , l a u g h e d Cook,
laughing with Nellie. Moon laughed, too; she always
did t h e s a m e as o t h e r people. But S u n d i d n ' t w a n t
to l a u g h . R o u n d a n d r o u n d h e w a l k e d w i t h his
h a n d s b e h i n d his back. P e r h a p s h e n e v e r would
h a v e s t o p p e d if N u r s e h a d n ' t called s u d d e n l y :
"Now, then, children. It's high time you w e r e
w a s h e d a n d dressed." A n d t h e y w e r e m a r c h e d off
to t h e n u r s e r y .
While they w e r e being u n b u t t o n e d Mother
looked in w i t h a w h i t e t h i n g over h e r shoulders.
"I'll ring for t h e m w h e n I w a n t t h e m , N u r s e , a n d
t h e n t h e y can j u s t come d o w n a n d be seen a n d go
back again", she said.
S u n w a s u n d r e s s e d , first n e a r l y to his skin, a n d
dressed again in a w h i t e shirt w i t h r e d a n d w h i t e
7
daisies s p o t t e d on it, b r e e c h e s , w h i t e socks a n d
r e d shoes.
" N o w y o u ' r e in y o u r R u s s i a n c o s t u m e " , said
Nurse.
" A m I?" said Sun.
"Yes. Sit quiet in t h a t chair a n d w a t c h y o u r little
sister."
Moon took ages. W h e n s h e h a d h e r socks p u t on
she p r e t e n d e d to fall back on t h e bed a n d w a v e d
46
h e r legs at N u r s e a s s h e a l w a y s did, a n d e v e r y t i m e
N u r s e tried to m a k e h e r curls w i t h a finger a n d a
w e t b r u s h s h e t u r n e d r o u n d a n d a s k e d N u r s e to
show h e r t h e photo of h e r brooch or s o m e t h i n g like
that. B u t a t last she w a s finished too. H e r dress w i t h
fur on it w a s all w h i t e . H e r shoes w e r e w h i t e w i t h
8
big blobs on t h e m .
" T h e r e you a r e , m y l a m b " , said N u r s e . T h e m t h e
r u s h e d to t h e door. " M a ' a m , one m o m e n t . "
M o t h e r c a m e in again w i t h half h e r h a i r d o w n .
"Oh", she cried. " W h a t a p i c t u r e ! "
"Isn't she", said N u r s e .
A n d Moon h e l d out h e r s k i r t s b y t h e tips a n d
d r a g g e d one of h e r feet. S u n d i d n ' t m i n d people
not noticing h i m — m u c h -
Notes
1
she got tangled in people's legs — она путалась под
ногами
2
squeak [skwi:k] — пищать
3
look sharp — поторапливайся!
4
petal — лепесток
5
salt cellar — солонка
6
winking — мерцающий
7
breeches — бриджи
8
blob — шарик
List of Vocabulary
to look after smb

to be sure
to give smth up
to matter
cross (adj)
47
to make eyes at smth, smb
nursery
to pretend
(not) to mind smb doing smth
/. Reproduce the situations from the story in which

the vocabulary of the list is used.
2. Express the same notion in one word, using your

active vocabulary.
1) to stop doing s m t h
2) to be of i m p o r t a n c e
3) s h o w i n g a n g e r
4) to be t r o u b l e d by; to feel objection to
5) to be free from doubt; to h a v e confidence
3. Explain the meaning of the following phrases us
ing an English-English dictionary:
1) to look after s m b
2) to m a k e eyes at s m b , s m t h
3) n u r s e r y
4) to p r e t e n d
4.Paraphrase the following sentences using the
words from the list.
1) I can do n o t h i n g more. I c a n ' t find t h e a n s w e r .
2) I d o n ' t care w h e t h e r you a r r i v e early or late.
3) He d o e s n ' t object to t h e cold w e a t h e r at all.
4) No d o u b t this w e t w e a t h e r w o n ' t last m u c h
longer.
5) O u r g r a n d f a t h e r n e e d s a n u r s e to t a k e c a r e of
him.
48
tion to the italicized parts.
1) S h e gave up h e r job to look after h e r invalid
mother.
2) It d o e s n ' t matter m u c h , does it?
3) I w o u l d n ' t mind a glass of cold w a t e r , I would
like one.
4) I t h i n k h e ' s coming, b u t I ' m not sure.
5) T h e y pretended not to see u s .
6. Write out from the text the sentences which in
clude the English equivalents of the following Rus
sian words and phrases. Use them in sentences of
your own.
Пристально смотреть; разница; д е р ж а т ь с я
подальше от кого-либо; сумка с инструментами;
опереться на кого-либо; посмотри; ш т о р ы были
опущены; свет был потушен; собираться ч т о -
либо сделать; то ж е самое; р а с с т ё г и в а т ь (пуго
вицы); з а г л я н у т ь ; почти.
phraseological units and say in what connection
they are used in the text.
at any rate; at last; come along; it's high time; at all.
8. Define the word-forms ending in - i n g . Translate
the sentences into Russian, use the Russian trans
lation for back translation into English.
1) W h e n you s t a r e d d o w n t h e balcony a t t h e p e o
ple c a r r y i n g t h e flowers t h e flower pots looked
like funny nice h a t s .
2) N u r s e w a s h e l p i n g Annie alter M o t h e r ' s dress.
3) S u n h a t e d b e i n g sent back to t h e n u r s e r y .
49
4) N e a r l y all t h e f u r n i t u r e w a s t a k e n out of t h e
dining-room.
5) T h e r e w a s their cook, Minnie, all red in t h e face
and laughing.
6) A n d all t h e w i n k i n g glasses a n d s h i n i n g plates
a n d s p a r k l i n g knives a n d forks — a n d all t h e
food...
7) " A r e people going to eat t h e food?" a s k e d Sun.
8) S u n d i d n ' t m i n d p e o p l e n o t n o t i c i n g h i m
much...
9. Comment on the use of modal verbs and phrases
and the infinitives that follow them. Translate the
sentences into Russian.
1) W h e n S u n s a w t h e n u t h e felt q u i t e tired a n d
h a d to lean against cook.
2) " T h a t ' s w h e r e t h e ice p u d d i n g is to b e " , said
Cook.
3) "I'll ring for t h e m w h e n I w a n t t h e m , N u r s e ,
a n d t h e n t h e y can j u s t come d o w n a n d be seen
a n d go back again", said Mother.
10. Find the sentences in the text in which Partici
ple II is used. Comment on its usage. Translate the
sentences into Russian.
11. Account for the usage of the Infinitive in the fol

lowing sentences and define its role in the sen
tences.
1) T h e place to b e in w a s t h e kitchen.
2) N u r s e was helping Annie alter M o t h e r ' s dress.
3) M o t h e r w a s telephoning F a t h e r to b e s u r e not
to forget things.
4) S h e only h a d t i m e to say: "Out of m y w a y ,
children!"
50
5) "Now, y o u n g m a n , let's t r y to lift you."
6) "Let m e t o u c h it. J u s t let m e p u t m y finger on
t h e roof", said Moon.
12. Use the correct form of the Passive Voice in the
following sentences:
1) N e a r l y all t h e furniture... (to t a k e out) of t h e
dining room.
2) "It's high t i m e you... (to w a s h ; to dress)."
3) While they... (to u n b u t t o n ) M o t h e r looked in
w i t h a w h i t e t h i n g over h e r shoulders.
4) " T h e n t h e y can j u s t come d o w n and... (to see)
a n d go b a c k again", said M o t h e r .
13. Introduce the main characters of the story. Sum

marize the author's method in presenting her char
acters. Pick out verbs and adjectives characteriz
ing each of the personages. Take notice of their
behaviour and manner of speech. What do we
learn about the characters through their behav
iour, through their actual and inner speech?
14. Account for Mother's words: "Out of my way,

children!" Is it a casual remark or does it reveal
her way of treating her children? Give your rea
sons. Find sentences in the text to support your
statements.
15. Do you find Sun and Moon alike or different? Give

your reasons for whatever you say.

the following statements from the chapter. Give
51
your reasons. Make use of the openings from
ex. 21 page 21 (a story " The Garden-Party")
1) E v e r y b o d y in t h e house w a s b u s y getting r e a d y
for t h e p a r t y .
2) Moon h a t e d so m u c h being sent b a c k to t h e
nursery.
3) T h e i r cook, Minnie, w a s a l w a y s cross a t t h e
children for g e t t i n g tangled in peoples legs.
4) W h e n S u n s a w t h e ice house w i t h t h e n u t h e
w a n t e d to t o u c h it.
5) S u n a n d Moon w e r e almost f r i g h t e n e d as t h e y
c a m e into t h e dining-room; t h e y j u s t stood at
t h e door a n d m a d e eyes at t h e table.
6) Cook a n d Nellie l a u g h e d at S u n ' s question, S u n
laughed, too.
17. What is the author's attitude towards the prepa
ration for the party? Prove your opinion citing the
text.
18. Make up key-questions that will cover the con

tents of the chapter under study. Use your active
vocabulary.
19. Sum up the contents of the chapter in 8-10 sen

tences. Be ready to discuss the setting and the at
mosphere of the chapter.
20. Pick out a passage describing a festive table and

prepare it for recital in class and translation.
II
After t h a t t h e y p l a y e d clean t i d y g a m e s u p a t t h e
table while N u r s e stood at t h e door, a n d w h e n t h e
carriages b e g a n to c o m e a n d t h e s o u n d of l a u g h t e r
a n d voices c a m e from d o w n below s h e w h i s p e r e d :
"now t h e n , children, s t a y w h e r e y o u are." Moon
kept j e r k i n g t h e t a b l e cloth so t h a t it all h u n g d o w n
h e r side a n d S u n h a d n ' t a n y — a n d t h e n s h e p r e
t e n d e d s h e d i d n ' t do it on purpose.
At last t h e bell r a n g .
"Down you go", w h i s p e r e d N u r s e a n d joined t h e i r
hands together.
A n d d o w n t h e y w e n t . S u n did feel silly holding
Moon's h a n d like t h a t b u t Moon s e e m e d to like it.
At t h e d r a w i n g - r o o m door stood M o t h e r f a n n i n g
herself w i t h a black fan. T h e d r a w i n g - r o o m w a s
full of s w e e t smelling, silky ladies a n d m e n in black
w i t h f u n n y tails on t h e i r coats — like beetles. F a
t h e r w a s a m o n g t h e m , talking v e r y loud.
" W h a t a picture!" cried t h e ladies. "Oh, t h e ducks!
Oh, t h e lambs! Oh, t h e sweets! Oh, t h e pets!"
All t h e people w h o couldn't get a t Moon kissed
Sun, a n d a skinny old lady w i t h t e e t h t h a t clicked
1
said: " S u c h a serious little p o p p e t " , a n d r a p p e d
him on t h e h e a d w i t h s o m e t h i n g h a r d .
S u n looked to see if t h e s a m e concert w a s t h e r e ,
b u t h e w a s gone. I n s t e a d , a fat m a n w i t h h e a d
leaned over t h e piano talking to a girl w h o held a
violin at h e r ear.
T h e r e w a s only one m a n t h a t S u n really liked.
He w a s a little g r e y m a n , with long g r e y w h i s k e r s ,
w h o w a l k e d a b o u t b y himself. He c a m e u p to S u n
53
a n d rolled his eyes in a v e r y nice w a y a n d said:
"Hullo, m y lad." T h e n h e w e n t a w a y . B u t soon h e
c a m e b a c k again a n d said: "Fond of dogs?" S u n
said: "Yes." B u t t h e n h e w e n t a w a y again, a n d t h o
u g h S u n looked for h i m e v e r y w h e r e h e c o u l d n ' t
find him. He t h o u g h t p e r h a p s h e ' d gone outside to
look for a p u p p y .
"Good night, m y precious babies", said M o t h e r ,
folding t h e m u p in h e r b a r e a r m s . "Fly u p to y o u r
little nest."
T h e n Moon w e n t and m a d e a silly of herself again.
She p u t u p h e r a r m s in front of e v e r y b o d y and said:
"My D a d d y m u s t c a r r y me."
B u t t h e y s e e m e d to like it, a n d D a d d y b e n t d o w n
a n d picked h e r u p as h e a l w a y s did.
N u r s e w a s in such a h u r r y to get t h e m to bed t h a t
she even i n t e r r u p t e d S u n over his p r a y e r s a n d said:
"Get on w i t h t h e m , child, do." A n d t h e m o m e n t
after t h e y w e r e in b e d a n d in t h e d a r k e x c e p t for
t h e nightlight.
" A r e you asleep?" a s k e d Moon.
"No", said Sun. " A r e y o u ? "
"No", said Moon.
A long while after S u n w o k e u p again. T h e r e w a s
a loud, loud noise of clapping from d o w n s t a i r s , like
w h e n it rains. He h e a r d Moon t u r n over.
"Moon, a r e you a w a k e ? "
"Yes, a r e y o u ? "
"Yes. Well, let's go a n d look over t h e stairs."
T h e y h a d j u s t got settled on t h e t o p s t e p w h e n
t h e d r a w i n g - r o o m door opened a n d t h e y h e a r d t h e
p a r t y cross over t h e hall into t h e d i n i n g - r o o m t h e n
t h a t door w a s shut. T h e n S u n s a w t h e m all w a l k -
54
ing r o u n d a n d r o u n d t h e lovely t a b l e w i t h t h e i r
h a n d s b e h i n d t h e i r b a c k s like h e h a d d o n e -
R o u n d a n d r o u n d t h e y w a l k e d , looking a n d s t a r
ing. T h e m a n w i t h t h e g r e y w h i s k e r s liked t h e lit
tle h o u s e best. W h e n h e s a w t h e n u t for a h a n d l e
he rolled his eyes like h e did before a n d said to S u n :
"Seen t h e n u t ? "
"Don't nod y o u r h e a d like t h a t , Moon."
" I ' m not nodding. I t ' s you."
"It is not. I n e v e r n o d m y head."
"O-oh, you do. Y o u ' r e n o d d i n g it now."
" I ' m not. I ' m only s h o w i n g you h o w not to do it."
W h e n t h e y w o k e u p again t h e y could only h e a r
F a t h e r ' s voice v e r y loud, a n d M o t h e r , l a u g h i n g
away. F a t h e r c a m e out of t h e dining-room, w a l k e d
up t h e stairs, a n d n e a r l y fell over t h e m .
"Hullo!" h e said. "By J o v e , K i t t y , come a n d look
at this."
M o t h e r c a m e out. "Oh, you n a u g h t y children",
said s h e from t h e hall.
"Let's h a v e ' e m d o w n a n d g i v e ' e m a bone", said
Father. S u n h a d n e v e r seen h i m so jolly.
"No, certainly not", said Mother.
"Oh, m y Daddy, do! Do h a v e us down", said Moon.
" I ' m h a n g e d if I w o n ' t " , cried F a t h e r . "I w o n ' t b e
bullied. K i t t y — w a y t h e r e . " A n d h e c a u g h t t h e m
up, one u n d e r each a r m .
S u n t h o u g h t M o t h e r would h a v e b e e n d r e a d f u l
ly cross. B u t s h e w a s n ' t . S h e k e p t on l a u g h i n g a t
Father.
"Oh, you d r e a d f u l boy!" said she. B u t she d i d n ' t
m e a n Sun.
55
"Come on, kiddies. Come a n d h a v e s o m e pick
ings", said this jolly F a t h e r . B u t Moon stopped a
minute.
" M o t h e r — y o u r dress is r i g h t off one side.''
"Is it?" said Mother. A n d F a t h e r said "Yes" and
p r e t e n d e d to b i t e h e r w h i t e s h o u l d e r , b u t s h e
pushed him away.
A n d so t h e y w e n t back to t h e beautiful d i n i n g -
room.
B u t — oh! Oh! W h a t h a d h a p p e n e d . T h e r i b b o n s
a n d t h e roses w e r e all pulled untied. T h e little r e d
t a b l e n a p k i n s lay on t h e floor, all t h e shining plates
w e r e d i r t y a n d all t h e w i n k i n g glasses. T h e lovely
food w a s all t h r o w n about, a n d t h e r e w e r e bones
a n d bits a n d fruit peels a n d shells e v e r y w h e r e .
T h e r e w a s e v e n a bottle lying d o w n w i t h stuff com
ing out of it on to t h e cloth a n d n o b o d y stood it u p
again.
A n d t h e little pink house w i t h t h e s n o w roof and
t h e g r e e n w i n d o w s w a s b r o k e n — b r o k e n — half
m e l t e d a w a y in t h e c e n t r e of t h e table.
"Come on, S u n " , said F a t h e r , p r e t e n d i n g not to
notice.
Moon lifted u p h e r p y j a m a legs a n d c a m e to t h e
t a b l e a n d stood on a chair.
" H a v e a bit of this ice", said F a t h e r , s m a s h i n g in
s o m e m o r e of t h e roof.
M o t h e r took a little plate a n d held it for h i m ; s h e
p u t h e r o t h e r a r m r o u n d his neck.
"Daddy, Daddy", squeaked Moon. " T h e little h a n
2
dle's left. T h e little met. K i n I e a t it? " A n d s h e
r e a c h e d across a n d picked it o u t of t h e door.
"Here, m y lad", said F a t h e r .
56
B u t S u n d i d n ' t m o v e from t h e door. S u d d e n l y h e
3
p u t u p his h e a d a n d g a v e a loud w a i l .
"I t h i n k i t ' s h o r r i d — h o r r i d -— h o r r i d ! " h e
sobbed.
" T h e r e , you see!" said M o t h e r . "You see!"
"Off w i t h you", said F a t h e r , no longer jolly. "This
m o m e n t . Off you go!"
4
A n d wailing loudly, S u n s t u m p e d off to t h e n u r s
ery.
Notes
1
poppet [ 'popit] — (разг.) милочка
2
Kin = can (детское произношение)
3
gave a loud wail — громко заревел
4
stump — ковылять
List of Vocabulary
to keep (on) doing smth
to whisper
to look for smb, smth
perhaps
to be asleep Ф to be awake
naughty
jolly
horrid
A . Training Exercises
/. Reproduce the situations from the story where the

active vocabulary is used. Think of your own sen
tences with the words from the list.
2. Explain the meaning of the following words and

phrases using an English-English dictionary.
57
1) jolly
2) to b e asleep
3) p e r h a p s
4) to w h i s p e r
3. Suggest words and word-combinations for the
following (from your active vocabulary).
1) bad; w r o n g ; disobedient; causing t r o u b l e
2) to t r y to find
3) to continue
4) frightful; terrible
tion to the italicized parts:
1) He a n s w e r e d in a whisper.
2) A r e you still looking for a job?
3) I w o n d e r , w h e t h e r h e is awake or asleep?
4) "Don't be naughty, dear!" t h e m o t h e r said to a
little girl.
5) Keep on as you are. All will come well in t h e
end.
5. Write out from the text sentences with the English
equivalents of the following Russian expressions.
Use them in sentences of your own:
Д е р ж а т ь кого-либо за р у к у ; склониться над
пианино; бродить; драгоценный; поднять наверх;
устроиться; проснуться; подняться по л е с т н и
це; у ж а с н ы й ; остатки (еды); растаять; замечать;
всхлипывать; громко.
6. Express the following more simply.
1) T h e y played clean tidy g a m e s .
2) T h e n Moon w e n t a n d m a d e a silly of herself
again.
58
3) "Let's h a v e t h e m d o w n a n d give t h e m a b o n e " ,
said F a t h e r .
4) "Oh, D a d d y , do h a v e us d o w n " , said Moon. " I ' m
h a n g e d if I w o n ' t " , cried F a t h e r . "I w o n ' t b e
bullied. K i t t y — w a y t h e r e . "
5) S u d d e n l y S u n p u t u p his h e a d a n d g a v e a loud
wail.
6) Wailing loudly, S u n s t u m p e d off to t h e n u r s
ery.
7. Think of the nouns that can be modified by the
following adjectives. Put down all the possibe
word-combinations and use them in sentences of
your own.
Clean; tidy; silly; sweet; funny; loud; serious;
h a r d ; nice; precious; n a u g h t y ; jolly; cross; d r e a d
ful; winking; horrid.
phraseological units and say how they are used in
the text:
(to do s m t h ) on p u r p o s e
except for
to be in a h u r r y
b y oneself
no longer
to be fond of s m b , s m t h
9. Translate into English using Complex Object with
an Infinitive or with Participle I. Explain the differ
ence.
1) М а л ь ч и к у с л ы ш а л , что его сестра п о в е р н у
лась на другой бок.
2) Солнышко видел, как они все ходили вокруг
стола, д е р ж а р у к и за спиной.
59
3) Дверь открылась, и дети у с л ы ш а л и , что вся
компания п р о ш л а ч е р е з зал в столовую.
10. Account for the Grammar phenomena marked
in these sentences:
1) "Down you go!" w h i s p e r e d Nurse. A n d d o w n
t h e y w e n t (word-order).
2) All t h e people w h o couldn't get at Moon kissed
S u n (a modal verb).
3) S u n did feel silly holding Moon's h a n d ( w o r d -
order).
4) "My D a d d y m u s t c a r r y m e " (a modal verb).
5) T h e y h a d j u s t got settled on t h e top step w h e n
t h e d r a w i n g - r o o m door opened (sequence of
tenses).
6) "Off w i t h you", said F a t h e r , no longer jolly.
"This m o m e n t . Off you go!" (word-order).
/ 7. Give a summary of the preceeding events using

active vocabulary from Chapter I.
12. What do you consider the most typical features

of Sun, Moon and their parents? Give your rea
sons for whatever you say.
13. Paraphrase, explain and expand on the follow

ing:
1) " W h a t a p i c t u r e ! " cried t h e ladies. "Oh, t h e
ducks! Oh, t h e lambs! Oh, t h e sweets! Oh, t h e
pets!"
2) N u r s e w a s in such a h u r r y to get t h e m to b e d
t h a t she even i n t e r r u p t e d S u n over his prayers.
60
3) "Let's h a v e t h e m d o w n a n d give t h e m a bone",
said F a t h e r . S u n h a d n e v e r seen h i m so jolly.
4) M o t h e r k e p t l a u g h i n g a t F a t h e r . " O h , y o u
dreadful boy!" said she. B u t s h e d i d n ' t m e a n
Sun.
5) "Come on, S u n " , said F a t h e r , p r e t e n d i n g not
to notice t h e b r o k e n little p i n k house. B u t S u n
d i d n ' t m o v e from t h e door.
6) "Off w i t h you", said F a t h e r , no longer jolly.
"This m o m e n t . Off y o u go!"
14. Pick out a passage describing the dining-room
after the party and prepare it for reading and
translating in class. Compare it with a similar pas
sage from Chapter I (Ex 20). Reveal the symbolic
meaning of these two passages.
15. Expand on the author's views on the way of liv

ing of the upper classes as shown in the story. Find
the sentences to illustrate your statements.
16. Which episode of the story do you consider to

be especially impressive? Give your reasons and
illustrate your answer by examples from the text.
17. Use your imagination and speak about Father —

his appearance, family life, occupation and views.
18. Make up a short dialogue between Sun and Moon

after they were back in the nursery.
61
Topics for General Discussion
/. What is the turning point of the story? Describe it.
2. What is your opinion of the end of the story? Could

we call it a happy ending? If not, why?
3. How is the problem of children and parents rela

tions treated in the story? Does the author side with
the children or with the parents?
4. What is the main idea of the story at large and

how is it conveyed to the reader? Try to formulate
it in brief.
5. Give a summary of the story. Use your active vo

cabulary and the following phrases (make sure
you understand their meaning).
— t h e story deals w i t h ...
— t h e story describes t h e life of ...
— t h e story criticizes ...
— it is interesting to note that...
— t h e m a i n character(s) finds himself ...
— t h e e v e n t s t h a t follow s h o w that...
— t h e story gives a vivid description of ...
— t h e story gives a good insight into
h u m a n nature...
— it becomes obvious that...
— it proves that...
— t h e i m p o r t a n t t h i n g w a s that...
— in t h e e n d
— t h e a t t r a c t i o n of t h e story lies in ...
etc.
I
W h e n d e a r old Mrs. H a y w e n t back to t o w n after
s t a y i n g w i t h t h e Burnells she sent t h e children a
doll's house. It w a s so big t h a t t h e c a r t e r a n d P a t
c a r r i e d it into t h e c o u r t y a r d , a n d t h e r e it stayed,
on t w o w o o d e n boxes beside t h e f e e d - r o o m door.
No h a r m could come to it; it w a s s u m m e r . A n d p e r
h a p s t h e smell of paint would h a v e gone off b y t h e
time. For, really, t h e smell of paint w a s q u i t e e n o
u g h to m a k e a n y o n e seriously ill, in A u n t Beryl's
opinion.
T h e r e stood t h e doll's house, a d a r k , oily, spinach
g r e e n , a n d b r i g h t yellow. Its t w o solid little c h i m
neys, w e r e p a i n t e d red a n d w h i t e , a n d t h e door,
w a s painted yellow. T h e r e w e r e four w i n d o w s , real
w i n d o w s , a n d a tiny porch p a i n t e d yellow.
B u t perfect, perfect little house! W h o could pos
sibly m i n d t h e smell. It w a s p a r t of t h e joy, p a r t of
t h e newness.
" O p e n it quickly, someone!"
T h e hook a t t h e side w a s stuck fast. P a t prised it
open w i t h his penknife, a n d t h e whole h o u s e front
1
s w u n g back, a n d — t h e r e you w e r e , gazing at one
a n d t h e s a m e m o m e n t into t h e d r a w i n g - r o o m a n d
dining-room, t h e k i t c h e n a n d t w o b e d r o o m s , t h e
little hall w i t h a h a t - s t a n d and t w o umbrellas. T h a t
2
is t h e w a y for a house to open! W h y don't all houses
open like t h a t ?
"Oh-oh!" T h e Burnell children s o u n d e d as t h o
u g h t h e y w e r e in despair. It w a s too m a r v e l l o u s ; it
w a s too m u c h for t h e m . T h e y h a d n e v e r seen a n y
t h i n g like it in t h e i r lives. All t h e rooms w e r e p a
p e r e d . T h e r e w e r e pictures on t h e walls, p a i n t e d
on t h e p a p e r w i t h gold frames.
64
Red carpet covered all t h e floors except t h e k i t c h
en; r e d p l u s h chairs in t h e d r a w i n g - r o o m , g r e e n in
t h e dining-room; tables, b e d s w i t h real bedclothes,
a cradle, a stove, a d r e s s e r w i t h t i n y plates a n d one
big jug. B u t w h a t Kezia liked m o r e t h a n a n y t h i n g ,
w h a t she liked frightfully, w a s t h e l a m p . It stood
in t h e m i d d l e of t h e d i n i n g - r o o m table, a n e x q u i s
ite little a m b e r lamp w i t h a w h i t e globe. It w a s e v e n
filled all r e a d y for lighting, t h o u g h , of course, y o u
c o u l d n ' t light it. B u t t h e r e w a s s o m e t h i n g inside
t h a t looked like oil a n d m o v e d w h e n you shook it.
T h e f a t h e r a n d m o t h e r dolls, w h o w e r e in t h e
d r a w i n g - r o o m , a n d t h e i r t w o little children asleep
u p s t a i r s , w e r e really too big for t h e doll's house.
3
T h e y d i d n ' t look as t h o u g h t h e y belonged . B u t t h e
l a m p w a s perfect. It s e e m e d to smile a t Kezia, to
say, "I live here." T h e l a m p w a s real.
T h e Burnell children could h a r d l y w a l k to school
fast e n o u g h t h e n e x t m o r n i n g . T h e y b u r n e d to tell
e v e r y b o d y , to describe t o — w e l l — t o boast a b o u t
t h e i r doll's house before t h e schoolbell r a n g .
" I ' m to tell," said Isabel, " b e c a u s e I ' m t h e eldest.
A n d y o u t w o can join in after. B u t I ' m to tell first."
4
T h e r e w a s n o t h i n g to a n s w e r . Isabel w a s bossy ,
b u t s h e w a s a l w a y s r i g h t , a n d Lottie a n d Kezia
k n e w too well t h e p o w e r s t h a t w e n t w i t h being el
5
dest . T h e y said nothing.
" A n d I ' m to choose w h o ' s to come a n d see it first.
M o t h e r said I might."
For it h a d b e e n a r r a n g e d t h a t while t h e doll's h o
use stood in t h e c o u r t y a r d t h e y m i g h t ask t h e girls
a t school, t w o a t a t i m e , to come a n d look. Not to
stay to tea, of course. B u t j u s t to s t a n d quietly in
65
t h e c o u r t y a r d while Isabel pointed out t h e b e a u
ties, a n d Lottie a n d Kezia looked pleased....
B u t h u r r y as t h e y might, b y t h e t i m e t h e y h a d
r e a c h e d t h e b o y s ' p l a y g r o u n d t h e bell h a d b e g u n
to jangle. T h e y only j u s t h a d t i m e to w h i p off t h e i r
6
h a t s a n d fall into line before t h e roll w a s called .
N e v e r mind. Isabel tried to m a k e u p for it b y look
ing v e r y i m p o r t a n t a n d m y s t e r i o u s and b y w h i s
pering b e h i n d h e r h a n d to t h e girls n e a r h e r , "Got
7
s o m e t h i n g to tell y o u at playtime."
P l a y t i m e c a m e a n d Isabel w a s s u r r o u n d e d . T h e
girls of h e r class nearly fought to p u t t h e i r a r m s
r o u n d h e r , to w a l k a w a y w i t h her, to be h e r s p e
cial friend. S h e held q u i t e a court u n d e r t h e h u g e
pine t r e e s at t h e side of t h e playground. N u d g i n g ,
giggling t o g e t h e r , t h e little girls pressed u p close.
A n d t h e only t w o w h o stayed outside t h e ring w e r e
t h e two w h o w e r e always outside, t h e little Kelveys.
T h e y k n e w b e t t e r t h a n to come a n y w h e r e n e a r t h e
Burnells.
A n d Isabel's voice, so v e r y p r o u d , w e n t on tell
ing. T h e c a r p e t m a d e a g r e a t sensation, b u t so did
t h e b e d s w i t h real bedclothes, a n d t h e stove w i t h
a n oven door.
W h e n she finished Kezia b r o k e in. " Y o u ' v e for
g o t t e n t h e l a m p , Isabel."
"Oh yes," said Isabel, "and t h e r e ' s a t e e n y little
lamp, all m a d e of yellow glass, w i t h a w h i t e globe
t h a t s t a n d s on t h e dining-room table. You c o u l d n ' t
tell it from a real one."
" T h e l a m p ' s best of all," cried Kezia. S h e t h o u g h t
8
Isabel w a s n ' t m a k i n g half e n o u g h of t h e little
lamp. B u t nobody paid a n y attention. Isabel w a s
66
choosing t h e t w o w h o w e r e to come b a c k w i t h t h e m
t h a t afternoon a n d see it. S h e chose E m m i e Cole
a n d Lena Logan. B u t w h e n t h e o t h e r s k n e w t h e y
w e r e all to h a v e a chance, t h e y c o u l d n ' t b e nice
e n o u g h to Isabel. One b y one t h e y p u t t h e i r a r m s
r o u n d Isabel's waist a n d w a l k e d h e r off. T h e y h a d
s o m e t h i n g to w h i s p e r to her, a secret. "Isabel's my
friend."
Only t h e little Kelveys m o v e d a w a y forgotten;
t h e r e w a s n o t h i n g m o r e for t h e m to h e a r .
Notes
1
the whole house front swung back — передняя стен
ка вся откинулась назад
2
That is the way for a house to open! — Вот как дол
жен бы открываться дом! (имеется в виду каждый
дом)
3
belong — зд. быть на своем месте
4
bossy (разг.) — властная, склонная командовать,
верховодить
5
the powers that went with being eldest — зд. власть
принадлежит старшим
6
the roll was called — перекличка кончилась
7
got something to tell you (разг.) = I have got some
thing to tell you.
8
to make enough of something — отдавать должное,
достаточно расхвалить что-либо
List of Vocabulary
to arrange
to boast about smth
to burn to do smth
in despair
to be the elder
67
to gaze
to giggle
to join in with smb
to nudge
in one's opinion
to whip off
A. Training Excercises


tions:
1) a v i e w or a j u d g e m e n t f o r m e d in t h e m i n d
about a particular matter
2) to look long a n d a t t e n t i v e l y
3) to lose all hope or confidence
4) to speak w i t h excessive p r i d e
5) to t a k e off or to pull off v e r y quickly a n d force-
fully
6) to be e a g e r to do s m t h
7) to come to an a g r e e m e n t or u n d e r s t a n d i n g
8) one h a v i n g a u t h o r i t y by v i r t u e of age a n d e x
perience
9) to l a u g h in a silly m a n n e r
10) to t a k e p a r t in a collective activity
11) to p u s h or t o u c h gently or slightly
phrases using an English-English dictionary. Write
down the sentences with these words from the text
and translate them into Russian:
68
exquisite
marvelous
perfect
mysterious
huge
tiny (teeny)
a f e e d - r o o m door
never mind
to m a k e a g r e a t sensation
to p a y a t t e n t i o n
to h a v e a c h a n c e
4. Try to guess the meaning of the words without the
dictionary.
bossy, c h a n c e , c o u r t y a r d , e l e g a n t , globe, h a t -
stand, l a m p , m o m e n t , penknife, p l a y g r o u n d , p l a y
time, plush, rose, schoolbell, secret, serious, spin
ach, special, s t a t u e , s t r a n g e r , upstairs.
1) In A u n t B e r y l ' s view t h e smell of p a i n t w a s too
terrible.
2) T h e child looked s t e a d y a t a s t r a n g e r .
3) T h e children lost all t h e h o p e after t h e i r m o t h
er's death.
4) S h e w a s e a g e r to tell h e r friends t h a t she h a d
e n t e r e d t h e Moscow University.
5) T h e m o t h e r w a s v e r y p r o u d b e c a u s e h e r
d a u g h t e r b e c a m e a m e m b e r of a famous school
chorus.
6) My sister w h o w a s b o r n earlier t h a n I w o r k s as
a doctor.
7) This funny situation m a d e t h e m l a u g h fool
ishly.
6.9
8) In t h e shop t h e little girl p u s h e d slightly h e r
m o t h e r a n d asked to b u y some sweets a n d bis
cuits.
1) T h e little boy gazed at t h e u n k n o w n people.
2) In despair h e fell d o w n in t h e a r m - c h a i r .
3) Mike w a s the eldest son in t h e family.
4) As t h e y w e r e late t h e y whipped off t h e i r h a t s
a n d coats in t h e cloak-room.
5) T h e girl boasted about h e r n e w toy.
6) T h e friends arranged to m e e t at t h e b u s stop.
7) A n d r e w burned to play football for his school
t e a m this t e r m .
кукольный домик, запах краски, в действитель
ности, одновременно, в п а д а т ь в о т ч а я н и е , это
было слишком, особенно нравиться, посредине,
в ы г л я д е т ь к а к н а с т о я щ е е , едва смогли ж д а т ь ,
горели ж е л а н и е м рассказать, как у ж е было з а
ведено, остаться на ч а ш к у чая, ко времени, н е
важно.
your reason.
1) T h e boy w a s ill (serious-seriously).
2) O p e n t h e door (quick-quickly).
3) T h e sight w a s (marvellous-marvellously).
4) T h e l a m p w a s (perfect-perfectly).
5) Mike w a s m y friend (real-really).
6) T h e dolls w e r e too big for t h e doll's h o u s e
(real-really).
70
7) T h e Burnell children could w a l k to school
fast e n o u g h t h e n e x t m o r n i n g ( h a r d - h a r d l y ) .
8) He k n e w too his r i g h t s (well-good).
9) T h e girls s h o u l d s t a n d in t h e c o u r t y a r d
while t h e y w e r e gazing at t h e doll's house (qui
et-quietly).
10) Isabel t r i e d to look (mysterious-mysteri-
ously).
choice.
1) Old Mrs. H a y sent children doll's house.
2) T h e r e stood doll's house, dark, oily,
spinach green.
3) T h a t ' s w a y for h o u s e to open!
4) B u t perfect, perfect little house!
5) lamp was real.
6) " I ' m eldest", Isabel told to little sisters.
7) N e v e r mind!
8) Isabel held quite court u n d e r h u g e pine
t r e e s at side of playground.
9) A n d only t w o w h o s t a y e d outside ring
were t w o w h o w e r e a l w a y s outside, little
_Kelveys.
text.
b y t h e t i m e , to m a k e s o m e b o d y seriously ill, in
s m b ' s opinion, at one a n d t h e s a m e m o m e n t , in
d e s p a i r , to b e too m u c h for s m b , r e a d y for s m t h ,
a t a t i m e , a t t h e side, one b y one.
71
П. Arrange the following words in pairs of syn
To boast, fast, to place in order, to w h i p off, in
one's opinion, t h e d r a w i n g - r o o m , a stove, e x q u i s
ite, to speak softly, to a r r a n g e , to whisper, w o n
derful, to pull off s m t h , v e r y quickly a n d forceful
ly, d a i n t y , in one's view, beautiful, real, alive, to
s p e a k w i t h excessive pride, quickly, w o n d e r , a n
oven, t h e sitting-room, marvellous.
of the Infinitive.
1) No h a r m could (to come) to t h e doll's house.
2) P e r h a p s t h e smell of paint would (to have) gone
off b y t h e time.
3) T h e smell of p a i n t w a s q u i t e e n o u g h (to m a k e )
a n y o n e seriously ill, in A u n t Beryl's opinion.
4) T h a t is t h e w a y for a h o u s e (to open)!
5) W h y d o n ' t all t h e houses (to open) like t h a t ?
6) T h e l a m p s e e m e d (to smile) at Kezia.
7) T h e y b u r n e d (to tell) e v e r y b o d y , (to describe),
(to boast) a b o u t their doll's house.
8) I ' m (to tell) first.
9) T h e r e w a s n o t h i n g (to a n s w e r ) .
10) T h e bell b e g a n (to jangle).
1) After s t a y i n g w i t h t h e Burnells d e a r old Mrs.
H a y sent t h e children a doll's house.
2) T h e r e you w e r e gazing at one a n d t h e s a m e
m o m e n t into t h e d r a w i n g - r o o m and d i n n e r -
room, t h e k i t c h e n and t w o bedrooms.
3) T h e y h a d n e v e r seen a n y t h i n g like it in t h e i r
lives.
72
4) T h e l a m p w a s e v e n filled all r e a d y for lighting.
5) But t h e r e w a s s o m e t h i n g inside t h a t looked like
oil.
6) T h e r e w a s n o t h i n g to say.
7) Lottie a n d Kezia k n e w too well t h e p o w e r s t h a t
w e n t w i t h b e i n g eldest.
8) Isabel tried to m a k e u p for t h e lost time b y look
ing very important and mysterious and b y
w h i s p e r i n g b e h i n d h e r h a n d to t h e girls t h a t
she h a d got s o m e t h i n g to tell t h e m at playtime.
9) T h e children played in t h e p l a y g r o u n d in t h e
morning.
14. Insert prepositions where necessary:
1) W h e n old Mrs. H a y w e n t b a c k town stay
ing t h e Burnells she sent the children
a doll's house.
2) It w a s p a r t t h e joy, p a r t the newness.
3) T h e hook t h e side w a s s t u c k fast.
4) T h e Burnell children s o u n d e d as t h o u g h t h e y
were despair.
5) It w a s too m u c h them.
6) T h e l a m p stood the middle the dining-
room table.
7) T h e r e w e r e p i c t u r e s t h e wall.
8) T h e B u r n e l l c h i l d r e n could h a r d l y w a l k
school fart e n o u g h t h e n e x t morning.
9) T h e Burnells only just h a d t i m e to w h i p their
h a t s a n d fall line t h e roll w a s called.
10) T h e girls h e r class n e a r l y fought to p u t
their a r m s her, to w a l k a w a y her.
11) Isabel held quite a court t h e h u g e pine t r e e s
_ t h e side the playground.
73
12) T h e l a m p is best all.
13) One one t h e girls p u t their a r m s Isa
bel's waist a n d w a l k e d h e r .
15. Find the sentences with the Past Perfect Tense in
the text. Translate them into Russian.
16. Find the sentences with the Passive Voice in the

text. Transform them into the Active Voice. Trans
late them into Russian.
17. Sum up the events of the preceding chapter us

ing active vocabulary.
18. Describe the doll's house. Prove the statement

that the doll's house was perfect outside and in
side using the following words:
— d a r k , oily, spinach green, b r i g h t yellow, red,
white;
— c h i m n e y s , a door, w i n d o w s , a porch;
— a kitchen, a d r a w i n g - r o o m , a dining-room, a
bedroom;
— r e d p l u s h c h a i r s , g r e e n a r m - c h a i r s , tables,
beds, a cradle, a stove, a dresser, a h a t - s t a n d ,
a carpet;
— bedclothes, a plate, a big jug, a lamp, dolls, a n
umbrella.
19. Describe the lamp in the doll's house.
20. Use your imagination and try to describe the Bur-

nell children: Isabel, Lottie and Kezia. Give their
1
character-sketches.
74
21. Use your imagination and try to give the Kelveys'
character-sketches. Describe the Kelveys (age,
appearance, character, clothes, habits, pets).
22. Describe the playtime on the playground.
23. What could separate the little Kelveys and the

rest children at school? Give your reasons.
24. Answer the questions:

1) W h y did Mrs H a y s e n d t h e c h i l d r e n t h e doll's
house?
2) W h a t and w h y did Kezia like best of all in t h e
doll's house?
3) W h y did t h e Burnell children h u r r y to school
the next morning?
4) W h a t h a d b e e n a r r a n g e d b y t h e girls a t school
for t h e visits to t h e doll's house?
5) W h y did Isabel t r y to look v e r y i m p o r t a n t a n d
mysterious?
10) W h a t did Isabel forget to say a b o u t while d e
scribing t h e doll's house?
11) W h y w a s it v e r y i m p o r t a n t for Kezia to tell
e v e r y b o d y a b o u t t h e lamp?
12) W h o m did Isabel choose to come a n d see t h e
doll's h o u s e first? W h y did s h e choose t h e s e
girls?
13) Did t h e Kelveys h a v e a c h a n c e to come to t h e
Burnells a n d see t h e i r doll's house?
14) W h y w e r e t h e little Kelveys t h e only t w o w h o
s t a y e d outside t h e girls' ring a n d m o v e d a w a y
forgotten?
75
the following statements. If you find the statement
wrong, correct it, use the following expressions:
You are not right; It is not true to the fact; As a
matter of fact it is wrong; I'm afraid that's not quite
right; No, that's wrong.
1) W h e n d e a r old Mrs. H a y w e n t back to t o w n
after staying w i t h t h e Burnells she w a s so sick
and tired t h a t she tried to forget a b o u t t h e m
as soon as possible as a b a d d r e a m .
2) T h e smell of paint was so marvellous, t h a t A u n t
Beryl w a s spending all h e r free t i m e n e a r t h e
doll's house.
3) T h e doll's house h a d two solid little c h i m n e y s ,
four w i n d o w s a n d a tiny porch.
4) P a t opened t h e hook at t h e side of t h e doll's
h o u s e easily.
5) T h e r e w e r e r e d plush chairs in t h e d r a w i n g -
room a n d g r e e n in t h e dining-room.
6) At first sight Kezia disliked t h e l a m p b e c a u s e
it w a s broken.
7) T h e n e x t m o r n i n g t h e Burnell children w e r e
not in a h u r r y a n d t h e y w a l k e d to school h u m
m i n g t h e i r favorite song.
8) Isabel w a s t h e youngest sister, so she c o u l d n ' t
choose w h o w a s to come a n d see t h e doll's h o
use first. Lottie a n d Kezia did it.
9) W h e n t h e playtime c a m e Isabel w a s s u r r o u n d
ed b y t h e girls of h e r class.
10) T h e little Kelveys w h i s p e r e d to t h e girls t h a t
t h e y h a d got s o m e t h i n g m y s t e r i o u s a n d i m
p o r t a n t to tell t h e m . T h a t ' s w h y t h e y w e r e a l
lowed to play w i t h t h e girls from t h e school
and soon t h e y b e c a m e t h e i r special friends.
76
11) T h e t e e n y l a m p in t h e doll's h o u s e m a d e a
g r e a t sensation.
12) E m m i e Cole a n d Lena Logan w e r e t h e t w o
w h o w e r e to come back w i t h t h e B u r n e l l s a n d
see t h e doll's house, b u t t h e o t h e r s h a d no c h a
nce to see it.
13) T h e K e l v e y s w e r e invited to t h e B u r n e l l s b e
cause t h e y w e r e t h e i r special friends.
26. Make comments on the following phrases:
1) Isabel w a s bossy. S h e w a s a l w a y s right.
2) T h e Kelveys k n e w b e t t e r t h a n to come a n y
w h e r e n e a r t h e Burnells.
27. Sum up what you have learned about the Bur
nells and the Kelveys in Chapter I.
II
For t h e fact w a s , t h e school t h e Burnell children
w e n t to w a s not a t all t h e kind of place t h e i r p a r
e n t s w o u l d h a v e c h o s e n if t h e r e h a d b e e n a n y
choice. B u t t h e r e w a s none. It w a s t h e only school
for miles. A n d t h e consequence w a s all t h e chil
d r e n of t h e n e i g h b o u r h o o d , t h e J u d g e ' s little girls,
t h e doctor's d a u g h t e r s , t h e store k e e p e r ' s children,
t h e m i l k m a n ' s , w e r e forced to mix t o g e t h e r .
B u t t h e line h a d to be d r a w n s o m e w h e r e . It w a s
d r a w n at t h e Kelveys. M a n y of t h e children, in
cluding t h e B u r n e l l s , w e r e not allowed e v e n to
speak to t h e m . T h e y w a l k e d past t h e Kelveys w i t h
t h e i r h e a d s in t h e air, t h e Kelveys w e r e s h u n n e d
by everybody. E v e n t h e t e a c h e r h a d a special voice
for t h e m , a n d a special smile for t h e o t h e r children
w h e n Lil K e l v e y c a m e u p to h e r desk.
T h e y w e r e t h e d a u g h t e r s of a spry, h a r d - w o r k
ing little w a s h e r w o m a n , w h o w e n t a b o u t from
h o u s e to h o u s e b y t h e day. This w a s awful enough.
B u t w h e r e w a s Mr. Kelvey? Nobody k n e w for c e r
tain. B u t e v e r y b o d y said he w a s in prison. So t h e y
w e r e t h e d a u g h t e r s of a w a s h e r w o m a n a n d a g a
1
olbird. V e r y nice c o m p a n y for o t h e r people's chil
d r e n ! T h e t r u t h w a s t h e Kelveys w e r e d r e s s e d in
2
"bits" given to Mrs. Kelvey b y t h e people for w h o m
she worked. Lil, for instance, w h o w a s a stout plain
child, w i t h big freckles, c a m e to school in a d r e s s
3
m a d e from a g r e e n a r t - s e r g e t a b l e c l o t h of t h e
Burnells', w i t h r e d plush sleeves from t h e L o g a n s '
c u r t a n s . H e r h a t , w i t h a large scarlet quill p e r c h e d
on top of h e r high forehead, w a s a g r o w n - u p w o m
a n ' s h a t , once t h e p r o p e r t y of Miss L e c k y , t h e
postmistress.
78
W h a t a little g u y she looked! It w a s impossible
4
not to laugh. A n d h e r little sister, o u r Else, w o r e a
long w h i t e d r e s s , r a t h e r like a n i g h t g o w n , a n d a
pair of little b o y ' s boots. B u t w h a t e v e r o u r Else
w o r e she would h a v e looked strange. S h e w a s a tiny
5
w i s h - b o n e of a child, w i t h c r o p p e d h a i r a n d e n o r
m o u s solemn e y e s — a little w h i t e owl. N o b o d y h a d
e v e r seen h e r smile; s h e scarcely e v e r spoke. S h e
w e n t t h r o u g h life holding on to Lil, w i t h a piece
Lil's skirt s c r e w e d u p in h e r h a n d . W h e r e Lil w e n t ,
our Else followed. In t h e p l a y g r o u n d on t h e road
going to a n d from school, t h e r e w a s Lil m a r c h i n g
in front a n d our Else holding on b e h i n d . Only w h e n
she w a n t e d anything, or w h e n she w a s out of breath,
our Else gave Lil a tug, a twitch, a n d Lil stopped
and t u r n e d round. T h e Kelveys n e v e r failed to u n
d e r s t a n d each other.
Now you c o u l d n ' t stop t h e m listening.
Days passed, a n d as m o r e children s a w t h e doll's
house, t h e fame of it spread. It b e c a m e t h e one s u b
ject, t h e rage. T h e one question w a s , " H a v e you
seen B u r n e l l s ' doll's h o u s e ? Oh, a i n ' t it lovely!"
" H a v e n ' t you s e e n it? Oh, I say!"
E v e n t h e d i n n e r h o u r w a s g i v e n u p to talking
a b o u t it. T h e little girls sat u n d e r t h e pines eating
t h e i r thick m u t t o n s a n d w i c h e s a n d big slabs of
15
j o h n n y cake s p r e a d w i t h b u t t e r . While always, as
n e a r as t h e y could get, sat t h e Kelveys, our Else
holding on to Lil, listening too, while t h e y c h e w e d
t h e i r j a m s a n d w i c h e s out of a n e w s p a p e r .
"Mother," said Kezia, "can't I ask t h e Kelveys just
once?"
"Certainly not, Kezia."
79
"But w h y n o t ? "
" R u n a w a y , Kezia; you k n o w quite well w h y not."
At last e v e r y b o d y h a d seen it except t h e m . On
t h a t d a y t h e subject r a t h e r flagged. It w a s t h e d i n
n e r hour. T h e children stood t o g e t h e r u n d e r t h e
pine t r e e s , a n d s u d d e n l y , as t h e y looked a t t h e
Kelveys eating out of their paper, a l w a y s b y t h e m
selves, a l w a y s listening, t h e y w a n t e d to be horrid
to t h e m . E m m i e Cole s t a r t e d t h e whisper.
"Lil K e l v e y ' s going to be a s e r v a n t w h e n s h e
g r o w s up."
"Oh-oh, h o w awful!" said Isabel Burnell, a n d she
7
m a d e eyes at E m m i e .
E m m i e swallowed in a v e r y m e a n i n g w a y a n d
n o d d e d to Isabel as s h e ' d seen h e r m o t h e r do on
those occasions.
"It's t r u e — i t ' s t r u e — i t ' s t r u e , " s h e said.
T h e n Lena Logan's little eyes s n a p p e d . "Shall I
ask h e r ? " s h e w h i s p e r e d .
8
" B e t you don't," said Jessie May.
"Pooh, I ' m not frightened," said Lena.
"Watch! W a t c h m e ! W a t c h m e now!" said Lena.
Lena w e n t over t o — t h e Kelveys.
Lil looked u p from h e r dinner. S h e w r a p p e d t h e
rest quickly away. Our Else stopped chewing. W h a t
w a s coming now?
"Is it t r u e y o u ' r e going to be a s e r v a n t w h e n you
g r o w u p , Lil K e l v e y ? " shrilled Lena.
D e a d silence. B u t instead of a n s w e r i n g , Lil only
g a v e h e r silly, s h a m e f a c e d smile. S h e d i d n ' t s e e m
9
to mind t h e question at all. W h a t a sell for Lena!
T h e girls b e g a n to titter.
Lena c o u l d n ' t s t a n d that. S h e p u t h e r h a n d s on
h e r lips; s h e shot forward. "Yah, y e r f a t h e r ' s in
10
prison!" s h e hissed spitefully.
80
This w a s such a marvellous thing to h a v e said t h a t
t h e little girls r u s h e d a w a y in a body, deeply, d e e p
ly, excited, wild w i t h joy. S o m e o n e found a long
rope, a n d t h e y b e g a n skipping. A n d n e v e r did t h e y
skip so high, r u n in a n d out so fast, or do such d a r
ing t h i n g s as on t h a t morning.
Notes
1
gaolbird (слэнг) = jailbird ['сгзепЬэх!] — заключён
ный, арестант
2
"bits" — остатки, кусочки, обноски
3
art-serge = arty-serge —декоративная саржа с раз
водами или рисунками, обычно используется для
скатертей,занавесок
4
our Else — наша Эльси; здесь — постоянный эпи
тет при имени собственном
5
wish-bone = wishing bone'— зд. худышка
6
johnny cake = johnny cake ['ctpnikeik] — пшенич
ная лепешка (австрал.)
7
to make eyes at somebody •— строить глазки кому-
либо
8
bet (сокр.) — better (adv.) лучше
11
a sell — зд. разочарование, неприятная неожидан
ность
10
Yah, yer father's in prison. = Yes, your father is in
prison.
List of Vocabulary
to chew
consequence
cropped hair
to be frightened of smth/smb
to give a tug
to give a twitch
guy
81
to hiss
to be horrid
to nod
to mind the question
to rush
to shun
to skip
to stare
to whisper


tions:
1) to speak softly w i t h little or no vibration of t h e
vocal cords especially w i t h t h e aim of p r e s e r v
ing secrecy
2) a p e r s o n of g r o t e s q u e a p p e a r a n c e
3) a close c u t of t h e hair
4) to be ignored, to be avoided b y e v e r y b o d y
5) to give a strong pulling force
6) s o m e t h i n g p r o d u c e d b y a cause or necessarily
following from a set of conditions
70 to c r u s h w i t h t h e t e e t h
8) to m a k e a quick d o w n w a r d motion of t h e h e a d
w h e t h e r as a sign of assent, salution or c o m
mand
9) to j u m p from leg to leg, to j u m p again a n d again
over a rope
10) to give a short s u d d e n pull or j e r k
11) to m o v e speedily
82
12) to p a y attention; to c a r e
13) to m a k e a p r o l o n g e d s h a r p sound
14) to b e terrible, b a d , not a t all nice
15) to b e afraid of s r r i t h / s m b
16) to look at someone for a long t i m e
and translate them into Russian.
awful
in a v e r y m e a n i n g w a y
to d r a w t h e line a t
enormous
in t h e n e i g h b o u r h o o d
daring things
to s t a n d s m t h
freckles
to p e r c h on
tiny
solemn
to give u p
rage
m a d e eyes at s m b
in a b o d y
spitefully
dictionary.
j a m , m i l k m a n , postmistress, mile, doctor, w a s h
e r w o m a n , sandwich, to m a r c h , tablecloth, h a r d
working.
83
1) T h e h a t w i t h a large scarlet quill p e r c h e d on
top of t h e little girl's h e a d w a s so terrible t h a t
she looked like a person of g r o t e s q u e a p p e a r
ance.
2) W h e n t h e girls found out t h a t M a r y ' s m o t h e r
w a s a w a s h e r w o m a n t h e y b e g a n to avoid her.
3) T h e children c r u s h e d w i t h t e e t h several slices
of b r e a d w i t h meat, cheese a n d fish w i t h g r e a t
appetite.
4) T h e s n a k e m a d e a s h a r p prolonged sound.
5) T h e girls took a long rope and b e g a n to j u m p
from one leg to a n o t h e r one.
6) M a r y looked for a long t i m e at a s t r a n g e r w i t h
a close cut of hair because she couldn't r e m e m
b e r w h e r e she h a d seen h i m before.
1) The consequence of this e x p e r i m e n t w a s e v e n t
ful for t h e y o u n g scientist.
2) S h e h a s m a d e a guy of herself in this dress.
3) At first t h e children shunned t h e n e w girl b u t
soon t h e y m a d e close friends.
4) T h e B r o w n s were frightened w h e n t h e y s a w
a n u n k n o w n person in t h e i r g a r d e n .
5) W h e n t h e girls d e c i d e d to be horrid to t h e
Kelveys t h e y b e g a n to w h i s p e r a n d to nod to
each other.
6) T h e m o t h e r w a s so tired t h a t s h e didn't mind
her daughter's question.
7) W h e n t h e child w a n t e d to d r i n k some juice h e
c a m e u p to his m o t h e r a n d gave her a tug, a
twitch.
84
в действительности, провести черту, с высоко
поднятой головой, едва говорить, произвести сен
сацию, днём, наконец, всегда сами по себе, в т а
ком с л у ч а е , вместо чего-либо, с т р о и т ь г л а з к и
к о м у - л и б о , по т а к о м у с л у ч а ю у л ы б н у т ь с я , не
понять вопроса, все вместе, с о в е р ш а т ь ответные
поступки (дела).
your reason.
1) T h e t e a c h e r h a d voice for t h e K e l v e y s a n d
_ smile for children (special-specialty; t h e
o t h e r - t h e others).
2) This w a s e n o u g h (awful-awfully).
3) V e r y nice c o m p a n y for people's children
(other-another).
4) S h e e v e r spoke (scarce-scarcely).
5) Lil w r a p p e d h e r d i n n e r a w a y (quick-quick-
ly).
6) Lid didn't seem t h e question (to m i n d - m i n d
ing).
7) Nobody could stop t h e m (to listen-listen
ing).
choice.
1) It w a s only school for miles.
2) B u t line h a d to b e d r a w n s o m e w h e r e .
3) W h a t little g u y she looked!
4) Kelveys w e r e s h u n n e d b y everybody.
5) Isabel w a s choosing t w o w h o w e r e to come
back w i t h t h e m t h a t afternoon.
85
6) It w a s d i n n e r hour.
7) Lil w r a p p e d rest of h e r dinner quickly a w a y
8) E m m i e swallowed in very meaning way and
n o d d e d to Isabel.
9) "Is it t r u e y o u ' r e going to be servant?"
Lena asked Lil.
10) This w a s such marvellous t h i n g to h a v e
said t h a t little girls r u s h e d a w a y in body,
deeply excited, wild w i t h joy.
text:
for miles, for certain, to be in prison, for instance,
a pair of, in front of; to give a t u g , to give a t w i t c h ,
q u i t e well, at last, on occasions, instead of, to give a
smile.
To choose, b r i g h t red, rage, occasion, e n o r m o u s ,
awful, to s h u n , to shrill, daring, tiny, h u g e , scarlet,
to ignore, event, passion, v e n t u r o u s , afraid, t e r r i
ble, spitefully, to scream, frightened, select.
of the Infinitive.
1) T h e consequence w a s all t h e children of t h e
n e i g h b o u r h o o d w e r e forced (to mix) t o g e t h e r .
2) T h e line h a d (to be) d r a w n s o m e w h e r e .
3) T h e children w e r e not allowed e v e n (to speak)
to t h e Kelveys.
4) It w a s impossible not (to laugh).
86
5) T h e K e l v e y s n e v e r failed (to u n d e r s t a n d ) each
other.
6) You c o u l d n ' t (to stop) t h e m listening.
7) T h e r e w a s n o t h i n g m o r e for t h e m (to h e a r ) .
8) A l w a y s , as n e a r as t h e y could (to get) sat t h e
Kelveys.
9) T h e girls w a n t e d (to be) h o r r i d to t h e Kelveys.
10) E m m i e Cole s t a r t e d (to w h i s p e r ) .
11) E m m i e n o d d e d to Isabel as s h e ' d s e e n h e r
m o t h e r (to do) on those occasions.
12) O u r Else s t o p p e d (to c h e w ) h e r s a n d w i c h .
13) Lil d i d n ' t s e e m (to m i n d ) t h e q u e s t i o n a t all.
14) T h e girls b e g a n (to titter).
15) Lena Logan c o u l d n ' t (to s t a n d ) t h a t .
1) M a n y of t h e children including t h e Burnells,
w e r e not allowed e v e n to speak to t h e Kelveys.
2) O u r Else w e n t t h r o u g h t h e life h o l d i n g on to
Lil.
3) Only w h e n s h e w a n t e d a n y t h i n g our Else g a v e
Lil a tug, a t w i t c h .
4) N o w you couldn't stop t h e m listening.
5) In t h e p l a y g r o u n d on t h e road going to a n d
from school, t h e r e w a s Lil m a r c h i n g in front
a n d our Else holding on behind.
6) E v e n t h e d i n n e r h o u r w a s given u p to t a l k i n g
a b o u t t h e doll's house.
7) T h e little girls sat u n d e r t h e pines e a t i n g t h e i r
t h i c k m u t t o n s a n d w i c h e s a n d big slabs, of
j o h n n y cake s p r e a d w i t h b u t t e r .
8) T h e c h i l d r e n stood t o g e t h e r u n d e r t h e pine
t r e e s , a n d s u d d e n l y , as t h e y looked at t h e K e l -
cS'7
veys eating out of their paper, always by t h e m
selves, a l w a y s listening, t h e y w a n t e d to be
h o r r i d to t h e m .
9) "Lil K e l v e y ' s going to be a s e r v a n t w h e n she
grows u p " E m m i e Cole s t a r t e d .
10) E m m i e swallowed in a v e r y m e a n i n g w a y and
n o d d e d to Isabel.
11) O u r Else stopped chewing.
12) W h a t w a s coming now?
13) B u t instead of a n s w e r i n g , Lil only g a v e h e r
silly, s h a m e f a c e d smile.
14) Someone found a long rope, a n d t h e y b e g a n
skipping.
15) A n d n e v e r did t h e y skip so high, r u n in and
out so fast, or do such d a r i n g things as on t h a t
morning.
1) It w a s t h e only school miles.
2) T h e line w a s d r a w n t h e Kelveys.
3) M a n y t h e children w e r e not allowed even
_ speak t h e Kelveys.
4) T h e children w a l k e d t h e Kelveys their
heads t h e air.
5) T h e K e l v e y s w e r e s h u n n e d _ _ e v e r y b o d y .
6) A s p r y , h a r d - w o r k i n g little w a s h e r w o m a n
went about house house t h e day.
7) Nobody k n e w certain.
8) E v e r y b o d y said Mr. K e l v e y w a s prison.
9) V e r y nice c o m p a n y o t h e r people's children.
10) T h e Kelveys w e r e dressed "bits" given
Mrs. Kelvey the people w h o m she
worked.
88
11) Lil instance, w h o w a s a s t o u t plain child
_ big freckles, c a m e school a dress m a d e
_ a g r e e n a r t - s e r g e tablecloth the Bur
nells', r e d plush sleeves t h e Logans' cur
tains.
12) Lil's h a t , a l a r g e scarlet quill p e r c h e d
top her high forehead, was a grown-up
woman's hat.
13) O u r Else w e n t t h r o u g h life holding Lil,
_ a piece Lil's skirt s c r e w e d her hand.
14) t h e p l a y g r o u n d _ t h e road going and
school, t h e r e w a s Lil m a r c h i n g front a n d
our Else holding behind.
15) E v e n t h e d i n n e r h o u r w a s given to talking
t h e doll's house.
16) T h e little girls sat t h e pins eating their thick
m u t t o n s a n d w i c h e s a n d bib slabs johnny
cake s p r e a d butter.
17) last e v e r y b o d y h a d seen t h e doll's h o u s e
except t h e Kelveys.
18) t h a t d a y t h e subject r a t h e r flagged.
19) T h e children stood t o g e t h e r t h e pine t r e e s
a n d s u d d e n l y , as t h e y looked t h e Kelveys,
eating their paper, always them
selves, a l w a y s listening, t h e y w a n t e d to b e
horrid them.
20) E m m i e swallowed a very meaning way and
nodded Isabel as s h e ' d seen h e r m o t h e r do
_ those occasions.
21) Isabel m a d e eyes Emmie.
22) I n s t e a d a n s w e r i n g , Lil only g a v e h e r silly,
s h a m e f a c e d smile as she d i d n ' t m i n d t h e q u e s
tion all.
89
23) W h a t a sell Lena!
24) T h e little girls r u s h e d _ a body, deeply e x
cited, wild joy t h a t morning.
15. Find the Subjunctive Mood in the text. Translate
it into Russian. Make up your own sentences with
this grammar form.


18. Use your imagination and try to describe the

school where the Burnell children went to.
19. What can you tell about the Kelveys' mother?

Give her character-sketch.
20. Describe Lil Kelvey. Give her character-sketch.
21. Describe her little sister, our Else. Give her char
acter-sketch.
23. Describe the dinner hour. How did it happen that

the children wanted to be horrid to the Kelveys?
What made them do some daring things on that
morning?
22. Use your imagination and try to describe the Bur

nells' mother. Compare her character-sketch with
the Kelveys' mother's character-sketch. Why did
90
Mrs. Burnell refuse Kezia to invite the Kelveys to
see their doll's house? Express your opinion.

1) W h y did t h e Burnells a n d t h e K e l v e y s s t u d y
a t one a n d t h e s a m e school? W e r e t h e i r p a r
e n t s satisfied w i t h this situation? If not, w h y ?
2) W h y w e r e t h e Kelveys s h u n n e d b y everybody?
3) W h e r e w a s Mr. Kelvey?
4) W h o looked like a little owl? E x p r e s s y o u r opin
ion.
5) W h a t can y o u say a b o u t t h e p o p u l a r i t y of t h e
doll's house?
6) Explain t h e situation d u r i n g t h e d i n n e r hour.
W h y did t h e girls w a n t to be h o r r i d to t h e K e l
veys?
7) W h a t m a d e L e n a Logan say t h a t Lil's f a t h e r
w a s in prison?
8) W h y did t h e girls do t h e d a r i n g t h i n g s at t h a t
m o m e n t ? W h y w e r e t h e y e x c i t e d a n d wild
w i t h joy?
the following statements. Give your reason. If you
find the statement wrong, correct it and use the
expressions from Chapter 1, task 25.
1) All t h e p a r e n t s w e r e satisfied w i t h t h e school
t h e i r children w e n t to.
2) T h e line h a d to b e d r a w n a t t h e Burnells.
3) T h e B u r n e l l s w a l k e d p a s t t h e K e l v e y s w i t h
t h e i r h e a d s in t h e air.
4) T h e Kelveys w e r e t h e d a u g h t e r s of a s p r a y ,
h a r d - w o r k i n g little w a s h e r w o m a n .
5) Isabel a l w a y s looked like a little guy.
91
6) Kezia w e n t t h r o u g h life holding on to Isabel
a n d Lottie.
7) Days passed a n d t h e children b e g a n to forget
a b o u t t h e doll's house.
8) T h e Kelveys used to eat thick m u t t o n s a n d
wiches a n d big slabs of j o h n n y cake s p r e a d
with butter.
9) Kezia's m o t h e r allowed t h e Kelveys to come
a n d look at t h e doll's house b e c a u s e t h e y b e
c a m e Kezia's special friends.
10) Lil K e l v e y w a s going to b e a s e r v a n t w h e n
she g r e w u p .
11) T h e K e l v e y s w e r e v e r y p r o u d of t h e i r father
b e c a u s e h e w a s t h e p r e s i d e n t of t h e USA.
12) O u r Else found a long rope a n d b e g a n to skip.
On t h a t m o r n i n g she and h e r sister Lil skipped
so high, r a n in a n d out so fast and did some
o t h e r d a r i n g things.
1) T h e line h a d to be d r a w n at t h e Kelveys.
2) T h e K e l v e y s n e v e r failed to u n d e r s t a n d each
other.
3) On t h a t d a y t h e subject r a t h e r flagged.
4) W h a t a sell for Lena Logan!
27. Sum up what else you have learned more about
the Burnells and the Kelveys in Chapter 2.
Ill
In t h e afternoon P a t called for t h e B u r n e l l chil
dren with the buggy and they drove home. There
w e r e visitors. Isabel a n d Lottie, w h o liked visitors,
w e n t u p s t a i r s to c h a n g e t h e i r pinafores. B u t Kezia
1
t h i e v e d o u t at t h e back. N o b o d y w a s about; she
b e g a n to swing on t h e big w h i t e g a t e s of t h e c o u r t
y a r d . P r e s e n t l y , looking along t h e road, s h e s a w
t w o little dots. T h e y g r e w bigger, t h e y w e r e com
ing t o w a r d s her. N o w she could see t h a t one w a s in
front a n d one close behind. N o w s h e could see t h a t
t h e y w e r e t h e Kelveys. Kezia s t o p p e d swinging.
S h e slipped off t h e g a t e as if, she w a s going to r u n
a w a y . T h e n she hesitated. T h e K e l v e y s c a m e n e a r
er, and beside t h e m w a l k e d t h e i r s h a d o w s , v e r y
long, s t r e t c h i n g r i g h t across t h e road. Kezia clam
b e r e d back on t h e gate; she h a d m a d e u p h e r mind;
she s w u n g out.
"Hullo," she said to t h e passing Kelveys.
T h e y w e r e so a s t o u n d e d t h a t t h e y stopped. Lil
g a v e h e r silly smile. O u r Else s t a r e d .
"You can come a n d see our doll's h o u s e if you
w a n t to," said Kezia.
B u t at t h a t Lil t u r n e d r e d a n d shook h e r h e a d
quickly.
" W h y n o t ? " a s k e d Kezia.
Lil gasped, t h e n she said, "Your m a told our m a
you w a s n ' t to s p e a k to us."
"Oh, well," said Kezia. S h e d i d n ' t k n o w w h a t to
reply. "It doesn't m a t t e r . You can come a n d see our
doll's house all t h e same. Come on. N o b o d y ' s look
ing."
B u t Lil shook h e r h e a d still h a r d e r .
93
"Don't you w a n t to?" a s k e d Kezia.
S u d d e n l y t h e r e w a s a twitch, a t u g at Lil's skirt.
S h e t u r n e d round. O u r Else w a s looking at h e r w i t h
big, imploring eyes; she w a s frowning; she w a n t e d
to go. For a m o m e n t Lil looked at our Else v e r y dou
btfully. B u t t h e n our Else t w i t c h e d h e r skirt again.
S h e s t a r t e d forward. Kezia led t h e way. Like t w o
little s t r a y cats t h e y followed across t h e c o u r t y a r d
to w h e r e t h e doll's house stood.
" T h e r e it is," said Kezia.
T h e r e w a s a pause. Lil b r e a t h e d loudly, almost
snorted; our Else w a s still as stone.
"I'll open it for you," said Kezia kindly. S h e u n
did t h e hook a n d t h e y looked inside.
"There's the drawing-room and the dining-room
and that's the—"
"Kezia!"
Oh, w h a t a s t a r t t h e y gave!
"Kezia!"
It w a s A u n t Beryl's voice. T h e y t u r n e d round. At
t h e back door stood A u n t Beryl, s t a r i n g as if she
couldn't believe w h a t she saw.
" H o w d a r e you ask t h e little K e l v e y s into t h e
c o u r t y a r d ! " said h e r cold, furious voice. "You k n o w
a s well as I do, y o u ' r e not allowed to talk to t h e m .
R u n a w a y , children, r u n a w a y a t once. A n d d o n ' t
come b a c k again," said A u n t Beryl. A n d s h e s t e p
p e d into t h e y a r d a n d shooed t h e m out as if t h e y
w e r e chickens.
2
"Off you g o i m m e d i a t e l y " she called, cold and
proud.
T h e y did not n e e d telling twice. B u r n i n g w i t h
3
s h a m e , shrinking together, Lil h u d d l i n g along like
94
h e r m o t h e r , our Else dazed, s o m e h o w t h e y crossed
t h e big c o u r t y a r d a n d squeezed t h r o u g h t h e w h i t e
gate.
"Wicked, disobedient little girl!" said A u n t Beryl
bitterly to Kezia, a n d s h e s l a m m e d t h e doll's house
to.
T h e afternoon h a d b e e n awful. A l e t t e r h a d come
from Willie Brent, a terrifying, t h r e a t e n i n g letter,
saying if she did not m e e t h i m t h a t e v e n i n g in P u l -
4
m a n ' s Bush, h e ' d come to t h e front d o o r a n d ask
the reason why! But now that she had frightened
those little r a t s of K e l v e y s a n d given Kezia a good
scolding, h e r h e a r t felt lighter. T h a t g h a s t l y p r e s
s u r e w a s gone. S h e w e n t b a c k to t h e h o u s e h u m
ming.
W h e n t h e K e l v e y s w e r e well out of sight of B u r
nells', t h e y sat d o w n to r e s t b y t h e side of t h e road.
Lil's c h e e k s w e r e still b u r n i n g ; s h e took off t h e h a t
w i t h t h e quill a n d held it on h e r knee.
P r e s e n t l y our Else n u d g e d u p close to h e r sister.
But n o w she h a d forgotten t h e cross lady. She p u t
out a finger and stroked h e r sister's quill; she smiled
h e r r a r e smile.
5
"I s e e n t h e little l a m p , " s h e said softly.
T h e n b o t h w e r e silent once m o r e .
Notes
1
thieved out — зд. тихонько выскользнула наружу
2
off you go (эмфат. инверсия) — прочь
3
huddling along — пробираясь суетливо
4
he'd come to the front door — зд. придёт открыто,
объявится хозяевам дома (упоминание front door
связано с тем, что в жилых домах английского типа
95
обычно есть front door — для хозяев и посетите
лей — и back door — для прислуги, разносчиков,
посыльных).
5
1 seen the little lamp, (десткий говор, опускание вспо
могательного глагола) = I have seen the little lamp.
List of Vocabulary
to be astounded
to burn with shame
to clamber
cross (adj)
to dare smth
disobidient
furious
to gasp
to give a good scolding
to give a start
to hesitate
to hum (hummed)
to make up one's mind
it doesn't matter
to lead the way (led)
to nudge
presently
to turn red
to shoo out
a shrinking (person)
to be silent
to swing
/. Recall the situation from the story in which the vo

cabulary of the list is used.
96
tions.
1) to b e frightened; to s h u d d e r ; to j u m p o u t of
one's skin
2) to r e d d e n , to b e r e d , to b e c o m e red, to b l u s h
3) to s w a y , to reel
4) to g u i d e on a w a y b y going in a d v a n c e ; to a d
vance
5) m a r k e d by b a d t e m p e r
6) v e r y a n g r y
7) to criticize bitterly, to b l a m e
8) to decide, to d e t e r m i n e
9) n e v e r mind; it's not i m p o r t a n t
10)soon
11) to d r i v e (to send) a w a y a n a n i m a l (birds) b y
or a s if b y crying shoo
12) to b e m u t e , to b e free from s o u n d or noise, to
hold one's t o n g u e (peace)
13) to b e surprised, a m a z e d
14) to h a v e t h e c o u r a g e to do s m t h , to risk
15) to blush, flash, tingle w i t h a feeling of guilt
16) not obeying; refusing to obey
17) to climb clumsily, a w k w a r d l y
18) to sing w i t h closed lips
19) to p a u s e , to hold b a c k in d o u b t
20) to catch t h e b r e a t h
21) a shy, modest p e r s o n
22) to p u s h slightly
phrases using English-English dictionary. Write
97
buggy
pinafore
imploring
to frown
dot
doubtfull
s t r a y cats
wicked
to n u d g e
to feel lighter
ghastly
dictionary.
u p s t a i r s , front (adj), to stop, little s t r a y cats, a
p a u s e , a start.
1) S h e h a d n ' t t h e courage to go t h e r e alone.
2) T h e children w e r e surprised v e r y m u c h to see
Mike play football so well, b e c a u s e h e w a s a
v e r y s h y boy.
3) At first h e p a u s e d b u t soon he d e t e r m i n e d to
m a k e a j o u r n e y to Latin America.
4) N e v e r m i n d w h a t P e t e r says.
5) Mike j u m p e d out. of his skin w h e n a s t r a n g e r
p u s h e d h i m slightly.
6) T h e boy w a s blamed because he couldn't climb
t h e t r e e to get his sister's cat.
7) Mrs. H a y sent a w a y t h e chickens from h e r g a r
d e n b y crying shoo.
8) T h e boy d i d n ' t obey his p a r e n t s , t h a t ' s w h y
t h e y criticized him bitterly.
9) After a noisy d a y the children held their t o n g u e
(peace).
98
10) Going h o m e h e w a s singing w i t h closed lips.
11) All c h i l d r e n like to s w a y in t h e swing.
1) H o w dare you s a y such things!
2) T h e boy c o u l d n ' t clamber t h e h i g h fence.
3) S h e w a s humming all h e r w a y h o m e b e c a u s e
she w a s in good mood.
4) T h e t e a c h e r g a v e P e t e a good scolding for b e
ing lazy at t h e lessons.
5) He spoke in a v e r y cross voice.
6) T h e r e a r e m a n y swings in t h e c o u r t y a r d so t h e
boys a n d girls can swing after classes.
7) Mike burned with shame b e c a u s e h e told lies.
8) T h e y made up their mind to a r r a n g e a chess
c h a m p i o n a t at t h e i r school.
9) W h e n a n E n g l i s h m a n a s k e d A n n t h e w a y to
t h e n e a r e s t post-office s h e turned red b e c a u s e
she forgot h o w to say it in English.
10) P e t e gave a start b e c a u s e his n e i g h b o u r nud
ged h i m u n e x p e c t e d l y .
11) W h e n t h e y h e a r d t h e n e w s t h e y were g r e a t l y
astounded a n d were silent for a long time.
подняться наверх переодеть передники, ка
ч а т ь с я на воротах, вскоре, впереди и позади, р е
ш и т ь улыбнуться, покраснеть, покачать головой,
повернуться, глаза полные мольбы, н а х м у р и т ь
ся, бездомные кошки, сопеть, вздрогнуть, с е р д и
т ы м голосом, прогнать, пересечь большой двор,
у г р о ж а ю щ е е письмо, з а д а т ь трёпку, на сердце
полегчало, напевать, щ е к и все е щ е пылали, быть
молчаливым.
99
your reason.
1) Two little dots d r e w (big-bigger).
2) Kezia stopped (swing-swinging).
3) Lil shook h e r h e a d still (hard-harder).
4) O u r Else w a n t e d to see t h e doll's h o u s e (to
go-go).
5) For a m o m e n t Lil looked a t our Else v e r y
(doubtful-doubtfully).
6) Lil b r e a t h e d (loud-loudly).
7) "How d a r e you ask t h e little K e l v e y s into t h e
c o u r t y a r d ! " said h e r voice (cold-cold
er; f urious-f uriously).
8) You k n o w it as as I do (well-good).
9) S h e said (bitter-bitterly).
10) T h e afternoon h a d b e e n (awful-awful-
ly)-
11) A letter h a d come from Willie B r e n d , a
letter (terrifying-terrified) ( t h r e a t e n i n g -
threatened).
12) S h e g a v e h e r a (good-well) (scold-
scolding).
13) H e r h e a r t felt (light-lighter).
14) T h a t p r e s s u r e w a s gone (ghastf u l - g h a s t -
iy)-
15) S h e smiled h e r smile ( r a r e - r a r e l y ) .
16) T h e Kelveys w e r e once m o r e (silent-si-
lently).
choice.
1) In afternoon P a t called for Burnell chil
dren with buggy and they drove home.
100
2) Lil g a v e silly smile.
3) It d o e s n ' t matter.
4) You can come a n d see our doll's h o u s e all _
same.
5) S u d d e n l y t h e r e w a s twitch, t u g at Lil's
skirt.
6) For m o m e n t Lil looked a t o u r Else v e r y
doubtfully.
7) Kezia led way.
8) T h e r e w a s pause.
9) W h a t s t a r t t h e y gave!
10) R u n a w a y , children, r u n a w a y at once.
11) B u r n i n g w i t h s h a m e t h e K e l v e y s crossed
big c o u r t y a r d a n d s q u e e z e d t h r o u g h
w h i t e gate.
12) letter h a d come from Willie B r e n t , ter
rifying, t h r e a t e n i n g letter.
13) A u n t Beryl g a v e Kezia good scolding.
14) Lil took off hat with quill a n d held it on
_ knee.
15) O u r Else h a d forgotten cross lady.
text:
to go upstairs, to t h i e v e out, in front, to r u n a w a y ,
to give a smile, to s h a k e one's h e a d , come on, a t
t h a t , to t u r n r o u n d , all t h e s a m e , for a m o m e n t , as
well as, at once, to be out of sight, to sit down, b y
t h e side of, once m o r e .
101
to be surprised, v e r y a n g r y , to blush, to criticize
bitterly, to s h u d d e r , to gasp, to climb, cross, to be
astonished, to b u r n w i t h s h a m e , to catch t h e b r e
a t h , soon, awful, to t u r n red, shrinking, to give a
good scolding, presently, to become red, dot, to lead
t h e w a y , ghastly, spot, bad, to give a start, it doesn't
m a t t e r , wicked, to a d v a n c e , n e v e r mind, furious,
to clamber.
of the Infinitive.
1) Isabel and Lottie w e n t upstairs (to change) their
pinafores.
2) Kezia b e g a n (to swing) on t h e big w h i t e g a t e s
of t h e c o u r t y a r d .
3) N o w Kezia could (to see) t h a t t h e y w e r e t h e
Kelveys.
4) Kezia w a s going (to r u n ) a w a y .
5) Kezia d i d n ' t k n o w w h a t (to reply).
6) You can (to come a n d to see) t h e doll's house.
7) O u r Else w a n t e d (to go).
8) You a r e not allowed (to talk) to t h e m .
9) T h e Kelveys sat d o w n (to rest) b y t h e side of
t h e road.
10) If Beryl did not (to m e e t ) Willie B r e n t t h a t
evening in P u l m a n ' s Bush, h e ' d (to come) to
t h e front door a n d (to ask) t h e reason w h y !
1) P r e s e n t l y looking along t h e road, Kezia s a w
t w o little dots.
2) T h e y g r e w bigger, t h e y w e r e c o m i n g t o w a r d s
her.
102
3) Kezia s t o p p e d s w i n g i n g .
4) At first Kezia w a s going to r u n a w a y , b u t t h e n
she hesitated.
5) "Hullo," Kezia said to t h e p a s s i n g Kelveys.
6) Nobody is looking.
7) O u r Else w a s looking at Lil w i t h big, imploring
eyes, she w a s frowning; she w a n t e d to go.
8) B u r n i n g w i t h s h a m e , s h r i n k i n g t o g e t h e r , Lil
h u d d l i n g along, our Else dazed, s o m e h o w t h e y
crossed t h e big c o u r t y a r d .
9) A letter h a d c o m e from Willie B r e n t , a t e r r i f y
ing, t h r e a t e n i n g letter, s a y i n g if s h e d i d n ' t
m e e t h i m t h a t e v e n i n g in P u l m a n ' s Bush, h e ' d
come to t h e front door.
10) A u n t Beryl g a v e Kezia a good scolding.
11) S h e w e n t b a c k to t h e h o u s e h u m m i n g .
12) Lil's c h e e k s w e r e still b u r n i n g .
1) t h e afternoon P a t called t h e Burnell chil
dren the buggy and they drove __ home.
2) Kezia b e g a n to swing t h e big w h i t e g a t e s
_ the courtyard.
3) Kezia slipped t h e g a t e , t h e n she c l a m b e r e d
back the gate.
4) Kezia m a d e h e r mind.
5) a m o m e n t Lil looked our Else v e r y d o u b t
fully.
6) Y o u ' r e not allowed to talk t h e Kelveys.
7) " R u n a w a y once", said A u n t Beryl a n d s h e
stepped t h e y a r d a n d shooed t h e K e l v e y s
_ as if t h e y w e r e chickens.
8) B u r n i n g s h a m e t h e K e l v e y s crossed t h e big
c o u r t y a r d a n d squeezed t h e w h i t e gate.
103
9) W h e n t h e Kelveys w e r e well _ _sight _
Burnells' t h e y sat d o w n to rest t h e side _
t h e road.
10) Lil took her hat t h e quill a n d held it _
h e r knee.
15. Form a comparative degree of the adjectives
from the text where it is possible. Make up your
own sentences with them. Find sentences with the
following forms of the comparative degree in
Chapters 1,2,3.
near-nearer
big-bigger
hard-harder
light-lighter
good-better
16. Find the sentences with the Past Perfect Tense
and Subjunctive Mood in the text. Translate them
into Russian. Make up your own sentences with
these grammar forms.
B. Speech Excersises

18. Use your imagination and try to describe the vis

itors who came to the Burnells. Why were Mrs.
Burnell and her daughters glad to see them?
19. Describe Aunt Beryl. Give her character-sketch.

Do you like her? Why?
20. Use your imagination and try to describe Willie

Brent. Who was he? Why did he write such a fer-
104
rifying and threatening letter to Aunt Beryl? Was
he the main hero of this story? What could hap
pen if he appeared at the Burnells' front door.

1) W h a t m a d e Kezia t h i e v e out a t t h e b a c k ?
2) W h a t w a s she doing?
3) W h y did s h e c l a m b e r back on t h e g a t e of t h e
courtyard?
4) W h y w e r e t h e K e l v e y s so a s t o u n d e d ?
5) W h y did Kezia invite t h e K e l v e y s to see t h e i r
doll's house, t h o u g h s h e k n e w t h a t h e r m o t h
er w a s against it?
6) W h a t m a d e Lil follow across t h e c o u r t y a r d to
w h e r e t h e doll's h o u s e stood?
7) W h o u n d i d t h e h o o k a n d o p e n e d t h e doll's
house?
8) Could t h e K e l v e y s o b s e r v e t h e w h o l e house?
9) W h o shooed t h e m out of t h e B u r n e l l s ' c o u r t
yard?
10) W h a t did A u n t Beryl say to Kezia?
11) W h a t letter did A u n t Beryl receive t h a t af
ternoon?
12) W a s A u n t Beryl in good mood w h e n she w e n t
b a c k home? W h y ?
13) W h y did our Else smile? Did s h e often smile?
the following statements. Give your reason. If you
find the statement wrong, correct it and use the
expressions from Chapter 1, task 25.
1) W h e n Isabel, Lottie a n d Kezia w e r e told t h a t
t h e r e w e r e visitors, t h e y r u s h e d u p s t a i r s to
c h a n g e t h e i r pinafores.
105
2) W h e n t h e K e l v e y s saw Kezia on t h e big w h i t e
g a t e s t h e y told h e r t h a t t h e y would like to see
t h e doll's house. B u t Kezia said t h a t she w a s n ' t
allowed to do it. T h e Kelveys b e g a n to implore
h e r a n d s h e a g r e e d at last.
3) A u n t Beryl w a s a l w a y s v e r y kind to t h e K e l
veys. W h e n she s a w t h e m in their c o u r t y a r d
n e a r t h e doll's h o u s e she w a s so glad t h a t she
at once invited t h e m to d r i n k a cup of tea w i t h
Isabel, Lottie a n d Kezia.
4) A u n t Beryl received a terrifying, t h r e a t e n i n g
l e t t e r saying t h a t Willie B r e n t w a n t e d to m e e t
her.
5) O u r Else smiled h e r r a r e smile a n d said t h a t
s h e h a d seen t h e little lamp.
6) Nobody could stop t h e Kelveys talking a b o u t
t h e doll's h o u s e w h e n t h e y decided to rest b y
t h e side of t h e road far from t h e Burnells.
1) Oh, w h a t a s t a r t t h e y gave!
2) H e r h e a r t felt lighter. T h a t ghastly p r e s s u r e
w a s gone.
24. Sum up what you have learned about the Bur
nells and the Kelveys in Chapter 3.
Do you think t h e a u t h o r w a s right w h e n she com
p a r e d t h e Kelveys w i t h t w o little s t r a y cats.
25. Use your imagination and say what may happen
to the Burnells and the Kelveys in the next ten
years. Is it possible for them to become special or
real friends? Give your reasons.
26. Do you like the story? Why?
106
I
R o s e m a r y Fell w a s not exactly beautiful. No, you
couldn't h a v e called h e r beautiful. P r e t t y ? Well, if
1
you took h e r to pieces... But w h y be so cruel as to
t a k e a n y o n e to pieces? S h e w a s young, brilliant,
e x t r e m e l y modern, exquisitely well dressed, a m a z
ingly well r e a d in t h e n e w e s t of t h e n e w books, a n d
h e r p a r t i e s w e r e t h e most delicious m i x t u r e of t h e
really i m p o r t a n t people a n d ... artists.
R o s e m a r y h a d b e e n m a r r i e d t w o years. S h e h a d
a d u c k of a boy. A n d h e r h u s b a n d absolutely adored
her. T h e y w e r e rich, really rich, not j u s t comfort
ably well-off, so if R o s e m a r y w a n t e d to shop she
w o u l d go to P a r i s as you a n d I would go to Bond
2
Street. If she w a n t e d to b u y flowers, t h e car pulled
3
u p at t h a t perfect shop in Regent S t r e e t , and Rose
m a r y inside t h e shop j u s t gazed in h e r dazzled,
r a t h e r exotic way, a n d said: "I w a n t those and those
a n d those. Give m e four b u n c h e s of those. A n d t h a t
j a r of roses. Yes, I'll h a v e all t h e roses in t h e jar.
No, no lilac. I h a t e lilac. It's got no shape." T h e a t
t e n d a n t b o w e d a n d p u t t h e lilac out of sight, as
t h o u g h this w a s only too t r u e ; lilac w a s dreadfully
s h a p e l e s s . " G i v e m e t h o s e s t u m p y little tulips.
Those r e d a n d w h i t e ones." A n d she w a s followed
to t h e car b y a t h i n shop-girl s t a g g e r i n g u n d e r a n
i m m e n s e w h i t e p a p e r a r m f u l t h a t looked like a
b a b y in long clothes....
One w i n t e r afternoon she h a d b e e n buying s o m e
4
t h i n g in a little a n t i q u e shop in Curzon S t r e e t . It
w a s a shop she liked. For one thing, one usually h a d
it to oneself. A n d t h e n t h e m a n w h o k e p t it w a s ri
diculously fond of serving her. He b e a m e d w h e n
e v e r she c a m e in. He clasped his h a n d s ; h e w a s so
108
gratified h e could scarcely speak. F l a t t e r y , of cou
rse. All t h e s a m e , t h e r e w a s something...
"You see, m a d a m , " h e w o u l d explain in his low
respectful tones. "I love m y things. I w o u l d r a t h e r
not p a r t w i t h t h e m t h a n sell t h e m to s o m e o n e w h o
does not a p p r e c i a t e t h e m , w h o h a s not t h a t fine
feeling w h i c h is so rare...." A n d , b r e a t h i n g deeply,
5
h e u n r o l l e d a t i n y s q u a r e of b l u e v e l v e t a n d
p r e s s e d it on t h e glass c o u n t e r w i t h his p a l e fin
ger-tips.
T o - d a y it w a s a little box. He h a d b e e n k e e p i n g it
for her. He h a d s h o w n it to n o b o d y as yet. A n e x
quisite little e n a m e l box w i t h a glaze so fine it look
ed as t h o u g h it h a d b e e n b a k e d in c r e a m . On t h e
lid a m i n u t e c r e a t u r e stood u n d e r a f l o w e r y t r e e ,
a n d a m o r e m i n u t e c r e a t u r e still h a d h e r a r m s
r o u n d his neck. H e r h a t , really no b i g g e r t h a n a
g e r a n i u m petal, h u n g from a b r a n c h ; it h a d g r e e n
ribbons. A n d t h e r e w a s a pink cloud a b o v e t h e i r
h e a d s . R o s e m a r y took h e r h a n d s out of h e r long
gloves. She a l w a y s took off h e r gloves to e x a m i n e
such things. Yes, she liked it v e r y m u c h . S h e loved
it; it w a s a g r e a t duck. S h e m u s t h a v e it. And, t u r n
ing t h e c r e a m y box, opening a n d s h u t t i n g it, s h e
c o u l d n ' t help noticing h o w c h a r m i n g h e r h a n d s
w e r e against t h e blue velvet.
" C h a r m i n g ! " R o s e m a r y a d m i r e d t h e flowers. B u t
w h a t w a s t h e price? For a m o m e n t t h e s h o p m a n
did not s e e m to hear. T h e n a m u r m u r r e a c h e d her.
" T w e n t y - e i g h t guineas, m a d a m . "
" T w e n t y - e i g h t guineas." R o s e m a r y g a v e no sign.
S h e laid t h e little b o x d o w n ; s h e b u t t o n e d h e r
gloves again. T w e n t y - e i g h t guineas. E v e n if one is
rich... S h e looked v a g u e . S h e s t a r e d at a p l u m p t e a -
109
k e t t l e a n d h e r voice w a s d r e a m y as she a n s w e r e d :
"Well, k e e p it for me—will you? I'll..."
B u t t h e s h o p m a n h a d a l r e a d y b o w e d as t h o u g h
k e e p i n g it for h e r w a s all a n y h u m a n being could
ask. He would be willing, of course, to k e e p it for
h e r for ever.
Notes
1
if you took her to pieces — зд. если разобрать каж
дую её черту в отдельности
2
Bond Street — улица в аристократическом кварта
ле Лондона (West End), известная своими дороги
ми роскошными магазинами
3
Regant Street — крупная магистраль, одна из са
мых фешенебельных торгово-деловых улиц в Лон
доне
4
Curzon Street — улица в аристократической запад
ной части Лондона; здесь расположены особняки и
изысканные, дорогие магазины
5
a tiny square of blue velvet — коврик из синего бар
хата, на котором продавец обычно показывает дра
гоценности
List of Vocabulary
appreciate
attendant
delicious
to dazzle
to be a duck
exquisitely well dressed
to be fond of
to keep smth for smb
minute creature
to pull up
stumpy
well-off
110
A. Training Excercises

active vocabulary to express the following notions:
1) in good position, condition or c i r c u m s t a n c e s
2) tiny, small c r e a t u r e
3) to b r i n g to stop; to d r a w one's car to t h e c u r b
4) one w h o a t t e n d s a n o t h e r to r e n d e r a service
5) affording g r e a t p l e a s u r e ; delightful
6) to shine brilliantly
7) to e v a l u a t e t h e full significance
8) darling
9) to love
10) a r e m a i n i n g p a r t (after cutting)
11) to persist or p e r s e v e r e in
12) to h a v e for s o m e t i m e
to be cruel
amazing
delicious
to be m a r r i e d
ridiculously
to b e a m
flattery
charming
to m u r m u r
111
dictionary.
brilliant; m o d e r n ; m i x t u r e ; artist; comfortably;
rose; lilac; tulip; g e r a n i u m ; yelvet; guinea.
1) T h e d r i v e r usually d r e w his car to t h e c u r b in
t h e center.
2) This girl usually shows good t a s t e in clothes.
3) T h e little girl w a s a c h a r m i n g darling.
4) T h e B r o w n s w e r e in good position.
5) A n a n t i q u e box w a s d e c o r a t e d w i t h t h e t i n y
creatures.
6) T h e scientist e v a l u a t e d t h e full significance of
t h e old book, w h i c h w a s given to h i m b y his
teacher.
7) As h e w a s leaving this t o w n h e a s k e d his friend
to h a v e some of his things for a week.
tion to the italicized words and phrases.
1) W h e n R o s e m a r y c a m e to t h e little a n t i q u e shop
in Curzon S t r e e t the attendant w a s so g r a t i
fied t h a t h e could scarcely speak.
2) We appreciate t h e w o r k s of a n c i e n t p a i n t e r s
greatly.
3) R o s e m a r y w a s always exquisitely well dressed,
amazingly well r e a d in t h e n e w e s t of t h e n e w
books.
4) T h e girl was fond of flowers, especially s h e
liked red roses.
5) W h e n R o s e m a r y s a w a minute vase she
couldn't stop examining it. S h e loved it, it w a s
112
a great duck. B u t this t i m e she c o u l d n ' t b u y it,
as she w a s going to t h e p a r t y , so s h e a s k e d t h e
s h o p m a n to keep it for h e r till t h e n e x t m o r n
ing.
строго говоря; быть жестоким; изысканно оде
та; очень начитана; быть замужем; прелесть
(душка); быть зажиточным; останавливаться пе
ред; букет роз; до смешного любил прислуживать
ей; маленькая, изящная, покрытая глазурью ла
кированная шкатулка; цветущее дерево; снять
перчатки; не могла не заметить; застегнуть пер
чатки; выглядеть рассеянной; "оставьте шкатул
ку для меня"; навсегда.
your reason.
1) R o s e m a r y Fell w a s not beautiful (exact-
exactly).
2) W h y be so as to t a k e a n y o n e to pieces (cru-
el-cruely).
3) S h e w a s (young-younger), (brilliant -
brilliantly), modern (extrem-extremely),
well d r e s s e d (exquisite-exquisitely),
well r e a d (amaze-amazing-amazingly).
4) Lilac w a s shapeless ( d r e a d f u l - d r e a d f u l -
iy).
5) For one t h i n g , one h a d a shop to oneself
(usual-usually).
6) He h a d b e e n it for R o s e m a r y ( k e p t - k e e p
ing).
7) S h e couldn't help how charming her hands
w e r e against t h e blue velvet (notice-noticing).
113
8) H e r voice w a s as she a n s w e r e d ( d r e a m -
dreamy).
choice.
1) You couldn't h a v e called R o s e m a r y beauti
ful.
2) S h e w a s young, brilliant, extremely
modern, exquisitely well dressed amaz
ingly well r e a d in n e w e s t of n e w books.
3) S h e h a d d u c k of boy.
4) If R o s e m a r y w a n t e d to shop she w o u l d go
to Paris.
5) S h e w a s followed to car b y thin shop
girl s t a g g e r i n g u n d e r immense white pa
p e r armf ull t h a t looked like b a b y in long
clothes.
6) One w i n t e r afternoon s h e h a d b e e n b u y i n g
s o m e t h i n g in little a n t i q u e shop.
7) T o - d a y it w a s little box.
8) T h e r e w a s pink cloud a b o v e t h e i r h e a d s .
9) W h a t w a s price?
10) For moment s h o p m a n did not s e e m to
hear.
text:
to t a k e s m b to pieces, well r e a d in t h e n e w e s t of
t h e n e w books, in r a t h e r exotic w a y , to p u t out of
sight, all t h e same, in a low respectful tones, for a
m o m e n t , for ever, to look like.
114
darling, to be fond of, m i n u t e c r e a t u r e , b e a u t i
ful, exquisitely, to b e a g r e a t d u c k , to love, t i n y
c r e a t u r e , to e v a l u a t e t h e full significance, w o n d e r
ful, to be of good taste, a p p r e c i a t e .
of the Infinitive.
1) B u t w h y (to be) so cruel as (to t a k e ) a n y o n e to
pieces.
2) If R o s e m a r y w a n t e d (to shop) s h e w o u l d (to
go) to Paris.
3) S h e usually a s k e d (to give) h e r four b u n c h e s
of roses.
4) T h e s h o p m a n w a s so gratified h e could scarcely
(to speak).
5) I would r a t h e r not (to part) w i t h m y things t h a n
(to sell) t h e m to someone w h o does not (to a p
preciate) t h e m .
6) R o s e m a r y a l w a y s took off h e r gloves (to e x
amine) such things.
7) S h e m u s t (to h a v e ) it.
8) S h e couldn't (to help) noticing h o w c h a r m i n g
this box was.
9) For a m o m e n t t h e s h o p m a n did not (to seem)
(to hear).
10) T h e s h o p m a n w o u l d (to be) willing, of course,
(to keep) this little box for R o s e m a r y for ever.
' 3 . Define the word forms ending in - i n g . Translate
1) A n d R o s e m a r y w a s followed to t h e car b y a
t h i n shop-girl s t a g g e r i n g u n d e r a n i m m e n s e
115
w h i t e p a p e r armful t h a t looked like a b a b y in
long clothes.
2) One w i n t e r afternoon she h a d b e e n b u y i n g so
m e t h i n g in a little a n t i q u e s h o p in C u r z o n
Street.
3) T h e m a n w h o k e p t this shop w a s ridiculously
fond of s e r v i n g her.
4) All t h e s a m e , t h e r e w a s s o m e t h i n g .
5) A n d b r e a t h i n g deeply t h e s h o p m a n pressed a
tiny s q u a r e of blue velvet on t h e glass counter.
6) T h e s h o p m a n h a d b e e n k e e p i n g this little box
for R o s e m a r y .
7) T u r n i n g t h e c r e a m y box, o p e n i n g a n d s h u t
t i n g it, R o s e m a r y couldn't h e l p noticing h o w
c h a r m i n g h e r h a n d s w e r e against t h e blue vel
vet.
8) " C h a r m i n g ! " R o s e m a r y a d m i r e d t h e flowers.
9) T h e s h o p m a n h a d a l r e a d y b o w e d as though
k e e p i n g it for R o s e m a r y w a s all a n y h u m a n
b e i n g could ask.
10) He would be willing to k e e p this box for h e r
for ever.
1) W h y b e so cruel as to t a k e a n y o n e pieces.
2) R o s e m a r y w a s amazingly well real the new
est t h e n e w books.
3) If she w a n t e d to b u y flowers, t h e car pulled
t h a t perfect shop Regent Street.
4) S h e w a n t e d to b u y all t h e roses t h e jar.
5) T h e a t t e n d a n t p u t t h e lilac sight.
6) T h e s h o p m a n w a s ridiculously fond serv
ing Rosemary.
116
7) He explained his low respectful tones.
8) He w o u l d r a t h e r not p a r t his t h i n g t h a n sell
them someone w h o does not a p p r e c i a t e
them.
9) T h e s h o p m a n h a d b e e n keeping t h e little e n a m
el box Rosemary.
10) T h e r e w a s a pink cloud their heads.
11) R o s e m a r y a l w a y s took h e r gloves to e x
a m i n e such things.
12) a m o m e n t t h e s h o p m a n didn't seem to hear.
13) S h e s t a r e d a plump tea-kettle.
15. Find the Subjunctive Mood in this chapter. Trans
late it into Russian. Make up your own sentences
with this grammar form.


18. Describe Rosemary Fell. Give her character-

sketch. What can you say about her parties?
19. Describe the little antique shop in Curzon Street.

Why did Rosemary like to be there?
20. Describe the shopman of this antique shop. Give

his character-sketch.
21. Describe an exquisite little enamel box with a

glaze. Would you like to have this thing?
117
1) C a n you p r o v e t h a t R o s e m a r y Fell w a s e x
t r e m e l y rich?
2) W h e r e w a s R o s e m a r y used to b u y things s h e
liked?
3) H o w w a s she used to b u y flowers? Did she r e
ally like flowers?
4) W h a t did she do one w i n t e r afternoon in C u r -
zon S t r e e t ?
5) W h y did t h e s h o p m a n say to R o s e m a r y t h a t
he would r a t h e r not p a r t w i t h his things t h a n
sell t h e m to someone w h o did not a p p r e c i a t e
t h e m a n d w h o h a d n ' t t h a t fine feeling w h i c h
w a s so r a r e ?
6) W h a t h a d h e b e e n k e e p i n g for R o s e m a r y ?
7) W h y did R o s e m a r y decide t h a t she had to h a v e
t h e little box?
8) W h a t w a s R o s e m a r y ' s reaction on h e a r i n g t h e
price for t h e box? W a s it too m u c h expensive
for R o s e m a r y Fell? W a s it a real price for this
box?
9) W h y did R o s e m a r y ask t h e s h o p m a n to k e e p
t h e box for her?
the following statements. Give your reason.
1) R o s e m a r y Fell w a s not beautiful. Well, if you
took h e r to pieces... S h e w a s a d a u g h t e r of a
hard-working washerwoman. Her father was
in prison. S h e w a s dressed in "bits" given to
h e r m o t h e r b y t h e p e o p l e for w h o m s h e
worked. R o s e m a r y w a s a stout plain girl, w i t h
big freckles, w i t h cropped hair a n d e n o r m o u s
118
solemn eyes. S h e c a m e to t h e s h o p in a d r e s s
m a d e from a g r e e n a r t - s e r g e tablecloth w i t h
r e d plush sleeves from c u r t a i n s . S h e w o r e a
pair of little b o y ' s boots. S h e h a d a h a t w i t h a
l a r g e scarlet quill p e r c h e d on top of h e r f o r e
head. W h a t a little g u y s h e looked!
2) R o s e m a r y loved flowers, especially s h e loved
roses a n d lilac, b u t she h a t e d s t u m p y tulips.
3) O n e w i n t e r afternoon R o s e m a r y w e n t to a lit
tle a n t i q u e shop to b u y s a n d w i c h e s .
4) W h e n t h e s h o p m a n s a w R o s e m a r y in a long
w h i t e dress r a t h e r like a n i g h t g o w n a n d a h a t
w i t h a l a r g e s c a r l e t quill h e could s c a r c e l y
speak.
5) T h e s h o p m a n d i d n ' t w a n t to p a r t w i t h h i s
t h i n g s , so h e d i d n ' t sell t h e m to R o s e m a r y .
6) R o s e m a r y laid t h e b o x d o w n on t h e g l a s s
c o u n t e r a n d b u t t o n e d h e r gloves.
1) R o s e m a r y h a d b e e n m a r r i e d t w o years. S h e
h a d a d u c k of a boy.
2) It w a s a shop R o s e m a r y liked. For one t h i n g ,
one usually h a d it to oneself.
3) R o s e m a r y loved an exquisite little e n a m e l box
w i t h a glaze; it w a s a g r e a t duck.
25. Sum up what you have learned about Rosemary
Fell.
119
II
T h e discreet door s h u t w i t h a click. S h e w a s o u t
side on t h e step, gazing a t t h e w i n t e r afternoon.
Rain w a s falling, a n d w i t h t h e rain it s e e m e d t h e
d a r k c a m e too. T h e r e w a s a cold b i t t e r t a s t e in t h e
air, a n d t h e n e w - l i g h t e d l a m p s looked sad. S a d
w e r e t h e lights in t h e houses opposite. Dimly t h e y
b u r n e d as if r e g r e t t i n g something. A n d people h u r
r i e d by, h i d d e n u n d e r t h e i r h a t e f u l u m b r e l l a s .
Rosemary felt a strange pang. She pressed h e r muff
against h e r breast; she w i s h e d she h a d t h e little
box, too, to cling to. Of course t h e car w a s t h e r e .
S h e ' d only to cross t h e p a v e m e n t . But still she w a i t
ed. T h e r e a r e m o m e n t s , horrible m o m e n t s in life,
1
w h e n one e m e r g e s from s h e l t e r a n d looks out, and
it's awful. O n e o u g h t n ' t to give w a y to t h e m . One
o u g h t to go h o m e a n d h a v e a n extra-special tea.
B u t at t h e v e r y instant of t h i n k i n g t h a t , a y o u n g
girl, thin, d a r k , s h a d o w y — w h e r e h a d s h e come
from?—was s t a n d i n g at R o s e m a r y ' s elbow a n d a
voice like a sigh, almost like a sob, b r e a t h e d : " M a d
a m , m a y I speak to you a m o m e n t ? "
" S p e a k to m e ? " R o s e m a r y t u r n e d . S h e s a w a lit
tle b a t t e r e d c r e a t u r e w i t h e n o r m o u s eyes, s o m e
o n e q u i t e y o u n g , no o l d e r t h a n h e r s e l f , w h o
clutched at h e r coat-collar w i t h r e d d e n e d h a n d s ,
a n d shivered as t h o u g h she h a d j u s t come out of
the water.
" M - m a d a m , " s t a m m e r e d t h e voice. Would you let
2
m e h a v e t h e price of a c u p of t e a ? "
"A cup of t e a ? " T h e r e w a s s o m e t h i n g simple, sin
cere in t h a t voice; it w a s n ' t in t h e least t h e voice of
a beggar. " T h e n h a v e you no m o n e y at all?" asked
Rosemary.
120
"None, m a d a m , " c a m e t h e a n s w e r .
"How e x t r a o r d i n a r y ! " R o s e m a r y p e e r e d t h r o u g h
t h e d u s k a n d t h e girl gazed back a t her. H o w m o r e
t h a n e x t r a o r d i n a r y ! A n d s u d d e n l y it s e e m e d to
R o s e m a r y such an a d v e n t u r e . It w a s like s o m e t h i n g
out of a novel b y Dostoyevsky, this m e e t i n g in t h e
dusk. Supposing she took t h e girl h o m e ? S u p p o s
ing she did do one of t h o s e t h i n g s s h e w a s a l w a y s
r e a d i n g a b o u t or seeing on t h e stage, w h a t w o u l d
h a p p e n ? It would b e thrilling. A n d s h e h e a r d h e r
self saying a f t e r w a r d s to t h e a m a z e m e n t of h e r
friends: "I simply took h e r h o m e w i t h m e , " as s h e
s t e p p e d f o r w a r d a n d said to t h a t d i m p e r s o n b e
side h e r : "Come h o m e to tea w i t h me."
T h e girl d r e w b a c k startled. S h e e v e n s t o p p e d
shivering for a m o m e n t . R o s e m a r y p u t out a h a n d
a n d t o u c h e d h e r a r m . "I m e a n it," s h e said, smil
ing. A n d she felt h o w simple a n d kind h e r smile
was. " W h y w o n ' t you? Do. Come h o m e w i t h m e
n o w in m y car a n d h a v e tea."
" Y o u — y o u d o n ' t m e a n it, m a d a m , " said t h e girl,
a n d t h e r e w a s pain in h e r voice.
" B u t I do," cried R o s e m a r y . "I w a n t you to. To
please m e . Come along."
T h e girl p u t h e r fingers to h e r lips a n d h e r e y e s
d e v o u r e d Rosemary. " Y o u ' r e — y o u ' r e not t a k i n g
m e to t h e police station?" she s t a m m e r e d .
" T h e police s t a t i o n ! " R o s e m a r y l a u g h e d o u t .
" W h y should I b e so cruel? No, I only w a n t to m a k e
you w a r m a n d to h e a r — a n y t h i n g you c a r e to tell
me."
H u n g r y people a r e easily led. T h e footman h e l d
t h e door of t h e car open, and a m o m e n t later t h e y
w e r e s k i m m i n g t h r o u g h t h e dusk.
121
"There!" said Rosemary. She h a d a feeling of t r i
u m p h as she slipped h e r h a n d t h r o u g h t h e velvet
s t r a p . She could h a v e said, "Now I've got you," as
she gazed at t h e little captive s h e h a d n e t t e d . B u t
of course she m e a n t it kindly. Oh, m o r e t h a n k i n d
ly. S h e w a s going to p r o v e to this girl t h a t — w o n
derful t h i n g s did h a p p e n in life, t h a t — f a i r y god
m o t h e r s w e r e real, t h a t — r i c h people h a d h e a r t s ,
a n d t h a t w o m e n were sisters. S h e t u r n e d i m p u l
sively, saying: "Don't' be frightened. After all, w h y
s h o u l d n ' t you come b a c k w i t h m e ? W e ' r e b o t h
women. If I ' m t h e m o r e f o r t u n a t e , you o u g h t to
expect..."
B u t happily at t h a t m o m e n t , for s h e d i d n ' t know-
h o w t h e sentence w a s going to end, t h e car stopped.
T h e bell w a s r u n g , t h e door opened, a n d w i t h a
c h a r m i n g , p r o t e c t i n g , almost e m b r a c i n g m o v e
m e n t , R o s e m a r y d r e w t h e o t h e r i n t o t h e hall.
W a r m t h , softness, light, a s w e e t scent, all those
t h i n g s so familiar to h e r she n e v e r e v e n t h o u g h t
a b o u t t h e m , she w a t c h e d t h a t o t h e r receive. It w a s
fascinating. S h e w a s like t h e rich little girl in h e r
n u r s e r y with all t h e c u p b o a r d s to open, all t h e b o x
es to unpack.
"Come, come u p s t a i r s , " said R o s e m a r y , longing
to begin to b e generous. "Come u p to m y room."
A n d , besides, she w a n t e d to s p a r e this poor little
t h i n g from being s t a r e d at b y t h e s e r v a n t s : s h e
decided as t h e y m o u n t e d t h e stairs she w o u l d not
e v e n ring to J e a n n e , b u t t a k e off h e r things b y h e r
self. T h e g r e a t t h i n g w a s to be n a t u r a l !
And "There!" cried Rosemary again, as t h e y
r e a c h e d h e r beautiful big b e d r o o m w i t h t h e c u r
tains d r a w n , t h e fire leaping on h e r w o n d e r f u l lac-
122
q u e r f u r n i t u r e , h e r gold cushions a n d t h e p r i m
rose a n d blue r u g s .
T h e girl stood j u s t inside t h e door; s h e s e e m e d
dazed. B u t R o s e m a r y d i d n ' t m i n d t h a t .
"Come a n d sit d o w n , " s h e cried, d r a g g i n g h e r big
3
chair u p to t h e fire, "in this comfy chair. C o m e a n d
get w a r m . You look so dreadfully cold."
"I d a r e n ' t , m a d a m , " said t h e girl, a n d she e d g e d
backwards.
"Oh, p l e a s e , " — R o s e m a r y r a n f o r w a r d — " y o u
m u s t n ' t b e f r i g h t e n e d , y o u m u s t n ' t , really. Sit
4
d o w n w h e n I've t a k e n off m y t h i n g s w e shall go
into t h e n e x t r o o m a n d h a v e tea a n d be cosy. W h y
a r e you afraid?" A n d g e n t l y s h e half p u s h e d t h e
t h i n figure into its d e e p cradle.
B u t t h e r e w a s no a n s w e r . T h e girl s t a y e d j u s t as
she h a d b e e n p u t , w i t h h e r h a n d s b y h e r sides a n d
h e r m o u t h slightly open. To be q u i t e sincere, s h e
looked r a t h e r stupid. B u t R o s e m a r y w o u l d n ' t a c
k n o w l e d g e it. S h e l e a n t over h e r , saying: " W o n ' t
you t a k e off y o u r h a t ? Y o u r p r e t t y hair is all wet.
A n d one is so m u c h m o r e comfortable w i t h o u t a
hat, isn't one?"
T h e r e w a s a w h i s p e r t h a t s o u n d e d like " V e r y
good, m a d a m , " a n d t h e c r u s h e d h a t w a s t a k e n off.
" A n d let m e h e l p y o u off w i t h y o u r coat, too,"
said R o s e m a r y .
T h e girl stood u p . B u t she held on to t h e chair
w i t h one h a n d a n d let R o s e m a r y pull. It w a s q u i t e
an effort. A n d w h a t w a s she to do w i t h t h e coat
now? S h e left it on t h e floor, and t h e h a t too. S h e
w a s j u s t going to t a k e a c i g a r e t t e off t h e m a n t e l
piece w h e n t h e girl said quickly, b u t so lightly a n d
s t r a n g e l y : " I ' m v e r y sorry, m a d a m , b u t I ' m going
123
to faint. I shall go off, m a d a m , if I d o n ' t h a v e some
thing.
"Good h e a v e n s , h o w t h o u g h t l e s s I am!" R o s e
m a r y r u s h e d to t h e bell.
"Tea! Tea a t once! A n d some b r a n d y i m m e d i a t e -
ly!"
T h e maid w a s gone again, but t h e girl almost cried
out: "No, I d o n ' t w a n t no b r a n d y . I n e v e r d r i n k
b r a n d y . It's a c u p of tea I w a n t , m a d a m . " A n d she
b u r s t into t e a r s .
It w a s a t e r r i b l e a n d fascinating m o m e n t . Rose
m a r y knelt beside h e r chair.
"Don't cry, poor little thing," she said. "Don't cry."
A n d she g a v e t h e o t h e r h e r lace handkerchief. She
really w a s t o u c h e d beyond words. S h e p u t h e r a r m
r o u n d those thin, birdlike shoulders.
Now at last t h e o t h e r forgot to be shy, forgot e v
e r y t h i n g e x c e p t t h a t t h e y w e r e both w o m e n , a n d
gasped out: "I c a n ' t go on no longer like this. I c a n ' t
b e a r it. I c a n ' t b e a r it. I shall do a w a y w i t h myself.
I c a n ' t b e a r no more."
"You s h a n t ' t h a v e to. I'll look after you. Don't cry
a n y more. D o n ' t you see w h a t a good t h i n g it w a s
t h a t you m e t me? We'll h a v e tea a n d you'll tell m e
everything. A n d I shall a r r a n g e something. I p r o m
ise. Do stop crying. It's so e x h a u s t i n g . Please!"
T h e o t h e r did stop just in t i m e for R o s e m a r y to
get u p before t h e tea came. She h a d t h e table placed
b e t w e e n t h e m . S h e plied t h e poor little c r e a t u r e
w i t h e v e r y t h i n g , all t h e sandwiches, all t h e b r e a d
a n d b u t t e r , a n d e v e r y time h e r cup w a s e m p t y she
filled it w i t h tea, c r e a m a n d sugar. People a l w a y s
said s u g a r w a s so nourishing. As for herself she
d i d n ' t eat; she smoked and looked a w a y tactfully
so t h a t t h e o t h e r should not be shy.
124
Notes
1
shelter — зд. не только убежище, укрытие, но и за
щита, надежный приют
2
Would you let me have the price of a cup of tea? —
зд. не дадите ли вы мне на чашку чая?
3
comfy = comfortable
4
things — зд. пальто и шляпа
List of Vocabulary
amazement
to bear
to burst into tears
to devour by eyes
to do away with smb
to draw into (drew) (drawn)
extraordinary
to faint
fascinating
to ought to do smth
to ply
to shiver
7. Recall the situation from the story in which the vo


tions:
1) a quality of s t a t e of being w i t h w o n d e r ; g r e a t
ly s u r p r i s e d
2) to s h a k e
3) to give m u c h food; to feed
125
4) to tolerate
5) to p u t to d e a t h ; to kill
6) to give v e n t s u d d e n l y to a r e p r e s s e d emotion
7) e x t r e m e l y interesting or c h a r m i n g
8) to e a t u p greedily b y eyes
9) to pull into, to cause to go in a certain direction
(as b y leading)
10) to lose consciousness b e c a u s e of a t e m p o r a r y
d e c r e a s e in t h e blood s u p p l y to t h e b r a i n
11) to b e r e q u i r e d or desired
12) u n u s u a l , exceptional
discreet door
cold b i t t e r t a s t e
pang
battered creature
enormous
lace h a n d k e r c h i e f
nourishing
dictionary:
t r i u m p h , novel, g o d m o t h e r , impulsively, f o r t u
n a t e , familiar, b r a n d y , tact.
1) S h e lost consciousness b e c a u s e it w a s too hot
in t h e room.
126
2) Don't t a k e off your coat, you a r e t r e m b l i n g w i t h
cold.
3) O u r Else w a s a child w i t h c r o p p e d h a i r a n d big
solemn eyes.
4) W h e n t h e poor girl a s k e d for t h e p r i c e of a c u p
of t e a R o s e m a r y t h o u g h t t h a t it w a s r a t h e r
unusual.
5) R o s e m a r y a s k e d Mrs. S m i t h to c o m e a n d b e
comfortable at h e r room, b u t t h e girl said t h a t
she h a d n ' t got c o u r a g e for it.
6) T h e m o m e n t w a s e x t r e m e l y i n t e r e s t i n g w h e n
R o s e m a r y k n e l t beside t h e crying girl.
1) T h e w o m a n fainted w h e n s h e h e a r d t h a t h e r
h u s b a n d h a d a n accident.
2) T h e y spent their s u m m e r vocations a t a charm
ing place n e a r Kaluga.
3) T h e pain w a s so terrible t h a t h e could h a r d l y
bear it.
4) On h e a r i n g t h e sad n e w s she burst into tears.
5) M o t h e r leaned over t h e child's cradle.
6) This situation w a s r a t h e r extraordinary.
7) W e were amazed at this y o u n g artist's talent.
8) You ought to h a v e gone t h e r e immediatly.

ощутить незнакомое чувство беспокойства;
п р и ж а т ь м у ф т у к груди; в этот с а м ы й момент;
плохо одетое существо; с х в а т и т ь с я за воротник
пальто покрасневшими руками; д р о ж а т ь ; "не д а
д и т е ли вы мне ч а ш к у чая"; ни в м а л е й ш е й с т е -
127
пени, "как удивительно!"; как и з романа Досто
евского; отступит назад; дотронуться до руки; по
ж и р а т ь глазами; нестись сквозь сумерки; ч у в с т
во победителя; пойманный в западню пленник;
к р е ё с т н а я мать; в т я н у т ь в комнату; так з н а к о
м ы е ей в е щ и ; з а х в а т ы в а ю щ е е з р е л и щ е ; с т р е
м и т ь с я быть великодушной; п о щ а д и т ь бедную
д е в у ш к у ; к а з а т ь с я ошеломленной; быть и с к р е н
ним; я сейчас у п а д у в обморок, если не с ъ е м ч т о -
нибудь; боже мой; расплакаться; кружевной п л а
ток; я не могу больше терпеть; потчевать.
your reason.
1) T h e r e a r e m o m e n t s m o m e n t s in life (hor-
rible-horribly), w h e n one e m e r g e s from s h e l
t e r a n d looks out, and it's (awful-awful-
ly).
2) It w o u l d be (thrilling-thrillingly).
3) "I took h e r h o m e w i t h m e " , R o s e m a r y
h e a r d herself saying a f t e r w a r d s (simple-sim-
ply)-
4) R o s e m a r y felt h o w and h e r smile w a s
(simple-simply; kind-kindly).
5) H u n g r y people a r e led (easy-easily).
6) Rosemary w a n t e d to prove t h a t fairy g o d m o t h
ers w e r e (real-really).
7) T h e g r e a t t h i n g was to be (natural-natu-
rally).
8) B u t of course s h e m e a n t it , more than
(kind-kindly).
9) You m u s t n ' t be frightened (real-really).
10) It w a s a and _ _ moment (terrible-terri-
bly) (facinating-facinatingly).
128
11) R o s e m a r y smoked a n d looked a w a y (tact-
full-tactfully).
choice.
1) discreet door s h u t w i t h click.
2) rain w a s falling, a n d w i t h r a i n it s e e m e d
_ d a r k c a m e too.
3) R o s e m a r y felt s t r a n g e pang.
4) At v e r y i n s t a n t of t h i n k i n g t h a t , young
girl, t h i n , d a r k , s h a d o w y a p p e a r e d b e f o r e
Rosemary.
5) Would you let m e h a v e price of c u p of
tea?
6) It w a s n ' t in least voice of beggar.
7) footman held _ door of car open, a n d
m o m e n t later t h e y w e r e s k i m m i n g t h r o u g h
_ dusk.
8) R o s e m a r y d r e w o t h e r into hall.
9) g r e a t t h i n g to be natural!
10) S h e b u r s t into tears.
11) It w a s terrible a n d fascinating m o m e n t !
12) Don't cry, poor little thing!
13) R o s e m a r y plied poor little c r e a t u r e w i t h
everything, all sandwiches, all bread and
b u t t e r a n d e v e r y t i m e _ girl's c u p w a s
e m p t y she filled it w i t h tea, cream and
sugar.
text.
of course; at t h a t moment; to t a k e off; to be fright
ened; a m o m e n t later; to give w a y to; at the v e r y
129
instant; "let m e h a v e t h e price of a cup of tea"; in
time; to get up; to t a k e s m b h o m e ; for a m o m e n t ; to
h a v e tea; to t a k e s m b to t h e police station; "I c a n ' t
go on no longer"; no more; a n y m o r e .
//. Arrange the following words in pairs of syn
breast, to look after, to be a m a z e d , to bear, t e r r i
ble, to m o u n t , e n o r m o u s , at once, bosom, modest,
to t o l e r a t e , s w e e t scent, to faint, to c a r e , s w e e t
smell, to climb up, horrible, to t r e m b l e , to gaze, big,
immediately, shy, to lose consciousness, to be cosy,
to do a w a y w i t h s m b , to be comfortable, to kill o n e
self, to stare, to blush, to be surprised.
of the Infinitive.
1) One o u g h t (to go) h o m e a n d (to have) an e x t r a -
special tea.
2) M a d a m , would you (to let) m e (to have) t h e
price of a c u p of tea?
3) Come h o m e (to have) tea w i t h m e .
4) "You d o n ' t (to m e a n ) it", said t h e girl.
5) I only w a n t (to m a k e ) you (to w a r m ) a n d (to
h e a r ) — a n y t h i n g you to c a r e (to tell)me.
6) R o s e m a r y w a s going (to prove) to this girl t h a t
rich people h a d h e a r t s a n d t h a t w o m e n w e r e
sisters.
7) R o s e m a r y d i d n ' t (to mind) t h a t .
8) You m u s t n ' t (to be) frightened.
9) I c a n ' t (to bear) it no more.
10) R o s e m a r y w a n t e d (to spare) this poor little
thing from being s t a r e d at b y s e r v a n t s .
130
11) R o s e m a r y w a s going (to take) a c i g a r r e t t e off
t h e m a n t e l p i e c e w h e n t h e girl said: " I ' m v e r y
sorry, m a d a m , b u t I ' m going (to faint). I shall
(to go) off m a d a m , if I d o n ' t (to h a v e ) s o m e
thing".
1) R o s e m a r y w a s outside on t h e s t e p , gazing at
t h e w i n t e r afternoon.
2) T h e n e w - l i g h t e d l a m p s b u r n e d d i m l y as if r e
g r e t t i n g something.
3) At t h e v e r y i n s t a n t of t h i n k i n g t h a t , a y o u n g
girl, thin, dark, s h a d o w y w a s s t a n d i n g at Rose
m a r y ' s elbow.
4) It w a s like s o m e t h i n g out of a novel b y Dos-
toyevsky, this m e e t i n g in t h e dusk.
5) Supposing s h e did do one of t h o s e t h i n g s s h e
w a s a l w a y s r e a d i n g a b o u t or s e e i n g on t h e
stage, w h a t w o u l d h a p p e n ?
6) It would be thrilling.
7) T h e girl e v e n stopped s h i v e r i n g for a m o m e n t .
8) A m o m e n t later t h e y w e r e s k i m m i n g t h r o u g h
t h e dusk.
9) R o s e m a r y h a d a feeling of t r i u m p h .
10) T h e door w a s opened a n d w i t h a c h a r m i n g ,
protecting, almost embracing movement,
R o s e m a r y d r e w t h e girl into t h e hall.
11) "Come, come u p s t a i r s , " said R o s e m a r y , long
i n g to begin to be generous.
12) It w a s a terrible a n d fascinating m o m e n t .
13) Don't cry a n y m o r e . Do stop crying. It's so e x
hausting!
14) "Come a n d sit d o w n " , R o s e m a r y said smil
ing, d r a g g i n g h e r big chair u p to t h e fire.
131
5*
1) T h e discreet door s h u t a click.
2) R o s e m a r y s a w a y o u n g girl e n o r m o u s eyes,
w h o clutched h e r coat-collar reddened
h a n d s , a n d s h i v e r e d as t h o u g h she h a d j u s t
come the water.
3) It w a s n ' t t h e least t h e voice a beggar.
4) R o s e m a r y d r e w t h e girl t h e hall.
5) T h e girl s t a y e d j u s t as she h a d b e e n put,
her hands h e r side a n d h e r m o u t h slightly
open.
6) R o s e m a r y leant t h e girl saying: "Won't you
take your hat?"
7) T h e girl b u r s t tears.
8) N o w last t h e girl gasped : "I c a n ' t go
no longer like this. I c a n ' t b e a r it. I shall do _
myself."
9) R o s e m a r y plied t h e poor little c r e a t u r e ev
e r y t h i n g , a n d e v e r y time h e r c u p w a s e m p t y
she filled it tea, c r e a m a n d sugar.
15. Find the sentences with the Part Perfect Tense in

17. What kind of weather was it that winter afternoon?

Describe it. Did it influence Rosemary's mood?
18. Describe a girl who approached Rosemary. Why

did the author call her "a little battered creature",
"a poor little thing"?
132
19. Describe Rosemary's bedroom. Why was the girl
afraid to enter it?
20. Use your imagination and say what situation made

the girl say she would do away with herself.
21. Prove the statement that Rosemary plied the girl

with everything.

1) W h y did R o s e m a r y feel a s t r a n g e p a n g ?
2) W h o a p p e a r e d at R o s e m a r y ' s elbow a n d w h a t
did this poor c r e a t u r e ask for?
3) W h a t did t h e e x t r a o r d i n a r y a d v e n t u r e s e e m
to R o s e m a r y a n d w h a t did she decide to do?
4) Did R o s e m a r y invite t h e poor girl to h a v e tea
w i t h h e r only b e c a u s e of h e r kindness?
5) W h y w a s it e a s y for R o s e m a r y to n e t t h e poor
girl?
6) W h y did t h e poor girl stand just inside t h e door
of R o s e m a r y ' s b e d r o o m a n d s e e m dazed?
7) W h y did t h e girl say t h a t she w a s going to faint?
8) W h y did R o s e m a r y promise to a r r a n g e s o m e
thing for t h e girl a n d give t h e o t h e r h e r lace
handkerchief?
9) How did s h e ply t h e girl?
23. Express your agreement of disagreement with
the following statements:
1) W h e n R o s e m a r y w a s outside she w a s pleased
to h a v e d r y , s u n n y w e a t h e r t h a t m o r n i n g .
2) T h e girl c a m e u p to R o s e m a r y a n d a s k e d t h e
n e a r e s t w a y to t h e post-office.
3) A t first R o s e m a r y t h o u g h t t h a t t h e girl w a s a
beggar, t h a t ' s w h y she m a d e u p h e r m i n d to
133
t a k e h e r to t h e police-station. T h e n she hesi
t a t e d b e c a u s e s h e d i d n ' t w a n t to give differ
ent explanations to t h e policemen and suggest
ed t h e girl to h a v e a c u p of tea w i t h her!
4) H u n g r y people a r e easily led. R o s e m a r y ' s foot
m a n held t h e door of t h e car open a n d a m o
m e n t later t h e y w e r e s k i m m i n g t h r o u g h t h e
d u s k to R o s e m a r y ' s house.
5) A lot of s e r v a n t s m e t R o s e m a r y in t h e hall.
T h e y helped R o s e m a r y a n d t h e girl to t a k e off
• t h e i r coats a n d h a t s .
6) T h e girl w a s n ' t shy at all. W h e n she took off
h e r coat and h a t she asked to give h e r a c u p of
tea and some b r a n d y immediately.
7) R o s e m a r y plied t h e girl w i t h e v e r y t h i n g , all
t h e sandwiches, all t h e b r e a d and b u t t e r , filled
h e r cup w i t h coffee, c r e a m a n d sugar, because
it w a s so nourishing. As for herself she also a t e
a lot of s a n d w i c h e s a n d biscuits b e c a u s e she
w a s v e r y h u n g r y . After t h a t she smoked.

1) T h e r e a r e m o m e n t s , horrible m o m e n t s in life,
w h e n one e m e r g e s from shelter a n d looks out,
a n d it's awful. O n e o u g h t n ' t to give w a y to
t h e m , one o u g h t to go h o m e a n d h a v e a n e x
tra-special tea.
2) T h e g r e a t t h i n g w a s to be n a t u r a l .
3) People a l w a y s said s u g a r w a s so nourishing.
25. Sum up what you have learned about Rosemary
Fell and a poor young girl.
134
Ill
A n d really t h e effect of t h a t slight m e a l w a s m a r
vellous. W h e n t h e t e a - t a b l e w a s c a r r i e d a w a y a
n e w being, a light, frail c r e a t u r e w i t h t a n g l e d hair,
d a r k lips, d e e p , lighted eyes, lay b a c k in t h e big
chair. R o s e m a r y lit a fresh c i g a r e t t e ; it w a s t i m e to
begin.
" A n d w h e n did you h a v e y o u r last m e a l ? " s h e
a s k e d softly.
B u t at t h a t m o m e n t t h e d o o r - h a n d l e t u r n e d .
" R o s e m a r y , m a y I come in?" It w a s Philip.
"Of course."
He c a m e in. "Oh, I ' m so sorry," h e said, a n d s t o p
ped a n d stared.
"It's quite all right," said Rosemary, smiling. "This
is m y friend, Miss—"
" S m i t h , m a d a m , " said t h e languid figure, w h o
w a s s t r a n g e l y still a n d unafraid.
" S m i t h , " said R o s e m a r y . " W e a r e going to h a v e a
little talk."
"Oh yes," said Philip. "Quite," a n d his eye c a u g h t
sight of t h e coat a n d h a t on t h e floor. He c a m e over
to t h e fire a n d t u r n e d his back to it. "It's a b e a s t l y
afternoon," h e said curiously, still looking at t h a t
listless figure, looking at its h a n d s a n d boots, a n d
t h e n at R o s e m a r y again.
"Yes, isn't i t ? " said R o s e m a r y enthusiastically.
"Vile."
Philip smiled his c h a r m i n g smile. "As a m a t t e r of
fact," said h e , "I w a n t e d you to come into t h e li
b r a r y for a m o m e n t . Would you? Will Miss S m i t h
excuse u s ? "
135
T h e big eyes w e r e raised to him, b u t R o s e m a r y
a n s w e r e d for h e r : "Of course she will." A n d t h e y
w e n t out of t h e room together.
"I say," said Philip, w h e n t h e y w e r e alone. "Ex
plain. W h o is she? W h a t does it all m e a n ? "
R o s e m a r y laughing, leaned against t h e door a n d
said: "I picked h e r u p in Curzon Street. Really. She's
a real pick-up. S h e a s k e d m e for t h e price of a cup
of tea, a n d I b r o u g h t h e r h o m e w i t h me."
"But w h a t on e a r t h a r e you going to do w i t h h e r ? "
cried Philip.
"Be nice to h e r , " said R o s e m a r y quickly. "Be
frightfully nice to her. Look after her. I d o n ' t k n o w
how. W e h a v e n ' t t a l k e d yet. But s h o w h e r — t r e a t
h e r — m a k e h e r feel!—"
"My darling girl," said Philip, " y o u ' r e q u i t e m a d ,
you know. It simply c a n ' t be done."
"I k n e w you'd say t h a t , " retorted Rosemary. W h y
not? I w a n t to. I s n ' t t h a t a reason? A n d besides,
one's always r e a d i n g a b o u t t h e s e things. I decid
ed—"
"But," said Philip slowly, and h e cut t h e end of a
cigar, "she's so astonishingly p r e t t y . "
" P r e t t y ? " R o s e m a r y w a s so s u r p r i s e d t h a t s h e
blushed. "Do you t h i n k so? I—I h a d n ' t t h o u g h t
a b o u t it."
"Good Lord!" Philip s t r u c k a m a t c h . " S h e ' s a b
solutely lovely. Look again, m y child. I w a s bowled
1
over w h e n I c a m e into y o u r room j u s t now. H o w
ever... I t h i n k y o u ' r e m a k i n g a g h a s t l y m i s t a k e .
Sorry, darling, if I ' m c r u d e and all that. B u t let m e
k n o w if Miss S m i t h is going to dine w i t h us in t i m e
for m e to look u p The Milliner's Gazette."
136
"You a b s u r d c r e a t u r e ! " said R o s e m a r y , a n d s h e
w e n t out of t h e library, b u t not b a c k to h e r b e d
room. S h e w e n t to h e r w r i t i n g - r o o m a n d sat d o w n
at h e r desk. P r e t t y ! Absolutely lovely! Bowled over!
Her h e a r t b e a t like a h e a v y bell. P r e t t y ! Lovely!
S h e d r e w h e r c h e q u e - b o o k t o w a r d s her. B u t no,
c h e q u e s w o u l d be no use, of course. S h e o p e n e d a
d r a w e r a n d took out five p o u n d notes, looked a t
t h e m , p u t t w o back, a n d holding t h e t h r e e squeezed
in h e r h a n d , s h e w e n t b a c k to h e r b e d r o o m .
Half a n h o u r later Philip w a s still in t h e library,
w h e n R o s e m a r y c a m e in.
"I only w a n t e d to tell you," said s h e , a n d s h e
leaned against t h e door again a n d looked at h i m
w i t h h e r dazzled exotic gaze. "Miss S m i t h w o n ' t
dine w i t h us to-night."
Philip p u t d o w n t h e paper. "Oh, w h a t ' s h a p
2
pened? Previous engagement?"
R o s e m a r y c a m e over a n d sat d o w n on his k n e e .
"She insisted on going," said she, "so I g a v e t h e poor
little t h i n g a p r e s e n t of money. I c o u l d n ' t k e e p h e r
against h e r will, could I?" she a d d e d softly.
R o s e m a r y h a d j u s t done h e r hair, d a r k e n e d h e r
eyes a little a n d p u t on h e r pearls. S h e p u t u p h e r
h a n d s a n d t o u c h e d Philip's cheeks.
"Do you like m e ? " said she, a n d h e r tone, s w e e t ,
h u s k y , t r o u b l e d him.
"I like y o u awfully," h e said, a n d h e held h e r
tighter. "Kiss me."
T h e r e w a s a pause.
T h e n R o s e m a r y said dreamily: "I s a w a fascinat
ing little box to-day. It cost t w e n t y - e i g h t guineas.
May I h a v e it?
137
Philip j u m p e d h e r on his knee. "You may, little
wasteful one," said he.
"But t h a t w a s not really w h a t R o s e m a r y w a n t e d
to say.
"Philip," she whispered, and she pressed his h e a d
against h e r bosom, " a m I p r e t t y ? "
Notes
1
to be bowled over — поразиться чем-то.
2
Previous engagement? — Уже приглашена?
List of Vocabulary:
to astonish
to blush
to bowl over
frail
to lean
to look after
pearl
to pick up
a pick up
pretty
to squeeze
to strike a match
1. Recall the situation from the story in which the vo


tions.
1) to press firmly
2) to light, to set fire
138
3) to cast one's w e i g h t to one side for s u p p o r t
4) to t a k e c a r e
5) w h i t e r o u n d g e m
6) to strike w i t h s u d d e n w o n d e r , to s u r p r i s e
7) to o v e r w h e l m w i t h s u r p r i s e
8) to b e c o m e r e d in face (from s h a m e , m o d e s t y or
confusion), to r e d d e n
9) physically w e a k
10) t e m p o r a r y c h a n c e a c q u a i n t a n c e
11) to t a k e hold of a n d lift u p
12) a t t r a c t i v e
slight m e a l
door-handle
languid figure
listless figure
beastly (weather)
vile ( w e a t h e r )
to r e t o r t
to insist on
wasteful
dictionary:
effect, enthusiastically, cigarette, cigar, absolute
ly, w r i t i n g - r o o m , c h e q u e - b o o k , cheques.
5 . Paraphrase the following sentences using the
1) M a r y b e c a m e red in face w h e n s h e h e a r d r e
m a r k s to h e r address.
139
2) This girl is v e r y attractive b u t v e r y w e a k p h y s
ically.
3) W e w e r e s u r p r i s e d at his u n u s u a l behaviour.
4) Mr. B l a k e w a s o v e r w h e l m e d w i t h s u r p r i s e
w h e n h e s a w t h e ballet " T h e S w a n L a k e "
5) He w a n t e d to smoke b u t h e couldn't set fire to
a match.
6) W h e n m o t h e r w e n t a w a y t h e g r a n d m o t h e r
took care of t h e children.
7) T h e c h i l d w a s f r i g h t e n e d , t h a t ' s w h y h e
pressed firmly his m o t h e r ' s h a n d .
8) On his w a y h o m e he u n e x p e c t e d l y m e t his t e m
porary chance acquaintance.
1) T h e b e g g a r picked up t w o p o u n d notes a n d
squeezed t h e m in his h a n d .
2) He w a s bowled over w h e n b e h e a r d t h e news.
3) T h e n e w a c t r e s s w a s frail a n d pretty.
4) After slight meal he struck a match a n d lit a
cigar.
5) T h e girl leaned against t h e wall a n d said t h a t
she w a s v e r y tired because she h a d b e e n w o r k
ing for t h e whole d a y in t h e g a r d e n .
6) She couldn't pick up t h e h e a v y bag.
7) Philip p r e s e n t e d R o s e m a r y beautiful pearls.
8) W h e n t h e children a r e small it's n e c e s s a r y to
look after t h e m .
легкая еда; хрупкое создание; спутанные воло
сы; р а с к и н у т ь с я в большом кресле; з а ж е ч ь но
вую сигарету; в это время; у ж а с н а я погода; б е з -
140
р а з л и ч н а я ко всему фигура; м е р з к а я погода; дело
в том, что; прислониться к двери; подобрать кого-
либо; " Ч т о ж е т ы с о б и р а е ш ь с я с ней д е л а т ь ? "
случайное знакомство; у х а ж и в а т ь за кем-то; сой
ти с ума; смутиться; з а ж е ч ь спичку; поразиться;
с ж и м а т ь в р у к е деньги; полчаса спустя; д е р ж а т ь
кого-либо против его воли; у л о ж и т ь волосы.
8. Choose the correct word to fill in the blanks.
1) T h e effect of t h a t slight m e a l w a s (mar-
vellous-marvellously).
2) T h e girl w a s still a n d u n a f r a i d ( s t r a n g e -
strangely).
3) "It's a w e a t h e r (beast-beastly)", h e said
(curious-curiously).
4) R o s e m a r y a g r e e d w i t h Philip t h a t t h e w e a t h
er w a s vile (enthusiastical-enthusiastical-
iy).
5) S h e is a p i c k - u p (real-really).
6) "Be nice to t h e girl", said R o s e m a r y
(frightful-frightfully) (quick-quickly).
7) S h e is so pretty (artonishing-artonishing-
iy).
8) S h e is (absolute-absolutely; love-love-
iy).
9) You a r e m a k i n g a mistake (ghast-ghast-
iy).
10) I like you (awful-awfully).
11)1 s a w a little box t o - d a y (fascinating-fas
cinatingly).
choice.
141
1) W h e n t e a - t a b l e w a s carried a w a y new-
being, light, frail c r e a t u r e with tangled hair,
d a r k lips, deep, lighted eyes, lay in big chair.
2) R o s e m a r y lit fresh cigarette.
3) Philip's eye c a u g h t sight of coat a n d
h a t on floor.
4) It's beastly afternoon.
5) "As m a t t e r of fact, I w a n t e d you to come
into library for m o m e n t " , said Philip.
6) T h e y w e n t out of room together.
7) T h e girl asked R o s e m a r y for price of cup
of tea.
8) " B u t w h a t on e a t h a r e you going to do w i t h
h e r ? " cried Philip.
9) R o s e m a r y saw fascinating little box.
text.
to light a fresh cigarette, "May I come in?", " I ' m
sorry", it's quite all right, as a m a t t e r of fact, w h a t
on e a r t h , to b e bowled over, to m a k e a m i s t a k e , to
look u p , to sit d o w n at t h e desk.
//. Arrange the following words in pairs of syn
onyms. Use them in the sentences of your own.
to astonish, pearl, look after, to blush, to p r e s s
firmly, a t t r a c t i v e , beastly, to squeeze, gem, to b e
come red, to w o n d e r , to care of, to o v e r w h e l m w i t h
surprise, p r e t t y , vile, to bowl over.
of the Infinitive.
1) " R o s e m a r y , m a y I (to come) in?" It w a s Philip.
2) We a r e going (to have) a little talk.
142
3) "As a m a t t e r of fact, I w a n t e d y o u (to come)
into t h e library for a m o m e n t . Will Miss S m i t h
(to excuse) u s ? "
4) W h a t does it all (to m e a n ) ?
5) " W h a t on e a r t h a r e you going (to do) w i t h h e r ? "
cried Philip.
6) It simply c a n ' t (to be) done.
7) "But let m e (to k n o w ) if Miss S m i t h is going (to
dine) w i t h us in t i m e for m e (to look up) The
Milliner's Gazette".
8) B u t no, c h e q u e s w o u l d (to be) no use, of course.
9) Miss S m i t h w o n ' t (to dine) w i t h us.
10) B u t t h a t w a s not really w h a t R o s e m a r y w a n t
ed (to say).
the sentences into Russian:
1) "It's q u i t e all r i g h t , " said R o s e m a r y smiling.
2) "It's a beastly afternoon," h e said curiously, still
looking at t h a t listless figure, looking a t its
h a n d s and boots, and t h e n at R o s e m a r y again.
3) Philip smiled his c h a r m i n g smile.
4) R o s e m a r y l a u g h i n g , leaned against t h e door
a n d said: "I picked h e r u p in C u r z e n street."
5) " W h a t on e a r t h a r e you going to do w i t h h e r ? "
cried Philip.
6) "My d a r l i n g girl", said Philip " y o u ' r e q u i t e
m a d , you know."
7) A n d besides, one's a l w a y s r e a d i n g a b o u t t h e s e
things.
8) I t h i n k you a r e m a k i n g a g h a s t l y mistake.
9) T h e girl insisted on going home.
10) I saw a fascinating little box to-day.
143
1) A n d realy t h e effect t h a t slight meal w a s
marvellous.
2) that moment the door-handle turned.
3) Philip's eye c a u g h t sight t h e coat a n d h a t
t h e floor.
4) As a m a t t e r fact I w a n t e d you to come _
t h e library a moment.
5) T h e big eyes w e r e raised Philip, b u t Rose
mary answered t h e girl: " course s h e
will." And t h e y w e n t _ _ t h e room together.
6) R o s e m a r y picked t h e girl Curzon Street.
7) T h e girl asked h e r t h e price a cup tea
a n d she b r o u g h t t h e girl h o m e her.
8) Philip w a s bowled w h e n he c a m e the
room.
9) R o s e m a r y o p e n e d a d r a w e r a n d took five
p o u n d notes, looked t h e m , p u t two back a n d
holding t h e t h r e e squeezed _ h e r h a n d , she
w e n t back h e r bedroom.
10) R o s e m a r y c a m e over a n d sat d o w n his
knee.
15. Find sentences with the Complex Object in this
chapter. Translate them. Make up your own ex
amples.
B. S p e e c h Exercises

17. Use your imagination and try to describe Philip

File. Give his character-sketch.
144
18. Answer the questions.
1) W h a t w a s t h e effect of t h a t slight meal?
2) W h o c a m e w h e n t h e girls w e r e going to h a v e a
little talk?
4) W h a t did h e say a b o u t t h e w e a t h e r t h a t a f t e r
noon?
5) W h y did he ask R o s e m a r y to come into t h e lib
rary?
6) How did R o s e m a r y explain Miss S m i t h ' s a r
rival to h e r h u s b a n d ?
7) W a s Philip glad to see Miss S m i t h a t his house?
8) W h a t did he say a b o u t Miss S m i t h ' s a p p e a r
ance?
9) W h y did R o s e m a r y go to h e r w r i t i n g - r o o m ?
10) R o s e m a r y t o l d P h i l i p t h a t M i s s S m i t h
w o u l d n ' t dine w i t h t h e m because s h e insisted
on going. W a s it t r u e ?
11) W h a t did R o s e m a r y do to send Miss S m i t h
a w a y as soon as possible?
12) W h y did R o s e m a r y d a r k e n h e r eyes, do h e r
hair a n d put. on h e r pearls?
13) W h y did Philip call his wife "little wasteful"?
14) Did h e allow h e r to b u y one fascinating little
box?
15) W h y w a s it i m p o r t a n t for R o s e m a r y to k n o w
that she was pretty?
the following statements:
1) W h e n t h e slight m e a l w a s over t h e girls decid
ed to chat. A t t h a t m o m e n t t h e d o o r - h a n d l e
t u r n e d a n d R o s e m a r y ' s b r o t h e r c a m e in.
2) T h e w e a t h e r w a s nice a n d Philip s u g g e s t e d to
go for a walk and to t a k e Miss Smith w i t h them.
145
3) W h e n R o s e m a r y c a m e to t h e library she told
Philip t h a t she h a d picked Miss S m i t h u p in
Curzon S t r e e t b e c a u s e she a s k e d for t h e price
of a c u p of tea?
4) W h e n Philip s t r u c k a m a t c h he told R o s e m a r y
t h a t it w a s impossible for Miss S m i t h to stay
at their h o m e a n y longer.
5) Half a n h o u r later R o s e m a r y c a m e to t h e lib
r a r y a n d told Philip t h a t she h a d given Miss
S m i t h some money. Miss S m i t h t h a n k e d h e r
a n d said t h a t she w a s in a h u r r y a n d couldn't
dine w i t h t h e Fells.
6) Philip said t h a t R o s e m a r y w a s a wasteful one
a n d h e d i d n ' t allow h e r to b u y a little box for
t w e n t y - e i g h t guineas.
7) R o s e m a r y w a n t e d to k n o w h e r h u s b a n d ' s a t
t i t u d e to her, t h a t ' s w h y s h e a s k e d h i m if she
was pretty.
20. Sum up what you have learned about the Fells
and Miss Smith in this story.
21. Do you like the story? Why?
22. Use your imagination and try to say what would

happen if the Fells met Miss Smith somewhere
again.
A D D I T I O N A L TASK
Translate into English
КУКОЛЬНЫЙ домик
Когда дорогая с т а р а я миссис Х э й в е р н у л а с ь в го
род, побывав у Б а р н е л л о в , она п р и с л а л а д е т я м к у
к о л ь н ы й домик. Он б ы л т а к велик, что в о з ч и к и П а т
в ы г р у з и л и его во дворе, и т а м он стоял, у п а к о в а н
ный, на д в у х д е р е в я н н ы х коробках п е р е д кухонной
дверью. Ничего страшного не могло с л у ч и т ь с я с ним,
т а к как было лето. Р а з в е что з а п а х к р а с к и б ы л от него
все в р е м я . З а п а х , конечно, был и, по м н е н и ю т е т и
В е р и л , от него мог к т о - н и б у д ь серьезно з а б о л е т ь . И
когда он наконец был распакован...
К у к о л ь н ы й домик стоял, п о к р ы т ы й т е м н о й м а с л я
нистой к р а с к о й , о т т е н е н н ы й я р к о - ж е л т ы м . У него
были д в е м а л е н ь к и е т р у б ы , р а с к р а ш е н н ы е к р а с н ы м
с б е л ы м и ж е л т а я л а к о в а я дверь, п о х о ж а я на и р и
ску. Он и м е л ч е т ы р е н а с т о я щ и х окна с з е л е н ы м и
рамами. Было т а к ж е маленькое желтое крыльцо с
б о л ь ш и м и к а п л я м и з а с т ы в ш е й по к р а я м к р а с к и .
П р е к р а с н ы й , ч у д е с н ы й м а л е н ь к и й домик! Н у кто
е щ е будет д у м а т ь о к а к о м - т о з а п а х е ? Ведь это ч а с
т и ц а счастья, частица новизны.
— Кто-нибудь, о т к р о й т е его скорее!
К р ю ч о к на боковой стенке заело. П а т о т к о в ы р н у л
его своим п е р о ч и н н ы м ножом, и вся п е р е д н я я с т е н
ка о т к и н у л а с ь , и с р а з у стало возможно р а з г л я д е т ь
в н у т р и гостиную, столовую, к у х н ю и д в е спальни.
Вот к а к д о л ж е н о т к р ы в а т ь с я дом! Почему все дома
не о т к р ы в а ю т с я так, к а к этот? Т а к гораздо и н т е р е с
нее, чем в г л я д ы в а т ь с я сквозь п р и о т к р ы т у ю д в е р ь в
маленькую прихожую с вешалкой для шляп и дву-
147
мя зонтиками. Это то самое, что т ы т а к хочешь у з
н а т ь о доме, когда б е р е ш ь с я з а д в е р н о й молоток.
М о ж е т быть, именно этим способом Бог ночью о т к р ы
вает дома, обходя их вместе с ангелами...
"Ох!" — в о с к л и к н у л и дети Б а р н е л л о в в восторге.
Это было удивительно, д а ж е слишком великолепно.
В ж и з н и ничего похожего они не видели. Все к о м
н а т к и в доме были о к л е е н ы обоями, на стенах в и с е
ли к а р т и н ы в з о л о т ы х рамах. Везде, к р о м е к у х н и —
к р а с н ы е к о в р ы на полу; к р е с л а красного п л ю ш а в
гостиной, зеленого в столовой; к р о в а т и с н а с т о я щ и
ми п о к р ы в а л а м и , д е т с к а я колыбель, печь, к у х о н н ы й
ш к а ф с к р о ш е ч н ы м и т а р е л к а м и и одним б о л ь ш и м
кувшином. Но что К е з и и понравилось больше всего,
у ж а с н о понравилось — это л а м п а в столовой; и з ы
сканная маленькая янтарная лампа с белым а б а ж у
ром, с т о я в ш а я посреди стола. Она, к а з а л о с ь , только
и д о ж и д а л а с ь того, чтобы ее з а ж г л и , х о т я она, к о
нечно, не горела. В н у т р и ее было ч т о - т о н а л и т о и
если л а м п у п о т р я с т и , то ж и д к о с т ь в н у т р и ее д в и г а
л а с ь (перемещалась).
К у к л ы " м а м а " и "папа", словно без сознания р а с
т я н у в ш и е с я в гостиной, и две к у к л ы детей, " с п я щ и х "
н а в е р х у , были слишком в е л и к и д л я кукольного д о
мика. Они были не т а к и е , к а к хотелось бы. Но л а м п а
была з а м е ч а т е л ь н а . Она к а к бы у л ы б а л а с ь К е з и и ,
говоря "я з д е с ь ж и в у " . Лампа была н а с т о я щ е й .
Д е т я м Б а р н е л л о в было т р у д н о о т п р а в и т ь с я в ш к о
л у с л е д у ю щ и м утром. Они горели ж е л а н и е м п е р е д
в с е м и п о х в а с т а т ь с я своим к у к о л ь н ы м д о м и к о м до
звонка.
— Р а с с к а з ы в а т ь буду я, — с к а з а л а И з а б е л л , — п о
тому что я старше. М о ж е т е потом д о б а в л я т ь . Но я
буду первой.
Д е л а т ь было нечего. И з а б е л была с т а р ш е и всегда
права, а Лотти и К е з и я хорошо з н а л и , к а к у ю в л а с т ь
148
имеют те, кто с т а р ш е . Они молча ш л и сквозь г у с т ы е
л ю т и к и в д о л ь дороги.
— И я в ы б е р у т е х , кто пойдет их с м о т р е т ь п е р в ы
ми. Мама с к а з а л а , мне можно.
К а к у них было договорено, пока к у к о л ь н ы й д о м и к
стоит во дворе, они могут п р и г л а ш а т ь по две п о д р у ж
ки и з ш к о л ы п о с м о т р е т ь на него. Н е о с т а в а т ь с я на
чай, конечно, и л и п р о х о д и т ь в дом, а т о л ь к о п о с т о
я т ь тихо во дворе, пока И з а б е л л п о к а з ы в а е т домик,
а Л о т т и и К е з и я в о с т о р ж е н н о наблюдают.
Но к а к они не с п е ш и л и , дойти до конца длинного
забора игровой п л о щ а д к и д л я мальчиков, звонок у ж е
прозвенел. Они у с п е л и только снять ш л я п ы и постро
иться в л и н е й к у д л я переклички. Но ничего. И з а б е л л ,
с т а р а я с ь к а з а т ь с я к а к м о ж н о более в а ж н о й и т а и н
ственной, ш е п н у л а д е в о ч к а м в о з л е нее: "Есть о чем
поговорить на п е р е м е н е " .
Перемена наступила, и Изабелл тут ж е окружили.
Девочки из ее класса наперебой с т а р а л и с ь обнять ее,
п р о й т и с ь с ней, с т а т ь ее подругой. Она о р г а н и з о в а л а
себе ч т о - т о типа " с в и т ы " при д в о р е под огромными
соснами на к р а ю п л о щ а д к и д л я игр. Т о л к а я с ь и х и
х и к а я , девчонки все столпились там. И т о л ь к о две,
м а л е н ь к и е девочки К е л в и , к а к всегда остались в сто
роне. Они хорошо з н а л и , что им л у ч ш е не п р и б л и
жаться к Барнеллам.
На самом д е л е ш к о л а , в которую х о д и л и д е т и Б а р -
н е л л л о в , была не той, к о т о р у ю в ы б р а л и бы их р о д и
т е л и , если бы у них был выбор. Но его не было. Это
б ы л а е д и н с т в е н н а я ш к о л а на всю округу, и поэтому
з д е с ь в п е р е м е ж к у у ч и л и с ь вместе дети, ж и в ш и е по
соседству: дочери судьи, лавочника, доктора, молоч
ника. Б ы л о там и несколько неотесанных м а л ь ч и ш е к .
Но границу надо было где-то провести, и ее п р о в е л и
по д е т я м Келви. Многим д е т я м , в к л ю ч а я Б а р н е л л о в ,
не р а з р е ш а л о с ь д а ж е р а з г о в а р и в а т ь с ними. И т а к
149
как именно они диктовали правила поведения, Кел-
ви приходилось избегать всех. Даже учитель по-од-
ному говорил с ними, и по-другому с остальными
детьми.
Они были детьми маленькой, энергичной прачки,
каждый день обходившей дома в поисках работы. Это
было всем известно. Но никто не знал точно, где же
мистер Келви. Поговаривали, что он в тюрьме. Ста
ло быть, они были детьми прачки и арестанта. Хоро
шенькая компания для других детей! Трудно было
понять, для чего миссис Келви так одевала своих
дочерей. Они были одеты в обноски, которые давали
люди, у которых их мать работала. Например Лил,
которая была полной, некрасивой девочкой с боль
шими веснушками, ходила в школу в одежке, выкро
енной из зеленой скатерти Барнеллов с красными
плюшевыми рукавами от занавесок Логанов. На ее
высокой макушке торчала взрослая женская шля
па, ранее принадлежавшая почтмейстерше миссис
Леки. Она была повернула задом наперед и увенча
на большим алым пером. Господи, каким чучелом она
выглядела! Это было даже не смешно. А ее младшая
сестра Эльза ходила в длинном белом платье, похо
жем на ночную сорочку и мальчишеских ботинках.
Но на Эльзу что ни надевай, все равно будет выгля
деть странно. Она этакая маленькая сова. Никто ни
когда не видел ее улыбки; она едва ли могла гово
рить. Она всегда ходила, держась за кусок платья
Лил. Если Лил куда-нибудь шла, та следовала за ней.
На площадке, по дороге в школу и из школы Лил все
гда шла впереди, а Эльза сзади. Если ей что-нибудь
было нужно, или она уставала, то дергала Лил, и та
останавливалась. Они всегда понимали друг друга.
И теперь они держались с краю, внимательно слу
шая. Когда девчонки поворачивались к ним и усме
хались, Лил, как обычно улыбалась своей глупой,
стыдливой улыбкой, а Эльза только смотрела.
150
А гордый голос И з а б е л л тем в р е м е н е м п р о д о л ж а л
вещать. Ковры, кровати с покрывалами и плита с
духовкой п р о и з в е л и сенсацию.
Когда И з а б е л л з а к о н ч и л а , п о д а л а голос К е з и я .
— Т ы з а б ы л а про л а м п у , И з а б е л л !
— А х да. Т а м е щ е есть м а л е н ь к а я л а м п а в с т о л о
вой на столе. Она и з ж е л т о г о с т е к л а , с б е л ы м а б а
ж у р о м . Ее не о т л и ч и ш ь от н а с т о я щ е й .
— Л а м п а — самое л у ч ш е е ! — к р и к н у л а К е з и я . Ей
к а з а л о с ь , что о м а л е н ь к о й л а м п е говорили мало. Но
никто не о б р а т и л внимания. И з а б е л л в ы б р а л а д в о
их, кто м о ж е т этим в е ч е р о м пойти и посмотреть. Ее
выбор п а л на Л е н у Логан и Эмми Кол. Но когда ос
т а л ь н ы е у з н а л и , что они т о ж е и м е ю т ш а н с : они ста
л и очень л ю б е з н ы с И з а б е л л . Одна з а другой п ы т а
л и с ь о т в е с т и ее в сторону и с о о б щ и т ь по с е к р е т у :
" И з а б е л л , т ы моя подруга".
Только м а л е н ь к и е К е л в и у д а л я л и с ь , з а б ы т ы е в с е
ми. Они ничего б о л ь ш е не с л ы ш а л и .
Vocabulary
Сокращения
a — adjective — прилагательное
adv — adverb — наречие
cj — conjunction — союз
int — interjection — междометие
n — noun — существительное
пит — numeral — числительное
pi — plural — множественное число
pron — pronoun — местоимение
prp — preposition — предлог
pp — past participle — причастие прошедшего вре
мени
v — verb — глагол
A
absence ['aebs(3)ns] n отсутствие, пропуск
absolutely [ ,aebs9'lu:tli] adv совершенно
absurd [ab'ss'.dl а нелепый, абсурдный, глупый
accept [эк'sept] v принимать
accident [ 'seksid(3)nt] n несчастный случай, катаст
рофа, авария
account for [э 'kaunt] v отвечать, нести ответствен
ность
accuracy ['sekjurasi] n точность, правильность, тща
тельность
acknowledge [ak'noliaVj] v признавать, сознавать
across [akros] adv поперек, в ширину, крест-накрест,
prep через
actual [ 'aektjusl], [ 'aektjual] а подлинный, действи
тельный, фактически существующий
adjective [ ' a e c r j p k t i v ] n грам. имя прилагательное
admire [ad 'maiaj v восхищаться, восторгаться, лю
боваться
152
adore [9'do:| v обожать, поклоняться, преклоняться
adventure [ad'ventfs] n приключение
adverb ['aedv9:bj n грам. наречие
affair [эТеэ] п д е л о
affection [э 'fekT(a)n] n привязанность, расположе
ние, любовь, склонность, стремление
afternoon [a:fta 'nu:n] п время после полудня
again [ э ' д е т ] adv снова, вновь, опять, еще раз
against [a'geinst] prep против
age [eid3 j n возраст
ago [э'дои] adv тому назад
agree [э 'gri:] v соглашаться, договариваться
aim [eim] n цель, намерение, стремление
air [to] n воздух
alike [э 'laikj а похожий, подобный, такой ж е
allow [s'lau] v позволять, разрешать
almond f a:ni9nd] а миндальный, светло-коричневый
almost [' o:lmoust] adv почти
along [ э ' Ь п | adu дальше, вперед
alter f 'o:lta] v изменять, переделывать, менять
amazement [a'meizmsnt] n изумление, удивление
amazingly [э 'meizinli] adv изумительно, удивитель
но, поразительно
amber ['аетЬэ] а янтарный, желтый
ambition [зет 'bif(a)n] п честолюбие, стремление
among [э'тлп] prep среди, посреди, между
angry ['эепдп] а сердитый, гневный, яростный
answer I'ainsa] п ответ, v отвечать
antique [зеп 'ti:k| а древний, старинный, антиквар
ный
appear [э pia] v появляться, показываться
appearance [э 'р1эг(э)ш] п внешний вид, внешность,
наружность
appreciate [a'pn:Jieit] v ценить, высоко ставить
appropriate [э 'prouprnt] а соответствующий, под
ходящий; [э 'proupnet] v присваивать
153
arm [a:m] рука (от плеча до кисти)
armful fa:mful] п охапка, большое количество
arrange [э'гетс1з] v приводить в порядок, устраи
вать
arrive [a'rarv] v прибывать, приезжать
artificial [ ,a:ti' fif(9)l] а искусственный
asleep [a'sli:p] а спящий
astonishing [э' stoni/in] а удивительный, изумитель
ный
astonishingly [a'stonifinli] adv удивительно
astound [a'staund] v поражать, изумлять
attend [a'tend] v прислуживать
attendant [s'tendant] n обслуживающее лицо, обслу
живающий персонал
attention [э tenf(3)n] п внимание
attentively [a'tentivli] adv внимательно, вежливо,
предупредительно
attitude f aetitju:d] n отношение, позиция
attract [э 'trsektj v притягивать, привлекать, пле
нять, прельщать
attraction [э Чгзек[(э)п] п притяжение, тяготение
authority [э:'9огш] п власть, право, полномочие
awful ['o:ful] а ужасный, отвратительный
В
backwards ['baskwadz] adv назад
bake [ 'beik] v печь(ся), запекать(ся), выпекать(ся)
band [baend] n тесьма, лента
bang [baen] v ударить, стукнуть, бить
bare [Ьгэ] а нагой, обнаженный
basin ['beisn] n бассейн
battered fbaetad] pp потрепанный, изношенный,
быть плохо одетым
beam [ 'bi:m] v сиять, улыбаться
bear [Ьсэ] v (bore; born) переносить, терпеть, выно
сить
154
beastly [,bi:s(t)li] а гадкий, ужасный; adv ужасно
страшно, крайне
bed-clothes fbedkloudz] n pi постельное белье и одея
ло
beetle ['bi:tl] n жук
beggar ['Ьедэ] n нищий, бедняк
begin [bi'gm] v (began, begun) начинать, приступать
behaviour |bi 'heivja] n поведение, поступки
behind [bi 'haind] adv сзади, позади
beings (human) [bi:irj] n люди
belief [bi' li:fj n вера, убеждение
believe [bi' li:v] v верить
below [ bi' lou] prep внизу
bend [bent, bent) [bend] v сгибаться, наклоняться
beyond [bi 'jond] adv вне, за пределами, дальше, на
расстоянии
biscuit [' biskit] п сухое печенье, крекер
bite (bit, bit) [bait] v кусать
bitter f'bita] а горький
bitterly ['blteh] adv горько, сильно, очень
blank [blaenk] а чистый, незаполненный
blaze [bleiz] n пламя, яркий огонь
blind [blaind] а слепой, незрячий
blob [blob] n капля, цветное пятнышко
blush [Ь1лГ| v краснеть, делаться красной от смуще
ния, стыда; смущаться
boast [ 'boust] v хвастать, хвастаться, похваляться
body | 'bodi] п тело, группа людей
in a body — в полном составе, в совокупности
boot [bu:t] п ботинок
bosom ['buzam] n грудь, душа
bourgeois ['bu33\va:] n буржуа
bow [bauI v кланяться
bowl over [ boul ouva] v совершенно сразить, очень
удивить или шокировать
box [boks] п коробка
J55
branch [bra:ntf] n ветка
breach [bri:tj] n отверстие, пролом, брешь
break ['breik] v (broke, broken) ломать
breast ['brest] n грудь
breath [Ьгеб] n дыхание
breathe [bri:d] v дышать
breeches ['bntjiz] n бриджи
brick [bnk] n кирпич
brief [bri:f] n краткое изложение, сводка
in brief — кратко
bright [brait] а яркий, блестящий, умный
brilliant [ 'bnljant] а блестящий, выдающийся
bring [bnn] v (brought, brought) приносить
bring back I 'bnn 'baek] приносить обратно, возвра
щать
brooch ['broutj] n брошь
broom [bru:m] n метла
п
brush [Ьгл v причесывать(ся), те щётка
bully [ 'bull] а прекрасный, хороший, первокласс
ный
bunch [ЬлщГ] n букет, охапка
burn [Ьэ:п] (burnt, burned) v гореть
to burst [bs:st] v (burst) разрываться;
burst into tears — залиться слезами, распла
каться
b u t t o n [ b A t n ] v застегивать
С
cabbage ['казЬкгз] п капуста
cake f'keik] п торт, кекс, сладкий пирог
captive ['kaeptiv] п пленник, пленный
саге [кеэ] п забота, попечение; v заботиться, уха
живать, беспокоиться, тревожиться, волно
ваться
carpet ['ka:pit| п ковер
carriage ['казной] п экипаж
156
carry ['kaeri] v нести, везти, перевозить
cart [ka:t] n повозка, двуколка, экипаж
carter ['ka:ts] n возчик, ломовой извозчик
cast [ka:st] v располагать
casual [ 'kae^jual] а случайный, непреднамеренный,
несерьезный
catch [kastj] v (caught) поймать, схватить, ловить
cause [ko:z] v быть причиной, служить поводом
certain [sain] n нечто верное, факт
for certain — наверняка
chair [t/еэ] n стул
chapter ['tfaepta] n глава, раздел книги
character [ 'kaerikta] n характер, герой
charming ['tfaimin] а очаровательный, обаятельный,
прелестный
cheek [tjl:k] n щека
cheque-book [ 'tfekbuk] n чековая книжка
chew [tfu:] v (on, upon) жевать, пережевывать
child [tjaild] n ребенок, дитя
chimney ['tfmini] n труба, дымоход
choice [tfois] n выбор, отбор
choose [tfu:z] v (chose; chosen) выбирать, отбирать
chorus I' ko:ras] n хор
cigarette [.siga'ret] n сигарета, папироса
cite [salt] v ссылаться, цитировать
clamber [ 'klasmba] v карабкаться, взбираться, цеп
ляясь (за что-либо)
clap [klaep] v хлопать
clasp [klaisp] v сжимать
clean [kli:n] а чистый
click [klik] n щелканье затвора, щеколды, щелчок
cling [klirjl v (clung) цепляться, держаться, хватать
ся
cloak-room [ 'kloukrum] n гардероб, раздевалка
cloth [kbG] n ткань
cloud [klaud] n облако
157
clutch [kLvtf] v схватить, стиснуть, зажать
to clutch at — схватиться, ухватиться
coat [ 'kout] n в е р х н я я о д е ж д а , пальто, куртка
coat-collar [ 'kout 'kola] n в о р о т н и к пальто
comfortably ['kAmf(9)t9bli] p p обеспеченно, со сред
ним достатком
c o n c e r n e d [кэп'sa:nd] а и м е ю щ и й о т н о ш е н и е (к ч е м у -
либо), связанный (с ч е м - л и б о ) , озабоченный,
обеспокоенный
condemn [kan'dem] v осуждать, порицать
condition [ к э п 'dif(9)n] п с о с т о я н и е , положение
confidence [ 'k9nfid(9)nsj п доверие
connection [кэ'пек[(э)п] п связь, соединение
c o n s e q u e n c e [' k o n s i k w g n s ] п с л е д с т в и е , последствие,
результат, вывод, заключение

consider [кэп 'sidg] v р а с с м а т р и в а т ь , обсуждать
content [ к э п' t e n t ] а удовлетворенный
c o n t e n t ( s ) [ ' k o n t e n t ( s ) ] п pi с о д е р ж а н и е , содержимое
continue [кэп 'tmju:] v продолжать
convey [кэп'vei]v переводить, сообщать, переда
вать
cook [kuk] п кухарка
cord(s) [ko:d] п г о л о с о в ы е связки
c o r n e r ['ко:пэ] п угол
correct [kg'rekt] а п р а в и л ь н ы й , точный, верный
cosy ['kouzi] а у ю т н ы й , удобный
counter ['кашйэ] п п р и л а в о к (в м а г а з и н е )
court [ko:t] д в о р ( к о р о л я ) , с в и т а (короля)
to hold a court — у с т р а и в а т ь п р и е м п р и д в о р е
courtyard [' ko:t ' j a : d ] п в н у т р е н н и й двор
cover ['kwg] v покрывать, закрывать, накрывать
cradle [kreidl] п к о л ы б е л ь , люлька
cream [kri:m| п с л и в к и , крем
creamy ['kri:mi] а с л и в о ч н ы й , ж и р н ы й , кремовый
c r e a t u r e ['krirtfa) п с о з д а н и е , т в о р е н и е , ж и в о е суще
ство
158
crop [krop] v подстригать
cropped hair — подстриженные волосы
cross [kros] а сердитый, злой, раздраженный; v пе
ресекать, переходить
crude [kru:d] а грубый, неотесанный, невежливый
cruel [ 'kriral] а жестокий, безжалостный
crushed [кгл/t] рр смятый
cry [krai] v плакать, кричать
cupboard ['kvbad] п шкаф, буфет
curb [' кэ:Ь] п тротуар
curious ['kjuanas] а любознательный, пытливый, лю
бопытный
curiously ['kjuanasli] adv с любопытством
curl [кэ:1] п локон, завиток
curtain [ka:tn] п штора, портьера
cushion ['ки|эп] п диванная подушка
D
dainty f'deinti] а изящный, грациозный, изысканный,
сделанный со вкусом
dare [dea] v (dared [dead]) сметь, отважиться, иметь
наглость
daring ['dearing] а смелый, отважный, бесстрашный,
дерзкий
dark [da:k] а темный
darkness ['da:knis] п темнота, мрак
dazed [deizd] рр изумленный, потрясенный, оше
ломленный
dazzle [daezl] п ослепление, ослепительный блеск,
v ослеплять блеском, великолепием, пора
жать
dead [ded] а мертвый
deal [di:l] v (delt) выдавать, снабжать, распределять;
иметь дело (с); касаться (чего-л., кого-л.)
declare [di' klea] v заявлять, объявлять
deeply |'di:pli] adv зд. очень
159
define [di'fam] v определять, дать точное определе
ние, характеризовать
definition [ ,defi 'щГ(э)п] n определение
delicate ['delikit] а утонченных!, изысканный, тонкий
(вкус), изящный
delicious [di hjbs] a восхитительный, очарователь
ный, прелестный
delightful [di ' laitf(s)l] а восхитительный, очарова
тельный
describe [dis'kraib] v описывать, изображать
despair [dis'pea| n отчаяние, безысходность, безна
дежность
development |di 'velapmant] n развитие, рост
devour [di 'vaua] v пожирать, есть быстро
to devour smb. with one's eyes •— пожирать
кого-либо глазами
die [dai] v умирать
different [ 'dif(3)rent] а различный, разный, отлич
ный
difficult [' diflk(s)lt] а трудный, тяжелый
dim [dimj a слабый, бесцветный, серый, скучный
dimly [dimli] adv тускло
dining-room [ 'dainirjrumj n столовая (в квартире)
dirty ['da:ti] а грязный
discreet [dis' kri:t] а скромный
discuss [dis'lovsj v обсуждать, дискутировать
disobedient [,diss 'biidjantj а непослушный, непокор
ный
distinction [dis 'tin(k)/9n] n различение, распознава
ние, разграничение
do away with smb — покончить с кем-либо
dot [dat] n точка, пятнышко
doubt fdaut] v сомневаться, подвергать (что-либо)
сомнению, быть неуверенным (в чем-либо)
doubtful ['dautfalj а сомневающийся, нерешитель
ный, колеблющийся
160
doubtfully Г dautfali] adv неопределенно, подозри
тельно, сомнительно
downstairs ['daun'steaz] n низ, нижний этаж
drag [draeg] v тащить, волочить, с трудом перестав
лять
draw [dro:] v (drew drawn) тянуть, тащить, задерги
вать (занавески шторы)
draw back ['dnx'baekj v отодвинуть назад, отводить
назад; draw into — вовлечь, втянуть
drawer [dro:a] п выдвижной ящик (комода)
drawing-room ['dnxinrum] п гостиная
dreadful ['dredfulj а ужасный, страшный, грозный
dreadfully f dredfuli] adv ужасно, страшно, отврати
тельно
dreamy f dri:mi] а мечтательный, полный грез, убаю
кивающий, успокаивающий
dress [dres] п платье
dresser f dresa] n кухонный стол с полками для посу
ды, кухонный шкаф (для посуды)
dressing table [dresin ,teibl] n туалетный столик с зер
калом
drive ['draiv] v (drove, driven) водить, управлять
drunken f йглпкэп] а пьяный
duck f &\k] n душка, прелесть, чудо
during ['djuarin] prep в продолжение, в течение, во
время
dusk [' dAsk] п сумерки, сумрак
dusky fdAski] а сумеречный, темный, неясный, ту
манный
Е
each [i:tf] а каждый, любой
ear [ю] п ухо
edge [ad3] п край; v медленно продвигаться
edit ['edit] v редактировать, издавать
effort ['efat] те усилие, напряжение, попытка
161
А _4АА
elbow felbou] n локоть
eldest feldist] а самый старший
elegant [ ehgant] а элегантный, изящный
embrace [irn breis] v обнимать
emerge [i'ma:d3] v появляться, показываться, выхо
дить (откуда-либо)
enamel [i'naem(3)l] n эмаль, глазурь, финифть
encourage [in'kAnd3] v ободрять, вселять мужество
enjoy [m'd30i] v получать удовольствие, наслаж
даться
enormous [i'no:mas] а громадный, огромный, гранди
озный
enough [i' плт] adv достаточно
enter fenta] v входить
enthusiastically [in '9ju:zi 'aestikali] adv восторженно,
с восторгом, с радостью, с энтузиазмом
entirely [m'taiah] adv совершенно, всецело, вполне,
совсем
evaluate [i'vaeljueit] v оценивать
event [i 'vent] n событие, важное явление
eventful [i 'ventful] а полный событий, богатый со
бытиями
ever f eva] adv когда-либо, когда бы то ни было
exactly [ig 'zaektli| adv в сущности, строго говоря
examine [ig 'zaamm] v рассматривать, осматривать,
обследовать
example [ig 'za:mpl] n пример, образец
excellent feksalant] а превосходный, отличный, ве
ликолепный
except [ik' sept] prep кроме
excessive [ik'sesiv] a чрезмерный, излишний, избы
точный
excited [ik'saitrd] pp возбужденный, взволнованный
excuse [iks'kju:s] n извинение, оправдание
exhausting [ig 'zo:stin) а утомительный, невыноси
мый
exotic lig'zotik] a экзотический, экстравагантный
162
expand [iks'paendj v расширять, развивать
expect [iks'pekt] v ожидать
experience [iks'pianans] n опыт
explain [iks'plem] v объяснять
explore [iks'pb:] v исследовать, изучать
express [iks'pres] v выражать, отражать, изображать
expression [iks'pref(3)n] n выражение
exquisite ['ekskwizit] а изысканный, утонченный, тон
кий, изящный, совершенный
exquisitely [ 'ekskwizitli] adv изысканно, утонченно,
тонко, изящно
extent [iks 'tent] п протяженность, степень, мера
extraordinarily [iks 'tradnnli] adv необычайно, уди
вительно
extraordinary [iks'tro:dnri] а необычный, замечатель
ный, выдающийся
extremely [iks 'tri:mh] adv чрезвычайно, в высшей
степени
F
fail [fed] v терпеть неудачу, не сбываться, не уда
ваться
faint [feint] v падать в обморок, терять сознание
fairy ['fean] п фея, волшебница; а волшебный, ска
зочный, воображаемый
fall [fo:l] v (fell, fallen) падать
to fall into line (place) — построиться, встать
на место
fame [feim] n слава
familiar [fa' milja] а близкий, хорошо знакомый
famous ['feimas] а знаменитый, прославленный, из
вестный
fan [fasn] n веер, v обмахивать(ся)
far [fa:] adv далеко
fascinating [ 'fsesmeitin] а очаровательный, обворо
жительный, пленительный, увлекательный,
захватывающий
163
fast [fa:st] adv прочно, крепко, твердо
fat [fast] а жирный, толстый, пухлый, откормлен
ный
fault [fo:lt] те недостаток, дефект, вина, ошибка
feature ['fitja] те pi черты, особенность, характерная
черта
feel [fi:l] v (felt) чувствовать, ощущать
feeling ['fiilirj] те ощущение, чувство, сознание, эмо
ции
festive ['festiv] а праздничный, веселый
fight [fait] v (fought) воевать, сражаться, бороться
fill [fil] v наполнять
fill in — заполнять
filled — наполненный
finger ['finga] те палец
fingertip ['fingatip] те кончик пальца
fire ['faia] v зажигать, разжигать
firm ['farm] а твердый, крепкий
flag [Пазд] v зд. ослабевать, уменьшаться, (об инте
ресе, энтузиазме)
flattering ['flastann] а льстивый
float [flout] v плавать, плыть, нестись (по течению),
держаться на поверхности, затоплять
floor [fb:] те этаж
flour [flaua] те (пшеничная) мука
flowery [ 'flauan] а покрытая цветами
fly [flai] v (flew; flown) летать, лететь
fold [fould] v завертывать
follow ['folou] v следовать, идти следом (за кем-либо)
following ['folo(u)in] а следующий; prep после, вслед
за
to be fond of smb, smth [fond] v любить кого-либо,
что-либо, увлекаться чем-либо
foot [fut] те (pi feet) нога, ступня
footman [ 'futman] те лакей (ливрейный)
force [fo:s] п сила; v заставлять, принуждать
164
forcefully [ 'fa:sfuh] adv убедительно, действенно
forehead ['fond] n лоб
foreword ['fb:wa:d| n предисловие, введение
forgive [fa 'grv] v (forgave; forgiven) прощать
fork [fo:k] n вилка
fortunate ['fb:tjhit] а счастливый, удачный
frail f fred] а хрупкий
frame f'freim] n рама, рамка
freckle f frekl] n веснушка
friendly Tfrendli] а дружеский, дружественный, бла
гоприятный
frighten f fraitn] v пугать
to be frightened of smth бояться чего-либо
frightful ['fraitful] а страшный, ужасный, безобраз
ный, уродливый
frightfully [' fraitfu.ii] adv ужасно, страшно
front [frAnt] n перед, передняя сторона
frown ffraun] n хмурить брови
fuel [' fj иэ IJ n топливо, горючее; v заправлять горю
чим или топливом, питать, поддерживать
full [ful] а полный, наполненный до краев
fur [fa:] п мех
furious I'fjuanas] а разъяренный, взбешенный
furniture ['ta:nitja] n мебель, обстановка
G
gasp [ga:sp| v дышать с трудом, задыхаться, ловить
воздух
gazefgeiz] v (at, into, about, on, upon) пристально гля
деть, вглядываться, глазеть
gem [d3em] n жемчужина
general f d3en(a)r(a)l] а общий, всеобщий
generous [d3en(a)ras] а великодушный, благородный
gently f'd3enth] adv мягко, тихо, спокойно, кротко,
нежно
geranium [d3i'remjamj n герань
165
g e t u p fget'Ap] v зд. наводить блеск, порядок
ghastly ['gastlij adv с т р а ш н о , ужасно; а с т р а ш н ы й ,
ужасный, отвратительный
giggle [gigl] v х и х и к а т ь , глупо или льстиво с м е я т ь
ся
give u p fgiv 'лр] v (gave; given) о т к а з ы в а т ь с я , у с т у
пить, с д а в а т ь , м а х н у т ь р у к о й
glass [gla's] п стекло; а с т е к л я н н ы й
glaze [gleiz] п г л а з у р ь
globe [gloub] п ш а р , глобус
glove [gL\v] п п е р ч а т к а
go off t h e h a n d l e [gou] v (went, gone) в ы й т и и з себя
g o d m o t h e r [ 'god ,тлдэ] n к р е с т н а я мать
gold [gould] а золотой
g r a s s [gras] n т р а в а
gratify fgraetifai] v р а д о в а т ь
greet ['gri:tj v з д о р о в а т ь с я , п р и в е т с т в о в а т ь
g r e y [grei] а с е р ы й
groan [grounj v стонать, т я ж е л о в з д ы х а т ь
grow [grou] v ( g r e w ; g r o w n ) расти, у в е л и ч и в а т ь с я ,
усиливаться
g r o w u p v в ы р а с т а т ь , становиться в з р о с л ы м
g u e s t [gest] n гость
guinea ['gini] n гинея (английская д е н е ж н а я е д и н и
ца и монета = 21 шиллингу)
g u y [gai] п пугало, ч у ч е л о
н
h a i r [Ьеэ| п волосы
half [ha:f] п половина; adv наполовину
hall [ho:l] п з а л , п р и х о ж а я
h a n d k e r c h i e f [ ' haenkatfif] п носовой платок
h a n d l e fhasndl] п р у ч к а , р у к о я т к а
h a n g [hsen] v (hung; h a n g e d ) в е ш а т ь , висеть
h a p p e n ['haepanj v с л у ч а т ь с я , происходить
h a r d [ha:d| а т в е р д ы й , трудный, т я ж е л ы й
166
hardly [' ha:dli | adv едва
harm [ha:mj n вред, ущерб
hat [haet] n шляпа
hate [heit] v ненавидеть, не выносить
hateful f heitful] а ненавистный, омерзительный, от
вратительный
hat-stand fhaetstaend] n стоячая вешалка (для паль
то и шляп)
head [hed] п голова
heart [ha:t] n сердце
heaven [hevn] n небо; Good Heavens! О боже! Боже
мой!
heavy fhevi] а тяжелый
help [help] n помощь
hen [hen] n курица
hesitate f heziteit] v колебаться
hidden [hidn] pp спрятанный, скрытый, тайный
hiss [his] v шипеть, свистеть
hold [hould] v (held; held) держать
to hold on — v держаться, вцепиться (во что-
либо)
hook [huk| n крючок, крюк
horrible (пэгэЫ] а ужасающий, вселяющий ужас,
страшный
horrid ['hond] а противный, отталкивающий
horror f погэ| n отвращение, ужас, омерзение
horse fho:s] n лошадь
huddle [h\dl] n куча, свалка
huge [hju:d3] а огромный, громадный, гигантский,
колоссальный
hum [плт] v напевать, петь без слов, мурлыкать,
петь с закрытым ртом
human being ['hju:m3n'bi:n] п человек
hurry ['1тлп| n спешка, торопливость, поспешность;
v спешить, торопиться
husky ['hvski] а хриплый, сиплый (голос)
167
I
ice [aisj n лед
ill [il] а больной, нездоровый

illness [ilras] n болезнь, заболевание
imagination ,maes3i [i n воображение, фан
'neif(a)n]
тазия
immense [fmensj а огромный, колоссальный, громад
ный
imploring ' p b : r i n | а умоляющий, молящий
[ i m
importance [im'po:t(a)ns] n значение

impossible [ i m posabl] а невозможный, невыполни
мый, невероятный
impulsively [ i m ' pAlsivli] adv импульсивно
incident [ 'insid(a)nt] n случай, происшествие, инци
дент
inclination [,inkli' neif(a)n]n наклон, угол наклона; на
мерение
include [ r n ' k l u : d ] v включать, содержать
including prep включая, в том числе, вме
[ m ' k l u : d m ]
сте с тем
inferior [m'fianaj а находящийся ниже, низкий
inner ['та] а внутренний
insert [m'sa:t] v вставлять, вкладывать, поместить
inside [in'said] п внутренняя часть, интерьер;
adv внутрь, внутри
insight ['insait] п проницательность, способность по
нять (постигнуть)
insist [m'sist] v настойчиво утверждать, настаивать
instant ['instant] п момент, мгновение
at that very instant — в (э)тот самый момент
instead [m'sted] adv вместо, взамен
interrupt [,mta'rApf] v прерывать, приостанавливать
introduce [.intra dju:s] v вводить, представлять
irony f ' a i a r a m ] n ирония, насмешка
irrelevant [i 'relivant] а не имеющий отношения (к
чему-либо); несоответствующий, лишний,
ненужный
168
italicize [i 'taelisaiz] v выделять курсивом; подчерки
вать, выделять
J
jangle Гd3sengl] v издавать резкие нестройные звуки
jar [й$х] п кувшин
jerk [d39:k] v резко дергать, толкать, поворачивать,
швырять
join [d30in] v соединять, связывать
jolly [' d3oliJ а веселый, радостный, шумный, празд
ничный
joy [d30i] п радость, веселье, удовольствие
judge [d3Ad3] v судить, считать
judgement ['d3Ad3mant] п суждение, мнение
jug [d3Ag] п кувшин, кружка
jump [d3Amp] v прыгать
jump up подпрыгивать
К
keep [ki:p] v (kept) держать, иметь, хранить
keeping ['ki:pin] n хранение
key [ki:] n ключ
kind [kamd] а добрый, сердечный, ласковый, любез
ный, внимательный; п сорт, класс, разряд, ха
рактер, вид, род
kindly fkamdh] adv доброжелательно, сердечно, лю
безно; а добрый, мягкий, добродушный, дру
желюбный
kiss [kis] v целовать
kitchen ['kitfm] п кухня
knee [ni:] п колено
kneel [ni:l] v (kneeled, knelt) становиться на колени
knife [naif] n нож
knock [nok] n стук; v стучать
169
L
lace [leis] n кружево, кружева
lacquer Паекэ] n лак, глазурь, политра; v покрывать
лаком, глазурью, лакировать
lad [lsed] п парень
lane [lein] п переулок, узкая улочка
languid flaengwid] а слабый, истомленный, вялый,
безжизненный
languor Пазпдэ] п вялость, усталость, тишина, том
ность, мечтательное настроение
large [Ia:d3] а большой, крупный
at large — целиком, во всем объеме
last flarst] а последний
late [leit] а поздний
laugh [la:f] п смех; v смеяться
lawn [b:n] п лужайка с подстриженной травой, га
зон
lead [li:d| v (led) вести, показывать путь, руководить,
возглавлять
lean [li:n| а худой, тощий
lean [li:n] v (leaned, leant) v наклоняться, опираться
lean against — прислоняться
leap [li:p] v (leapt, leaped) прыгать, скакать
leaping |'li:pin] а прыгающий
not in the least [li:st] — ни в малейшей степени, ни
чуть, нисколько
leg [legJ п нога
let [let] v (let) пускать, впускать, разрешить, позво
лить
lid [lid] п крышка, подставка
light [' lait] v (lit, lighted) зажигать, загораться, осве
щать
light ['lait] а легкий
to feel lighter — .чувствовать легче
lighting f'laitin] n освещение
like ['laik] а подобный, похожий
170
lilac ['laibkj n сирень, сиреневый цвет
lip [lip] n губа
listless flistlis] а вялый, аппатичный, безразличный,
равнодушный
lively ['larvli] а живой, полный сил
locate ['lo(u)'keit] v находиться
long [bn] v страстно желать, стремиться
to look after smb, smth [luk 'лйэ] v присматривать,
ухаживать за кем-то, заботиться о ком-то
lose [lu:z] v (lost) терять
loud [laud] а громкий, шумный
lovely fLwli] а красивый, очаровательный, привле
кательный
low [lou] а низкий, негромкий
м
maid [meid] n служанка, горничная, прислуга
make up [ 'meikAp] v наверстывать, восполнять
mantelpiece ['maentlpi:s] n каминная доска
marble ['ma:bl] n мрамор
to be married ['maerid] а быть замужем, быть
тым
marvellous fmarvibs] а изумительный, удивитель
ный, чудесный
matter fmaeta] v иметь значение
it doesn't matter — это не имеет значения, это
неважно
mean [mi:n] а посредственный, плохой, слабый;
v (meant) намереваться, иметь в виду
meaning ['mi:nin] п значение
melt [melt] v таять
mind [maind] n ум, разум, мысли; v заботиться, вол
новаться, беспокоиться, тревожиться, обра
щать внимание
minute [mai 'nju:t] а мелкий, мельчайший, крошеч
ный
171
mirror ['гшгэ] n зеркало
mistake [mis'teik] n ошибка, недоразумение, заблу
ждение
mix [miks] v смешивать, мешать, соединять, соче
тать
mixture ['mikstfa] n смесь
modify ['modrfai] v модифицировать, видоизменять,
смягчать, сжимать, определять
move [mu:v] v двигать, передвигать, перемещать
muff [nuf] п муфта
m u r m u r [ т э : т э ] те шепот, бормотание; v говорить
тихо, шептать, бормотать
mute [mju:t] а немой
mutton [ т л т ] те баранина
mutual ['mju:tjual] а взаимный, обоюдный
mysterious [mi'stianas] а таинственный, непостижи
мый
N
napkin f'naepkm] те салфетка
narrative ['naerativ] а повествовательный
natural ['n3et|r(a)l] а естественный, природный, на
стоящий, натуральный
naughty ['no:ti] а непослушный, шаловливый, ка
призный
near [тэ] adv близко, недалеко, подле
nearly ['mail] adv почти, чуть не, приблизительно
necessary ['nesasn] а необходимый, нужный, неотъ
емлемый
necessity [ni'sesati]тенеобходимость, нужда, настоя
тельная потребность
neck ]nek] те шея
neighbour ['neiba] а соседний; v граничить, соседст
вовать
neighbourhood ['neibahud) те соседство, близость
nest [nest]тегнездо
172
n e t [net] v л о в и т ь и л и п о й м а т ь в с е т и , л о в у ш к у ,
западню
n e w n e s s ['nju:rus] п повозка
n e w s p a p e r ['nju:s ,регоэ] п газета
n i g h t - g o w n ['naitgaun] п д л и н н а я н о ч н а я р у б а ш к а
n i g h t - l i g h t ['naitlait] п ночник
nod [nod] v к и в а т ь головой
to n o d to s m b к и в н у т ь к о м у - л и б о
noise [noiz] n ш у м , гам, к р и к , г а л д е ж ; v ш у м е т ь , к р и
чать, галдеть
notice ['noutis] v з а м е ч а т ь
notion [ 'noujh] n п о н я т и е , п р е д с т а в л е н и е , ф а н т а
зия, заблуждение, каприз
nourishing ['папГщ] а сытый, п и т а т е л ь н ы й
n u d g e [nAd3] п л е г к и й т о л ч е к л о к т е м ( д л я п р и в л е
чения внимания)
to give a n u d g e — п о д т о л к н у т ь локтем; v слег
ка п о д т а л к и в а т ь л о к т е м (чтобы п р и в л е ч ь в н и
мание)
n u r s e r y ['na:s(3)n] п д е т с к а я (комната)
n u t [nAt] п о р е х
О
obvious ['obvias] а я в н ы й , очевидный, я с н ы й , п о н я т
ный
occasion [э'кегзп] п с л у ч а й
on occasion -— п р и с л у ч а е , п р и (определенных)
обстоятельствах
occupation [ pkju'peifn] те з а н я т и е , р о д и л и в и д д е я
тельности, занятий; профессия
occurence [э'клгэш] те с л у ч а й , я в л е н и е , п р о и с ш е с т
вие
oil [oil] те масло
oily ['як] а м а с л я н ы й , м а с л я н и с т ы й
opinion [э'рнуэп] те мнение, в з г л я д
in m y opinion •— по-моему, мне к а ж е т с я
173
oppose [a'pouz] v противиться, сопротивляться,
быть против
opposite [ 'эрэгп] а находящийся напротив, проти
воположный; adv напротив, против (друг дру
га)
order [ 'эх1э] v приказывать, распоряжаться
ought to [ ' a t ] v выражает долженствование
you ought to do — вам следовало бы, вы долж
ны сделать что-либо
outlook [' autluk] п точка зрения
overwhelm [ ,ouv9 'welm] v поражать, ошеломлять,
потрясать
owe [ ou] v быть должным, задолжать
owl [aul] п сова
own [oun] п собственность, принадлежность; а свой
собственный, принадлежащий (кому-либо,
чему-либо)
Р
pain [pem] п боль
paint [pem] n краска; v красить, раскрашивать, рас
писывать
pale [рей] а бледный
palm [pa:m] n ладонь
pang [рагп] n внезапное проявление эмоции
paper [ регоэ] n обои; v обклеивать обоями
to paste (to cover with) paper — наклеивать
обои
paraphrase [ 'paersfreiz] v перефразировать
part [pa:t] n часть; v расставаться
participle ['palsipl] n причастие
particular [рэ 'tikjuta] а особый, особенный, специ
фический, исключительный, заслуживающий
особого внимания
party ['pa:ti] п прием гостей, вечеринка, праздник
pass [pa:s] v идти, проходить мимо
174
past [past] adv мимо
patience ['peif(a)nsj та терпение, терпеливость, на
стойчивость, упорство
pavement fpeivmant] та тротуар
pearl [рэ:1]тажемчуг
peculiar [pi kjuilia] а специфический, особенный,
своеобразный, п р и н а д л е ж а щ и й , присущий
или свойственный определенному лицу, пред
мету
peer [рю] v вглядываться, всматриваться
penknife ['pennaif] та перочинный нож
perch on smth [pa:tf] v сидеть на чем-то, взгромоз
диться
to perch one's hat on — надеть шляпу
perfect ['ps:fikt] а совершенный, безупречный, иде
альный, прекрасный, замечательный
perhaps [рэ 'hasps] adv возможно, пожалуй, может
быть
periodical [.pian 'odik(3)l] та периодическое издание,
журнал; а периодический
persist [pa'sist] v сохранять(ся)
personal [parsnl] а личный, персональный
personality [,po:s3 'nashti]n личность, индивидуаль
ность
pet [pet]та(любимое) домашнее животное; а домаш
ний (о животных)
petal [' petl] та лепесток
phrase [freiz] та словосочетание, выражение
picking ['pikin]та(pi) остатки, объедки
pick up ['р1к'лр] v поднимать, подбирать; та случай
ное знакомство
picture ['pikt/э] та картина
piece [pi:s]такусок, часть
pinafore ['pmafo:] та передник, фартук
pine-tree ['paintri:] та сосна
pink [pink] а розовый
175
plain [plem] а зд. некрасивый
playground [pleiground] n игровая площадка
pleasant fpleznt] а приятный, милый, славный, сим
патичный
pleased ]'pli:zd] pp довольный
pleasure ['р1езэ] n удовольствие, наслаждение
plot f plot] n фабула, сюжет
plump [pUmp] а полный, пухлый, толстый
plush [р1л(] п плюш; а плюшевый
ply [plai] v потчевать, усиленно угощать, усердно
кормить и поить
point [point] v показывать
point at, to, out — показывать, указывать на
что-либо, кого-либо
poor [риэ] а бедный, несчастный
porch [po:tJ] п крыльцо, подъезд
possible f posabl] а возможный, вероятный
postmistress ['poust ,mistns] п начальница почтового
отделения
pot [pot] п горшок
power [раиэ] п сила, мощь
practical ['praektik(o)l] а практический, удобный, по
лезный
prayer [ргеэ] п молитва
preceding [pri: sirdin] а предыдущий, предшествую
щий
precious [ prejos] а драгоценный, дорогой, любимый
preparation [,ргерэ'reiJ(o)n] п подготовка, приготов
ление
prepare [рп'реэ] v приготавливать, подготавливать,
готовить
preposition [,ргерэ'zij(s)n] п грам. предлог
present fpreznt] п настоящее (время)
presently [' prez(a)ntli] adv вскоре, через минуту, те
перь, сейчас, ныне
preserve [рп 'za:v] v сохранять, оберегать, хранить,
поддерживать
176
press [pres] v жать, нажимать, надавливать, оказы
вать давление, прижимать, давить
pressure [ ргеГэ] та давление, сжатие, воздействие,
нажим
pretence [pn'tens] та притворство, обман, отговорка,
предлог
pretend [рп 'tend] v притворяться, делать вид, ис
пользовать в качестве предлога
pretty [pnti]тапрелесть; а милый, прелестный, при
влекательный, хорошенький, симпатичный
price [prais]тацена
pride [praid] та гордость, чувство гордости
pride (on, upon, in) v гордиться
primrose ['pnmrouz] та примула
prise=prize [praiz] v высоко оценить, оценивать
proceed [pra'sM] v продолжать
proclaim [ргэ 'kleim] v объявлять, провозглашать
prominent ['prominant] а заметный, известный, вы
дающийся
promise ['promis] та обещание, перспектива, надеж
да; v обещать, давать обещание
prompt [promt] а быстрый, проворный, исполни
тельный
proper ['ргорэ] а присущий, свойственный, правиль
ный, должный
property [ ргорэП] та собственность, имущество
protect [ргэ 'tekt] v защищать, охранять, предохра
нять
proud [praud] а гордый, надменный, высокомерный
prove [pru:vj v доказывать
psychological [,saiko'lod3ik(a)l] а психологический
pudding ['pudirj] та пудинг, запеканка
puff [pAf] та выдох
pull [pul] v тянуть, тащить
pull off ['pubf] v стаскивать, снимать, срывать
pull up подъезжать и останавливаться у чего-
либо, перед чем-либо
177
puppy Грлрг] n щенок
purpose [ paipas] n цель, намерение, замысел
push fpuf] v толкать, пихать
put [put] v (put) класть, ставить, положить
put down — посадить
put into — вводить, осуществлять
put off — откладывать, отсрочивать
put on — надевать
put out — высовывать, вытягивать
put up — поднимать
Q
quiet ['kwaiat] n тишина, безмолвие, покой, спокой
ствие; а тихий, бесшумный, неслышный, спо
койный, неподвижный; v успокаивать, уни
мать, останавливать, усмирять
quil [kwil] п перо
quite [ 'kwait] adv вполне, совсем, совершенно, пол
ностью, всецело
quote [kwout] v цитировать, приводить чьи-то сло
ва, делать ссылку, ссылаться
R
rage [reid3] п повальное увлечение, помешательст
во
rank [raenk] v выстраивать в ряд, классифицировать
rap [гаер] v слегка ударить, постукивать
гаге [геэ] а редкий
rate [reit] v оценивать, классифицировать
rather [ "га:дэ] adv (обыкн. — than) лучше, скорее,
охотнее, предпочтительнее
reach [ri:tj] v достигать
ready fredi] а готовый
reason [ri:zn] n причина, основание
receiver [n'sfcva] n зд. трубка (телефонная)
178
recite [n'sait] v читать вслух
redden fredn] v краснеть, покраснеть
refrigerator [n'fnd33reita] n холодильник
regret [n'gret] v сожалеть (о чем-либо), раскаивать
ся
relation [п'leif(a)n] п отношение, связь, зависимость
relevant frehvant] а уместный, относящийся к делу,
важный, необходимый
reluctant [n'kktant] а делающий (что-либо) с неохо
той, вынужденный, неохотный
remain [n'mem] v оставаться
remark [п 'mark] п замечание, наблюдение; v заме
чать, наблюдать, отмечать
remember [n'memba] v помнить, хранить в памяти,
вспоминать
render ['renda] v оказывать
reproduce [,п:ргэ 'djurs] v производить, порождать,
воспроизводить, повторять
respect [ns'pekt] v уважать, почитать, касаться
respectful [ns 'pektful] а почтительный, вежливый
responsible [ns'posabl] а ответственный, несущий от
ветственность, надежный
rest [rest] п остальное, остаток; (the ~ ) v отдохнуть
retort [n'tort] v отвечать резко, отвечать тем же, воз
разить
reveal [п 'vi:l] v показывать, обнаруживать, откры
вать, разоблачать
ribbon ['пЬэп] п лента
ridiculous [n'dikjulas] а смехотворный, смешной, не
лепый
ridiculously [п 'dikjulosli] adv смешно, смехотворно,
до смешного
right [rait] а правильный
to be all right — все хорошо, быть в порядке
ring [пп] п звонок, круг; v (rang, rung) звенеть, зво
нить
179
roll [roul] n булочка
roof [ru:fl n крыша
rope [roup] n веревка
round [raund] prep вокруг
row [rau] n шум, гвалт
rug [глд] n ковер, коврик
ruin [ruin] v разрушать, уничтожать
rush [глГ] v бросаться, кидаться, устремляться,
мчаться, нестись
S
sacrifice [' sasknfais] п жертва; v пожертвовать
same [seim] n (the~) то же самое, одно и тоже; adv
(the~) так же, таким же образом
scarcely ['skessli] adv едва, почти
scarlet ['skarlit] а ярко-красный, алый, багровый, баг
ряный
scent [sent] п запах, аромат, благоухание
scolding ['skouldin] п нагоняй, выговор
to give smb a good scolding — дать кому-либо
нагоняй, обругать кого-либо
screw [skru:] v (up) накрутить, навертеть, закрутить
search [sa:tf] v искать, отыскивать, разыскивать
select [si 'lekt] v отбирать, выбирать, проводить от
бор
seem [si:m] v казаться, представляться
sensitive ['sensitrv] а чувствительный, нежный, впе
чатлительный, чуткий
sentence ['sentsns] n грам. предложение
sentimental [,senti 'mentl] а сентиментальный, чув
ствительный
serious [' sianas] а серьезный, глубокомысленный
servant ['sa:v(3)nt] n слуга, служанка, прислуга
serve [ 'sa:v] v служить, быть слугой, состоять на
службе
180
setting ['setin] n окружение, окружающая обстанов
ка
shadowy ['/aedo(u)i] а призрачный
shake [Teik] v (shook, shaken) трясти, встряхивать
shamefaced ['Jeim ,feist] а робкий, застенчивый
shape [feip] n форма, очертание
shine [fain] v (shone) светить, озарять, сиять
shiver Lfrva] v дрожать, вздрагивать, трястись
shoo [fu:] v вспугивать, прогонять, шикать
shoot [fu:t] v (shot) стрелять, выстрелить
shoulder [ 'Joulder] п плечо
shrill [fnl] v пронзительно кричать
shrink [frir>k:] v (shrank, shrunk) сжиматься, съежи
ваться
shrinking fjnnkin] а застенчивый, робкий
a
shy [fai] застенчивый, стеснительный, стыдливый
side [said] n сторона
significance [sig' nifiksns] n важность
significant [sig' nifikant] а знаменательный, важный
silence ['saltans] n тишина, молчание, безмолвие
silk [silk] n шелк; а шелковый
silly ['sill] а неумный, глупый, неразумный
silver ['silva] а серебряный
silvery f silv(a)ri] а серебристый, покрытый серебром,
содержащий серебро
similar f simib] а похожий, подобный, соответствую
щий
since [sins] adv с тех пор; после (того); prep с, со, по
сле
sincere [sm'sis] а искренний, истинный, подлинный,
настоящий
sketch [sketf] п очерк
skim [skim] v легко и плавно скользить
skin |skm] п кожа
skip [skip] v прыгать, скакать через скакалку
slab [slseb] п большой кусок
181
slam [slaemj v со стуком закрывать, захлопывать,
бросать
sleeve [sli:v] п рукав
slight [slait] а необильный, неплотный
slight mead [mi:l] — легкая еда
slip [slip] v скользить, быстро и плавно передвигать
ся
to slip off ускользнуть, соскользнуть, сбросить
smash [smaef] п грохот, стук; v разбить, вдребезги,
ударять
smell [smel] п запах; v (smelt) чуять, чувствовать,
пахнуть
snap [snaep] v сверкать (глазами)
snort [sno:t] v храпеть, фыркать, пыхтеть
sob [sob] п рыдание, всхлипывание
to burst into sobs — разразиться рыданиями,
разрыдаться
soft [soft] а мягкий, нежный, добрый, кроткий
solid [solid] а твердый, плотный, сплошной
spare [spea] v щадить, избавить
sparkle [spa:kl] v искриться
spinach [' spmid3] n шпинат
spiteful [' spaitful] а злобный, недоброжелательный,
злорадный, злопамятный, язвительный
splendid ['splendid] а блестящий, отличный, роскош
ный
spoil [spoil] v (spoilt, spoiled) портить, испортить
spot [spo:t] n пятно
spread [spred] v (spread) распространяться, прости
раться, разноситься
spry [sprai] а проворный, бойкий, подвижный
square [skwea] а квадратный
squeeze [skwLz] v сжимать, стискивать
stagger ['staego] v идти шатаясь, шататься
strair [steo] n лестница, ступень
stammer ['staema] v заикаться, говорить заикаясь
182
stand [staend] v выносить, выдерживать, переносить,
терпеть
stare [stea] v пристально смотреть, уставиться
startle ['stall] v испугать, напугать, сильно удивить
startle ['stalls] п сенсация, сенсационное событие
statement fsteitmant] п утверждение
stay [stei] v оставаться
steady ['stedi] v укреплять, делать прочным
stick [stik] п палка
storekeeper ['sto: ,ki:pa] п владелец магазина
stout [staut] а полный, тучный, дородный
stove [stouv] п печь, печка, плита, плитка
straight [streit] а прямой, правильный, ровный;
adv прямо, по прямой
strange fstremd3] а незнакомый, неизвестный
stranger ['stremd3a]тенезнакомец, посторонний че
ловек
strap [straep] п ремень
stray [strei] а бездомный, беспризорный, одинокий
stretch [stretf] v растягиваться, удлиняться, тянуть
ся
strike [straik] v (struck, struck), ударять, бить, пора
жать, сражать
strike a match — чиркнуть спичкой, зажечь
спичку
stroke [strouk] v гладить, поглаживать, ласкать,
умасливать
stuff [sUf] п вещь, штука
stumpy ['sUmpi] а короткий, подрезанный
stupid ['stju:pid] а глупый, бестолковый, тупой, ду
рацкий
subject fsAbjikt] п предмет, тема (разговора)
sudden [sAdn] а внезапный, неожиданный, непред
виденный
suffer fsAfa] v страдать, сносить, терпеть, выносить
suggest [sa'd3est] v предлагать, советовать
sum [sAm] v складывать, подводить итог
183
summarize [ 'sAmoraiz] v суммировать, подводить
итог
suppose [so'pouz] v полагать, считать
sure [Гиэ] а уверенный, несомненный, бесспорный
surprise [sa'praiz] v удивлять, поражать
surround [so'raund] v окружать, обносить, обступать
swallow fswolou] v глотать, проглатывать
sweep [swi:p] v (swept) мести, подметать
sweet [swi:t] а сладкий, милый, любезный, любимый
swing [swin] v (swung) качать, раскачивать
swollen ['swoul(a)n] рр вздутый, опухший, распух
ший
sympathize ['simpaQarz] v сочувствовать, сострадать
sympathy [ simpoGi] п сочувствие, сострадание
т
tactful [' taektful] а тактичный
tail [teil] п хвост
take of ['teikof] v (took, taken) убирать, уносить, уво
дить, удалять, снимать
tangled ['taengld] а запутанный, спутанный
tangled hair спутанные волосы
taste ['teist] п вкус
tea-kettle ['ti: ,ketl] п чайник
teeny fti:m] а крошечный, крохотный
terrible fterobl] а страшный, ужасный
terrify ftenfai] v ужасать, внушать или вселять
ужас, страх, запугивать
though [dou] cj хотя, несмотря, все ж е
thoughtless f 9o:tlis] а бездумный, беспечный
threatening ГЭгеиип] а угрожающий, грозящий
thrilling f Gnlin] а волнующий, захватывающий, ще
кочущий нервы
through [Gru:] prep через, сквозь
throw [Grou] v (threw, thrown) бросать, кидать, швы
рять
184
t h u m b [9лш] n большой п а л е ц (руки)
tidy ['taidi] а о п р я т н ы й , а к к у р а т н ы й , ч и с т ы й
tight Г tart] а туго з а в я з а н н ы й , п л о т н ы й , н а т я н у т ы й ,
тугой
t i g h t e n ftaitn] v к р е п к о с ж и м а т ь , з а т я г и в а т ь
tiny [ taim] а очень м а л е н ь к и й , к р о ш е ч н ы й
tip [tip] п кончик, оконечность, в е р х у ш к а
tired ['taiad] р р у с т а л ы й , у с т а в ш и й , у т о м л е н н ы й ,
уморившийся
t i t t e r [ t i t s ] п х и х и к а н ь е ; v х и х и к а т ь , п р ы с к а т ь (со
смеху)
t o g e t h e r [ta 'дедэ] adv вместе, совместно, сообща
total ftoutl] а весь, ц е л ы й , о б щ и й
t o u c h ftAtf] v к а с а т ь с я , т р о г а т ь
t r a n s f o r m [traens' fo:m] v т р а н с ф о р м и р о в а т ь , п р е о б
разовывать
t r a y [trei] n поднос
t r e a t [tri:t] v о б р а щ а т ь с я , о б х о д и т ь с я , о т н о с и т ь с я ,
рассматривать
t r i u m p h ftraiamf] n победа, т о р ж е с т в о , т р и у м ф
t r o u b l e ГЧглЫ] п беспокойство, в о л н е н и е , н е п р и я т
ность
t r u e [tru:] а в е р н ы й , п р а в и л ь н ы й
t r y on f t r a i ' o n ] v п р и м е р я т ь , п р о б о в а т ь
t u g [Ug] п рывок, д е р г а н ь е
to give a t u g a t s m t h д е р н у т ь , п о т я н у т ь за ч т о -
либо
tulip [4ju:lip] п т ю л ь п а н
t u r n a w a y [Чэ:п a ' w e i ] v о т в о р а ч и в а т ь , о т к л о н я т ь
t u r n on [Чэ:п'эп] v в к л ю ч и т ь , о т к р ы в а т ь
t u r n r o u n d [' ta:n' round] v о б о р а ч и в а т ь с я , п о в о р а ч и
ваться
t w i t c h [twitf] n р е з к о е д е р г а ю щ е е и л и т я н у щ е е у с и
лие, дерганье
to give a t w i t c h a t s m b д е р н у т ь кого-либо з а
что-либо
185
и
umbrella [лт'Ьге1э] п зонт, зонтик
1
unafraid [дпэ'ггега ] а бесстрашный
understand [,Anda 'stsend] v (understood) понимать,
постигать
undo [An'du:] v (undid, undone) развязывать
unpack [лп'рэек] v распаковывать, разгружать
unroll [лп'гош] v развертывать, раскатывать
use fju:z] v употреблять, пользовать, применять
utterance f At(a)r(a)ns] n выражение, высказывание
V
vague [veig] а рассеянный
velvet [' velvit] n бархат
vibration [vai'breijh] n колебание, дрожание, отзвук
view [vju:] n вид, пейзаж, мнение, точка зрения
vile [vad] а мерзкая; vile weather — отвратительная
погода
violin [jVaia'lm] п скрипка
by virtue ['v3:tfu:] в силу
vocal ['vouk(a)l] а голосовой, речевой, устный
voice ['vois] n голос
w
waist [weist] n талия
waiter fweita] n официант
walk [wo:k] v ходить, идти пешком
wandering [ 'wondarin] а бродячий, блуждающий
warmth [wo:m0] n тепло, теплота, сердечность
washerwoman ['wo/a ,wumen] n прачка
wasteful f weistful] а расточительный, неэкономный
зд. разорительница
watch fwot/J v наблюдать, следить
wave [warv] v развиваться, качаться, размахивать
wear [wea] v (wore, worn) быть одетым, носить (одеж-
ду)
186
weather f we6a] n погода
well off f welof] а зажиточный
well-to-do ['welts 'dir.] n состоятельные, обеспечен
ные слои общества
wet [wet] а мокрый, влажный, сырой
whatever [wot'eva] pron какой бы ни, любой, какой
бы то ни было
whenever [wen'evo] adv когда же; всякий раз когда,
когда бы ни
while [wail] prep до, до тех пор (пока)
whip [wip] v off — сбросить, сорвать
whisker fwisko] п бакенбарды
whisper fwispo] v шептать
wicked fwikid] а злой, злобный, нехороший, плохой
wide [waid] а широкий
wife [waif] n ( pi wives) жена
will [wil] v (would) хотеть, желать, намереваться
wing [win] n крыло
woman fwumon] n (pi women) женщина
wonder fwAndo] n чудо, удивление; v интересовать
ся
wonderful fwAndoful] а удивительный, изумитель
ный, чудесный, поразительный, замечатель
ный
wooden fwudn] а деревянный
workman ['wo:kmon] n (pi-men) рабочий
worry ['wAn] v беспокоить, волновать
wrap [гаер] v (wrapped, wrapt) завертывать, обер
тывать, упаковывать
wrong [ron] а неправильный, неверный, ошибочный,
ложный
Y
young [JAn] a молодой, юный
187
CONTENTS
Предисловие 3
Katherine Mansfield (1888-1923) 4
The Garden-Party 11
Sun and Moon 43
The Doll's House 63
A Cup of Tea 107
Vocabulary 152
" M A N A G E R "
P u b l i s h i n g G r o u p o f f e r s
t h e f o l l o w i n g b o o k s
f o r language t r a i n i n g :
— English and American Literature

(Textbook)
— Short Stories to Read and Discuss

(Book for Reading)
— Настольная к н и г а секретаря-референта
на русском и а н г л и й с к о м я з ы к а х
— A Book for Reading and Discussion

(Book for Reading)
— English for Banking

(Textbook)
— Let's Read and Discuss

(Textbook)
— Английская грамматика в таблицах

и упражнениях
— Jack London. Short Stories

(Book for Reading)
"MANAGER"
Publishing Group offers
a wide choice of English-language
literature in the original:
— English Story of the 20th Century
— American Story of the 20th Century
— W.S. Maugham "Selected Short Stories"
— W.S. Maugham "The Painted Veil"
— W.S. Maugham "Theatre"
— W.S. Maugham "Cakes and Ale:
or the Skeleton in the Cupboard"
— D. Hammet "Detective Prose"
— J.B. Priestley "Dangerous Corner"
(Пьеса с параллельным англо-русским текстом)
— J.B. Priestley "Time and the Conways"

(Пьеса с параллельным англо-русским текстом)
— J. Fowles "The Ebony Tower"

"Eliduc"
"The Enigma"
— C. Wilson "The Mind Parasites"
— O. Henry "Selected Stories"
— H.G. Wells "The Invisible Man"
— J. Jerome "Three Men in a Boat"
Издательство « М е н е д ж е р »
начинает публикацию серии «Языки
и культуры», которая обращена к ши
рокому кругу читателей и посвящена
изучению языка как проявлению обще
ственной и духовной жизни общества
и личности, как инструмента формиро
вания культуры и способа ее сущест
вования.
Открывающий серию «Словарь труд
ностей английского словоупотребле
ния» составлен авторами, которые име
ют большой опыт преподавания анг
лийского языка и много лет изучают и
систематизируют ошибки в английской
речи русскоговорящих.
Словарь рассчитан на широкий круг
читалей, изучающих английский язык
и работающих с ним.
КЭТРИН МЭНСФИЛД
Рассказы
У ч е б н о е п о с о б и е для ч т е н и я и о б с у ж д е н и я
С о с т а в и т е л и С.Г. Костина, И.Н. Хлебникова
2-е и з д а н и е
Издательство «Менеджер»
ЛР № 066270 от 13 января 1999 г.
Издатель А. Гутиев
Редактор Н. Самуэльян
Рисунки А. Байбаковой
Оригинал-макет Н. Надворской
Обложка В. Арбекова
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052 Katherine Mansfield Short Stories PDF

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КЭТРИН

К. Мансфилд. Короткие рассказы. Учебное пособие/

Пособие по домашнему чтению включает в себя рас­

© «Издательство Менеджер», 1998.

1. Find in the text sentences in which the vocabulary

2. Express the same notion using words and word-

7. Make up a number of true-false statements based

8. Answer the following questions:

Give your reasons for whatever you say. Use the

12. Topics for discussion.

A n d after all t h e w e a t h e r w a s ideal. T h e y could

1. Reproduce the situations from the story where the

2. Suggest words and word-combinations for the

13. Use participles in paraphrasing the following:

16. Present the dialogue between Laura and her

17. Introduce the main characters of the story.

18. What is your opinion of Laura's behaviour dur­

20. Account for Laura's statement: "It is all the fault

21. Comment on the following statements, quoting

23. Sum up the contents of the chapter in 5-7 sen­

"What's the matter? What's happened?"

/. Recall the situations from the story where these

2. Express the same notion in one word.

9. Find in the text antonyms to the following words.

15. Give a summary of the proceeding events using

16. Tell the story of Godber's man in indirect speech.

17. State whose words these are, what preceded or

20. Use your imagination and speak about the dead

21. Describe an incident from your life when you felt

At half past t w o t h e b a n d a r r i v e d a n d w a s placed

"Isn't it, d e a r ? " said Laurie.

/. Recall the situations from the story in which the

2. Choose words and word-combinations from your

5) "Get m e big box from house!"

14. Sum up the events of the preceeding chapters

15. Describe the girl's visit to the Scotts. When Laura

16. Express your agreement or disagreement with

18. Give a character-sketch of Laura. What features

Topics for g e n e r a l discussion

7. What is the main idea of the story and how is it

2. What is the author's attitude towards her charac­

3. How is the problem of children and parents rela­

4. What new information did you get from the story

5. Comment on the title connecting it with the con­

6. What is your opinion of the end of the story? Could

7. How would you formulate the "leading motive"

to look after smb

/. Reproduce the situations from the story in which

2. Express the same notion in one word, using your

11. Account for the usage of the Infinitive in the fol­

13. Introduce the main characters of the story. Sum­

14. Account for Mother's words: "Out of my way,

15. Do you find Sun and Moon alike or different? Give

16. Express your agreement or disagreement with

18. Make up key-questions that will cover the con­

19. Sum up the contents of the chapter in 8-10 sen­

20. Pick out a passage describing a festive table and

/. Reproduce the situations from the story where the

2. Explain the meaning of the following words and

/ 7. Give a summary of the preceeding events using

12. What do you consider the most typical features

13. Paraphrase, explain and expand on the follow­

15. Expand on the author's views on the way of liv­

Пособие по домашнему чтению включает в себя рас

18. What is your opinion of Laura's behaviour dur

23. Sum up the contents of the chapter in 5-7 sen

2. What is the author's attitude towards her charac

3. How is the problem of children and parents rela

5. Comment on the title connecting it with the con

11. Account for the usage of the Infinitive in the fol

13. Introduce the main characters of the story. Sum

18. Make up key-questions that will cover the con

19. Sum up the contents of the chapter in 8-10 sen

13. Paraphrase, explain and expand on the follow

15. Expand on the author's views on the way of liv

3. How is the problem of children and parents rela

5. Give a summary of the story. Use your active vo

17. Sum up the events of the preceding chapter us

17. Sum up the events of the preceding chapter us

22. Use your imagination and try to describe the Bur

/. Recall the situation from the story in which the vo

17. Sum up the events of the preceding chapter us

18. Use your imagination and try to describe the vis

17. Sum up the events of the preceding chapter us

7. Recall the situation from the story in which the vo

16. Sum up the events of the preceding chapter us

1. Recall the situation from the story in which the vo

16. Sum up the events of the preceding chapter us