КАМЧАТСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ

ХОХЛОВА И.Н.

ПРАКТИЧЕСКАЯ ФОНЕТИКА
АНГЛИЙСКОГО ЯЗЫКА
Часть II
 Петропавловск-Камчатский 2006

5Б6(03)

Хохлова И.Н. Практическая фонетика английского языка. Часть II: учебное пособие /И.Н.Хохлова. – Петр.-
Камч.: Изд-во КамГУ. - 2006. – 237 с.

Пособие предназначено для развития навыков английской интонации. Пособие состоит из трех частей:
теоретической, упражнений для тренировки и хрестоматии. В нем имеется поурочный план, в котором точно

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указывается дозировка учебного материала на каждое занятие, последовательность его введения.
Предлагаемое пособие может быть использовано как для работы в аудитории, так и для самостоятельной
работы. Для студентов факультетов иностранных языков, обучающихся по специальностям 033.200
«Иностранный язык с дополнительной специальностью» и 022.900 «Перевод и переводоведение», студентов
других факультетов, где английский язык изучается как дополнительная специальность.

Научный редактор:
Федоров В.В., к.ф.н., доцент, зав.кафедрой перевода и переводоведения КамГУ.
Рецензенты:
Шевченко О.Г. — к.ф.н., доцент, зав кафедрой английского языка КамГУ.
Ильинская Я.А. — к.ф.н., зав. кафедрой иностранного языка КамГУ.

ISBN
© Хохлова И.Н., 2006.
© Издательство Камчатского государственного университета имени Витуса Беринга, 2006.

ПРЕДИСЛОВИЕ

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 Настоящее пособие предназначено для использования на занятиях по практической фонетике английского
языка для студентов факультетов иностранных языков, обучающихся по специальностям 033.200
«Иностранный язык с дополнительной специальностью» и 022.900 «Перевод и переводоведение», а также для
самостоятельной работы.
Пособие состоит из 30 уроков. Каждый урок разделен на три части. Первая часть является описательно-
теоретической. В ней содержатся теоретические основы английской интонации, описание артикуляции
английских согласных фонем. Вторая часть содержит фонетические упражнения для тренировки, закрепления
основных интонационных контуров, выработки автоматизированных навыков произношения. В этой части
каждая согласная фонема обрабатывается 1) в словах; 2) в идиоматических выражениях и коротких
предложениях; 3) в связном тексте и диалогах. Третья часть – хрестоматия, содержащая прозаические и
поэтические тексты с интонационной разметкой.
Структура пособия проста и единообразна и позволяет прорабатывать материал как в полном объеме в
указанной последовательности, так и выборочно в любой удобной для преподавателя последовательности.
При работе над произношением следует применять следующие методы: 1) метод подражания хорошему
образцу (магнитофон, преподаватель); 2) описательно-теоретический.
Каждый урок рассчитан на 4 часа аудиторной и 4-6 часов внеаудиторной работы.
При введении фонем преподаватель дает лишь краткое объяснение, анализирует возможные ошибки в
произношении.
Работа над произношением, ритмом, мелодией, темпом, паузацией должна быть теснейшим образом связана
с освоением фонем и их вариантом. В каждой серии упражнений должно быть предусмотрено увеличение
темпа воспроизведения и доведения его до нормального. Произношение при соблюдении необходимого темпа
говорения имеет первостепенное значение и вырабатывается постепенно на всем протяжении обучения
иностранному языку.
Упражнения построены по принципу повтора одного и того же звука, а также по принципу чередования
контрастных звуков. Последние представляют большую трудность с точки зрения артикуляции, ввиду того, что

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требуют более совершенной работы органов речи и быстрого чередования разных укладов органов речи.
Контрастные упражнения созданы с целью тренировки и развития навыка артикуляции и соединения
английских звуков для предотвращения ошибок типа «ложной ассимиляции».
Упражнения на ритм содержат все английские гласные и согласные звуки. Это дает возможность
корректировать звуки во фразах в технически более сложных произносительных условиях, чем в фонетических
упражнениях на отдельные слова. Тренировка фраз и предложений одновременно нацелена и на становление и
закрепление интонационного механизма — различных интонационных контуров в сочетании с английской
более сильной акцентуацией.
Ряд упражнений посвящен развитию навыка чтения и самостоятельной интерпретации диалогов. Здесь
можно также рекомендовать письменные задания но транскрибирование и графическое изображение интонации
высказывания.
Прослушивание записей стихов английских и американских писателей, отрывков из художественных
текстов с последующим воспроизведением способствуют совершенствованию фонематического слуха
студентов.
Пособие может быть использовано также для студентов других факультетов, где английский язык изучается
как дополнительная специальность.

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 LESSON 1

The classification of English consonants phonemes

1.1. The particular quality of a consonant depends on the work of the vocal cords, the position of the soft
palate and the kind of noise that results when the tongue or the lips obstruct the air-passage.
There are two types of articulatory obstruction: complete and incomplete.
A complete obstruction is formed when two organs of speech come in contact with each other and the air-
passage through the mouth is blocked.
An incomplete obstruction is formed when an articulating organ (articulator) is held so close to a point of
articulation as to narrow, or constrict, the air-passage without blocking it.
1.2. Consonants are usually classified according to the following principles:
I. According to the type of obstruction and the manner of the production of noise.
II. According to the active speech organ and the place of obstruction.
III. According to the work of the vocal cords and the force of articulation.
IV. According to the position of the soft palate.
1.3. According to the type of obstruction English consonants are divided into occlusive and constrictive.
Occlusive consonants are produced with a complete obstruction formed by the articulating organs, the
air-passage in the mouth cavity is blocked.
Occlusive consonants may be: (A) noise consonants and (B) sonorants.
According to the manner of the production of noise occlusive noise consonants are divided into plosive
consonants (or stops) and affricates. In the production of plosive consonants the speech organs form a complete
obstruction, which is then quickly released with plosion, viz. the English [p], [b], [t], [d], [k], [g] and the Rus-
sian [п], [п’], [б], [б’], [т], [т’], [д], [д’], [к] , [к’], [г] , [г’].

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 In the production of affricates the speech organs form a complete obstruction which is then released so
slowly that considerable friction occurs at the point of articulation, viz. the English [tS], [dZ] and the Russian
[ц], [ч’].
In the production of occlusive sonorants the speech organs form a complete obstruction in the mouth cav-
ity which is not released, the soft palate is lowered and the air escapes through the nasal cavity, viz. the Eng -
lish [m], [n], [N] and the Russian [м], [м’], [н], [н’].
Constrictive consonants are produced with an incomplete obstruction, that is by a narrowing of the air-
passage.
Constrictive consonants may be: (A) noise consonants (or fricatives) and (B) sonorants.
In the production of noise constrictives the speech organs form an incomplete obstruction, viz. the Eng -
lish [f], [v], [T], [D], [s], [z], [S], [Z], [h] and the Russian [ф], [ф’], [в], [в’], [с], [с’], [з], [з’], [ш], [ш’:], [ж], [ж’:].
In the production of constrictive sonorants the air-passage is fairly wide so that the air passing through
the mouth does not produce audible friction and tone prevails over noise.
Constrictive sonorants may be median and lateral.
In the production of median sonorants the air escapes without audible friction over the central part of the
tongue, the sides of the tongue being raised, viz. the English [w], [r], [j].
In the production of lateral sonorants the tongue is pressed against the alveolar ridge or the teeth, and the
sides of the tongue are lowered, leaving, the air-passage open along them, viz. the English [l], and the Rus-
sian [л], [л’].
1.4. According to the active organ of speech English consonants are divided into labial, lingual and glottal.
1. LABIAL consonants may be (A) bilabial and (B) labio-dental.
(A) Bilabial consonants are articulated by the two lips, viz. the English [p], [b], [m], [w] and the Russian [п],
[п’], [б], [б’], [м], [м’].
(B) Labio-dental consonants are articulated with the lower lip against the upper teeth. The English labio-

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dental consonants are [f], [v], the Russian labio-dental consonants are [ф’], [ф], [в], [в’].
2. LINGUAL consonants may be (A) forelingual, (B) mediolingual, and (C) backlingual.
(A) Forelingual consonants are articulated by the blade of the tongue, the blade with the tip or by the tip
against the upper teeth or the alveolar ridge. According to the position of the tip English forelingual conso-
nants may be (a) apical, and (b) cacuminal.
(a) Apical consonants are articulated by the tip of the tongue against either the upper teeth or the alveolar
ridge, viz. the English [T], [D], [t], [d], [l], [n], [s], [z] and the Russian [л], [л’], [ш], [ш’:], [ж], [ж’:], [ч’].
Note. The Russian [т], [т’], [д], [д’], [н], [н’], [с], [с’], [з], [з’] are dorsal, i.e. they are articulated by the blade of the
tongue against either the upper teeth or the alveolar ridge, the tip being passive and lowered.
(b) Cacuminal consonants are articulated by the tongue tip raised against the back part of the alveolar
ridge. The front of the tongue is lowered forming a spoon-shaped depression, viz. the English [r] and the
Russian [р], [р’].
(B) Mediolingual consonants are articulated with the front of the tongue against the hard palate, viz. the
English [j] and the Russian [й].
(C) Backlingual consonants are articulated by the back of the tongue against the soft palate, viz. the Eng-
lish [k], [g], [N] and the Russian [к], [к’], [г], [г’], [х], [х’].
3. GLOTTAL consonants are produced in the glottis, viz. the English [h], [?] (the glottal stop).
According to the point of articulation forelingual consonants are divided into (1) dental (interdental or post-
dental), (2) alveolar, (3) palato-alveolar, and (4) post-alveolar.
(1) Dental consonants are articulated against the upper teeth either with the tip, viz. the English [T], [D],
the Russian [л], [л’], or with the blade of the tongue, viz. the Russian [т], [т’].
(2) Alveolar consonants are articulated by the tip of the tongue against the alveolar ridge: the English [t],
[d], [n], [l], [s], [z] and the Russian [р], [р’].
(3) Palato-alveolar consonants are articulated by the tip and blade of the tongue against the alveolar ridge

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or the back part of the alveolar ridge, while the front of the tongue is raised in the direction of the hard
palate: the English [S], [Z], [C], [G] and the Russian [ш], [ш’:], [ж], [ж’:].
(4) Post-alveolar consonants are articulated by the tip of the tongue against the back part of the alveolar
ridge: the English [r].
According to the point of articulation mediolingual and backlingual consonants are called palatal and ve-
lar, respectively.
1.5. Most consonants are pronounced with a single obstruction. But some consonants are pronounced
with two obstructions, the second obstruction being called coarticulation. Coarticulation may be front (with
the front of the tongue raised) or back (with the back of the tongue raised). The tongue front coarticulation
gives the sound a clear (“soft”) colouring, viz. [l], [S], [Z], [C], [G], and all the Russian palatalized consonants.
The tongue back coarticulation gives the sound a dark (“hard”) colouring, viz. the English dark [l], [w], the
Russian [ш], [ж], [л].
1.6. According to the work of the vocal cords consonants are divided into voiced and voiceless. According
to the force of articulation consonants are divided into relatively strong, or fortis and relatively weak, or lenis.
English voiced consonants are lenis. English voiceless consonants are fortis. They are pronounced with
greater muscular tension and a stronger breath force.
The following English consonants are voiceless and fortis: [p], [t], [k], [C], [f], [T], [s], [S], [h].
The following English consonants are voiced and lenis: [b], [d], [g], [G], [v], [D], [z], [Z], [m], [n], [N], [w],
[l], [r], [j].
The Russian voiceless consonants are weaker than their English counterparts, the Russian voiced conso-
nants are stronger.
1.7. According to the position of the soft palate consonants are divided into oral and nasal.
Nasal consonants are produced with the soft palate lowered while the air-passage through the mouth is
blocked. As a result, the air escapes through the nasal cavity.

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 The English nasal consonants are [m], [n], [N], the Russian – [м], [м’], [н], [н’].
Oral consonants are produced when the soft palate is raised and the air escapes through the mouth.
The following English consonants are oral [p], [b], [t], [d], [k], [g], [f], [v], [T], [D], [s], [z], [S], [Z], [h], [C],
[G], [w], [l], [r], [j] and the Russian [п], [п’], [б], [б’], [т], [т’], [д], [д’], [к], [к’], [ф], [ф’], [в], [в’], [с], [с’], [з],
[з’], [ш], [ш’:], [ж], [ж’:], [ч’], [ц], [л], [л’], [р], [р’], [й].

Articulation of the consonants [p], [b]

The consonants [p, b] are articulated with the lips pressed together. Thus a complete obstruction is
formed so that the air-passage through the mouth cavity is blocked for a short time. Then the lips are quickly
opened and the air escapes with plosion. In the production of [p] the vocal cords are kept apart and do not
vibrate, whereas in the articulation of [b] they are drawn near together and vibrate.
Thus [p] and [b] may be defined as occlusive noise plosive bilabial consonants. The consonant [p] is voiceless-
fortis, the consonant [b] is voiced-lenis. The English [p] in a stressed syllable, when followed by a vowel and
not preceded by [s], is pronounced with aspiration.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[p]

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1. Speak up. ['spJk vAp] Говорите громче.
2. Present company excepted. [ֽprezqnt ֽkAmpqnI Ik"septId] О присутствующих не говорят.
3. Keep up appearances.[ˋkJp Ap q"pIqrqnsIz] Соблюдайте приличия.
4. Please point my pencil. [ˋplJz point maI "pensl] Пожалуйста, зачините мой карандаш.
5. The piano’s past repair. [Dq 'pjxnquz pRst rIˎpFq] Это пианино невозможно починить.
6. Pat’s a perfect paragon. ['pxts q 'pWfIkt ˋpxrqgqn] Пет – образец для подражания.
7. Pete’s as pleased as Punch. ['pJts qz 'plJzd qz ˋpAnC] Пит очень доволен.
8. Percy’s as proud as a peacock. ['pWsIz qz 'praud qz q ˋpJkOk] Пэрси очень горд.
9. Poll’s as plump as a partridge. ['pOlz qz 'plAmp qz q ˋpRtrIG] Полли пухленькая.
10. Peg’s as pretty as a picture. ['pegz qz 'prItI qz q 'pIkCq] Пег хорошенькая.

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 11. Stop playing Pantaloon. [ˋstop ֽpleIIN pxntq"lHn] Не валяй дурака.
12. They pulled Paul to pieces. [DeI 'puld 'pLl tq ˎpJsIz] Они раскритиковали Поля в пух и прах.
13. Pam popped up again. ['pxm pOpt 'Ap qˋgen] Пэм неожиданно появилась опять.
14. It put poor Pete on the spot. [It 'put puq 'pJt On Dq ˋspOt] Это поставило беднягу Пита в
затруднительное положение.
15. Don’t pass up the opportunity, Rupert. ['dqunt pRs 'Ap Di OpqvtjHnqtI ֹrHpqt] Не упуская
возможность, Руперт.
16. Pop spared no pains to prevent the purchace. [pOp 'spFqd nqu 'peInz tq prIˋvent Dq ֽpWCqs] Папа
сделал все, чтобы не дать состояться покупке.
17. It’s the pick of the paperbacks. [Its Dq 'pIk qv Dq ˋpeIpqbxks] Это самая лучшая из книг в мягкой
обложке.
18. Papa, potatoes, poultry, prunes and prism are all very good words for the lips – especially prunes and
prism. [pq"pR pq"teItquz "pqultrI "prHnz qnd "prIzm qr 'Ll 'verI gud ֹwWdz fq Dq ˎlips IsˆpeSlI ֽprHnz qnd vprIzm]
(Ch. Dickens) Папа, помидор, птица, персики и призмы – прекрасные слова для губ, особенно персики
и призмы. (Пер. М.А. Энгельгардта)
1. The Polka
by Ogden Nash

Hop step step step,

Hop step step step,
Go the Polish dancers.
Polka or Mazurka?

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I wish I knew the answers.
Such names to me sound rigmarolish,
I must polish up my Polish.

2. Outer Space
by Robert Frost

But outer space,

At least thus far,
For all the fuss
Of populace
Stays more popular
Than populous.

3. P’s and Q’s

P stands for every pretty thing, wherever

you may find it,
The sweet Pea in the garden, and the
Pretty face behind it,
It stands for Peace and Plenty too, ‘tis
well that we should mind it.

P stands for many other things, for

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 Prejudice and pride,
For Pertness, Pique, Perversity, and
Petulance beside,
And these are P’s that we must mind,
and keep them far and wide.

"Ship or Sheep" Unit 24" Passports, please"

(Mr. And Mrs. Tupman are at the airport. They have just got off the plane from Paris.)
Official: Passports, please.
Mr. T.: I think I've lost the passports, Poppy,
Mrs. Т.: How stupid you are, Peter! Didn't you put them in your pocket?
Mr. T.: (emptying his pocket) Here's a pen… a pencil… my pipe…a postcard…an envelope…a stamp…a
pin
Mrs. T.: Oh, stop taking things out of your pocket. Perhaps you put them into the plastic bag?
Mr. Т.: (emptying the plastic bag) Here's a newspaper…an apple… a pear…a plastic cup…a spoon…
some paper plates…a piece of pork pie…a pepper pot…
Mrs. T.: Oh, stop pulling things out of the plastic bag, Peter. These people are getting impatient.
Mr. Т.: Well, help me, Poppy.
Mrs. T.: We’ve lost our passports. Perhaps we dropped them on the plane.
Official: Then let the other passengers past, please.
Mr. Т.: Poppy, why don't you help? You aren't being very helpful. Put the things in the plastic bag.

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 Official: Your name, please?
Mr. Т.: Tupman,
Official: Please go upstairs with this policeman, Mr. Tupman.

Tone Group 1

All statements sound definite and complete. Tone Group 1 is characteristically used to convey a cool,
calm, phlegmatic, detached, reserved, dispassionate, dull, grim or surly attitude on the part of the speaker, e.
g.:
What’s your name? ˎJohnson.
It’s ֽֽgetting ˎlate.
I’ve got the sack. I’m ֽֽnot surˎprised.

Special questions sound rather flat and unsympathetic, quite often even hostile, e. g.:
Can you lend me some money? ֽֽWhat do you ˎwant it ֽ for?

The attitude with general questions is detached, phlegmatic, reserved e. g.:

This knife’ s too blunt. Is ˎthis one ֽany ֽbetter?

Tone Group 1 is used for question tags when they follow statements containing the low-falling nuclear
tone. In such cases the speaker expects his statement to be confirmed by the listener, e. g.:
What a 'beautiful ˎday, | ˎisn’t it?

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 When the Low Fall is used the comment is apt to convey a total lack of interest, or else a mood of grim
hostility, e. g.:
I’ve just come back from Paris. ˎHave you?
This tone group is used in alternative questions to mark the last of the alternatives, e. g.:
'Would you like "tea | or ˎcoffee?

The final fall implies that these are the only choices and that the list is complete.
Tone Group 1 is used for unemotional, calm, controlled, often cold commands, e. g.:
ˎDon’t. ˎTake it.

Interjections with this tone group sound calm, unsurprised, self-possessed, reserved, e. g.:
ˎGood. ˎRight. ˎNonsense.

Notice in particular ˎThank you to express genuine, though unexcited, gratitude.

Tone group 1

Tune I

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LOW FALL ONLY
'Can you ֹcome toˎmorrow? ˎNo.
'Whose ˎbook is ֽthis? ˎMine.
You must 'ask for them ˎnow. ˎWhy?
He 'simply 'must ˎgo. ˎWhen?
I’ll ˎsend it ֽto him. ˎDo.
'What do you ad'vise me to ˎdo? ˎGo.
He’s 'just arˎrived. ˎOh!
'Here’s your ˎsweater. ˎThanks!

Tune II
LOW FALL + TAIL
'What’s your ˎname? ˎJohnson.
'Who’s ֹrunning the ˎmusic ֽclub ˎPeter’s going to run it.
this ֽyear?
ֽֽSomeone’s bound to ֽhave one. ˎWho eֽxactly?
He 'says he’s ˎcoming. ˎWhy is he ֽcoming?
He’s for'gotten to 'shut the ˎgate. ˎIsn’t he ֽstupid!
What a 'very ֹnice ˎhouse! ˎYes, | ˎisn’t it?
I 'rather like "Mary. ˎVery ֽpleasant, | ˎisn’t

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 she?
What 'shall I ˎdo with this ֽrubbish? ˎBurn it.
'Watch me 'juggle with these plates. ˎNow ֽlook what you’ve
ֽdone.
'Would you 'like an "apple? ˎThank you.
Oh I am ֽcold. ˎNonsense!

Tune III
LOW PRE-HEAD + LOW FALL (+ TAIL)
'What’s your ˎjob? I’m a ˎshop asֽsistant.
'Where did you 'go to ˎschool? Well I was at a ˎnumber
of ֽschools.
v
Someone’ll ֽhave to ֽdo it. But ˎwho?
I’ve vsaid I’ll ֽmeet you. Yes but ˎwhere?
I’ve got 'so ֹmany 'things to ˎdo. Can ˎI ֽhelp it ֽall?
Thank you for your "offer. Will itˎhelp, do you
ֽthink?
'May I 'borrow this "pen? Yes, ˎdo.
I ↘can’t tell you vnow. Then ˎphone me aֽbout it.
'Did you 'lock the 'back "door? Of ˎcourse!

18
I’m a'fraid I’ve ֹgot a ˎcold! No ˎwonder!

Tune IV
(LOW PRE-HEAD +) LOW HEAD + LOW FALL (+ TAIL)
'What would you 'like for ˎdinner? I ֽֽdon’t ˎknow.
'What’s that 'tray ˎmade of? It’s ֽֽmade of a ֽֽsort of
ˎplastic.
'Which 'road shall we ˎtake? ֽֽWhich is the ˎquicker?
I’m a'fraid I’ve 'lost your pen. ֽֽWhat are you ֽֽgoing to
ˎdo aֽbout it?
I don’t know what to ֽtell ֽJean. ֽֽNeed we ֽֽtell her
ˎanything?
'Thank you so "much. ֽֽDon’t ˎmention it.
It was 'very ˎkind of you. ֽֽNot in theˎ least.
I’m 'very pleased with "Sue. ֽֽSo you ˎought to be.

19
 LESSON 2

“Ship or sheep” Unit 25 “Happy birthday”

Bob: Hello, Barbara:

Barbara: Hello, Bob, It's my birthday today,
Bob: O, yes! Your birthday! Happy birthday, Barbara!
Barbara: Thank, Bob. Somebody gave me this blouse for my birthday.
Bob: What a beautiful blouse! It's got brown and blue butterflies on it.
Barbara: And big black buttons.
Bob: Did Ruby buy it for you?
Barbara: Yes. And my brother gave me a hairbrush and a book about baby birds.
Bob: I didn’t remember your birthday, Barbara. I'm terribly sorry.
Barbara: Well, you can buy me a big bottle of perfume, Bob!
Bob: I've got a better idea. We'll get into a cab and go to a pub, and I'll buy you a bottle of beer!

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[b]

20
1. Be brief. [ˉbJ "brJf] Будьте лаконичны. (Короче.)
2. A bad job. [q 'bxd ˎGob] Гиблое дело.
3. A bad blunder. [q 'bxd ˎblAndq] Грубая ошибка.
4. Bad’s the best. [ˋbxdz Dq vbest] Ничего хорошего не предвидится.
5. The biter’s bit. [Dq 'baItqz ˋbIt] Попался, который кусался.
6. Ben’s a bag of bones. ['benz q 'bxg qv ˎbqunz] Бен худой как щепка.
7. Rob’s as blind as a bat (beetle). ['rObz qz 'blaInd qz q ˋbxt (ˋbJtl)] Роб подслеповат.
8. Betty’s as bold as brass. ['betIz qz 'bquld qz ˋbrRs] Бетти – нахалка.

21
 9. Barbara’s as busy as a bee. ['bRbqrqz qz 'bIzI qz q ˋbJ] Барабара – хлопотунья.
10. Bob is a big bug. ['bOb Iz q 'bIg ˋbAg] Боб – большая шишка.
11. Bel has a bee in her bonnet. ['bel hxz q ˋbJ In hq ֽbOnIt] Бел с причудами.
12. Bab lives at the back of beyond. ['bxb 'lIvz qt Dq 'bxk qv bIˋjOnd] Бэб живет у черта на куличиках.
13. Don’t be a busybody, baby. [ֽdqunt bi· q ˆbIzIbOdI ֽbeIbI] Не суй нос в чужие дела, дорогуша.
14. Bid good-bye to your baby-brother. ['bId gud"baI tq jO· ֽbeIbI"brADq] Попрощайся с братиком.
15. Bram broke the back of the business. [ֽbrxm ֽbrquk Dq ˋbxk qv Dq ֽbIznIs] Брэм сделал самую тяжелую
часть работы.
16. Bee is a bread-and-butter miss. ['bJ Iz q 'bred qnd 'bAtq mIs] Би – девочка школьного возраста.
17. Bob was black-balled. ['bob wqz 'blxkˎbLld] Боба забаллотировали.
18. I’m bored by both, Beck and Bert. [aIm 'bLd baI bquT 'bek qnd ˋbWt] Мне надоели оба – и Бек и Берт.
19. Rob wishes not to seem but to be the best. ['rOb wISIz 'nOt tq vsJm bqt tq ˋbJ Dq ֽbest] Роб хочет не
казаться, а быть самым лучшим.
20. One beats the bush, another takes the bird. ['wAn 'bJts Dq v buS q"nADq 'teIks Dq ˋbWd] Один
работает, другой наживается.

1. B’s the Bus

by Phyllis McGinley

B’s the Bus

The bouncing Bus,

22
That bears a shopper store-ward.
It’s fun to sit
In back of it
But seats are better forward.
Although it’s big as buildings are
And looks both bold and grand,
It has to stop obligingly
If you but raise your hand.

2. Bacon and Eggs

by Sir A.P. Herbert

Now blest be the Briton, his beef and his beer,

And all the strong waters that keep him in cheer,
But blest beyond cattle and blest beyond kegs
Is the brave British breakfast of bacon and eggs –

Bacon and eggs,

Bacon and eggs;
Sing bacon,
Red bacon,
Red bacon and eggs!

O breakfast! O breakfast! The meal of my heart!

23
 Bring porridge, bring sausage, bring fish for a start,
Bring kidney and mushrooms and partridges’ legs,
But let the foundation be bacon and eggs –

Bacon and eggs;

Bacon and eggs;
Bring bacon,
Crisp bacon,

And let there be eggs!

“Tit for Tat”

A 'boy 'bought a ↑twopenny ˎloaf at a ˎbaker’s. It v struck him | that it was 'much ˋsmaller than "usual, |
so he 'said to the "baker, | “'I don’t be'lieve this 'loaf is the 'right ˎweight.” “ˎOh, | ˋnever "mind,” | ֽanswered
the "baker, | “'You’ll 'have the 'less to ˆcarry.” “'Quite ˎright,” said the ֽboy | and 'put ↑three-ˎhalfpence ֽon
the ˎcounter. 'Just as he was ˋleaving the "shop | the 'baker 'called ˎout to him, | “I ˋsay, "Tommy, | you
'haven’t 'given me the 'price of the ˋloaf!” “Oh, 'never ˋmind,” said the "boy, | “ֽyou’ll ֽhave the ֽless to
ˆcount!”

“Stories for reproduction” Text 1

24
 Two Mexicans had accused each other of cheating, and both of them were getting angrier and angrier.
“I'll kill you!” shouted Jose.
Miguel laughed rudely and answered, “You could never kill me; but I could kill you”
“Just try!” Jose shouted back. “We'll fight a duel in the park at five o'clock tomorrow morning.”
“No, not in the park,” Miguel answered. “The police might see or hear us there. Let's go out to a quiet
place in the country.”
“All right,” said Jose, “I accept. Let's go to San Antonio by the first train tomorrow morning. That's where
I usually fight my duels.”
“I do too!” answered Miguel.
The next morning they went to the railway station together, and Jose bought a return ticket, but Miguel
bought a single one.
“Ho, ho!” said Jose, “so you don't expect to return? I always get a return ticket.”
“I never do,” answered Miguel calmly. “I always use my opponent's other half.”

W. Wordsworth “Upon Westminster Bridge”

Earth has not anything to show more fair:

Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth like a garment wear

The beauty of the morning, silent, bare

Ships, towers, domes, theatres and temples lie

25
 Open unto the fields, and to the sky:
All bright and glittering in the smokeless air.

Never did sun more beautifully steep

In his first splendor, valley, rock or hill;
Ne’er saw I, never felt, a calm so deep!
The river glideth at its own sweet will:
Dear, God! the very houses seem asleep;
And all that mighty heart is lying still!

26
 LESSON 3

Articulation of the consonants [t], [d]

The consonants [t, d] are articulated with the tip of the tongue pressed against the alveolar ridge (apical
articulation). Thus contact is formed so that the air-passage through the mouth is blocked for a short time.
Then the tip of the tongue is quickly removed from the alveolar ridge and the air escapes with plosion. In the
production of [t] the vocal cords are kept apart and do not vibrate, whereas in the articulation of [d] they are
drawn near together and vibrate.
Thus [t] and [d] may be defined as occlusive noise plosive fore-lingual apical alveolar consonants; the conso-
nant [t] is voiceless-fortis, the consonant [d] is voiced-lenis.
The English [t] in a stressed syllable, when followed by a vowel and not preceded by [s], is pronounced
with aspiration.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[t]

27
 1. ‘twas What sport. [ˉwOt ˎspLt] Презабавно!
2. Get it right. ['get It vraIt] Поймите меня правильно.
3. Cut it short. [ֽkAt It "SLt] Короче.
4. To return to our muttons. [tq rI'tWn tu auq ˋmAtnz] Вернемся к теме разговора.
5. Try to put it right. [ˋtraI tq put It "raIt] Попытайся починить это.
6. Tom’s quite washed out. ['tOmz 'kwaIt wOSt ˋaut] Том крайне утомлен.
7. Don’t take it to heart. [ˋdqunt ֽteIk It tq "hRt] Не принимай это близко к сердцу.
8. Tim is hard put to it. ['tIm Iz 'hRd ˋput tu It] Тим без гроша.
9. Mart is as true as steel. ['mRt Iz qz 'trH qz ˋstJl] Март – честнейший человек.
10. Ted is a bit of a wet blanket. [ֽted Iz q ֽbIt qv q ֽwet "blxNkIt] Тед – скучный человек.

28
 11. You are telling pretty tall stories. [ˋjHq ֽtelIN prItI 'tLl ˋstLrIz] Ты рассказываешь небылицы.
12. I don’t like my tea too strong. [aI 'dqunt laIk maI 'tJ 'tH vstrON] Я не люблю очень крепкий чай.
13. I don’t want to get mixed up. [aI 'dqunt wOnt tq 'get mIkst vAp] Я не хочу впутываться (в это).
14. Put two and two together. ['put 'tH qn 'tH tqˋgeDq] Сделай вывод.
15. It went out of date. [It 'went aut qv ˎdeIt] Это устарело.
16. Tess took Tim to task. ['tes tuk 'tIm tq ˋtRsk] Тесс задала Тиму взбучку.
17. Tina, don’t speak out of your turn. [ˋtJnq 'dqunt 'spJk aut qv jO· vtWn] Тина, отвечай только тогда,
когда тебя спрашивают.
18. Toby still treats the matter lightly. ['tqubI ˋstIl ֽtrJts Dq ֽmxtq "laItlI] Тоби все еще относится к этому
беспечно (не принимает всерьез).
19. Tony oughtn’t to stay out late. ['tqunI 'Ltnt tq steI 'aut ˋleIt] Тони не следует приходить домой так
поздно.
20. Better the foot slip than the tongue trip.=[ ֽbetq Dq ˋfut "slIp Dqn Dq ˋtAN ֽtrIp] Лучше оступиться, чем
оговориться.

1. Duty of the Student

by Edward Anthony

It is the duty of the student

Without exception to be prudent.
If smarter than his teacher, tact

29
 Demands that he conceals the fact.

2. Cats
by Sinclair Lewis

This is a cat that sleeps at night,

That takes delight
In visions bright,
And not a vagrant that creeps at night
On box cars by the river,

This is a sleepy cat to purr

And rarely stir
It’s shining fur,
This is a cat whose softest purr
Means salmon, steaks, and liver.

That is a cat respectable

Connectable
With selectable,
Whose names would make you quiver.

That is a cat of piety,

Not satiety,

30
But sobriety.
Its very purr is of piety
And thanks to its Feline Giver.

“Ship or Sheep” Unit 26 “In a department store”

Pretty girl: I want to buy a hat.

Assistant: Hats are upstairs on the next floor.
Fat man: Where can I get a hot meal?
Assistant: The restaurant is on the thirteenth floor.
Little girl: I want to buy some bootlaces.
Assistant: They're on the next counter on you left, dear.
Lady: I want some tins of tomato paste.
Assistant: Try the supermarket in the basement.
Gentleman: Could you tell me where the travel agency is?
Assistant: It's right next to the cafeteria on the thirteenth floor.
Student: I want to buy a football.
Assistant: Take the lift to the sports department. It's on the top floor.
Little boy: Could you tell me where the telephone is?
Assistant: It's on the twelfth floor opposite the photographer's.
Twins: Could you tell us the time, please?
Assistant: Yes. It's exactly twenty two minutes to ten.

“One too many for him”. Text

31
 A vschoolboy|who had been ↘working a 'good ↘deal at avrithmetic, |'came 'home one 'summer for his
ˋholidays. ¯One "evening| there were 'two 'roast ˋpigeons on the vdinner table; | and the vboy, | who
ˋthought himself very vsmart, | 'said to his "father, | “I can 'prove to 'you by a vrithmetic | that 'those ↑two
'pigeons are ˋthree.” “ˋOh!” said his ֽfather, | “'how do you 'manage ˋthat?” “"Well, | this is "one, | and
'that is "two: | and 'one and 'two make ˋthree.”
“How 'very ˋclever!” exֽclaimed his ֽfather. “Then your 'mother shall have the "first, | 'I’ll 'eat the "second,
| and 'you can 'have the ˋthird!”

G.G. Byron “Twilight”

It is the hour when from the boughs

The nightingale’s high note is heard;
It is the hour when lovers’ vows
Seem sweet in every whisper’d word;
And gentle winds, and waters near,
Make music to the lonely ear.
Each flower the dews have lightly wet,
And in the sky the stars are met,
And on the wave is deeper blue,
And on the leaf a browner hue,
And in the heaven that clear obscure,
So softly dark, and darkly pure,

32
Which follows the decline of day,
As twilight melts beneath the moon away.

33
 LESSON 4

Intonation. Its main functions

The most essential speech unit, complete and independent enough to function as a unit of communica -
tion, is the sentence. It can perform this function not only because it consists of words that are made up of
definite sounds, have a definite meaning, and follow each other in a definite order according to the rules of
the language, but also because it possesses definite phonetic features, without which the sentence cannot
exit. These features are closely connected with the meaning of the utterance as a whole and carry important
information that the words of the utterance do not convey. They are superimposed upon the sounds making
up the sentence in the process of speech and are inseparable from it.
These features are called prosodic, or supra-segmental and include speech melody, sentence-stress,
tempo, rhythm, pauses. So intonation is a complex of these prosodic features. Of all these prosodic phenom -
ena the most important are speech melody and sentence-stress.
The main functions of intonation are:
(a) sentence-forming;
(b) sentence-delimiting;
(c) distinctive;
(d) attitudinal.
(a) Intonation, along with words and grammatical structure, is an indispensable feature of
the sentence. A chain of words correctly used according to grammatical rules does not necessarily make an
unambiguous utterance with a clear communicative aim, if pronounced without differentiations in pitch and
stress. For instance, “'He’s 'passed 'his e'xam” may be taken for a statement, or a question, or an exclamation,
while with a definite intonation contour superimposed on this chain of words, the communicative aim of the

34
utterance is clearly revealed.
Compare:
He’s 'passed his eˎxam. – A statement of fact.
He’s 'passed his e´xam? – A question.
He’s 'passed his e"xam? – A question + surprise.
He’s ˋpassed his eˋxam! – An exclamation.
He’s ↘passed his evxam. – A statement + implication.
(The implication may be: So he must know something. He’s probably not so lazy after all. Now he may
take a rest, etc.)

(b) The end of a sentence is always recognized by a pause of varying length combined with
a moving (or nuclear) tone on the most important word of the sentence; the end of a non-final sense-group is
usually signalled by a shorter pause in combination with a nuclear tone on the semantic centre of the sense-
group.
E.g. Like 'most 'old "people, | he was 'fond of 'talking about 'old ˎdays.
(c) The distinctive function of intonation is apparent from the fact that communicatively
different types of sentences are distinguished by intonation alone.
Compare:
It’s 'no 'use 'sending for the ˎdoctor. – A categoric statement (low fall in the nucleus).
It’s 'no 'use 'sending for the "doctor. – A non-categoric statement (low rise in the nucleus).
It’s 'no 'use 'sending for the ´doctor? – A question (high rise in the nucleus).
It’s ↘no ↘use ↘sending for the vdoctor. – A statement + implication (fall-rise in the nucleus).

35
 'Wait ˎhere! – A categoric order (a falling tone).
'Wait "here! – A polite request (a rising tone).
ˎIsn’t she a ֽnice ֽgirl! – An exclamation (a falling tone).
ֽIsn’t she a ֽnice "girl? – A general question (a rising tone).

The decisive role of intonation in defining the communicative type of an utterance stands out clearly in
those cases where grammar and intonation are at variance; for example, where the grammatical features sug-
gest a statement but the intonation turns the utterance into a question, or vice versa, e.g. –
You ´like it?
ˎIsn’t he ֽstupid!
(His ֽpictures are ֽvery ˎstriking.) – ˎYes, ˎaren’t they?
(It 'looks like ˎrain.) – It ˋdoes, ˋdoesn’t it?
(d) Attitudinal meanings (the mood of the speaker, his attitude to the situation and to the
listener) are also expressed only by intonation.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[d]

36
1. Good day. [ˉgud "deI] До свидания.
2. How do you do. ['hau dju ˎdH] Здравствуйте.
3. I’d be delighted. [aId bi· dIˆlaItId] Буду очень рад (счастлив).
4. Mind the head. [ˋmaInd Dq "hed] Не высовывайся.
5. Draw it mild. ['drL It "maIld] Не преувеличивай.
6. Don’t disturb. ['dqunt dIsvtWb] Просьба не входить.
7. Good riddance. ['gud ˎrIdns] Скатертью дорога.

37
 8. Dogged does it. ['dOgId ˋdAz It] Упорство приносит победу.
9. Dad’s a good driver. ['dxdz q 'gud ˋdraIvq] Папа хорошо водит машину.
10. The kid’s as good as gold. [Dq 'kIdz qz 'gud qz ˋgquld] Это очень хороший ребенок.
11. Beyond the shadow of a doubt. [bI'jOnd Dq ˋSxdqu qv q ֽdaut] Несомненно.
12. The invalid is doing splendidly. [Di ֽInvqlId Iz ֽdHIN ˋsplendIdlI] Больной чувствует себя прекрасно.
13. Dick had read himself stupid. [ˋdIk hqd ˋred himself vstjHpId] Дик дочитался до одурения.
14. Dumb dogs are dangerous. ['dAm 'dOgz Q· ˆdeInGqrqs] В тихом омуте черти водятся.
15. What good did that do, I wonder? ['wOt gud dId ˆDxt dH aI wAndq] Ну, и какой от этого был толк?
16. The dog-days seemed to have no end. [Dq 'dogdeIz ֹsJmd tq hxv 'nqu ˎend] Испепеляющая жара,
казалось, никогда не кончится.
17. Dad couldn’t deny that I’d made good. ['dxd ֹkudnt dIˋnaI Dqt aId ֽmeId ֽgud] Папа не мог отрицать,
что я преуспел.
18. Dolly is their adopted daughter, I understand. ['dOlI Iz Deqr qˋdOptId ֽdLtqr aI Andqֽstxnd] Долли – их
приемная дочь, кажется.
19. Dell acted on Dan’s advice. That is sad indeed. ['del 'xktId On ˋdxnz qd"vaIs Dxt ˋIz sxd InˋdJd] Делл
послушалась совета Дана. Это очень печально.
20. Dave is in a decidedly good mood. ['deIv Iz In q dIˋsaIdIdlI gud ˋmHd] Дейв явно в хорошем
настроении.

1. The Time-table of Lazy-bones Grundy

38
by R. L. Stevenson

Lazy-bones Grundy
Must do sums for Monday.
“And today it is Tuesday”,
Says lazy-bones Grundy,
“So, I’ll do it on Wednesday,
If not – then on Thursday,
Or even on Friday
And Saturday comes,
But lazy-bones Grundy
Has no time for sums.
“Never mind”, says Grundy,
“I’ll do it on Sunday!”

2. Young and Old

by Charles Kingsley

When all the world is young, lad,

And all the trees are green;
And every goose a swan, lad,
And every lass a queen;
Then hey for boot and horse, lad,
And round the world away;

39
 Young blood must have its course, lad
And every dog his day.

When all the world is old, lad,

And all the trees are brown;
And all the sport is stale, lad,
And all the wheels run down;
Creep home, and take your place there,
The spent and maimed among:
God grant you find one face there,
You loved when all was young.

“Ship or sheep” Unit 27 “A damaged telephone”

Daisy: Dunston 238282.

Donald: Hello, Daisy. This is Donald
Daisy: Oh, hello, darling.
Donald: What did you do yesterday, Daisy? You forgot our date, didn't you?
Daisy: Well, it rained all day, Donald, and I have a bad cold, so I decided to stay at home.
Donald: Did you? I telephoned twenty times and nobody answered.
Daisy: Oh, the telephone was damaged. They repaired it today.
Donald: What did David do yesterday? Did he and Dotty go dancing?
Daisy: No. They stayed at home and played cards with the children.
Donald: And what did you do? Did you play cards too?

40
 Daisy: No. Sidney and I listened to the radio and studied. What did you do yesterday, Donald?
Donald: I've just told you, Daisy I tried to phone you twenty times!

“Stories for reproduction” Text 2

Mrs. Evans went to a large local cinema one summer afternoon. Half-way through the wonderful film
there was the usual interval, so that people could buy sweets, chocolates and ice-cream.
Mrs. Evans rarely bought anything in the cinema, but this time she was feeling hot, so she thought, “I'll
have an ice-cream to cool me. I certainly need it.” Quite a lot of the audience were waiting to buy ice-creams
from the girl who was selling them, so Mrs. Evans waited for her turn.
There was a small boy in front of her. When it was his turn, he offered the girl ten pence and asked for an
ice-cream, but they cost twenty pence, so the girl said, “I want another ten pence, please.”
The small boy put the coin back in his pocket, put his hand in another pocket, took out another ten pence
coin and offered that to the girl.
Mrs. Evans was so amused that she paid the other ten pence herself.

Tone group 2

This is used to give a categoric, considered, weighty, judicial, dispassionate character to statements. Such
pronouncements are more emphatic and often more ponderous-sounding than with Tone Group 1, e. g.:
Are you sure? 'Abso'lutely ˎcertain.

41
 What shall I do? I 'simply 'can’t imagine.

This tone group adds weight to expressions of enthusiasm as well as of disapproval, e. g.:
It was 'perfectly ˎwonderful.
It was 'simply ˎterrible.

Special questions are searching, serious, intense, responsible, and are often used to suggest impatience or
irritability, e. g.:
'Why not 'come and have ˎdinner ֽwith us?
Now 'where did I 'put my ˎpipe?
'Why did you ˎdo such a ֽstupid ֽthing?

General questions with this tone group sound as subject for discussion, e. g.:
'Would you pre ֹfer ˎthis ֽchair?

Questions beginning with "Will you ..." are in reality imperatives, e. g.:
'Will you be ˎquiet?
The negative form of these general questions is used as an exclamatory device, e. g.:
'Isn’t it ˎwonderful!

Such commands are firm, serious, considered, weighty, pressing, dispassionate, e.g.:
Now 'take it ˎslowly.

42
'Don’t be riˎdiculous.
'Please be ˎquiet.
This tone group is very common with interjections and gives great emphasis to them, e. g.:
How 'very peˎculiar! What ˎnonsense!

Tune I
STEPPING HEAD + LOW FALL (+ TAIL)
'Isn’t she 'very "bright? 'Mad as a ˎhatter.
¯Is it "easy? 'Not so 'easy as you might
ˎthink.
I’m aֹfraid I 'can’t ˎdo it. 'Can’t do ˎwhat?
ֽֽWhat’s he ˋsaying? 'How can I 'hear when
you’re 'making 'so
muchˎnoise.
It’ll be ↘very exvciting. 'Will you 'stick to the ˎpoint?
He’s 'two ֹhours 'late aˋgain. 'Isn’t he 'just a 'sort of
'person to 'drive you ˎmad?
'What do you 'think you’re 'Mind your ֹown ˎbusiness.
ˋdoing?
'What do you 'want ˎme 'Read the 'paragraph be'gin-

43
 to ֽdo? ning at the 'bottom of the
'next 'page but ˎone.
'Here I 'am at ˎlast. 'Welcome ˎback!
'Isn’t it ˎmild toֽday! 'What a 'difference from 'this
time ˎlast ֽweek!

Tune II
LOW PRE-HEAD + STEPPING HEAD + LOW FALL (+ TAIL)
'Why did you ֹrun aˋway? I ֹhaven’t the 'slightest iˎdea.
'Where’s thatˎbook of ֽmine? I’ve 'put it a'way in the
'dining room ˎcupboard.
'Will you "help? ֹHow could I 'possibly reˎfuse?
'Oh for a ֹbit of ˋquiet! When 'will they 'stop
'making that 'dreadful ˎdin?
It’s ↘quite an vinteresting Would you 'say it’s a 'practical
iֽdea. propoˎsition?
We’ve 'both got the 'same Now 'isn’t 'that peˎculiar!
ˋanswer.
Do you re'member our 'walk What a 'beautiful ˎday,

44
(ˎwasn’t it?)
We’ll be 'there in ˎno ֽtime.
It’s ֽֽnot "much of ֹrisk.
'How shall I 'make my ˎpeace? ֹGive the ֹgirl the ֹmost ex'pen-
'Here’s the ˋpen you ֽlost.
I 'haven’t 'seen you for ˋages.
HIGH PRE-HEAD + LOW FALL (+ TAIL)
I’ll 'fetch you in the ˋcar. ¯That ˎis ֽgood of you.
You ↘won’t do it vthat ֽway.
´What did you ֹsay the ad
ֹdress was?
Well he says he ֽneeds it.
v
We ↘can’t leave vyet. It’s
in 'Epping "Forest?
Now 'take it ˎslowly.
Well 'don’t 'say I 'didn’t
ˎwarn you.
sive 'meal you can afˎford.
ֹThank you 'very 'much
inˎdeed!
And i'magine us 'meeting
ˎhere of ֽall ֽplaces!
Tune III
¯Well ˎhow, ֽthen?
¯How many ˎmore ֽtimes
d’you ֽwant ֽtelling?
¯Yes but ˎdoes he, in ֽall
ֽhonesty?
¯Now ˎisn’t that
45
 ˋraining. inֽfuriating?
↘
I don’t want your ֽhelp.
v
¯Do it yourˎself, ֽthen.
He just 'shouted me ˋdown. ¯The ˎbrute!
ˋHullo, "Jack! ¯Good ˎevening, Mr. ֽDean!

46
 LESSON 5

Articulation of the consonants [k] [g]

The consonants [k, g] are articulated with the back of the tongue pressed against the soft palate. Thus con-
tact is formed so that the air-passage through the mouth is completely blocked for a short time. Then the
back of the tongue is quickly removed from the soft palate and the air escapes with plosion. In the produc-
tion of [k] the vocal cords are kept apart and do not vibrate, whereas in the articulation of [g] they are drawn
near together and vibrate.
Thus [k] and [g] may be defined as occlusive noise plosive backlingual velar consonants; the consonant [k] is
voiceless-fortis, the consonant [g] is voiced-lenis.
The English [k] in a stressed syllable, when followed by a vowel and not preceded by [s], is pronounced
with aspiration.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[k]

47
 1. Cocks crow. ['kOks "krqu] Петухи кукарекают. Cats caterwaul. ['kxts "kxtqwLl] Кошки задают
кошачьи концерты. Crows caw. ['krquz "kL] Вороны каркают. Ducks quack. ['dAks "kwxk] Утки крякают.
Peacocks scream. ['pJkOks "skrJm] Павлина пронзительно кричат.
2. Cry quits. ['kraI ˋkwIts] Скажи, что сдаешься.
3. Cut and come again. ['kAt qnd 'kAm qˋgeIn] Кушайте на здоровье.
4. The cast is clear. [Dq 'kqust Iz ˋklIq] Опасности нет.
5. Frank kicks against the pricks. ['frxNk 'kIks qgeInst Dq ˋprIks] Фрэнк лезет на рожон.
6. Ken’s as cold as a cucumber. ['kenz qz 'kquld qz q ˋkjHkqmbq] Кен очень хладнокровен.

48
 7. Kate’s as weak (melancholy) as a cat. ['keIts qz 'wJk ('melqNkqlI) qz q ˋkxt] Кэйт – размазня.
8. Kirk is the cock of the school. ['kWk Iz Dq 'kOk qv Dq ˋskHl] Керк – первый драчун в школе.
9. Kay is like a walking dictionary. ['keI Iz laIk q 'wLkIN ˋdIkSqnrI] Кей очень много знает. (Кей –
ходячая энциклопедия.)
10. Keep quite quiet. [ˋkJp kwaIt "kwaIqt] Не шумите! Замолчите!
11. Come back and keep us company. ['kAm 'bxk qnd 'kJp qs "kAmpqnI] Возвращайтесь, составите нам
компанию.
12. Kim’s coat could do with a clean. [kImz ˋkeut kud ˋdH wID q vklJn] Надо отдать в чистку пальто
Кима.
13. Kay comes like clock-work. ['keI 'kAmz laIk ˋklOkwWk] Кей приходит минута в минуту.
14. Kiki cannot take a joke. ['kIkI 'kxnOt teIk q ˋGquk] Кики не понимает шуток.
15. School keeps on till six o’clock. ['skHl kJps "On tIl 'sIks qˋklOk] Уроки в школе продолжаются до
шести часов.
16. Kit kept it quite dark. [ֽkIt kept It 'kwaIt ˎdRk] Кит держал это в секрете.
17. Come back as quick as you can. ['kAm 'bxk qz 'kwIk qz ju· ˋkxn] Возвращайся побыстрее.
18. Care killed a cat, not work. [ˋkFq ֽkIld q "kxt 'nOt vwWk] Забота старит, не работа.
19. So that accounts for the milk in the cocoanut. [squ ˋDxt qֽkaunts fq Dq ֽmIlk In Dq ֽkqukqunAt] Так вот где
собака зарыта.
20. If you agree to carry the calf, they’ll make you carry the cow. [If ju· q'grJ tq 'kxrI Dq vkRf DeIl ֽmeIk ju·
kxrI Dq ˋkau] Только согласись нести теленка, и тебе взвалят на плечи корову.

49
 1. Song of the Train
by David McCord

Clickety-clack Clickety-clack,
Wheels on the track Over the crack
This is the way Faster and faster
They begin to attack: The song of the track:
Click-ety-clack, Clickety-clack,
Click-ety-clack, Clickety-clack,
Click-ety-clack-ety; Clickety, clickety,
Click-ety Clackety
Clack. Clack.

2. Clocks and Watches

by Olive Sansom

Our great Clickety-clack,

Steeple clock Clickety-clack.
Goes Tick-Tock. Clickety, clackety
Clackety
Tick-Tock Clack.
Our small Tick-Tack, Tick-Tack.
Mantel clock

50
 Goes Tick-Tack, Tick-Tack, Our little
Riding in front, Pocket watch
Riding in back, Goes Tick-a-tacker, Tick-a-
Everyone hears tacker,
The song of the track: Tick-a-tacker, Tick.

“Ship or Sheep” Unit 28 “The Cuckoo Clock”

Mrs. Cook: Would you like some cream in your coffee, Mrs. Clark?
Mrs.Clark: No, thank you. But I'd like a little milk.
Mrs.Cook: Would you like some chocolate cakes?
Mrs.Clark: Thank you.
Mrs.Cook: Take two. Here's a cake fork, and here's…
Mrs. Clark: Excuse me, Mrs. Cook. But what's that next to your bookshelf? Is it a clock?
Mrs. Cook: Yes. It’s an American cuckoo clock.
Mrs. Clark: Is it plastic?
Mrs. Cook: Oh, no, Mrs. Clark. It's a very expensive clock. It is an electric clock.
Mrs. Clark: Well, it's exactly six o'clock now, and it's very quiet. Doesn't it say “cuckoo”?
Mrs. Cook: Of course, Mrs. Clark. Look.
Clock: Cuckoo! Cuckoo! Cuckoo! Cuckoo!
Mrs. Clark: How exciting! What a clever clock!
Clock: Cuckoo…

51
 H. W. Longfellow “The Twilight”

The twilight is sad and cloudy,

The wind blows wild and free,
And like the wings of sea-birds
Flash the white caps of the sea.

But in the fisherman’s cottage

There shines a ruddier light
And a little face at the window,
Peers out into the night.

Close, close it is pressed to the window,

As if those childish eyes
Were looking into the darkness
To see some form arise.

And a woman’s waving shadow

Is passing to and fro,
Now rising to the ceiling
Now bowing and bending low.

What tale do the roaring ocean

52
 And the night wind, bleak and wild,
As they beat at the crazy casement,
Tell to that little child?

And why do the roaring ocean,

And the night wind, wild and bleak,
As they beat at the heart of the mother,
Drive the colour from her cheek?

“Stories for reproduction” Text 3

A clerk who worked in a small office in a factory discovered that there were so many files in his room
that there was not room for any more. Also, each file was so full that it was impossible to add any more pa -
pers to it.
“Well,” he thought, “every week I have to find room for several hundred letters, so something will have
to be done about this.”
He thought and thought, and then decided to send a note to his manager explaining what had happened
and asking him for his permission to go through the old files and to take out and destroy all letters which
were no longer of any use.
The next day he received a note from the manager in answer to his. It said, “All right, you have permis-
sion to do as you suggest, but you must make copies of all letters before destroying them.”

53
 LESSON 6

The components of intonation

As has been mentioned above, the sentence possesses definite phonetic features. Each feature performs a
definite task, and all of them work simultaneously. Thus,
a) Sentences are usually separated from each other by pauses. If necessary, the sentence is subdivided
into shorter word-groups according to sense; these are called sense-groups or syntagms.
b) The pitch of the voice does not stay on the same level while the sentence (or the sense-group) is pro -
nounced; it fluctuates, rising and falling on the vowels and voiced consonants. These falls and rises are not
chaotic, but form definite patterns, typical of English. The fluctuations of the voice-pitch are called speech
melody.
c) The word that is most important for the meaning of the sentence, i.e. the word acting as its semantic
centre, is made prominent by stress and a special moving tone; this special tone is the result of a perceptible
change in the pitch, which either falls, or rises, or changes its movement first in one direction, then in an -
other (fall-rise or rise-fall). The movement is initiated on the stressed syllable of the most important word of
the sentence (or sense-group).
d) Other words, also essential for the meaning, are stressed, but the pitch of these words remains un-
changed.
e) Form words, performing grammatical functions (such as articles, prepositions, auxiliary, modal, and
link verbs) are usually left unstressed; they are mostly pronounced in their reduced (weak) forms.
f) Connected English speech comes as a series of closely-knit groups of words, each group containing
only one stressed syllable. The stressed syllables occur at approximately equal intervals of time, e.g. –

54
 The result of this subtle interrelationship of stress and time is a peculiar rhythm resembling a drum-beat.
This rhythm is not easy for a foreigner to acquire, but its absence often makes his speech barely intelligible.
g) The rate of speech is not constant, but is made to suit the semantic weight of each sentence or sense-
group of the utterance. For example, utterances in direct speech are usually pronounced slower that those
that are said parenthetically, and stressed elements of a sentence are pronounced slower than the unstressed
ones.
h) The timber of the voice changes in accordance with the emotions experienced by the speaker.
All the phonetic features of the sentence enumerated above (speech melody, sentence-stress, tempo,
rhythm, pauses and timber) form a complex unity, called intonation.
The most important components of intonation from the linguistic point of view are: speech melody, sen-
tence-stress, and rhythm.
It should be borne in mind that all the components of intonation are closely connected; none of them can
be separated in actual speech. This can be done, however, for the sake of analysis, which is essential as a pre -
liminary stage in mastering intonation.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[g]

55
 1. Good gracious! Goodness gracious! Gracious goodness! [gud ˎgreISqs gudnIs ˋgreISqs 'greISqs ˋgudnIs]
Боже мой!
2. Get you gone! ['get ju· ˎgOn] Уходи!
3. One gets gripped. [wAn ֽgets vgrIpt] Это захватывает.
4. Go while the goings go. ['gqu wail Dq ˋgquINz ֽgqu] Убирайся подобру-поздорову.
5. Gary is a gay dog. ['gFqrI Iz q ˋgeI ֽdOg] Гэри – весельчак.
6. Olga is as gay as a grig. ['Olgq Iz q 'geI qz a ˋgrIg] Ольга – очень веселая девушка.
7. Gil’s got the gift of the gab. ['gIlz gOt Dq 'gIft qv Dq ˋgxb] У Гила хорошо подвешен язык.

56
 8. A good dog deserves a good bone. [q 'gud ˎ"dOg dI'zWvz q ֹgud ˋbqun] Большому кораблю – большое
плавание.
9. Peggy will gladly play the giddy goat. ['pegI wIl 'glxdlI 'pleI Dq ˋgIdI ֽgqut] Пегги любит валять
дурака.
10. Grig gave as good as he got. ['grIg 'geIv qz 'gud qz hi· ˋgOt] Григ отплатил той же монетой.
11. I’ve got to get going. [aIv ˋgOt tq ֽget "gquIN] Мне нужно идти.
12. Got a cigarette, Gil? ['gOt q sIgq´ret ֹgIl] У тебя есть сигарета, Гил?
13. Gert has a grudge against me. ['gWt hxz q ˎgrAG q"geInst mi·] Герт имеет зуб против меня.
14. We agreed to go there together. [wi q'grJd tq 'gqu DFq tqˋgeDq] Мы договорились пойти туда вместе.
15. Grace had got good sea legs. ['greIs hqz 'gOt 'gud ˋsJ legz] Грейс хорошо переносит качку.
16. Gregory is a go-getter. [´gregqrI Iz q ˎgqugetq] Грегоги – ловкач.
17. Gordon’s life is all game and glee. ['gLdnz 'laIf Iz 'Ll 'geIm qnd ˎglJ] Жизнь Гордона – сплошное
удовольствие.
18. Granny gets my goat. [ֽgrxnI ֽgets maI "gqut] Бабушка сердит меня.

1. Golden Hour
by John Keats

Golden in the garden, Golden in the tree-tops,

Golden in the glen, Golden in the sky,
Golden, golden, golden Golden, golden, golden

57
 September’s here again! September’s passing by.

2. Green Things Growing

by Dinah Maria Mulock Craik

O the green things growing, the green things growing,

The faint sweet smell of the green things growing!
I should like to live, whether I smile or grieve,
Just to watch the happy life of my green things growing.

“Ship or Sheep” Unit 29 “Guests in August”

Craig: I've just got a telegram from Margaret and Greg.

Carol: Are they coming to England again?
Craig: Yes. At the beginning of August.
Carol: Good. We can all get together again.
Craig: I'm glad they're coming in August. We can take the dog and go for walks together.
Carol: Yes. And we can give a garden party.
Craig: And Margaret can play her guitar in the garden and sing Greek songs again.
Carol: Yes, August is a good time to come to England.

“Accuracy”

58
 “'Must I 'stick it on my´self,” asked a 'lady who had just 'bought a 'postage stamp.
“ˋNo, madam”, reֽplied the ֽcounter-clerk, | ”It’s 'much 'better to ↑stick it on the ˋenvelope!”
('This 'anecdote de'pends for its 'point upon a ˋstress ֽfallacy, | for the vlady, | 'using “'on” as an vadverb, |
would have ˋstressed it, | whereas, 'used as a 'prepo'sition 'governing “myvself”- as the 'clerk preˋtended it
"was- it would be ˋunֽstressed.)

“Stories for reproduction” Text 4

Len and Jim worked for the same company. One day, Len lent Jim $20, but then Jim left his job and went
to work in another town without paying Len back his $20.
Len did not see Jim for a year, and then he heard from another friend that Jim was in town and staying at
the Central Hotel, so he went to see him there late in the evening.
He found out the number of Jim’s room from the clerk at the desk downstairs and went up to find him.
When he got to the room, he saw Jim’s shoes outside the door, waiting to be cleaned.
“Well, he must be in,” he thought, and knocked at the door.
There was no answer.
He knocked again. Then he said, “I know you’re in, Jim. Your shoes are out here.”
“I went out in my slippers,” answered a voice from inside the room.

59
 LESSON 7

English speech melody. Its forms

1.
No sentence can exit without a definite melodic contour.
In the shortest utterances consisting of only one monosyllabic word the melodic contour is very simple:
the pitch changes within the monosyllabic word. This change may be effected by lowering or raising the
pitch to different degrees, or by combining this lowering and raising in a different order and thus obtaining
more complex tones.
Obviously it is possible to produce an infinite variety of moving tones: we can begin and finish the tone
at different pitches, we can alter the range of pitch-movement, etc.
For practical purposes of teaching and learning English intonation, however, it is sufficient to distinguish
six tones.
Thus, he monosyllabic word “No” may be pronounced with the following six main tones:

Low fall Low rise High fall High rise Fall-rise Rise-fall

The low fall starts in the middle of the voice range and gradually descends to a very low pitch:

60
 The low rise starts at a very low pitch and gradually ascends to the middle of the voice range:

The high fall starts at a high pitch and then falls to a very low pitch:

The high rise starts in the middle of the voice range and then rises to a very high pitch:

The fall-rise starts with a fall similar to that of the high fall, which is immediately followed by a low rise:

The stress dies away during the initial fall but is partially revived as the rise begins.
The rise-fall starts in the middle of the voice range, rises to a very high pitch and then falls to a very low
pitch:

The realization of the rise-fall varies with the number of syllables in the word in which the tone is used
and with the location of stress.

61
 In a monosyllabic word, naturally, the rise and the fall are realized in one syllable, e.g. ˆOh! ˆFine!
ˆThanks

In a word of two syllables, the first of which is stressed and contains a vowel that can be prolonged, the
stressed syllable is pronounced with a high rise, and the unstressed one – on a very low pitch, e.g. ˆGor-
geous!

Good ˆevening!

If the first syllable of the nucleus contains a short vowel, it is given a low level stress, after which the
voice jumps upward in pitch and falls during the second syllable, which is quite unstressed, e.g. ˆNever!

With ˆpleasure!

62
 In a word of three syllables, the first of which is stressed, the stressed syllable is pronounced on a
medium level tone, the second (unstressed) syllable is very high pitched, and the last (unstressed) syllable is
very low pitched, e.g. ˆWonderful!

On the ˆcontrary!

The syllable on which the moving tone is performed is called the nucleus of the utterance.
In longer utterances the melodic contour becomes more complex because of the words preceding and fol-
lowing the nucleus and forming the head, pre-head, and tail of the contour.
The nucleus may be preceded and followed by stressed and unstressed syllables.
Stressed syllables preceding the nucleus together with the intervening unstressed syllables form the head
of the contour:
a) 'Mary 'hasn’t 'heard from him since ˎMay.

63
 Head Nucleus

b) 'Can you 'tell me the 'shortest 'way to the "Zoo?

Head Nucleus

Initial unstressed syllables make a pre-head:

a) He was 'glad to 'find his ˎkey.

Pre-head Head Nucleus

b) Has it bee a 'great re"lief?

64
Pre-head Head Nucleus

Stressed and unstressed syllables following the nucleus are called the tail:
a) It was 'clearly inˋevitable.

Pre-head Head Nucleus Tail

b) You could have ֽseen it was in"evitable.

Pre-head Head Nucleus Tail

c) 'What was ˎthat, I ֽwonder?

65
 Head Nucleus Tail

The nucleus is the only indispensable part of the contour; head, pre-head, and tail are not obligatory, and
the length and character of each of these parts of the contour may vary considerably. In some of the exam -
ples given above there is no pre-head, in others there is no tail. In such utterances as:
ˎYes. "No. ˋWait.

there is nothing but the nucleus.

Articulation of the consonants [s] [z]

The consonants [s, z] are articulated with the tip and blade of the tongue held close to the alveolar ridge.
The sides of the blade of the tongue are raised, forming a short and narrow groove-like channel. Thus a
round narrowing is formed through which the air passes with friction.

66
 In the production of [s] the vocal cords are kept apart and do not vibrate, whereas in the articulation of [z]
they are drawn near together and vibrate.
Thus [s], [z] may be defined as constrictive noise fricative fore-lingual apical alveolar consonants pronounced
with a round narrowing. The consonant [s] is voiceless-fortis, the consonant [z] is voiced-lenis.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[s]

1. So sorry. [ˋsqu "sOrI] Извините, пожалуйста.

2. Just fancy! ['GAst ˋfxnsI] Подумать только!
3. See you soon. ['sJ ju· "sHn] До скорого свидания.
4. Precisely so. [¯prIˋsaIslI squ] Совершенно верно.
5. It makes no sense. [It 'meIks nqu ˋsens] Это неправильно. (в этом нет смысла.)
6. It’s like this, you see. [Its laIk ˋDIs ju ֽsJ] Дело вот в чем.
7. It’s nice of you to say so, sir. [Its ˋnaIs qv ju tq ˋseI squ ֽsW] Вы очень добры, сэр.
8. It’s beside the question. [Its bI'saId Dq ˋkwesCqn] Это не по существу.

67
 9. Let’s get to brass tacks. ['lets ֹget tq 'brRs ˎtxks] Перейдем к сути дела. (Внесем полную ясность.)
10. I am so sorry to be such a nuisance. [aIm ˋsqu "sOrI tq bJ sqC q ˎ"njHsqns] Мне очень жаль, что я
доставила вам столько неприятностей.
11. I can’t accept such a poor excuse. [aI 'kRnt qkˋsept sAC q ֽpuqr Iks"kjHs] Я не могу принять такую
неубедительную отговорку.
12. I’m absolutely certain of success. [aIm 'xbsqlHtlI ˋsWtn qv sqkֽses] Я совершенно уверен в успехе.
13. Advertisement helps to sell. [qdvvWtaIsmqnt helps tq ˋsel] Реклама способствует торговле.
14. Let’s assume that it’s so. ['lets qˋsjHm Dqt Its "squ] Предположим, что это так.
15. My son’s still homesick for school. [maI 'sAnz ֹstIl "hqumsIk fq "skHl] Мой сын все еще тоскует по
школе.
16. Pete’s numerous absences from school must be stopped. ['pJts 'njHmqrqs 'xbsqnsIz frqm "skHl mqst bi·
ˋstOpt] Нужно запретить Питу то и дело пропускать занятия.
17. I absolutely insist that you stay with us. [aI 'xbsqlHtlI InˋsIst Dqt ju· "steI wID As] Я решительно
настаиваю на том, чтобы вы остановились у нас.
18. You mustn’t upset yourself, Cecily. [ju· ˋmAsnt Ap"set jOֹself ֹsesIlI] Вы не должны расстраиваться,
Сесили.
19. Art’s as cross as two sticks. ['Rts qz 'krOs qz ֹtH ˋstIks] Арт не в духе.
20. Avoidance of accidents in city streets is possible. [q'vOIdqns qv ˋxksIdqnts In ֽsItI "strJts Iz ˋpOsqbl]
Предотвращение несчастных случаев на городских улицах возможно.

1. Sixteen

68
 by Carolyn Cahalan

Sixteen
sees and laughs,
aches and cries,
babbles, thinks,
loves and hates,
stretches, lives
and hopefully waits.

2. City
by Langston Hughes
In the morning the city
Spreads its wings
Making a song
In stone that sings.
In the evening the city
Goes to bed
Hanging lights
About its head.

“Ship or Sheep” Unit 30 “It’s expensive”

69
 Sam: Let’s go to the seaside on Saturday.
Alice: Yes! Let’s go sailing and water-skiing. That’s exciting.
Sam: It’s expensive too. Let’s just sit in the sun and go swimming instead.
Alice: Let’s stay in the Six Star Hotel and spend Sunday there too.
Sam: Be sensible, Alice. It’s too expensive. Let’s sleep outside instead.
Alice: Yes. Let’s sleep on the sand. That's more exciting.

“Ship or Sheep” Unit 30 “The Smile of a Snake”

She speaks slowly, and smokes special, expensive cigarettes. As she steps upstairs, her long skirt sweeps
over her silver slippers. She is small and smart and sweet-smelling. Her skin is like snow. “You have stolen
my heart”. I once said stupidly, and she smiled. But when she smiled, she smiled the smile of a snake.

Tone Group 3

Statements express a personal concern or involvement in the situation. They are particularly common in
conversation, e. g.:
When did you see him? On ˋThursday. | I tֽֽ hought you ˋknew.
I’m sorry John wasn’t there. But he ˋwas. | I ˋsaw him.

When a Low Head precedes the High-falling nuclear tone, the attitude expressed is one of querulous or
disgruntled protest, e. g.:
John said you disliked the play. I ֽֽliked it imˋmensely.

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 Special questions express a lively and interested reaction to the situation, e. g.:
I know an easy way to do it. But ˋhow?

General questions in comments, where the High Fall is on the special finite, the reaction is one of mild
surprise but acceptance of the listener’s premises. It’s more or less equivalent to a surprised repetition of the
listener’s statement, e. g.:
She’s thirty-five. ˋIs she? | (I didn’t know that)
Commands with Tone Group 3 show more warmth than with the previous tone groups, e. g.:
Watch me jump off this wall. ˋDon’t. | (You’ll hurt yourself)

Interjections are more emotional than those with Tone Group 2, e. g.:
Here’s your pen. ˋOh, | ˋthank you. | (I thought I’d
lost it.)
You’ve passed your exam. What ֽֽwonderful ˋnews! | (It’s
almost incredible.)

Tune I
HIGH FALL (+ TAIL)
'Do you ֹknow 'Basil "Fish? ˋNo. (I ˋdon’t.)
ֽֽWhy didn’t you ˋbuy the ֽpicture? ˋMuch too exֽpensive.
I ֽֽsaw the ˋQueen "yesterday. ˋWhere?

71
 'Let’s ֹpaint 'one of the 'walls ˋpink. ˋWhich of them, do you
ֽthink?
You’re ֽֽtoo ˋlate. ˋAm I?
'John’s gener'osity is aˋmazing. ˋIs it generֽosity do you
ֽthink?

They vcan’t ֽgo | ˋafter ֽall. ˋPity, | ˋisn’t it?

'May I 'borrow this "pen? ˋYes, | ˋdo.
I ˋlove ֽֽsalted "almonds. ˋTake a ֽcouple of
ֽhandfuls.
The ֽֽpaper’s too ֽֽbig for the ˋFold it, ֽthen, you
ˋenvelope.ֽ helpless ֽman.

'Will you ֹhave a "drink? ˋThank you. | (I’d ˋlove

one.)
Have you 'taken 'over your ˋHeavens ֽyes! | ˋAges
ֹnew "house? aֽgo!

Tune II
LOW PRE-HEAD + HIGH FALL (+ TAIL)
'What did you 'think of the ˎshow? It was ˋwonderful.

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You ↘can’t eat all vthat. Oh but I ˋcan. I’m
ˋstarving.
You 'must ˎdo it. But ˋhow?
I know 'all aˎbout it. But how ˋcan you ֽknow?
They ˋboth ֽpassed the eֽxam. Oh ˋdid they?
We’ll ˋnever be ֽֽready by "Monday. Shall we postˋpone the
ֽmeeting, ֽthen?
ֹPat’s being 'very ˎobstinate. Then ˋyou be ֽobstinate, |
ˋtoo.
'May I 'use your "phone? By ˋall ֽmeans.
I 'owe you an aˋpology. I should ˋthink so,
inֽdeed!

Tune III
(LOW PRE-HEAD +) LOW HEAD + HIGH FALL (+ TAIL)
'Peter ֹcame ˋearly. Well ֽֽso did ˋI.
ֽֽWhy didn’t you ˋsay you’d ֽwon? I ֽֽdidn’t ֽֽknow I ˋhad. |
as surֽֽprised as ˋyou ֽare. I’m ֽֽ just
I 'told him he was a ˎfool. ֽֽWhat did you ֽֽsay
ˋthat ֽfor?

73
 I’m 'going to ˋemigrate. ֽֽWhen did you deֽֽcide
to do ˋthat?
↘
I doubt whether David will
v
ֽֽIs it ֽֽfair to exˋpect him subֽscribe. ֽto?
You’re ֽֽnot very ˋgood at it, | Have I ֽֽever preֽֽtended
ˋare you? ˋotherwise?
He paid 'five ˋthousand for It’s ֽֽabsoֽֽlutely riˋdiculous, |
ֽֽthat "house. (ˋisn’t it?)
I ↘don’t want to go avlone. ֽֽCome aֽֽlong with ˋus, ֽthen.
I’ve 'lost my inviˋtation. Well ֽֽwrite and ֽֽask them to
ֽֽsend you aˋnother one.
ˋLook. It ˋworks. ֽֽSo it ˋdoes. | How ֽֽvery ˋodd!
You’re a 'bit ˋgrumpy to"day. ֽֽNot in the ˋleast!

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 LESSON 8

Types of Heads

A head begging on a high pitch and then gradually descending in level pitches on the stressed syllables
of the utterance, is called a stepping head:
It’s 'much too 'late to have 'any re'grets ˎnow.

Stepping head

The unstressed syllables which occur between the stressed syllables of a stepping head are pronounced
on the pitch of the stressed syllable which precedes them.
Gradually descending scale of level pitches on the stressed syllables is a typical feature of English intona-
tion.
The unstressed syllables may gradually descend in pitch too. In that case the head may be called a falling
head and the tonogram will be as follows:

J.D. O’Connor and G.F. Arnold in “Intonation of Colloquial English” establish a new type of head in

75
which both stressed and unstressed syllables are said on the same high pitch. They call it a high head:
I 'thought we 'ought to 'have a ˎtalk.

High head

A head beginning on a low pitch and remaining there is called a low head:
It’s ֽno ֽgood aֽpologizing "now.

Low head

ֽHow did you ֽmanage to ֽdo ˋthat?

Low head

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 The stressed syllables may gradually rise towards the high-falling nucleus. In that case the head is called
a rising head and the tonogram will be as follows:
ֽHow did you ֽmanage to ֽdo ˋthat?

Rising head

If the head presents a fall in pitch that is not so gradual as in the stepping head but rather “jumpy”, we
get what is called the sliding head. In that case the stressed syllables of the head are marked with the symbol
[↘]:
(a) I ↘knew you ↘hadn’t vfinished it.

Sliding head
(b) You could at ↘least vtry.

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 Head
↘ ↘ ↘
(c) I doubt whether I can give an answer by then.v

Head

As can be observed in the tonograms, the effect of “jumping” is achieved either by considerably lowering
the pith inside the stressed syllables of the head (if there are no intermediate unstressed syllables as in the
example b), or by pronouncing the intermediate unstressed syllables at a much lower pitch than the preced-
ing stressed syllable (see the examples a and c).

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

[z]

78
1. As you please. [xz ju· "plJz] Как вам угодно.
2. Deeds not words. [vdJdz nOt ˋwWdz] Важны дела, а не слова.
3. Heads or tails? ['hedz q ˋteIlz] Орел или решка?
4. What James says goes. [wOt ֽGeImz "sez ˋgquz] Джеймс слов на ветер не бросает.
5. Easy does it. [ˋJzI "dAz It] Тише едешь, дальше будешь.
6. It is miles easier. [It Iz ˋmaIlz "JzIq] Это в тысячу раз легче.
7. His fingers are all thumbs. [hIz 'fINgqz qr 'Ll ˋTAmz] У него все валится из рук.
8. My reasons are as follows. [maI 'rJznz qr qz "fOlquz] Вот мои причины.
9. There is no reason to suppose. [Dqr Iz 'nqu ˋrJzn tq sq"pquz] Нет основания полагать так.
10. As sure as eggs is eggs. [qz 'Suqr qz 'egz Iz ˋegz] Как пить дать. (Как дважды два четыре.)

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 11. Rose always dramatizes things. ['rquz ˎLlwqz ֽdrxmqtaIzIz ֽTINz] Роза всегда сгущает краски.
12. Charles is as safe as houses. ['CRlz Iz qz 'seIf qz ˋhauzIz] Чарльз – очень надежный человек.
13. Everybody’s business is nobody’s business. [ˋevrIbqdIz "bIznIs Iz ˋnqubqdIz ֽbIznIs] У семи нянек дитя
без глазу.
14. Is it as easy as that? ['Iz It qz 'JzI qz vDxt] Неужели это так легко?
15. These stories are as old as the hills. ['DJz 'stLrIz qr qz 'quld qz Dq ˋhIlz] Эти россказни стары, как мир.
16. What size shoes does Susan wear? ['wOt ֹsaIz ˋSHz dqz ֽsjHzn ֽweq] Какой размер туфель носит
Сузан?
17. It is as plain as the nose on your face. [It Iz qz 'pleIn qz Dq 'neuz On jO· ˋfeIs] Это совершенно ясно.
18. Asses as well as pitchers have ears. ['xsIz qz ֹwel qz "pICqz hxv ˋIqz] Глупцы и дети могут услышать и
понять то, что не предназначено для их ушей.
19. One man’s meat is another man’s poison. ['wAn ֹmxnz "mJt Iz qvnADq ֹmxnz ˋpOIzn] Что полезно
одному, то другому вредно.
20. A man is judged by his foes as well as by his friends. [q 'mxn Iz 'GAGd baI hIz ˋfquz qz ֽwel qz baI hIz
"frends] О человеке судят по его врагам и по его друзьям.

1. The Rose Family

by Robert Frost
The rose is a rose,
And was always a rose,
But the apple’s a rose,

80
 And the pear is, and so’s
The plum, I suppose.
The dear only knows
What will next prove a rose –
But were always a rose.
Brown eyes, straight nose
Dirt pies, rumpled clothes.
Torn books, spoilt toys;
Arch looks, unlike a boy’s;
Little rages, obvious arts;
(Three her age is), cakes,
tarts;
Falling down off chairs;
Breaking crown down stairs;
2. Polly
by William Brightly Rands
Catching flies on the pane;
Deep sighs – cause not plain;
Bribing you with kisses
For a few farthing blisses
New shoes, new frock;
Vague views of what’s
o’clock.
Bed gown white, kiss Dolly;
Good night! – that’s Polly.
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 3. The Deep Clear Eyes
by Walter de la Mare

Two deep clear eyes, Ears bid eyes

Two ears, a mouth, a nose, Mark:
Ten supple fingers, Mouth bids nose
And ten nimble toes, Smell:
Two hands, two feet, two Nose says to mouth,
arms, two legs. I will:
And a heart through which Heart bids mind
Love’s blessing flows. Wonder:
Eyes bid ears Mind bids heart
Hark: Ponder.

“Ship or Sheep” Unit 31 “Surprises in the post office”

Mrs. Smith: This parcel smells, Mrs. Jones.

Mrs. Jones: Something's written on it.
Mrs. Smith: What does it say?
Mrs. Jones : It says: This parcel contains six mice.
Mrs. Smith: Pooh!
Mrs. Jones: Listen! What's in this sack?

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 Mrs. Smith: It's making a strange hissing noise.
Sack (hisses): Ssssssssssssss
Mrs. Jones: Mrs. Smith, It's a sack of snakes!
Mrs. Smith: So it is! And what's in this box, Mrs. Jones?
Mrs. Jones: It's making a buzzing sound.
Box (buzzes): Zzzzzzzzzzzzzzz
Mrs. Smith: These are bees! A parcel of mice! And a sack of snakes! And a box of bees! This is very
surprising!
Mrs. Jones: It's amazing! This isn't a post office, Mrs. Smith! It's a zoo!

“Stories for reproduction” Text 5

Timothy was ten years old. He was not a very good pupil, and he did not like having to do homework,
because he preferred to do other things in his free time. Frequently he did not do his homework, and when
he did do it, he always made a lot of mistakes.
Then one day, his mathematics teacher looked at Timothy's homework and saw that he had got all his
sums right. He was very pleased—and rather surprised. He called Timothy to his desk and said to him,
“You got all your homework right this time, Timothy. What happened? Did your father help you?”
Usually Timothy's father did help him with his homework, but the evening before this, he had not been
able to, because he had not been at home, so Timothy answered, “No, sir. He was busy last night, so I had to
do it all myself.”

T. Moore “Those Evening Bells”

83
 Those evening bells! Those evening bells!
How many a tale their music tells,
Of youth and home and that sweet time
When last I heard their soothing chime.

Those joyous hours are past away;

And many a heart, that then was gay,
Within the tomb now darkly dwells,
And hears no more those evening bells.

And so’t will be when I am gone;

That tuneful peal will still ring on,
While other bards shall walk these dells,
And sing your praise, sweet evening bells!

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 LESSON 9

Types of Pre-Heads

A low pre-head consists of unstressed syllables pronounced at a low pitch, or gradually ascending in
pitch towards the head or the nucleus:

But you’ll be 'home in 'time for ´dinner?

Pre-head
or

The low pre-head is used so frequently that it may be considered as normal.

A high pre-head consists of unstressed syllables pronounced on a high pitch:

85
 ¯How ˎcan you be so ֽobstinate?

Pre-head

Do it yourself then.

Pre-head

A high pre-head gives to the utterance an extremely emotional character and may be regarded as a fea-
ture of emphatic speech.

Articulation of the consonants [S] [Z]

The consonants [S], [Z] are articulated with the tip and blade of the tongue and the front of the tongue si-
multaneously raised. A flat narrowing is formed by the tip and blade of the tongue held close to the back of
the alveolar ridge for primary articulation and by the front of the tongue raised in the direction of the hard
palate for tongue-front co-articulation which slightly palatalizes the consonants. The air passes through the

86
narrowing with friction. The lips are rounded and slightly protruded.
In pronouncing [S] the vocal cords are kept apart and do not vibrate, whereas in the production of [Z]
they are drawn near together and vibrate.
Thus [S], [Z] may be defined as constrictive noise fricative with tongue-front co-articulation forelingual apical
palato-alveolar consonants pronounced with a flat narrowing. The consonant [S] is voiceless-fortis, the conso-
nant [Z] is voiced-lenis.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[S]

sheep fish ocean

shoe wash revolution
show bush social
shy hush vacation
ship dash pension
shop wish Russia

1. Shoo, shoo! [ˋSH ˋSH] Брысь! Пошел вон!

2. She’s an accomplished musician. [Si·z qn q'kOmplISt mjHˋzISn] Она превосходный музыкант.
3. Stop shouting and pushing, Shirley. ['stop 'SautIN qnd vpuSIN SWlI] Не кричи и не толкайся, Шерли.
4. Why should she be so sure? [ֽwaI Sqd Si ֽbJ squ ˋSuq] Откуда у нее такая уверенность?
5. Ashley is a shy fish. ['xSlI Iz q ˋSaI ֽfIS] Эшли застенчив.

87
 6. She was shaking in her shoes. [Si wqz 'SeIkIN In hq ˋSHz] Она дрожала от страха.
7. Why shouldn’t she share with me? [¯waI ˋSudnt Si· "SFq wID mi·] Почему бы мне не поделиться с
ней (тем, что я имею)?
8. Shut up shop. [ˋSAt Ap "SOp] Кончайте работу.
9. I sure with she were here. [aI ˋSuq ˋwIS Si wq vhIq] Я бы, конечно, хотела, чтобы она была здесь.
10. All’s in shipshape and Bristol fashion. ['Llz In 'SipSeIp qnd 'brIstl ˋfxSn] Все в полнейшем порядке.
11. I wish Marcia were not so shilly-shally. [aI ˋwIS mRSq wq ˋnOt vsqu vSilIֹSxlI] Как жалко, что Марсия
так нерешительна.
12. I shun shilling shockers. [aI ˋSAn ֽSIlIN ֽSOkqz] Я не читаю бульварных романов.
13. Wishes don’t wash dishes. ['wISIz 'dqunt 'wOS ˋdISIz] Если бы да кабы во рту росли грибы.
14. She made a sufficient impression on Sherry. [Si· ֽmeId q sq'fISqnt ImˋpreSn On ֽSerI] Она произвела
впечатление на Шерри.
15. Shirl made a substantial contribution. ['SWl meId q sqbˋstxnSl kOntrI"bjHSn] Шерл внесла
значительный вклад.
16. Sherlock surely furnishes a pattern for imitation. ['SWlOk ˋSuqlI ֽfWnISIz q 'pxtn fqr ImIvteISn] Шерлок,
безусловно, является образцом для подражания.
17. Sherwood is on a fishing expedition. ['SWwud Iz On q ˋfISIN ֽekspI ֽdISn] Шервуд зондирует почву.
18. She shouldn’t like to make any rash speculations. [Si 'Sudnt laIk tq 'meIk ֹenI ˋrxS spekju"leISnz] Она не
хотела бы делать поспешные предположения.
19. Friendship in trouble – friendship sure. ['frendSIp In "trAbl 'frendSIp ˎSuq] Дружба в беде – истинная

88
дружба.
1. Rules and Regulations
By Edgar Lear

A short direction In adaptation

To avoid dejection,
By variations
In occupations,
And prolongation
Of relaxation,
and combinations
of recreations,
And disputation
On the state of nation
To your station,
By invitations,
To friends and relations,
By evitation
Of amputation,
By permutation
In conversation,
And deep reflection
You’ll avoid dejection.

________________
Moral: Behave.

2. Greetings
by Joe Wallace

I wish you health but not with wealth

I wish you work and worry
I wish you what I wish myself,

89
 A share in man’s sad story.

I wish you, on that next-door day

We coax the world to spin our way
A share in all its glory.

“Ship or Sheep” Unit 32 “A Special Washing Machine”

Mrs. Marsh: Does this shop sell washing machines?

Mr. Shaw: Yes. This is the newest washing machine, madam.
Mrs. Marsh: Is it Swedish?
Mr. Shaw: No, madam. It’s English.
Mrs. Marsh: Please, show me how it washes.
Mr. Shaw: Shall I give you a demonstration? Here are some sheets and shirts. You put them in the
machine. You shut the door. And you push this button.
Mrs. Marsh: The machine shouldn't shake like that, should it?
Mr. Shaw: Washing machines always shake, madam. Ah! It's finished now.
Mrs. Marsh: But the sheets have shrunk, and so have the shirts.
Mr. Shaw: Do you wish to buy this machine, madam?
Mrs. Marsh: I'm not sure.

“Nothing to complain about”

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 An in'telligent 'small 'boy was ac↑costed on a 'bus by a ↑well 'meaning but ↑fatuous ˎpassenger, with the
ֽquestion:
“And 'how old are ˋyou?”
“I’m ˎfour”, re ֽplied the ֽchild ֽtersely.
“I 'wish ˋI were "four”, observed the 'passenger in'gratiatingly.
He was con'siderably 'taken aˋback, how"ever,│ when the vchild, │turning a 'candid and ↑rather
sur'prised ˋgaze u"pon him, │ re'plied with 'calm 'practi"cality:
“But you ˋwere ֽfour "once!”

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 LESSON 10

Types of Tails

A low tail is one in which everything that comes after a falling-tone nucleus is pronounced at a low pitch:

(a) 'I know ˋnothing about it.

Tail
(b) I ֽtried ˋboth ֽmethods│ but I ֽfound ˋneither to be ֽsatis ֽfactory.

Tail Tail
A rising tail occurs when all the syllables that come after a rising-tone nucleus gradually rise in pitch.
The word carrying the syntagmatic stress is very low pitched in the case of a low rise, or is pronounced in
the middle of the voice-range in the case of a high rise. Thus, strictly speaking, it is the tail that is responsible
for the rising effect.
a) I 'promise I 'won’t "tell anyone.

92
Tail
b) 'When’s the 'best 'time to "catch him, do you suppose?

Tail
c) Oh, I’m ˋhopeless at "that sort of 'thing.

Tail
d) 'How ´old, did you 'say?

93
 Tail
As can be seen from the above examples, the tail may contain not only unstressed, but stressed syllables
as well. The stressed syllables of the tail, however, have a weaker stress that the stressed syllables of the
head.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[Z]

measure vision mirage

pleasure decision garage
treasure confusion rouge
leisure invasion genre

1. Measure for measure. ['meZq fq ˎmeZq] Мера за меру.

2. Eat at pleasure, drink with measure. ['Jt qt "pleZq 'drINk wID ˋmeZq] Ешь вволю, пей в меру.
3. She wears Parisian rouge. [Si 'wFqz pq'rIZjqn ˋrHZ] У нее парижская косметика.
4. A mirage is an illusion. [q mIvrRZ Iz qn IˋlHZn] Мираж – это оптический обман.
5. Your casual allusion caused confusion. [jO· 'kxZuql q"lHZn 'kLzd kqnˎfjHZn] Твой случайный намек
вызвал замешательство.
6. It’s a pleasurable occasion. [Its q 'pleZqrqbl qˋkqIZn] Это приятное событие.
7. His persuasion is unusual. [hIz pq'sweIZn Iz 'AnˋjHZwql] Он мастер убеждать.
8. His pleasure and joy knew no measure. [hIz 'pleZqr qnd 'GOI njH 'nqu ˋmeZq] Его удовольствию и

94
радости не было границ.
9. I don’t usually see visions. [aI 'dqunt ˋjHZwqlI sJ "vIZnz] Я не страдаю галлюцинациями.
10. The confusion of [Z] and [S] is usual. [Dq kqn'fjHZn qv '[Z] qnd "[S] Iz ˋjHZwql] Смешение звуков [Z] и
[S] происходит часто.
11. Conversation is a pleasure, but it wants leisure. [ֽkOnvq'seISn Iz q ˎpleZq bqt It 'wOnts ˋleZq] Беседа –
удовольствие, но она требует досуга.
12. She watches television usually, not occasionally. [Si· 'wOCIz 'telIvIZn ˋjHZwqlI nOt qvkeIZnqlI] Она
смотрит телевизор регулярно, а не от случая к случаю.
13. After much persuasion he took a decision. ['Rftq mAC pq"sweIZn hi· 'tuk q dIˋsIZn] После долгих
убеждений он принял решение.
14. He has an unusual vision of a point. [hi· hxz qn AnˋjHZwql ֽvIZn qv e ˎpOInt] Он необыкновенно
легко схватывает суть дела.

1. On the Sands
by Alfred H. Miles

Digging for treasure? With never a measure

Nay, not a bit of it!
Digging for pleasure?
Aye, there’s the wit of it!
Digging for treasure
We dig all day
For labour pay.
Digging for pleasure
We surely earn
A spadeful of treasure
At every turn.

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 2. When a Man’s Busy
by Robert Browning

When a man’s busy, why, leisure

Strikes him as wonderful pleasure:
‘Faith, and at leisure once is he,
Straightaway he wants to be busy.

“Ship or Sheep” Unit 33 “Television Programmes: Channel 0”

7.00. Children's film: "Treasure Island".

7.15. News comment: An Unusual Collision.
7.30. Fashion Casual Clothes.
7.45. Travel film: Across Asia in a Peugeot.
8.15. Do-it-yourself: How to Measure a New Garage.
8.30. Variety show: It's a pleasure.

“Stories for reproduction” Text 6

Two sailors who had just finished a long voyage went home to their village and decided to have a few

96
drinks in the bar there. When they had had enough, they came out into the street to look for something
amusing to do, but it was a very quiet place, and nothing interesting ever happened there, so they could not
find anything.
But at last, while they were standing in the market-place outside the bar, they saw a village boy coming
slowly towards them. He was leading a donkey by a rope, so the sailors decided that they would have a joke
with him.
“Hullo,” one of the sailors said to the boy. “Why does your brother have to have a rope round his neck
when he goes for a walk with you?”
“To stop him joining the navy,” the boy answered at once.

Tone group 4

This tone group retains the lightness, the airiness and the affect of personal participation in the situation,
characteristic of the High Falling nuclear tone, e. g.:
What time is it? It’s 'half ֹ past ˋtwelve.|
I 'didn’t 'realize how ˋlate it ֽwas.

This way of putting special questions avoids the coldness of Tone Group 2 and the surprise of Tone
Group 3. It is perfectly brisk and businesslike and is a very common way of asking these questions, e. g.:
'What’s the ˋtime?

97
 'Where on 'earth have you ˋbeen ֽall this ֽtime?

General questions are put for discussion, or as the key question in the discussion, e. g.:
John says he has an alibi. 'Can he ˋprove it?
Shall we take Frank into your confidence? 'Dare we ˋrisk it?

Such commands seem to suggest a course of action to the listener, without the surprise of Tone Group 3
and without the calm demand for action of Tone Group 2. e. g.:
This tea’s too hot. 'Put some ֹ more ˋmilk in it.

Interjections express here mild surprise, e. g.:

I must stay and do some work. How 'very ˋnoble of you!

Tune I
(LOW PER-HEAD +) STEPPING HEAD + HIGH FALL ( + TAIL)
'What’s the ˎtime, ֽplease? I 'don’t ˋknow. | I sup'pose it’s
a ֹbout ˋtwelve.
ˎHere. 'Use ˎmy pen. 'Thank you ֹvery ˋmuch. | 'Mine
ֹ seems to be 'out of ˋink.
I’ve 'just ֹseen that 'new ˋmusical. 'What’s it ˋcalled?
'Under ֹ neath the ˋArches. 'What did you ˋthink of it?

98
"What was ֹthat you ֹsaid?
'John says he ֹhas an ˋalibi.
I can’t "help being ֹright, | "can I?
It’s 'not so ˋbright "now, | ˋis it?
I ֹcan’t think 'what to ˎsay.
'What shall I 'do with ˋthis?
We’ll 'go there on ˎFriday.
I was ˋsorry to have to ֽֽvote a"gainst you.
'Where did you 'go for
your 'summer ˋholiday?
'Can he ˋprove it?
But must you 'always 'be
so ˋsmug aֽbout it?
It 'looks as if it’s 'going to
ˋrain, | (ˋdoesn’t it?)
ֹDon’t say 'anything at
ˋall. | ֹLeave it en'tirely to
ˋme.
'Put it in the ֹwaste ˋpaper
ֽbasket.
The 'sooner the ˋbetter!
A 'fine 'friend youˋturned ֽout to ֽbe!

Tune II
(LOW PRE-HEAD +) HIGH FALL(S) + HIGH FALL (+ TAIL)
'What was the 'party ˋlike? The ˋfood was ˋterrible,
I’m ֽsorry to ֽsay.

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He ֹsaid he knew 'nothing aˎbout it. But I ˋtold him myˋself.
↘
Oh I know he ֹcouldn’t help it.
v
Then ˋwhy are you
soˋangry ֽwith him?
I ˋfound your book in the ˋgreenhouse. How on ˋearth did you
get ˋthere?
I bumped into ˋAlice "yesterday. Did you ˋnotice how
ˋthin she’s beֽcome?
v
That’s not ֽvery conֽvincing. Well can ˋyou think of a
ˋbetter ֽargument?
Have you 'heard about "Alex? ˋIsn’t it inˋcredible!
Of ˋcourse he’ll aֽgree. ˋDon’t be too ˋsure.
He’s an 'absolute ˎswindler. ˋOh I ˋsay! | For
ˋheaven’s ˋsake.
'Here’s a ˋcheque for you. ˋThank you most
ˋawfully!

Tune III
HIGH PRE-HEAD + HIGH FALL ( + TAIL)
¯Was it "easy? ¯Surˋprisingly ֽso.

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It’s ↘no use ֹasking vPhilip.
Well it looks like ֽmine.
v
'Shall I 'ask him to "tea?
'Looking for ´me, ֹTerry?
¯Well ˋwho, ֽthen?
¯But ˋis it ֽyours, in ֽfact?
¯By ˋall means ֽask him.
¯Oh ˋthere you ֽare, ֽPeter.
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 LESSON 11

The main English intonation contours

It is easy to see that combinations of nuclei, heads, pre-heads and tails lead to a great variety of melodic
patterns in English intonation. In teaching English intonation it is certainly desirable to represent the melodic
structure of the language as a simple system of patterns based upon the most important linguistic functions
of intonation. Since the most significant component of intonation is speech melody, and the most important
word of and utterance is made prominent by one of the special tones typical of the language, it is natural to
systematize the melodic patterns according to these special tones. Thus, the great variety of possible patterns
can be reduced to six intonation contours, based on the six main tones used in the nuclei. These tones, when
combined with different heads, tails and pre-heads, give rise to a few significative variants of the intonation
contour.
The abbreviation IC stands for “intonation contour” in all the explanations given below.
IC 1 is based on a low fall in the nucleus. The low fall is preceded by the stepping head. The pre-head, if
there is any, may be low or high. The tail is always low-pitched.

Examples of IC 1:
a) The e'xams are 'over at ˎlast.

102
 b) 'Isn’t it ˎwonderful!

c) ¯That ˎis ֽgood of you.

There is an important variant of IC 1 with a low head or no head; if there is a pre-head, it is low, too; the
tail is low-pitched.

Examples of IC 1a:
a) ˎYes.

b) ֽWhy ˎnot?

c) I’ve ֽlost my ˎappetite.

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 IC 2 is based on a low rise in the nucleus. The low rise is preceded by the stepping head. The pre-head
may be high or low. The tail rises gradually to a medium pitch.

Examples of IC 2:
a) It 'doesn’t "matter.

b) Do you 'know when the 'Festival "ends?

c) ¯What do you "want it 'for?

There is an important variant of IC 2 with a low head or no head. The pre-head, if there is any, is
low, too. If there is a tail, it rises gradually to a medium pitch.

104
Examples of IC 2a:
a) "Yes.

b) "Certainly.

c) You could en"quire.

d) ֽWhat’s she ֽgoing to "do about it?

IC 3 is based on a high fall for its nucleus. The high fall is preceded by the stepping head. The pre-

105
head, if there is any, may be low or high. The tail is always low-pitched:

Examples of IC 3:
a) 'Very ˋwell.

b) It’s 'not as 'far as you iˋmagine.

c) ¯ It just ˋcan’t be ֽtrue.

d) I could ˋhardly beˋlieve my ˋeyes. (High fall may occur more than once in one and the same sense-
group.)

106
 There is an important variant of IC 3 with a low head or no head; if there is a pre-head, it is low, too. The
tail is low-pitched:

Examples of IC 3a:
a) Eˋxactly.

b) I ֽthought they were ֽall ˋgone.

IC 4 has a high rise for its nucleus.

The other components of the melodic contour, if there are any, are: stepping head, low pre-head and
rising tail.

Examples of IC 4:
a) ´Yes?

107
 b) ´Interesting?

c) Oughtn’t ´I to have been con'sulted?

d) 'Mix it with 'half a 'pound of ´sugar?

IC 5 has a fall-rise for its nucleus. The fall-rise may be preceded by a low pre-head and a sliding or
stepping head. The tail gradually rises towards a medium pitch. The nucleus often consists of one word, so
that the fall-rise may be called undivided:

In those cases where the rise includes other words besides the one that carries the fall, these words
are either unstressed or weakly stressed:

108
 or

Examples of IC 5:
a) vPlease.

b) It’s unvlikely.

c) You could avpologize.

d) He ↘hasn’t ↘definitely revfused.

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 e) v
Watch it!

An important variant of IC 5 is represented by the fall-rise that extends over at least two and often many
words. The fall is always high and makes one of the initial words very prominent. The low rise usually oc -
curs near the end of the sense-group and gives prominence to a second word that semantically stands next in
importance to the word carrying the high fall. There may be stressed and unstressed words between the high
fall and the low rise, but they should be pronounced on a low pitch. This variant of IC 5 may be described as
fall-rise divided:

The high fall of this contour may be preceded by a stepping head, low head, sliding head, and low pre-
head. The low rise at the end of the sense-group reaches the medium pitch.

Examples of IC 5a:
a) ˋCheer "up.

110
 b) Per'haps it would be 'better to 'stay at ˋhome, in "that 'case.

c) ֽEven the ˋbest of us make misֽtakes "sometimes.

IC 6 has a rise-fall for its nucleus. If there is a head, it is usually stepping. The pre-head is usually of
the low type. The tail is low-pitched.

Examples of IC 6:
a) ^Yes.

b) It was 'not like 'that at ^all.

c) I 'simply ^hated it.

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 or

The general shape of an intonation contour is in most cases clear enough from the pitches of the stressed
syllables of the utterance, among which the nucleus is the most important one. Therefore, the main intona -
tion contours with their variants are sufficient to represent the intonation of ordinary English speech and
may be conveniently represented by the following graphic symbols:

IC 1 (stepping head + low fall)

IC 1a (low head + low fall)

IC 2 (stepping head + low rise)

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IC 2a (low head + low rise)

IC 3 (stepping head + high fall)

IC 3a (low head + high fall)

IC 4 (high rise)

IC 5 (fall-rise undivided)

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 IC 5a (fall-rise divided)

IC 6 (rise-fall)

The pitch of unstressed syllables, however, is important for the complete meaning of the utterance; it can
express the attitudinal features and emotional state of the speaker.
In unemphatic speech initial unstressed syllables are always low-pitched and form the low pre-head, e.g.
—
We’ve been exˎpecting them.

Intermediate unstressed syllables which aid in forming a gradually descending scale are pronounced on
the same pitch as the preceding stressed syllables (stepping head) or may gradually descend in pitch (falling
head).
'What are you 'going to ˎdo about it?

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 Final unstressed syllables forming the tail of the utterance are always low-pitched when they follow a
falling nuclear tone, and always gradually rise in the case of a rising pattern. In the latter case the nuclear
syllable is pronounced on the lowest level pitch.
Compare:
It was ˎyesterday.

'Are you 'quite "sure?

'Are you 'quite "sure of it?

In emphatic speech initial unstressed syllables are sometimes very high-pitched, particularly in collo-
quial English, and form the high pre-head.

115
 Intermediate unstressed syllables are often much lower-pitched than the preceding stressed syllable, and
form the sliding head.
Final unstressed syllables are treated in the same way as in unemphatic speech.

Articulation of the consonants [C] [G]

The consonants [C], [G]. The two English affricative consonants[C], [G] are articulated with the tip and
blade of the tongue raised to touch the back part of the alveolar ridge. Then contact is made so as to block
the air-passage through the mouth cavity for a short time. Then the front of the tongue is raised in the direc-
tion of the hard palate, and the tip of the tongue is slowly removed from the alveolar ridge, forming a flat
narrowing through which the air passes with friction. Thus in the production of[C], [G] their primary articu-
lation is accompanied by tongue-front co-articulation, slightly palatalizing these sounds. In the production
of[C] the vocal cords are kept apart and do not vibrate, whereas in the production of [G] they are drawn near
together and vibrate.
Thus[C], [G] may be defined as occlusive noise affricative with tongue-front co-articulation fore- and mediolin-
gual apical palato-alveolar consonants.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[C]
cheek future watch reached
chart culture fetch lunched
child nature lunch fetched
choice orchard catch watch chain

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 chill lecture ditch Dutch cheese
chubby mixture much catch Charles

1. Which is which? ['wIC Iz ˋwIC] Кто здесь кто? (Просьба назвать имена.)
2. Reach me the matches. ['rJC mi· Dq vmxCIz] Передайте мне спички.
3. What a charming child! [wOt q 'CRmIN ˋCaIld] Какой прелестный ребенок!
4. Don’t catch a chill. [ֽdqunt kxC q "CIl] Не простудись.
5. I watched and saw two chicks hatched. [aI 'wOCt qnd 'sL 'tH 'CIks ˋhxCt] Я видел, как вылупились два
цыпленка.
6. Fetch some chalk, Cherry. ['feC sqm vCLk ֹCerI] Принеси мел, Черри.
7. Such carpenters, such chips. ['sAC "kRpqntqz ֹsAC ˋCIps] Дело мастера боится.
8. Not much of a catch. [ˋnOt mAC qv q vkxC] Невелика ценность.
9. Here are two pictures which are a match. ['hIqr q 'tH "pIkCqz wIC qr q ˋmxC] Вот парные картины.
10. Charlie doesn’t know chalk from cheese. ['CRlI 'dAznt nqu 'CLk frqm ˎCJz] Чарли – круглый невежда.
11. Which is your choice? ['wIC Iz "jL COIs] Что вы выбираете?
12. Check your watch with the time signal. ['Cek jO· 'wOC wID Dq ˋtaIm ֽsIgnql] Проверьте часы по
сигналу точного времени.
13. Nothing much to choose between them. ['nATIN 'mAC tq ˋCHz bIt"wJn Dqm] Выбирать тут нечего.
(Один другого стоит.)
14. I adore Dutch cheese. [aI qˋdL ֽdAC "CJz] Я очень люблю голландский сыр.
15. This child’s features are my own. [ˋDIs CaIldz "fJCqz q maI ˋqun] У этого ребенка мои черты лица.

117
 16. Venture a small fish to catch a great one. [ˋvenCq q ˋsmLl "fIS tq 'kxC q ˋgreIt ֽwAn] Рискни малым
ради большого.
17. Chattie’s wisdom matches her charms. ['CxtIz vwIzdqm ֽmxCIz hq ˋCRmz] Чэтти так же умна, как и
прелестна.
18. Hatches, catches, matches and dispatches. ["hxCIz "kxCIz "mxCIz qnd dIsˋpxCIz] Газетные сообщения
о рождениях, обручениях, свадьбах и смерти.
19. The years teach much which the days never know. [Dq 'jWz 'tJC "mAC wIC Dq ˎ"deIz 'nevq ˋnqu]
(Emerson) Годы учат тому, чему не научат дни.

1. The Puzzled Centipede

by Ogden Nash

A centipede was happy quite,

Until a frog in fun
Said, “Pray, which leg comes after which,”
This raised her mind to such a pitch,
She lay distracted in the ditch
Considering how to run.

2. Aunts
by Virginia Graham

Children, aunts are not glamorous creatures,

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 As very often their features
Tend to be elderly caricatures of your own.

“Ship or Sheep” Unit 34 “At the Butcher’s Shop”

Butcher: Good morning, Mrs. Church.

Mrs. Church: Good morning, Mr. Cheshire. I'd like some chops for the children's lunch.
Butcher: Chump chops or shoulder chops, Mrs. Church?
Mrs. Church: I'll have four shoulder chops, and I want a small chicken.
Butcher: Would you like to choose a chicken, Mrs. Church?
Mrs. Church: Which one is cheaper?
Butcher: This one's the cheapest. It's a delicious chicken.
Mrs. Church: How much is all that? I haven't got cash. Can I pay by cheque?
Butcher: Of course, Mrs. Church.

“Cinderella”

'Once upon a vtime│ there 'lived a ↑young ˎgirl│ 'called 'Cindeˎrella. She had a ˋstep - "mother│ and
'two ugly ˋstep – sisters│ who were ˋvery unˋkind to her. 'One "day│ the 'Prince in'vited them to a ˋball.
The 'ugly ˋsisters "went, │ but 'Cindevrella│ 'had to 'stay at ˋhome. ↘As she was ↘sitting by the ↘fireside vcry-
ing, │ her 'fairy vGodmother│ 'suddenly ap'peared beˎfore her.

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 The 'fairy 'waved her "wand│ and the vpumpkin│ was 'turned into a ↑golden "coach, │ 'eight "mice│ be-
came 'eight 'lovely ↑white vhorses│ and some vlizards│ 'changed into ˋcoachmen. 'Cinde'rella’s vrags│ were
'turned into a ↑beautiful ˎdress.
“ˋNow you can ˋgo to the ˋball”, │ said her 'fairy ˎGodmother, - “But revmember: │ you 'mustn’t 'stay
↑after ˋmidnight.”
'At the "palace│ 'Cinde'rella was so ↘happy ↘dancing with the vPrince│ that she for'got all a↑bout the
ˆtime, │ and 'so she 'heard the 'clock ↑strike ˎtwelve. 'As she 'ran a"way│ she ˋlost one of her 'little 'glass ˎs-
lippers. The ↘Prince was de↘termined to ˋfind her a"gain; │ so he 'made the 'procla'mation that she would
v
marry who'ever could 'wear the ˋslipper. It was ↘soon disvcovered that the vslipper│ would 'fit ˋnobody but
'Cindeˎrella. So the 'Prince ˎmarried│ her and they 'lived ↑happily 'ever ˎafter.

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 LESSON 12

English speech melody, its distinctive and attitudinal functions

English speech melody is a highly distinctive part of the language. The presence or absence or pitch-
movement within a word is of great importance. Moving or kinetic tones always mark the semantic centre
of the sentence (or sense-group), thus forming the nucleus of the melodic pattern of the utterance, while the
other stressed words are pronounced on level or static tones.

Examples:
He 'called a 'porter to 'carry his 'bags to a ˎtaxi.

Head – level tones Nucleus –

moving
tone

The main tones form significative oppositions in accordance with:

a) the direction of the pitch movement – falling/ rising.
Compare:
I ˋoffered it ֽto him. (a statement)

121
 You ´offered it 'to him? (a question)

Compare:
'Come aˎlong! (an order)

'Come a"long! (a polite invitation)

b) the range of the pitch movement – low/ high.

Compare:
Don’t! (matter-of- fact, indifferent, phlegmatic)

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Don’t! (with warmth and interest, emphatic)

Compare low rise —high rise:

'Ask "questions. (a request)

'Ask ´questions? (an echoed imperative)

c) the simplicity or complexity of the voice-pitch movement — fall/ fall-rise, rise/ rise-fall.
Compare:
I have 'nothing aˎgainst it. (a categoric statement)

123
 I have ↘nothing avgainst it. (a statement with an implication)

Compare rise —rise-fall:

She ´likes it? (a question)

She ^likes it. (a very emphatic statement)

“Ship or Sheep” Unit 35 “George Churchill”

Jerry: Just outside this village there's a very dangerous bridge. John: Yes. Charles told me two jeeps
crashed on it in
January. What happened?
Jerry: Well, George Churchill was the driver of the larger jeep, and he was driving very dangerously. He's
been drinking gin.
John: George Churchill? Do I know George Churchill?
Jerry: Yes, that ginger - haired chap. He's the manager of the travel agency in Chester.

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 John: Oh, yes. I remember George. He's always telling jokes. Well, was anybody injured?
Jerry: Oh, yes. The other jeep went over the edge of the bridge and two children and mother passenger
were badly injured.
John: Where both the jeeps damaged?
Jerry: Oh, yes.
John: And what happened to George?
Jerry: George? He's telling jokes in jail now, I suppose.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
{[G]

joy large agent charged

joke bridge major aged
jar badge pages huge Jack
jam edge a jam large jar
job age page nine stage-conscious
jest barge tell Jack Judge Johnson

1. Just imagine! ['GAst IˋmxGIn] Подумать только!

2. Change the subject. ['CeInG Dq ˋsAbGIkt] Измените тему разговора.
3. Justice’s justice. ['GAstIsIz ˎGAstIs] Шемякин суд.
4. Jim’s just my age. ['GImz ˋGAst maI ֽeIG] Джиму столько же лет, сколько и мне.
5. Meet John Jones junior. ['mJt 'GOn 'Gqunz ˋGHnjq] Знакомьтесь, Джон Джоунз младший.

125
 6. June is a prodigy of energy. ['GHn Iz q 'prodIGI qv ˋenqGI] У Джун неиссякаемая энергия.
7. Jos is a gentleman at large. ['GOz Iz q 'Gentlmqn qt ˎlRG] Джоз – джентльмен без определенных
занятий.
8. I’ll do it just to oblige Joyce. [aIl 'dH It 'GAst tq qb'laIG ˋGOIs] Я это сделаю ради Джойс.
9. John arranged your journey to Japan. ['GOn q'reInGd jO· 'GWnI tq Gqˋpxn] Джон организовал для вас
поездку в Японию.
10. Don’t bear Joan a grudge because she misjudged you. [ˋdqunt ֽbFq ֽGqun q "grAG bIkOz Si· mIs"GAGd
ju·] Не сердись на Джоун из-за того, что она составила о тебе неправильное мнение.
11. June marriages lucky. [ˋGHn ֽmxrIGIz ˋlAkI] Июньские браки счастливые.
12. Don’t jest with edged tools. ['dqunt 'Gest wID 'eGd vtHlz] Не шутите с огнем.
13. James joined the geography society. ['GeImz 'GOInd Dq GIˋOgrefI sqֽsaIqtI] Джеймс записался в
географический кружок.
14. Jo, make a margin on the left of the page. [ˋGqu 'meIk q 'mRGIn On Dq ˋleft qv Dq ֽpeIG] Джо, оставь
поля с левой стороны.
15. Just imagine Jim learning the German language. ['GAst IֽmxGIn ^GIm ֽlWnIN Dq ֽGWmqn ^lxNgwIG]
Представь себе Джима, изучающего немецкий язык.
16. Be just before you are generous. ['bJ ˋGAst bIֽfL ju· q "Genqrqs] Будь справедливым, потом
великодушным.
1. Algy Met a Bear
by Edward Lear

126
 Algy met a bear,
The bear was bulgy,
The bulge was Algy.

2. Just and Unjust

by Lord Bowen

The rain it raineth on the just

And also on the unjust fella;
But chiefly on the just, because
The unjust steals the just’s umbrella.

“Not so stupid”

A 'man en'gaged in 'lawsuit sug↑gested to his "lawyer that it 'might be a 'good i'dea to ↑send a ˎpresent│
to the 'judge who was 'going to ˋtry the ֽcase. His 'lawyer 'warned him that the 'judge was ↑quiet in-
corˎruptible │and that if he 'did ↑any such "thing│ he would 'only 'prejudice the judge aˋgainst him.
'During the 'trial the ↑lawyer 'noticed that the ↑judge 'seemed to 'favour his ˋclient, │ in 'whose 'favour
'judgment was e'ventually ˎgiven. The 'man 'afterwards 'told his "lawyer│ that he had 'sent a ↑rich ˎpresent
to the ֽjudge.
“But you ˋcan’t have ֽdone so,” said the ֽlawyer aֽghast.
“^Oh yes I ^did,” │ reֽplied the "man, │ “but re'membering your advvice, │ I ֽsent it in opֽponent’s

127
ˋname.”

“Stories for reproduction” Text 7

There was once a large, fat woman who had a small, thin husband. He had a job in a big company and
was given his weekly wages every Friday evening. As soon as he got home on Fridays, his wife used to
make him give her all his money, and then she used to give him back only enough to buy his lunch in the of-
fice every day.
One day the small man came home very excited. He hurried into the living-room. His wife was listening
to the radio and eating chocolates there.
“You'll never guess what happened to me today, dear,” he said.
He waited for a few seconds and then added, “I won ten thousand pounds on the lottery!”
“That's wonderful!” said his wife delightedly. But then she thought for a few seconds and added angrily,
“But wait a moment! How could you afford to buy the ticket?”

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 LESSON 13

The main English intonation contours and their variants

Table

Articulation of the consonants [f], [v]

The consonants [f, v] are articulated with the lower lip raised to the edge of the upper teeth, forming a flat
narrowing. The air passes through it with friction. In the production of [f] the vocal cords are kept apart and
do not vibrate, whereas in the articulation of [v] they are drawn near together and vibrate.
Thus [f], [v] may be defined as constrictive noise fricative labiodental consonants pronounced with a flat nar-
rowing. The consonant [f] is voiceless-fortis, the consonant [v] is voiced-lenis.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[f]

four off friend

129
 foe life from
far half front
few self afraid
first safe fried
fat rough free
feel enough France

1. Fair enough. [¯fFqr I"nAf] Справедливо.

2. First and foremost. ['fWst qnd ˎfLmqust] Прежде всего.
3. Fill in the form. ['fIl In Dq ˋfLm] Заполните бланк (анкету).
4. I’m afraid Flo is far from well. [aIm q'freId 'flqu Iz 'fR frqm vwel] К сожалению, Фло еще плохо себя
чувствует.
5. Fan is full of fads and fancies. ['fxn Iz 'ful qv 'fxdz qnd ˋfxnsIz] Фэн полна причуд и фантазий.
6. Fred often frets and fumes. ['fred 'Ofn 'frets qnd ˎfjHmz] Фред часто бушует (рвет и мечет).
7. Frank failed at the first go-off. [frxNk ˋfeIld qt Dq ˋfWst "gquOf] Фрэнк провалился при первой
попытке.
8. Fingers were made before forks. ['fINgqz wq 'meId bIfL ˋfLks] Пожалуйста, без церемоний.
9. Fortune favours fools. [ˋfLCqn ֽfeIvqz ˋfHlz] Дуракам счастье.
10. Face front and listen carefully. ['feIs ˋfrAnt qnd 'lIsn ˎkFqfqlI] Смотрите на меня и слушайте
внимательно.
11. I feel fit as a fiddle. [aI ֽfJl 'fIt qz q ˋfIdl] Я чувствую себя превосходно.

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 12. Fight fire with fire. ['faIt 'faIq wID ˋfaIq] Клин клином вышибают.
13. A fair field and no favour. [q 'fFq "fJld qnd 'nqu ˋfeIvq] Равные шансы для всех. Игра (борьба) на
равных условиях.
14. Floy is neither fish, flesh nor fowl. ['flOI Iz naIDq 'fIS 'fleS nO· ˋfaul] Флой — ни рыба, ни мясо.
15. A fault confessed is half forgiven. [q 'fLlt kqn"fest Iz 'hRf fqˋgIvn] Повинную голову меч не сечет.
16. Ford came off with flying colours. ['fLd keIm 'Of wID 'flaIIN ˋkAlqz] Форд одержал блестящую
победу.
17. Ferd’s definitely a friendly fellow. ['fWdz 'defInItlI q frendlI "felqu] Ферд, несомненно, человек
дружелюбный.
18. From the frying-pan into the fire. [frqm Dq 'fraIINpxn Intq Dq ˎfaIq] Из огня да в полымя.
19. Fay felt that for five years she’d been cut off from life. ['feI 'felt Dqt fq 'faIv "jWz SJd bi·n 'kAt ˋOf frqm
laIf] Фей чувствовала, что пять лет была оторвана от жизни.
20. Trifles make perfection, and perfection is no trifle. ['traIflz meIk pqˋfekSn qnd pqvfekSn Iz ˋnqu ֽtraIfl]
(Michelangelo) Мелочи создают совершенство, но совершенство — не мелочь.

1. F is the Fighting Firetruck

by Phyllis McGinley

F is the fighting Firetruck

That’s painted a flaming red.
When the signals blast

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 It follows fast
When the chief flies on ahead.

And buses pull to the curbing

At the siren’s furious cry,
For early or late
They have to wait
When the Firetruck flashes by.

2. The Sniffle
by Ogden Nash

In spite of her sniffle, But Isabel’s chiffle

Isabel’s chiffle.
Some girls with a sniffle
Would be weepy and tiffle,
They would look awful,
Like a rained-on waffle,
In spite of her sniffle
Some girls with a snuffle,
Their tempers are uffle,
But when Isabel’s snivelly
She’s perfectly luffly.

3. To a Butterfly
by W. Wordsworth

I’ve watched you now a full half-hour,

Self-poised upon that yellow flower,

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 And, little butterfly! indeed
I know not if you sleep or feed.
“Ship or Sheep” Unit 36 “At the Photographer’s”

Phillip: I want a photograph of myself and my wife.

Photographer: Please fill in this form, sir. Would you prefer a full front photograph or a profile?
Phillip: A full front, don't you think, Phillippa?
Phillippa: Yes, A full front photograph.
Photographer: Please sit on this sofa. Is it comfortable, Mrs. Puffin?
Phillippa: Yes. It feels fine.
Photographer: Mr. Puffin, please give a friendly laugh.
Phillip: That's difficult. If you say something funny I can laugh.
Photographer: And, Mrs. Puffin, please look soft and beautiful.
Phillippa: Is it finished?
Photographer: Yes.
Phillip: Will the photograph be ready for the 1st of February?
Photographer: Yes. Please, phone my office after five days, Mr. Puffin.

Tone group 5

These statements imply all the definiteness, finality, etc. associated with the other falling tone group. The
speaker is greatly impressed, perhaps awed, e. g.:
Have you heard about Pat? ^Yes! | (Isn’t it scandalous!)

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 Tone Group 5 is very often used in echoing an immediately prior remark, in order to show how im-
pressed the speaker is, e. g.:
She was wearing purple stockings. ^Purple!

The speaker often sounds complacent, self-satisfied, even smug, e. g.: Is that your last word? I’m a'fraid it
^is.
John’s failed his driving test. I’m 'not sur^prised.

This tone group gives to special questions a note of challenge and antagonism, e. g.:
You could surely find some money somewhere. (But) ^where?
I know it for a fact. ^How do you ֽknow, (though)?

In general questions the speaker accepts what has been said and is impressed by it, e. g.:
He shot an elephant. ^Did he!
They’ve nowhere to live. ^Haven’t they!

Tone Group 5 with commands is again a matter of shrugging off responsibility, of refusing to be em-
broiled, e. g.:
Which of these hats shall I buy? 'Please your^self.
Could you help? 'You ֹ fight your ^own ֽbattles.

When the speaker uses Tone Group 5 with interjections he sounds greatly impressed by something not en-
tirely expected, e. g.:
Sally’s just had triplets. 'My ^goodness!

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 Tune I
RISE-FALL + TAIL
¯Can you "see? ^Perfectly.
'Is he as 'tall as his "father? ^Taller, ֽeven.
I was very ˋcross with him. ^Naturally. | ^Anyone w
ֽ ould be.
↘
Surely vone of these ֽ ^Which of them, ֽthough?
screws will ֽfit.
I ֽֽfinished ˋwell before ֽtime. ^Clever, | ^aren’t you.
I ˋhate it, | but ֽֽwhat ^Tell them you ֽhate it?
can I ˋdo?
¯Did you "finish your ֹjob? ^Heavens, ֽyes! | ^Ages aֽgo!

Tune II
RISE-FALL ONLY
'Did you 'see any "lions? ^Lots.
¯Is it "cheaper by ֹcoach? ^Much.
^You ֽpay for it. ^How?
Well ^borrow a ֽruler. ^Whose?
'May I 'take this "newspaper? ^Do.
ˋJohn’s got it "now. ^Oh! | ('That’s ^different.)

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 Tune III
LOW PRE-HEAD + RISE-FALL (+ TAIL)
¯Can you 'manage it a"lone? I’m ^sure I ֽcan.
I 'thought you 'didn’t ˋlike ֽspinach.
On the ^contrary. | I
^love it.
'Why should ˎyou do the ֽdonkey work? Who ^else is there to
ֽdo it?
↘
I’ll make it soon, | I ˋpromise.
v
Yes but ^how ֽsoon?
You 'ought to a^pologize. Oh ^ought I, inֽdeed?
'Everything’s so ^dear. Aren’t po^tatoes a ֽprice!
'Nobody 'seems at ^all ֽkeen. Well give ^up the iֽdea.

Tune IV
(LOW PRE-HEAD +) STEPPING HEAD + RISE- FALL (+ TAIL)
'Is he getting "fatter? 'Getting ^fatter! | (He’s ^huge!)
'Did you ֹsave "time? I was 'able to 'do it in ^half the
ֽtime.
I 'don’t ˋlike the ֽman. You’ve 'never 'even ^spoken ֽto
him.
Which one shall I ˋchoose? It’s 'up to ^you. | You must 'make
up your ^own ֽmind.
¯Would "Max have a ֹgame? 'Why not ^ask him?

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I’ve 'had this 'pain for ˋdays. 'Why don’t you ^do something
aֽbout it?
'Can we afˋford to ֽbuy it? 'Can we af ֹford ^not to?
'Which one shall I "buy? 'Please your^self.
It’s ↘not vmuch of a ֽcut. Then 'don’t make 'so much ^fuss
aֽbout it.
Thank you ˋso "much. 'Not at ^all. | 'Thank ^you.

1. The main English intonation contours with their variants

137
138
 LESSON 14

The semantic function of the nucleus

The opposition of falling and rising tones enables the speaker to convey in his utterance either an impres-
sion of finality, completeness or resoluteness by using one of the falling tones:

Or on the contrary, to convey a feeling of non-finality, incompleteness, hesitation, implication by using

one of the rising tones:

Compare:
I 'think you 'ought to aˎpologize. (definite, categoric)
I 'think you 'ought to a"pologize. (hesitant, non-categoric)

The oppositions based on the range of the pitch movement (low fall/ high fall and low rise/ high rise)
serve a different purpose.
High fall adds personal concern, interest and warmth to the features characteristic of low fall on a
purely intellectual level, i.e. finality, definiteness, etc. The speaker’s attitude towards the situation and the
listener, the emotional side of the utterance is thus expressed by increasing the range of the falling tone.

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 Compare:
I 'hear you’ve ˎpassed your exam. (categoric, matter-of-fact)
I 'hear you’ve ˋpassed your exam. (categoric, with interest and warmth)

The high rise is essentially an interrogatory tone. The feeling of non-finality and incompleteness, charac-
teristic of low rise, is brought to its extreme form in high rise, expressing the speaker’s active searching for
intonation. This is obvious in those utterances where the high rise turns into a question a sentence which is
built grammatically as a statement, e.g.—
You ´like it?

While low rise is often used in statements of a non-categoric type, high rise (when used in final sense-
groups) always indicates interrogation.

Compare:
He’s 'hardly 'hurt at "all. (a reassuring statement)
He’s 'hardly 'hurt at ´all? (an echoed statement = a question) ('Who ˎsays it?)

In echoed utterances of all communicative types, when the speaker seems to be checking whether he re -
ceived the information correctly before reacting to the other person’s speech, it is again the high rise that is
mostly used.

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 Examples:
a) An echoed statement — We ֽstart toˋmorrow. — You 'start to´morrow?
b) An echoed general question — 'Did you en"joy the 'concert? — 'Did I en´joy it?
c) An echoed special question — 'How 'many ˎchildren ֽhas he? — 'How ´many? (ˋSix, I be"lieve)
d) An echoed order (or request) — ˋTelephone me, ֽthen. — ´Telephone you? (How ˋcan I?)
e) An echoed exclamation — ˋWonderful ֽnews! — ´Wonderful news? ('Nothing of the ˎkind.)

In general and alternative questions and in non-final sense-groups of enumerations there seems to be no
linguistically important juxtaposition of low rise and high rise. The latter makes the utterance sound some-
what lighter or livelier, and the difference stops there.
Compare:
General question — 'Did they ´all 'go? │ 'Did they "all 'go?
Alternative question — Will you have ´cake│ or ˎpastry? │ Will you have "cake│ or ˎpastry?
Non-final sense-groups — Has she 'learnt to ´sew, │ and ´cook? │Has she 'learnt to "sew, │ and "cook? │
Have you 'all got ´knives│ and ´spoons? │Have you 'all have "knives│ and "spoons?

In complex tones it is the final part that is more informative.

“Fall-rise is an implicatory tone. It always gives the impression that something has been left unsaid, and
that the speaker expects his listener to imagine the extra meaning” (R. Kingdon)
The exact character of the implication is always deduced from the concrete situation in which fall-rise is

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used. There is no need to use words to express what the fall-rise hints at, because it is known both to the
speaker and to the listener.

Example:
The 'boy is ˎseven. — vNine. (Polite correction. Implication: You are mistaken.)
Have 'Bob and 'Jane ar"rived? — ˋJane’s "here. (Implication: But ˋBob "isn’t.)

Sometimes the implication consists in signaling to the listener that “the speaker hesitates to make his
statement too confidently, and at other times it conveys a warning or an apology.” (R. Kingdon)
This tone is used in statement and requests, but hardly ever in questions.
In some books of English phonetics this tone is described as always being an emphatic one. R. Kingdon,
however, places it side by side with simple falling and rising tones as belonging to the main unemphatic
tones, each of which can be made emphatic by means of increasing stress.

Rise-fall implies all the definiteness, finality, etc., associated with the other falling tone contours. It par-
ticularly shows that the speaker is greatly impressed (whether favourably or not). This tone has an intensify-
ing function very similar to the use of the word “even”.
You aren’t trying = … even trying.
In teaching English intonation “… it should be remembered that the attitudinal meaning of an utterances
must always be interpreted within a context, both of the situation and also of the speaker’s personality. It
may well happen that an intonation which is neutral in one set of circumstances might be, for instance, offen-

142
sive or patronizing when used by another person or in other circumstances.” (A. C. Gimson)

“Ship or Sheep” Unit 37 “A Fine View”

Vera: Has your family lived here for very long?

Victor: Five and a half years. We arrived on the first of February.
Vera : What a fine view you have!
Victor: Yes. I love living here.
Vera: Look! You can see the village down in the valley.
Victor: Yes, It's a lovely view.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[v]

vast of never
verse have over
voice love river
vote live heavy
vow move twelve
vex leave lives
van save a very
1. Very clever of Ava. ['verI ˋklevqr qv ֽRvq] Ава умно поступила.
2. I’ve never heard of Steve. [aIv 'nevq ˋhWd qv "stJv] Я ничего не знаю о Стиве.

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 3. Vivie’s vain of her voice. ['vIvIz 'veIn qv hq ˋvOIs] Виви очень гордиться своим голосом.
4. I’ve never lost the love of my job. [aIv ˋnevq lOst Dq ˋlAv qv maI ˋGOb] Я никогда не переставала
любить свою работу.
5. I’ve given Vic the best of advice. [aIv 'gIvn vIk Dq 'best qv qdˋvaIs] Я дал Виктору прекраснейший
совет.
6. They’ve never approved of Val. [DxIv 'nevq qˋprHvd qv ֽvxl] Они всегда неодобрительно относились
к Велу.
7. Mr. Vere’s in the vicinity of seventy-five. [mIstq 'vIqz In Dq vI'sInItI qv 'sevqntI ˋfaIv] Мистеру Виру лет
75.
8. You’ve been overprotective of Viola. [¯juv bIn 'quvqprqˋtektIv qv ֽvaIqlq] Вы чрезмерно оберегаете
Виолу.
9. I’ve never voted. [aIv 'nevq ˋvqutId] Я никогда (еще) не голосовал.
10. They’ve arrived at five. [DeIv q'raIvd qt ˋfaIv] Они приехали в 5 часов.
11. Victor’s on active service in the Navy. ['vIktqz On ֹxktIv 'sWvIs In Dq ˎneIvI] Виктор находиться на
действительной службе во флоте.
12. Vesuvius is an active volcano. [vIvsHvjqs Iz qn 'xktIv vqlˋkeInqu] Везувий — действующий вулкан.
13. Vest is my only surviving relative. ['vest Iz maI 'qunlI sq'vaIvIN "relqtIv] Вест — мой единственный
оставшийся в живых родственник.
14. I’ve never taken to Viv very much. [aIv 'nevq ֹteIkn tq 'vIv ֹverI "mAC] Мне Вив никогда особенно не
нравилась.
15. I’ve moved heaven and earth. [aIv ֽmHvd 'hevn qnd ˋWT] Я пустил в ход все.

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 16. I believe the very reverse is true. [aI bIֽlJv Dq 'verI rIˋvWs Iz ֽtrH] Я считаю, что все как раз наоборот.
17. I’ve never forgiven Vera. [aIv 'nevq fqˋgIvn ֽvIqrq] Я так и не простил Веру.
18. Van ought never to have ventured it. ["vxn 'Lt 'nevq tq hqv ˋvenCqd It] Вен не должен был делать
этого (так рисковать).
19. I’ve never given Avy a thought. [aIv 'nevq gIvn 'eIvI q ˎTLt] Я не обращаю ни малейшего внимания.
20. Vivie’s the vaguest creature that ever lived. ['vIvIz Dq 'veIgqst 'krJCq Dqt ֹevq ˎlIvd] Виви невероятно
рассеяна.

1. The Tide in the River

by Eleanor Farjeon

The tide in the river,

The tide in the river,
The tide in the river runs deep,
I saw a shiver
Pass over the river
As the tide turned in its sleep.

2. To my Grammatical Niece
by W. R. Spencer

The Nom’native Case which I study’s —“A Niece”

145
 Who is Genitive ever of kindness to me:
When I am sad, she’s so Dative of comfort and
peace,
That I scarce against fate can Accusative be!
O Friendship (this Vocative most I prefer),
Makes my case always Ablative —“by and with
her”.
Your Mother’s a Verb from Anomaly free,
Though Indicative always of learning and sense,
In all of her moods she’s Potential o’er me,
And the Perfect is still her invariable Tense!
Though Passive in temper, most Active in spirit,
And we are Deponents —who swear to her merit!

“Too great a majority”

'George Bernard 'Shaw’s 'gift of ready "wit│ is 'well 'illustrated by the 'story of how he 'turned the 'laugh
against a ↑member of the 'public who was ex↑pressing 'disap'proval of ↑one of his ˎplays.
It was the 'first 'night of “↑Arms and the ˎMan”, │ a 'play which had an en'thusiastic re'ception from a
↑crowded ˎhouse. When the 'curtain 'fell at the ↑end of the 'last "act │ there was tre'mendous ap"plause,
│ac'companied by in'sistent 'calls for the ˋauthor to apֽpear. One 'man in the ˋgallery, how"ever, │ 'kept up a
'string of 'catcalls and ˎwhistling, │ 'thus ex'pressing his 'disapˎproval.

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 'Shaw ap'peared before the "curtain, │ and 'waited in 'silence until the ap↑plause had 'died ˎdown.
"Then│'looking up at the 'hostile "critic, he 'said:
“I 'quite aˋgree with you, Sir, │ but 'what can ↑we 'two do against 'all ˋthese ֽpeople.”

“Child’s play”
Once a child was sitting on a log by the roadside playing. Presently, another child came along.
-What are you playing at? – said the second child.
-I’m sailing to the southern seas with the cargo of monkeys and elephants’ tusks and crystal balls as large
as oranges. Get up on the log and you may sail with me if you like.
So the second child climbed up on the log.
-See how the foam bubbles up before the ship and trails and floats away. The water is so clear, you can
see the fish darling about: red, and green, and blue. Look, there’s a parrot-fish. My father told me about
those. I shouldn’t be surprised if we saw a whale in about a minute.
-What ever are you talking about? – said the second child crossly. – There’s no water here, only grass. Be -
sides, you can’t get to islands like this. This is only a log.
-But we can. We ought to know. See the palm-trees waving and the white sands glittering.
-You ought to be ashamed of yourself. – said the second child. – That’s Mrs. Jones.
-It’s all the same, - said the first child.
-Story-teller, - said the second child and he got down from the log. – I’m going to play tip-cat, - he said. –
I don’t see any fun in playing things that aren’t really there, - and he walked slowly away. The first child
looked after him for a minute.
-I think you are pretty dull to see nothing but what is under your nose, - but he was too well-mannered to
say this aloud, and having taken in his cargo, he sailed for another port.

147
148
 LESSON 15

The semantic function of the head

The stepping head, with its gradual falling of pitch on the stressed words of the pre-nuclear part of the
utterance, conveys the impression of the balanced, active, mood of the speaker. It is widely used in combi-
nation with any of the six main tones of the nucleus.

Examples:
IC 1 — I’m a'fraid I for'got to reˎturn it.
IC 2 — There’s 'nothing to 'get up"set about.
IC 3 — I’d 'like to 'try aˋgain.
IC 4 — It’s 'not the 'one you ´want?
IC 5 — I 'haven’t 'much vappetite.
IC 5a— It’s 'more like ˋJanuary than "April.
IC 6 — It’s 'not like 'that at ^all.

The low head, based on low-pitched pre-nuclear stressed syllables, is apt to convey an impression rang-
ing from cool and indifferent to sulky and hostile, particularly when combined with low fall or low rise.
The low head usually appears as a component of intonation contours 1a, 2a and 3a, which means that it is
combined mainly with three nuclear tones: low fall, low rise and high fall.

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 Examples:
IC 1a — I ֽwanted to have a ˎchat with you.
IC 2a — It’s ֽall the ֽsame to "me.
IC 3a — I ֽjust ֽdon’t ˋwant to ֽsing.

A low head is quite possible in IC 5a, as this contour contains high fall.
Example: I ֽseem to have misˋlaid "mine.

In the case of intonation contours 3a and 5a, where low head precedes high fall, the low head seems to in -
crease by contrast the emotional function of the high fall, at the same time often adding to the utterance such
features as insistance, puzzlement, displeasure, protest, etc. The negative attitude is particularly to be felt in
special questions, pronounced with IC 3a.

Compare:
IC 1 — 'What have you ˎdone it for? (a simple question)
IC 1a— ֽWhat have you ˎdone it for? (a question + disapproval)
IC 3a— ֽWhat have you ˋdone it for? (a question + indignation)

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 The sliding head, due to its “jumpy”, uneven scale of pre-nuclear syllables, usually reflects an excited
state of mind and, sometimes, a highly emotional attitude to the situation.
The sliding head seems to be mostly used in combination with a fall-rise in the nucleus.

Examples:
IC 5a— I ↘can’t get them ↘done tovday.
↘
Pardon my inter↘rupting you avgain.

Articulation of the sound [w]

The consonant [w] is articulated with the lips forming a round narrowing, the back of the tongue being
raised towards the soft palate as for [u] or even higher (tongue-back co-articulation).
The sides of the tongue are raised and the air-passage is open along the median line of the tongue. The air
passes through the round narrowing between the lips without any audible friction.
In the articulation of the sonorant [w] tone prevails over noise as the air-passage is rather wide. The vocal
cords are drawn near together and vibrate. The sound is very short and weak. The tongue and the lips im-
mediately glide from the position for [w] to that of the following vowel.
Thus [w] may be defined as a constrictive median with tongue-back co-articulation bilabial sonorant pro-
nounced with a round narrowing.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

[w]

151
 we wool sweet
work walk swift
why ward swam
way wood swan
where was swore
war win swine

twice queen where – wear

twelve quick which – witch
twenty quite whale – wail
twin question whet – wet
tweed quarrel whine – wine
twist quiet whether- weather

1. Well, I declare! [wel aI dIˎklFq] Ну, скажу я вам! (Ну и ну!)

2. Why worry? [ֽwaI ˋwArI] Зачем беспокоиться?
3. Time works wonders. [ˋtaIm wWks ˋwAndqz] Время творит чудеса.
4. Away with war! [q'weI wID ˋwL] Долой войну!
5. One word to the wise. ['wAn ˋwWd tq Dq "waIz] Умному кивни — догадается.
6. Whatever will we do? [wOt'evq wIl wi· ˋdH] Что мы будем делать?
7. We’ll walk whatever the weather. [wi·l 'wLk wOtˋevq Dq ֽweDq] Мы пойдем гулять в любую погоду.

152
 8. We see what we wish to. [wi· 'sJ wOt wi· vwIS tu] Мы видим то, что хотим видеть.
9. One never knows with the weather. [wAn 'nevq ˋnquz wID Dq ֽweDq] Никогда не знаешь, какая будет
погода.
10. We wondered where we were. [wi· 'wAndqd 'wFq wi· ˋwW] Мы не знали, где находимся.
11. I wonder what’s wrong with Wyn. [aI 'wAndq wOts ˋrON wID ֽwIn] Не понимаю, что стряслось с
Уин.
12. The sweater will wear well. [Dq 'swetq wIl 'wFq ˋwel] Этот свитер будет хорошо носиться.
13. Willful waste makes woeful want. ['wIlful "weIst ֹmeIks 'wquful ˎwOnt] Мотовство до добра не
доводит.
14. When will we meet? ['wen wIl wi· ˋmJt] Когда мы встретимся?
15. I wonder what’s worrying Will. [aI ֽwAndq ֽwOts ˋwArIIN "wIl] Не понимаю, что беспокоит Уилла.
16. Walter always knows what’s what. ['wOltq ˋLlwqz ֽnquz 'wOts ˋwOt] Уолтер всегда знает что к чему.
17. It was a wonder the weather was so wet. [It wqz q ˋwAndq Dq ֽweDq wqz squ "wet] Было удивительно,
что погода такая сырая.
18. Winnie is as weak as water. ['wInI Iz qz 'wJk qz ˋwOtq] Уинни слабохарактерная.
19. Watt is as swift as the wind. ['wOt Iz qz 'swIft qz Dq ˋwInd] Уот все делает быстро.
20. No sweet without some sweat. ['nqu 'swJt wID'aut sqm ˋswet] Без труда нет плода.

1. Washing
by John Drinkwater

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 What is all this washing about,
Every day, week in, week out?
From getting up till going to bed,
I’m tired of hearing the same thing said.
Whether I am dirty or whether I am not,
Whether the water is cold or hot,
Whether I like it or whether I don’t —
Whether I will or whether I won’t —
Have you washed your hands, and washed
your face?
I seem to live in the washing-place.

2. The Wonderful World

by William Brightly Rands

Great, wide, beautiful wonderful world,

With the wonderful water round you curled,
And the wonderful grass upon your breast —
World, you are beautifully dressed!

The wonderful air is over me,

And the wonderful wind is shaking the tree —
It walks on the water, and whirls the mills.
And talks to itself on the top of the hills.

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 “Ship or Sheep” Unit 38 “A Walk in the Woods”

Wendy: Yes. We went for a walk in the woods near the railway.
Gwen: Wasn't it cold on Wednesday?
Wendy: Yes. It was very cold and wet. We wore warm clothes and walked quickly to keep warm.
Gwen: It's lovely and quiet in the woods.
Wendy: Yes. Further away from the railway it was very quiet, and there were wild squirrels everywhere.
We counted twenty squirrels.
Gwen: How wonderful! Twenty squirrels! And did you take lunch with you?
Wendy: Yes, about twelve we had veal sandwiches and sweet white wine and we watched the squirrels.
It was a very nice walk!

“Stories for reproduction” Text 8

Bill Jenkins worked in a big office in the city, and generally he used to go to the barber’s during working
hours to have his hair cut, although this was against the rules: clerks had to have their hair cut in their own
time.
While Bill was at the barber’s one day, the manager of the office came in by chance to have his own hair
cut. Bill saw him and tried to hide his face, but the manager came and sat beside him, so he soon recognized
him.
“Hullo, Jenkins,” the manager said. “I see that you are having your hair cut in office time.”

155
 “Yes, sir, I am,” admitted Bill calmly. “You see, sir, it grows in office time.”
“Not all of it,” said the manager of the office at once. “Some of it grows in your own time.”
“Yes, sir, that’s quite true,” answered Bill politely, “but I’m not having it all cut off.”

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 LESSON 16

The semantic function of the pre-head

The low pre-head may occur in all unemphatic and many emphatic utterances. It may be combined with
any of the six main tones. Its main function is to mark the comparative unimportance of initial unstressed
syllables.

Examples:
IC 1 —It was 'very ˎkind of you.
IC 1a— Will it ˎhelp do you ֽthink?
IC 2 — It’ll be 'quite 'ready by to"morrow.
IC 2a— He did ֽnothing of the "sort.
IC 3 — I can 'hardly beˋlieve it.
IC 3a— We’ve been ֽwaiting for ˋages.
IC 4 — You ´offered it to him?
IC 5 — It was ↘earlier than vthat.
IC 5a— That’s the ˋsecond ֽtime you’ve ֽasked me "that.
IC 6 — You should have ^told me.

The high pre-head has a clearly emphatic function. Before a rise it usually gives a bright, lively, encour-
aging character to the utterance.

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 Stimulus Response
We had a ˋlovely ֽtrip. ¯Do "tell me about it.
'See you ˎpresently. ¯So "long, old 'chap.
Is 'that 'your "note-book? ¯It "is.

Before a fall it may give the utterance an indignant, quarrelsome ring. (A. Gimson)

Stimulus Response
You ↘won’t do it ˋthat way. ¯Well ˎhow, then?
He just 'shouted me ˋdown. ¯The ˎbrute!
I ֽdon’t beֽlieve you ˋposted it. ¯I ˎdid post it.
ˋJohn’s the "winner. ¯He ˎwill be surֽprised.
I’ll 'fetch you in the ˋcar. ¯That ˎis ֽgood of you.

The last two examples illustrate a highly emotional positive attitude expressed by high pre-head preced -
ing a falling tone in the nucleus.

The main attitudes conveyed by the main intonation contours.

158
 IC 1 — calm, matter-of-fact but interested.
IC 1a— calm, unemotional, cold, uninterested.
IC 2 — soothing, genuinely interested, friendly.
IC 2a— encouraging further conversation, casual, or calmly disapproving, warning, critical, menacing.
IC 3 — lively, interested, personally concerned, emotional, with some warmth.
IC 3a— the same as IC 3, but with less warmth and often with surprise, displeasure, protest.
IC 4 — interrogatory, light and casual; in non-final sense-groups, tentative.
IC 5 — implicatory; hardly ever used in questions and interjections.
IC 5a— highly emotional, warm, sympathetic; in special questions, plaintive, weary.
IC 6 — highly emotional; the speaker is impressed and sometimes even awed challenging and censorious in the case
of negative emotions.

Articulation of the sound [j].

The consonant [j] is articulated with the front of the tongue held against the hard palate at approximately
the same height as in pronouncing the vowel [i]. The sides of the tongue are raised leaving the air-passage
open along the median line of the tongue. The vocal cords are drawn near together and vibrate. The air-pas-
sage between the front of the tongue and the hard palate is rather wide and the air flows through it without
any audible friction. As a result, in the articulation of [j] tone prevails over noise. The sound is very short
and weak. The tongue immediately glides from the position for [j] to that of the following vowel. The vocal
cords are drawn near together and vibrate.
Thus [j] may be defined as a constrictive median mediolingual palatal sonorant.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

159
 [j]
you suit pure
your assume tune
yes few cure
year fume human
young super queue
yard enthusiasm tube

1. Yes, continue. ["jes kqn"tInjH] Да, продолжайте.

2. Julia’s young for her years. ['GHljqz ˋjAN fq hq "jWz] Джулия выглядит моложе своих лет.
3. Your companion’s young, yet peculiar. [jO· kqmֽpxnjqnz vjAN jet pIˋkjHljq] Ваш спутник молод, но со
странностями.
4. The year is young yet. [Dq 'jWr Iz "jAN ֹjet] Год только начался.
5. I’m a year Daniel’s senior. [aIm q 'jW 'dxnjqlz ˋsJnjq] Я на год старше Дэниеля.
6. You won’t yell, will you? [ju· 'wqunt ˋjel ´wIl ju] А кричать не будешь?
7. You kept Amelia amused. [¯ju· 'kept q'mJljq q"mjHzd] Ты все время смешил Амелию.
8. You’d be less than human if you refused. [ju·d bi· ֽles Dqn ˋhjHmqn If ju· rI"fjHzd] Было бы
противоестественно, если бы ты отказался.
9. Delia is far beyond William in Italian. [ֽdJljq Iz 'fR bIֹjOnd ˋwIljqm In Iˋtxljqn] Дилия гораздо лучше
знает итальянский язык, чем Уильям.

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 10. Spaniels are companionable, you know. ['spxnjqlz q kqmˋpxnjqnqbl ju "nqu] Спаниели же очень
общительны.
11. New Year’s Day is the youngest day in the year. ['njH vjWz ֹdeI Iz Dq 'jANgIst 'deI In Dq ˋjW] 1-е января
— первый день Нового года.
12. Did you sell your old piano? ['dId ju· 'sel jO·r 'quld ´pjxnqu] Вы продали свой старый рояль?
13. Credit is due to you, Celia. ['kredIt Iz 'djH tq ˋjH ֽsJljq] Ты достойна похвалы, Силия.
14. You are young yet, aren’t you? [ju· Q· ˋjAN jet ˋRnt ju·] Но ведь ты еще так молода.
15. The book’ll be beyond you, Jolyon. [Dq 'bukl bi· bIˋjOnd ju· "GOljqn] Ты не поймешь эту книгу,
Джолион.
16. Yes, your face is familiar. ['jes jO· 'feIs Iz fq"mIljq] Да, ваше лицо мне знакомо.
17. Julius yearns for news. ['GHljqs 'jWnz fq ˋnjHz] Джулиус с нетерпением ждет известий.
18. Youth yearns to be old while age yearns to be young again. ['jHT 'jWnz tq bi· ˋquld waIl veIG 'jWnz tq bi·
ˋjAN qֽgen] Казаться старше юноши желают, обратно в юность старые хотят.

1. The Farm
by Archibald Macleish

Why do you listen, trees?

Why do you wait?
Why do you fumble at the breeze —
Gesticulate

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 With hopeless fluttering hands —
Stare down the vanished road beyond the gate
That now no longer stands?
Why do you wait —
Trees —
Why do you listen, trees?
2. Spring Grass
by Carl Sandburg

Spring grass, there is a dance to be danced for you.

Come up, spring grass, if only for young feet.
Come up, spring grass, young feet ask you.

Smell of the young spring grass,

You’re a mascot riding on the wind horses.
You came to my nose and spiffed me.
This is your lucky year.

Young spring grass just after the winter,

Shoots of the big green whisper of the year,
Come up, if only young feet.
Come up, young feet ask you.

“Ship or Sheep”, unit 39 “A Stupid Student”

162
 Jim: Excuse me. Did you use to live in York?
Jack: Yes.
Jim: Did you use to be tutor at the University?
Jack: Yes. For a few years.
Jim: Do you remember Hugh Young? He was a music student.
Jack: Hugh Young? Did he use to have a huge yellow jeep.
Jim: Yes. And he used to play beautiful tunes on the tuba.
Jack: Yes, I knew Hugh. He used to be a very stupid student. Do you have any news of Hugh?
Jim: Yes. He's a millionaire now in New York.
Jack: A millionaire? Playing the tuba?
Jim: Oh, no. He produces jam in tubes, and tins of sausages and onion stew, and sells them in Europe. I
read about Hugh in the newspapers yesterday.
Jack: Oh, well, he wasn't so stupid.

“The story of Narcissus”

Long, long ago, when birds and flowers and trees could talk, a beautiful fountain sprang up in the midst
of the forest. Little sunbeams crept between the leaves, and, as they fell upon it, made it shine, like silver.
One day a lad, who had been hunting in the forest, lost sight of his friends. While looking for them, he
saw the fountain shining in the sunlight through the trees. He at once turned to it, for he was hot and thirsty.
He stooped down to bathe his burning forehead, and to cool his dry hot lips. But as he bent over the wa -
ter, he saw his own face in it, as in a glass. He thought it might be some lovely water-fairy, that lived within
the fountain, and as he looked he forgot to drink. The bright eyes, the curly hair, the round cheeks and the

163
red lips were beautiful to him; and he fell in love with that image of himself, but knew not that it was his
own image. It smiled when he smiled and as he spoke, the lips of the face moved as though speaking too,
though no sound came from them.
“I love you with all my heart!” said the lad.
The image smiled and held out its arms, but still was dumb. The lad spoke to it again and again, and get-
ting no answer he at last began to cry. The tears fell upon the water, and ruffled it, so that the face looked
wrinkled.
Thinking it was going away, he said: “Only stay, beautiful being, and let me look at you, if I may not
touch you”. He forgot everything but that lovely face.
Day after day, night after night, he stayed there, till he grew thin and pale, and at last died. Just at the
water’s edge, where the lad had died, there grew one strange little flower, all alone.
“He has been changed into a flower,” his friends said. “Let us call it after our dead friend!” So they
named the flower Narcissus in memory of him and it is called Narcissus to this very day.

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 LESSON 17

The sense-group or the syntagm

In the process of speech our thoughts are shaped sentences. A separate word may be used as a sentence
(e. g. Yes. No. Do. Don't. Where? How? Nonsense! Good, etc.), but as a rule a sentence consists of more than one
word.
Each sentence expresses a more or less complete idea which has a definite communicative aim: it repre-
sents either a statement, or a question, or a command, or an exclamation. The aim of the utterance is made
clear by intonation.
Often a sentence is made up of two or more parts, which are called sense-groups or syntagms. A sen-
tence which is not divided into smaller parts is both a sense-group and a sentence. The division of a sentence
into sense-groups depends on the idea to be expressed. Sometimes one and the same chain of words may be
variously divided into sense-groups, each division giving rise to a different utterance.
Each sense-group contains a meaningful word or a number of words expressing in this particular situa-
tion a separate element of reality (object, action, or property, etc.), sometimes very complex, so that the
sense-group cannot be subdivided into smaller units without destroying this particular sense.

Examples of sense-groups:
(a) 'Sometimes! I 'get to 'town by the 18/30.
(b) In private | he was 'good-'humoured and 'good-natured.
(c) In addition to this he had a fine 'musical taste, 'carefully cultivated.
(d) 'Two or 'three 'years ago we had a very hard winter.
(e) 'Stand 'here out of the rain while I get a taxi.

165
 (f) If you 'don't mind, I’ll stay on here for a bit.

Grammatically, a sense-group represents a separate word, or a word-combination, or a clause, or a sen-

tence, the words of which are used in their proper forms and joined together in accordance with the syntactic
rules of the language.
Phonetically, a sense-group represents one of the intonational contours typical of the language.
The phonetic features, superimposed on the semantic and grammatical content of a sense-group to de-
limit it from the other sense-groups and to supply it with important information in addition to the meaning
of the words making up the sense-group, are as follows:
(a) A pause at the end of the sense-group.
(b) A definite intonation contour, the nucleus of which, (i. e. one of the six main tones) falls on the seman-
tic centre of the sense-group; the head marks the pre-nuclear important words of the sense-group, the pre-
head — the comparatively less important initial words, the tail — the comparatively less important final
words.
Thus a sense-group may be defined as the shortest possible unit of speech from the point of view of
meaning, grammatical structure and intonation.
Final sense-groups are the most important ones: their intonation contours (chiefly their nuclei) determine
the communicative type of the whole sentence.
Non-final sense-groups may have different degrees of semantic completeness, finality and independence.
(See examples a, b, c, d, e, f.)
The intonation contours of non-final sense-groups can express these features adequately enough: intona-
tion contours based on falling tones are used in sense-groups with a complete meaning, independent of the
following sense-groups, while intonation contours based on rising tones signify incompleteness, non-finality
and dependence on or closer connection with the following sense-groups.

166
 The size of sense-groups is variable.
Sometimes ... In private ... In addition to this ... Two or three, years ago ... Stand here out of the rain …

Also in the sentence below:

Of course, I’m not at all fluent, and my accent must be pretty awful, but people were very patient and
helpful, so I really had very little trouble.
It should be noted that in conversation, side by side with an abundance of short sense-groups presented
by the so-called conversational formulas ('Good. "All ,right. 'See you ,later. To be 'sure. 'That's ,it, etc.), one
often observes very long sense-groups of the kind given above.
The number of sense-groups in a sentence is variable, too, and is closely connected with the style of
speech.
Particular attention should be paid to the intonation of specifically conversational English structures, con-
sisting of two sense-groups:
Disjunctive questions:
It's 'rather 'difficult,| .isn't it?
Derogatory questions:
Stimulus
My 'car ,fetched a ,good .price. I 'may have passed my e,xam. .
I 'don't 'like this one.
Response
Oh you've 'sold it,! ,have you?
You're 'hoping for the 'best, ,are you?
You'd 'rather have the 'other one would you?

167
 Imperative utterances with "will you" or "won't you" as a tag:
Examples:
'Take 'good ,care ol it.| 'won't you?
''Meet me,| 'won't you?
Don't 'ever ,tell him,| 'will you?
v
Porter,| 'put 'tiiese on a ,taxi,| ,will you?

Imperative utterances with "shall we" as a tag:

Example: "Let's ,go,| ,shall we?

Imperative utterances with "can't you" as a tag:

Example: 'Hold !on to the Yope.j 'can't you?

Exclamations having the form of general questions:

Stimulus What a 'very 'nice
Response ,Yes,| .isn't it!

Articulation of the sound [h]

The consonant [h] is articulated with a strong air stream passing through the open glottis. The bulk of the
tongue and the lips are held in the position necessary for the production of a following vowel.
Thus [h] may be defined as a constrictive noise fricative glottal voiceless consonant pronounced with a flat nar-
rowing.

168
 Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[h]
he high him behave
harm how hen behind
horse hoist hat somehow
who whole hop a house
huge here whom the honey
her hair hut unhappy

1. Happy holiday! ['hxpI "hOlqdI] С праздником!

2. House and home. ['haus qnd ˋhqum] Домашний уют.
3. He is hard of hearing. [hi Iz ֽhRd qv ˋhIqrIN] Он плохо слышит.
4. Hold your head high. ['hquld jO· 'hed vhaI] Держи высоко голову.
5. Harry entered hat in hand. ['hxrI 'entqd 'hxt In ˋhxnd] Харри вошел с подобострастным видом.
6. Henry is hungry as a hunter (hawk). ['henrI Iz 'hANgrI qz q ˋhAntq (ˋhLk)] Генри голоден как волк.
7. Hank holds with the hare and runs with the hounds. ['hxNk 'hquldz wID Dq "hFq qnd 'rAnz wID Dq
ˋhaundz] Хэнк служит и нашим и вашим.
8. Hal has hunted the whole house for his hat. ['hxl hqz 'hAntId Dq 'hqul ˋhaus fq hIz ֽhxt] Хэл весь дом
перевернул в поисках своей шапки.
9. I hope I haven’t hurt him. [aI ˋhqup aI ֽhxvnt "hWt hIm] Надеюсь, я не обидела его.

169
 10. Time hangs heavy on his hands. ['taIm ֹhxNz ˋhevI On hIz ֽhxndz] Время медленно тянется для него.
11. Every man has his hobby-horse. ['evrI 'mxn hxz hIz ˋhObIhLs] У каждого человека есть свой конек.
12. He who has begun has half done. ['hJ hu hqz bI"gAn hqz ´hRf ˋdAn] Хорошее начало полдела
откачало.
13. Ham hunted everybody out of house and home. ['hxm 'hAntId ˋevrIbOdI ֽaut qv ֽhaus qnd ֽhqum] Хэм всех
выжил из дома.
14. It has hit him hard. [It hqz 'hIt hIm ˋhRd] Это для него тяжелый удар.
15. How horrid of him! [¯hau ˎhOrId qv hIm] Это ужасно с его стороны!
16. Hugh hears as a hog in harvest. ['hjH 'hIqz qz q 'hOg In ˎhRvqst] Хью глух как тетеря.
17. Hedy held herself well in hand. ['hedI 'held hq·self 'wel In ˋhxnd] Хеди держала себя в руках.
18. Humph has a heavy hand. ['hAmf hxz q 'hevI ˋhxnd] У Хамфа тяжелая рука.
19. Hilda is head over heels in love with him. ['hIldq Iz 'hed quvq ֹhJlz In ˋlAv wID hIm] Хильда по уши в
него влюблена.
20. He hung his head in shame. [hi· ֽhAN hIz ֽhed In ˎSeIm] Он опустил голову от стыда.

1. Laughing Time
by William Jay Smith

It was laughing time, and a tall Giraffe

Lifted his head and began to laugh:
Ha! Ha! Ha! Ha!

170
And the Chimpanzee on the gingko tree
Swung merrily down with a Tee Hee Hee:
Hee! Hee! Hee! Hee!

“It’s certainly not against the law!”

Croaked Justice Crow a loud guffaw:
Haw! Haw! Haw! Haw!

The dancing bear who could never say “No”

Waltzed up and down on the tip of his toe:
Ho! Ho! Ho! Ho!

The donkey daintily took his paw,

And around they went: Hee-Haw! Hee-Haw!
Hee-Haw! Hee-Haw!

The moon had to smile and it started to climb,

All over the world it was laughing time!
Ho! Ho! Ho! Hee-Haw! Hee-Haw!
Hee! Hee! Hee! Ha! Ha! Ha! Ha!

2. The Corn-song

171
 by J.G. Whittier

Heap high the farmer’s wintry hoard

Heap high the golden corn!
No richer gift has autumn poured
From out her lavish horn!

“Ship or Sheep”, unit 40 “A horrible Accident”

Helen: Hello, Ellen.

Ellen: Hello, Helen. Have you heard? There's been a horrible accident.
Helen: Oh dear! What happened?
Ellen: Hilda Higgins’ husband has had an accident on his horse.
Helen: How awful! Is he injured?
Ellen: Yes. An ambulance has taken him to the hospital.
Helen: How did it happen?
Ellen: He was hit by an express train. It was on the crossing, just behind the house.
Helen: How horrible!
Ellen: He's having an important operation in hospital now. Poor Hilda! She’s so unhappy.
Helen: Perhaps he'll be all right.
Ellen: I hope so.

Tone group 6

172
 Statements here invite a further contribution to the conversation from the listener, e. g.:
Hullo, Frank. (Hullo, Jimmy.) | You’re ֽֽlooking
ֽֽvery ˏsmart. |
(Going to wedding?)
Have you heard about Max? ˏNo.

Tone Group 6 is often used to express reproving criticism of the listener’s attitude or the general situa-
tion, e. g.:
I shall have to sack him. You cֽֽ an’t do ˏthat. | (He’s too useful.)
What a terrible play! It ֽֽwasn’t as ֽֽbad as ֽֽall ˏthat.

It is also used for continuative purposes, e. g.:

One, | ˏtwo, | ˏthree, | ˏfour, | ˏfive.

Special questions sound wondering, even menacing, e. g.:

How did he do it? ˏHow did he ֹ do it? | (Perfectly obvious.)

General questions express disapproval or skepticism, e. g.:

I’m sorry now that I did it. ֽֽAre you ˏreally ֹ sorry?

Notice that when a speaker says:

She’s a ˋnice ֽ girl, | ˏisn’t she?

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 he has probably not met the girl concerned, or at any rate not made up his mind about her niceness, since
he is genuinely concerned to have the listener’s view; whereas when he says:
She’s a ˋnice ֽ girl, | ˋisn’t she?
he almost certainly has met the girl and formed an opinion about her niceness, which he expects the lis-
tener to confirm.
Tone Group 6 isn’t very widely used with commands except those beginning with Don’t. It’s also com-
monly heard with a few short commands, when they constitute a rather calm warning or exhortation, e. g.:
I’m going to sack him. ֽֽDon’t ֽֽdo ˏthat. | (He’s not a bad chap.)
ˏCareful. ˏSteady. ˏWatch.
Most interjections are rarely said in this way.

Tune I
LOW RISE ONLY
'Did you 'catch the 'last "train? "Just.
'What does a ˎhaberdasher ֽsell? "Shirts, | "ties, | "socks, |
"gloves.
'When’s the 'meeting 'due to take "When? | (Why, at ˋfive.)
ˋplace?
The 'meeting’s at ˋfive. "When? | (I ֽֽthought it
was at ˋsix.)
¯But ֽֽhow do you ˋdo it? "Watch.

174
It’s ↘half past vten. "Well!

Tune II
LOW RISE + TAIL
Do you 'ever 'go to the "club? "Sometimes.
ֽֽTony’s ˋalways ֽlate. "Last ֹweek he was on ֹtime.
How ˋold are you? "How old ֹam I? | (How ֽֽold do
you ˋthink?)
I 'thought she was ˋpretty. "Did you?
Your ˋchange, sir. "Thank you!

Tune III
LOW PRE-HEAD + LOW RISE (+ TAIL)
'Have you "been ֹthere? I "have.
I 'wonder if they 'sell ˋsocks. You could en"quire.
ֹThat’s my 'final ˎoffer. If "that’s the ֹway you ֹwant it, |
(there’s 'nothing 'more to ˎsay.)
I 'went with ֹMr. ˋSpang. With "who?
There’s ֽֽsomeone to ˋsee you. Who "is it?
Oh ˋgood! | 'Breakfast in ˋbed! Do you "like ֹbreakfast in ֹbed?
I 'can’t find my ֹkey ˋanywhere. You haven’t "lost it, | ("have you?)

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ˋThank you. Don’t "mention it.
'Is that 'really "yours? Of "course!

Tune IV
(LOW PRE-HEAD +) LOW HEAD + LOW RISE (+ TAIL)
'Let me 'get you some 'more ˋtea. You’re ֽֽvery "kind.
'How ֹmuch did you ˋwin? About a ֽֽthousand
"pounds.
What 'will they ˎthink of me? You ֽֽmustn’t ֽֽtake it
to "heart.
I 'don’t aˎgree. ֽֽWhy "not?
'Shut the ˎdoor, for ֽheaven’s ֽsake. Just ֽֽwho do you
ֽֽthink you’re
"talking to?
'Let’s ֹuse it ˋnow. ֽֽWouldn’t it be
ֽֽbetter to ֽֽwait till
it’s "cold?
He ֹsays he’ll 'never 'speak to me aˎgain. He ֽֽdoesn’t ֽֽreally
"mean it, | ("does he?)
I ↘don’t think I can ↘dive from ֽֽHave a shot at it,
v
that ֽheight. "Pete’s ֽֽdone it.
I’m ˋsorry. Well ֽֽsay it as ֽֽif you

176
 "meant it.
I’m ˋterribly "sorry. ֽֽDon’t a"pologize. | (It
could ֽֽhappen to
ˋanybody.)
I 'can’t ˎhelp you. ֽֽVery "well. | (We’ll
ֽֽdo it aˋlone.)

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 LESSON 18

The use of the main intonation contours in utterances of different communicative types. Statements

In statements all intonation contours may be used.

The most typical contour for unemphatetic statements is IC 1 which makes the utterance sound complete,
definite and categoric, matter-of-fact but interested.

Examples:
I 'didn’t 'quite ˎcatch that.
We 'haven’t 'heard from him for ˎages.

IC 1a is used to convey a cool, reserved, indifferent, grim or surly attitude on the part of the speaker. The
statement sounds complete, definite and categoric, as in the case of IC 1, but may sound unfriendly when ad-
dressed to a stranger.

Example: I ֽwant to ˎtalk to you.

IC 2, when used in statements, makes them sound not categoric, assertive and separative, but soothing

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and reassuring. It may sometimes give a hint of self-confidence and self-reliance.

Examples:
There’s 'nothing to 'get up"set a'bout.
I 'promise I 'won’t "tell 'anyone.
We 'all 'make mis'takes "sometimes.
'All in 'good "time.

IC 2 is typical contour for non-final sense-groups very closely connected with the following sense-group.
Examples:
I 'opened the 'door "quietly, | (and 'caught him 'red-ˋhanded).
I’d no 'sooner 'set "eyes on him| (that I 'knew he was 'seriously ˋill).

IC 2a may encourage further conversation or may be guarded, reprovingly critical, resentful, bored.

Examples:
('Have you "been 'there?) —I "have.
(You must a'pologize at ˎonce.)—I ֽdon’t see ֽwhy I "should.
(The cor'rect 'answer is ˋseven.)— ֽThat most ֽdefinitely is "not the cor'rect 'answer.

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 IC 3 is very common in ordinary colloquial speech, as it conveys personal concern or involvement; it
sounds lively, interested, and can express vigorous agreement or contradiction very efficiently. IC 3 (with
stepping head) sounds light and warm, while IC 3a (with low head) conveys a feeling of querulous protest.

Examples:
IC 3 — He 'won’t be 'back till ˋten.
— I must 'stay 'in and 'do some ˋwork.
— I’ve ˋnever been there in my ˋlife.
IC 3a — You ֽdidn’t ˋask me ֽto.
— We’ve been ֽwaiting for ˋages.
— I ֽsent it ֽto you ֽthree ˋdays a ֽgo.

IC 4 can be used in statements only when they are echoed and thus turned into questions, often ad -
dressed by the speaker to himself before he reacts to the interlocutor’s utterance.

Examples:
(I ˋoffered it ֽto him.)—You ´offered it 'to him?

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 (They 'don’t ˎlike it.) —They ´don’t like it?

IC 5 always carries and implication with it. What exactly is implied id perfectly clear to the speaker and
to the hearer, since it is derived from the situation, and no verbal expression of the implication is necessary.
Typical attitudes, often conveyed with the help of IC 5, may be described as follows:

a) correcting the interlocutor (politely!);

b) grudgingly admitting;
c) reluctantly or defensively dissenting;
d) tentatively suggesting;
e) concerned;
f) hurt;
g) reserved.

Examples:
(Note. The sentences given in parentheses give an idea of the implication and are not actually uttered, but
suggested by the intonation.)

(a) There were ˋseven ֽboys ֽthere. — vNine.

(b) 'Is he 'tall and "dark? — Well, he’s vtall. (But I ↘shouldn’t ↘call him vdark.)
(c) It ֽdidn’t ֽtake you "long. — It vdid.

181
 (d) Your ˋphone wasn’t ֽworking. — He could have vwired.
(e) Have you 'heard the 'news about "Frank? — You ↘don’t mean to ↘say he’s ↘failed avgain, ("do
you?).
(f) You’re ֽnot ˋtrying! — I most ↘certainly vam.
(g) 'What did you 'think of the ˋlecture? — It ↘wasn’t e↘xactly senvsational, (ˋwas it?).

IC 5a (fall-rise divided) makes the utterance very emphatic. The attitudes expressed may vary according
to the verbal context and the situation. The statement may sound “apologetic, appreciative, grateful, regret -
ful, sympathetic, persuasively reassuring, plaintive or pleading”:

Very often no particular emotion is conveyed by IC 5a.

The main function of this contour is to place a particular emphasis on “the hub” (the hub = the semantic
centre of the utterance.) of the utterance, and mark as important another word out of those that follow “the
hub”, either because it is a modal word, or because it is the semantic centre of an afterthought, or because it
limits in some respect or renders more exact the idea expressed in the first part of the utterance. The after -
thought or limitation often have the form of a subordinate clause.
Sometimes the subordinate clause precedes the principal one; in such cases it is the subordinate clause
which has the high fall on "the hub", and the principal clause carries the low rise.

Examples:

182
 I ˋhope I'm not "late. (apologetic)
It's ֽquite ˋgood, "really. (appreciative)
You can't iˋmagine what your ֽhelp has "meant to me. (grateful)
I don't reˋmember, I'm af"raid. (regretful)
I should go ˋhome, if I were "you. (persuasively reassuring)
I ˋquite under ֽstand your po"sition. (sympathetic)
It's ˋalways the "same. (plaintive)
He's ֽhardly ˋever on "time. (plaintive)
You ˋmust try to ֽbe more "careful. (pleading)
Stimulus Reaction
'Don’t you ´like it? I ˋdon’t "frankly. (a modal word)
ֽHow did you get ˋon ֽRather ˋwell, ֽstrange as it ֽmay
with him? "seem. (an afterthought)
D’you 'like my 'new "hat? I ֽcan’t say I ˋdo, par"ticularly. (a
I 'thought of 'going for a limitation)
ˋstroll. ֽI’ll come ˋtoo, if I "may.
He’s a diˋrector "now. I must conˋgratulate him when I
"see him.

IC 6 in this type the initial rise reinforces the meaning of the high fall, adds to the definiteness and finality
of a falling tone some warmth, admiration, sarcasm, indignation, etc., thus emphasizing, either positive or

183
negative emotion, according to the situation. The speaker is greatly impressed.

Examples:
^Very good!
A ^marvelous time.
I 'simply ^hated it.
You 'aren’t ^trying.

Articulation of the sounds [T] [D]

The consonants [T], [D] are articulated with the tip of the tongue slightly projected out between the upper
and lower teeth. The tip of the tongue is placed against the edge of the upper teeth to form a flat narrowing,
the main part of the tongue being fairly flat and relaxed, while the air passes through the narrowing with
friction.
In the production [T] of the vocal cords are kept apart and do not vibrate, whereas in the articulation of
[D] they are drawn near together and vibrate.
Thus [T], [D] may be defined as constrictive noise fricative fore-lingual apical (inter)dental consonants pro-
nounced with a flat narrowing. The consonant [T] is voiceless-fortis, the consonant [D] is voiced-lenis.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

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 [T]
theme north fifths three
thought south hearths throw
thigh month lengths thread
thing youth faiths threw
thumb truth Ruth’s thrust
thin birth Smith’s throng

1. Nothing like youth! ['nATIN laIk ˋjHT] Ничего нет прекраснее молодости!
2. Think things over. [ֽTINk TINz "quvq] Обдумайте все.
3. Thank you for nothing. [ֽTxNk ju· fq ˎnATIN] Спасибо, не надо.
4. When three Thursdays come together. [wen 'TrJ 'TWzdIz kAm tqˎgeDq] Никогда.
5. Thad’ll go through thick and thin. ['Txdl 'gqu TrH 'TIk qnd ˋTIn] Тед ни перед чем не остановится.
6. A thousand thanks to you both. [q 'Tauzqnd 'TxNks tq ju· ˋbquT] Тысяча благодарностей вам обоим.
7. You’ve thrust the thing into my throat. [juv ֽTrAst Dq ֽTIN Intq maI ˎTrqut] Вы навязали мне это.
8. Theo threw the thing into his teeth. ['TJqu 'TrH Dq ֹTIN Intq hIz ˎtJT] Тео упрекнул его.
9. Martha’s like nothing on earth. ['mRTqz laIk 'nATIN On ˎWT] Марта — такой противный человек.
10. Kenneth and Arthur are as thick as thieves. ['kenIT qnd 'RTq qr qz 'TIk qz ˋTJvz] Кеннет и Артур —
закадычные друзья (их водой не разольешь).
11. Thread and thrum. ['Tred qnd ˎTrAm] Все вместе— и хорошее и дурное.
12. Nothing loath. ['nATIN "lquT] Вполне охотно.

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 13. I have a thousand and one things to ask you. [aI hxv q 'Tauzqnd qnd ˋwAn "TINz tu ˋRsk ju·] У меня к
вам уйма вопросов.
14. They had to thread their way through the thick crowd. [DeI hxd tq 'Tred DFq 'weI TrH Dq 'TIk ˋkraud]
Они должны были пробираться сквозь густую толпу.
15. Thornton’s voice thrilled through the hall. ['TLntqnz 'vOIs 'TrIld TrH Dq ˋhLl] Голос Торнтона гулко
прозвучал в зале.
16. Thea sees through things. ['TJq ֹsJz ˋTrH TINz] Тиа проницательна.
17. Thorp likes to be in the thick of the things. [TLp ˋlaIks tq bJ In Dq ˋTIk qv "TINz] Торп любит быть в
гуще событий.
18. Timothy is within a hair’s breadth of death. ['tImqTI Iz wIDIn q 'hFqz 'bredT qv ˎdeT] Тимоти на
волосок от смерти.
19. Theodore thinks something of himself. ['TIqdL TINks ^sAmTIN qv himֽself] Теодор о себе высокого
мнения.
20. I must speak the truth, and nothing but the truth. [aI mqst 'spJk Dq "trHT qnd 'nATIN bqt Dq ˋtrHT] Я
должен говорить правду, только правду.

1. The Golden Legend

by Joe Wallace

A thousand faiths with a common dream

A thousand tongues with a common theme
A thousand thoughts with a single plan:

186
 Peace on earth and goodwill to man!

2. The Months of the Year

By Alfred H. Miles

September was the seventh month from

Romulus that came.
Ninth in the modern calendar, it still
retains the name.
October eighth, November ninth,
December tenth of old.
Are now the tenth, eleventh and twelfth,
but still these names they hold.

“Ship or Sheep”, unit 41 “Gossips”

Judith: Edith Smith is only thirty.

Ethel: Is she? I thought she was thirty-three.
Judith: Edith’s birthday was last Thursday.
Ethel: Was it? I thought it was last month.
Judith: The Smiths’ house is worth thirty thousand pounds.
Ethel: Is it? I thought it was worth three thousand.
Judith: Mr. Smith is the author of a book about moths.
Ethel: Is he? I thought he was a mathematician.

187
 Judith: I'm so thirsty.
Ethel: Are you? I thought you drank something at the Smiths’.
Judith: No. Edith gave me nothing to drink.
Ethel: Shall I buy you a drink?
Judith: Thank you.

W. Shakespeare “Sonnet 18” (+ translation)

Shall 'I com'pare "thee│ to a 'summer’s "day?

Thou art 'more ´lovely│ and 'more ˋtemperate:
'Rough 'winds do 'shake the 'darling 'buds of "May, │
And 'summer’s 'lease hath ↑all 'too ˋshort a ֽdate:
'Sometime ↑too ˎhot│ the 'eye of 'heaven "shines,
And 'often is his 'gold com'plexion ˋdimm’d;
And 'every ˎfair│ from ˋfair someֽtime de"clines, │
By "chance│ or 'nature’s 'changing 'course │unˎtrimm’d;
But 'thy e'ternal 'summer ↑shall not ˎfade,
'Nor 'lose pos'session of that ↑fair thou ˎowest;
'Nor shall ˎdeath ֽbrag│ thou 'wander’st in his ˎshade, │
'When in eˋternal "lines│ to ˋtime thou ֽgrowest:

188
So 'long as 'men can "breath│ or 'eyes can "see, │
'So 'long 'lives ˎthis,│ and "this│ 'gives 'life to ˎthee.

В. Шекспир «Сонет 18»

Сравню ли я тебя с днем светлым лета?
Милей его ты, кротче и нежнее.
Холодный ветер — злобный враг расцвета,
Дни летние могли бы быть длиннее.
Порою око неба слишком знойно,
Иль золото его закрыто тучей,
И красота боится беспокойно
Природы, иль случайности летучей.
Твое лишь лето вечное не минет,
И красота не будет скоротечность.
Смерть с похвальбой тень на тебя не кинет,
Когда в стихе изведаешь ты вечность.

Пока есть люди и пока есть зренье,

Жив будет стих и ты, его творенье.
(перевод Б.Бера)

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 LESSON 19

The use of the main intonation contours in utterances of different communicative types. General questions

The most typical intonation contour for general questions in unemphatic speech is IC 2. The speaker
sounds “generally interested”.

Examples:
'Have you 'seen "Tom 'lately?
Does he 'go to "school 'yet?
Will there be 'room e'nough for "all of us?

IC 2a gives a disapproving, skeptical ring to the general question.

Examples:
Does it "matter?
Do you "think so?
Are you "sure 'this is the 'right 'road?
Is there ֽreally any "need to?

190
 IC 1 in general questions suggests “subjects for discussion”. The question sounds insistent and ponder -
ous.

Examples:
'Are you 'certain he’ll ˎhelp?
Does 'anyone 'feel like a ˎwalk?

IC 1a makes a general question sound “detached, phlegmatic, reserved”.

Examples:
Will it ˎhelp, do you 'think?
Can I ˎcount on ֽthat?
ֽShall we ֽget it in ˎtime?

IC 3 shows that the speaker is “willing to discuss the situation and sometimes skeptical, but no sugges -
tion of the impatience or querulousness sometimes associated with IC 3a ”.

191
 Examples:
'Must we ˋtell him a ֽbout it?
'Does she 'know the ˋway?
Did you ˋnotice how ˋthin she’s be ֽcome?

IC 3a indicates that the speaker is “willing to discuss the situation, though sometimes impatient that such
discussion should be necessary”.

Examples:
Shall we postˋpone the ֽmeeting, ֽthen?
Need we do ˋanything about it?
But ֽwill it be ֽopen this ˋevening?

IC 4 is often used in light and casual general questions.

Examples:

192
 Can ´I help at 'all?
'Are you 'free ´now?
Elliptical general questions seem to be always pronounced with IC4.

Examples:
´Like it? (for: 'Do you "like it?)
A'nother 'cup of ´tea? (for: 'Will you have a'nother 'cup of "tea?)

General questions with the word order of a declarative sentence are always pronounced with IC 4.

Examples:
You 'want it ´back?
It’s 'not the 'one you ´want?
He 'won’t be 'able to ´help?

IC 5 is hardly ever used in questions. When it is used, it is done only for the sake of emphasis in combina-
tion with the high fall on the semantic centre of the utterance, which turns the contour into its variant — IC
5a.

IC 5a gives to a general question a plaintive, pleading, long-suffering ring.

193
 Examples:
ˋCan’t you ֽsee I’m "busy?
ˋCan I ֽhave a ֽnother piece of "toffee?
ˋMust you ֽbe so "obstinate?

IC 6 makes a general question sound “impressed, challenging, antagonistic”.

Examples:
Is he ^really ֽinterested?
But could ^you de ֽany ֽbetter?
Is it 'worth ^while, do you ֽthink?

Short Comment of the Type “Is it?”, “Isn’t it?”

Though short comments have the same grammatical structure as ordinary general questions, their pecu-
liar function in speech should be thoroughly explained.
Short comments rely for their lexical content on the preceding utterance of the interlocutor. In most cases
they carry no interrogation, but only denote the speaker's readiness to continue the talk and express, with
the help of intonation, his positive or negative attitude to the situation.

194
 Since short comments have the form of a “mini-sentence”, consisting only of a form-verb + a personal
pronoun, it is convenient to observe the different connotations arising from the use of different tones in such
sentences. The attitudinal meanings conveyed by these tones are described by J. O'Connor and G. Arnold in
this way:

Low rise — a disapproving or sceptical tone.

Stimulus Response
He’s 'only 'thirty-ˋfive. "Is he? (He looks about fifty.)

High rise —particularly common with short comments, designed to keep the conversation going.
Stimulus Response
I’ve 'just seen ˋJohn. ´Have you?

Low fall —a total lack of interest, or else a mood of grim hostility.

Stimulus Response
I’ve 'just come 'back from ˋParis. ˎHave you?

High fall—a mild surprise but acceptance of the listener's premises. It is more or less equivalent to a sur-
prised repetition of the listener's statement.
Stimulus Response
She’s 'thirty-"five. ˋIs she? (I didn’t know that)

195
 Fall-rise—in intensified questions.
Stimulus Response
It’s ˋyour ֽturn.
v
Is it?

Rise-fall — the speaker accepts what has been said and is impressed by it.
Stimulus Response
He 'shot an ˋelephant. ^Did he!
They’ve 'nowhere to ˎlive. ^Haven’t they!

“Ship or Sheep”, unit 42 “The hat in the window”

Miss Brothers: I want to buy the hat in the window.

Assistant: There are three hats together in the window, madam. Do you want the one with the feathers?
Miss Brothers: No. The other one.
Assistant: The small one for three pounds?
Miss Brothers: No. Not that one either. That one over there. The leather
one.
Assistant: Ah! The leather one. Now this is another leather hat, madam. It's better than the one in the
window. It's a smoother leather.
Miss Brothers: I'd rather have the one in the window. It goes with my
clothes.
Assistant: Certainly, madam. But we don't take anything out of the window until three o'clock on
Thursday.

196
 Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

[D]

these with either

those bathe neither
they breathe northern
there booth southern
this smooth weather
that clothe rather

baths with Sid with Roy

youths breathe slower with wrath
paths clothe Sam clothe Ruth
booths writhe silently with Roger
truths soothe Simon soothe Rue
mouths bathe Sis bathe Rob

1. There! There! ['DFq ˋDFq] Успокойся.

2. And that’s that! [qnd 'Dxts ˋDxt] Вот так-то! (Вот и все!)
3. That’s neither here nor there. ['Dxts naIDq "hIq nO· ˋDFq] Это ни к селу, ни к городу. (Это никуда не
годиться.)

197
 4. Then there’s another thing. [ֽDen DFqz qvnADq ֹTIN] И еще одно.
5. There’s nothing like leather. [DFqz 'nATIN laIk ˋleDq] Всяк кулик свое болото хвалит.
6. I’d do anything rather than that. [aId 'dH venITIN rRDq Dqn ˋDxt] Я сделаю что угодно, только не
это.
7. I don’t wish them other than they are. [aI ˋdqunt wIS Dqm ˋADq Dqn DeI vR] Они мне нравятся
такими, какие они есть.
8. You never know with the weather. [ju 'nevq ˋnqu wID Dq weDq] Погода так часто меняется.
9. They couldn’t tell one brother from the other. [DeI 'kudnt tel 'wAn ֹbrADq frqm Di ˋADq] Они не могли
отличить одного брата от другого.
10. That means nothing other than the usual thing. ['Dxt ֹmJnz 'nATIN 'ADq Dqn Di ˋjHZuql "TIN] Это то
же, что и обычно.
11. Then there’s that brother of mine. [ֽDen DFqz ֽDxt ^brADqr qv ֽmaIn] И потом еще этот мой братец.
12. There’s no one there, neither mother nor father. [DFqz ˋnqu wAn ֽDFq naIDq ˋmADq nO· ˋfRDq] Там
никого нет, ни мамы ни папы.
13. One law for the rich, another for the poor. ['wAn 'lL fq Dq "rIC qvnADq fq Dq ˋpuq] Один закон для
бедных, другой для богатых.
14. They were gathered to their fathers. [DeI wq 'gxDqd tq DFq ˎfRDqz] Они отправились к праотцам
(умерли).
15. The Smiths keep themselves to themselves. [Dq 'smITs 'kJp Dqm ֹselvz tq Dqmˎselvz] Смиты ведут
уединенный образ жизни.
16. This film is no worse than the others. [ˋDIs "fIlm Iz 'nqu 'wWs Dqn Di ˋADqz] Этот фильм не хуже

198
других.
17. These are the things that matter. [ֽDJz q Dq ֽTINz Dqt ˋmxtq] Именно эти вещи важны.
18. They are always bothering Father to do things for them. [DeI qr ˋLlwqz bODqrIN ˋfRDq tq ֽdH ֽTINz fO·
Dqm] Вечно они заставляют отца что-то для них делать.
19. The less men think the more they talk. [Dq 'les ֹmen "TINk Dq 'mO· DeI ˋtLk] (Montesquieu) Чем
меньше люди думают, тем больше они говорят.

1.
The more we study, the more we know,
The more we know, the more we forget.
The more we forget, the less we know.
The less we know, the less we forget.
The less we forget, the more we know.
Why study?

2. Toast
Here’s a health to all those that we love,
Here’s a health to all those that love us,
Here’s a health to all those that love them
That love those that love us!

“Dialectal differences”

199
 v
Structurally, | the 'English 'language is ↑fairly homo"geneous | 'all over the ˋworld, | but there are
'marked 'differenced in pro'nunciˋation be ֽtween its ֽmany ֽdialects. It is 'interesting to 'note that 'some of the
most ˋstriking of these "differences | oc'cur in the ↑small 'island of ˋBritain, | a ֽfact for which there ˋis of
"course | a 'perfectly 'logical his'torical explaˎnation. 'Visitors from the U'nited 'States of A"merica, | where
'only ↑three 'main 'dialects are "recognized, | are 'often 'taken a'back when they 'hear the ↑widely 'differing
ˋBritish ֽaccents.
During the 'Second 'World "War, | a 'number of 'British and A'merican me'chanics who were ↑sta-
tioned in a 'certain 'country in the ↑Near "East, | were 'living to'gether in 'local ˋboarding ֽhouse. 'One 'day at
"tea-time | an A'merican who 'hailed from "Kansas | was 'sitting 'opposite a ↑Yorkshireman who had a
'strong 'local "accent | and 'two ˋLondoners, | one of whom 'spoke in the Reˋceived Pro ֽnunci"ation | while
the 'other had a 'marked ˋCockney ֽaccent. After 'listening for 'some 'time to the ↑conver'sation of 'these
"three, | the 'Kansan 'suddenly burst "in with: “ˋSay, | ˋI ֽcan’t ֽfigure "out | "how you 'Britishers | underˋs-
tand one a ֽnother.”

“Stories for reproduction”. Text 9

A clerk who worked very hard and was usually very punctual arrived at his office very late one morning.
He had bruises on his face, a scratch on one of his lips, sticking-plaster on his left wrist and thumb, and a
bandage on his right shoulder. He had also hurt his knees, ankles and some of his toes.
The manager of the office was not a patient man, and he had been waiting for the clerk, because he had
some work to give him. When he saw him come in at last, he said angrily, “You're an hour late, Tomkins!”

200
 “I know, sir,” answered the clerk politely. “I'm very sorry. My flat is on the eighth floor, and just before I
left home this morning, while I was closing one of the windows, I slipped and fell out.”
“Well,” the manager answered coldly, “did that take you an hour?”

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 LESSON 20

The use of the main intonation contours in utterances of different communicative types. Special questions

The most usual intonation contour for unemphatic special questions is IC 1.

They sound “serious, intense, responsible”. Some English phoneticians also mention that special ques -
tions with this intonation are sometimes used to suggest impatience and irritability.

Examples:
'What’s the ˎtime?
'How ˎmuch is it?
'When d’you get ˎup?
'Why did you ˎdo such a ֽstupid ֽthing?

IC 1a makes a special question sound “rather flat and unsympathetic, quite often even hostile”.

Examples:

202
 ֽWhat do you ˎwant it ֽfor?
ֽWhat’s so ˎdifficult a ֽbout it?
ֽWhy didn’t you ֽfind out ˎsooner?

When pronounced with IC2 special questions indicate that the speaker is sympathetically interested.

Examples:
'Whose "is it?
'What’s your "name?
'How 'soon will they be "back?

Special questions addressed by a grown-up to a child are often pronounced in this way.

IC 2a. With the nuclear tone on the interrogative word a special question sounds wondering, mildly puz-
zled.

Examples:
"How 'often must he 'take it?

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 "When is he 'due?

When the nuclear tone follows the interrogative word the question sounds calm but very disapproving, if
not menacing.

Examples:
ֽWhere have you "been all this 'time?
And ֽwhy "shouldn’t I?
ֽWho’s ֽgoing to "pay for it?

IC 3 makes a special question sound interested, brisk, business-like. There is none of the possible hostility
sometimes conveyed by IC 1a, and none of the possible surprise or displeasure of IC 3a.

Examples:
'What’s her ˋname?
'How long d’you in'tend being aˋway?
Then ˋwhy are you so ˋangry ֽwith him?

IC 3a expresses a lively and interested reaction to the situation.

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 Examples:
ˋHow?
Who’s ˋthat?
Where ˋelse have you ֽbeen?

With a low head the question sounds as if the speaker were somewhat unpleasantly surprised.

Examples:
ֽWhy didn’t you ֽsay so beˋfore?
But ֽwhen did you ˋsee her?
ֽWhy ˋshould I?

IC 4, when used in a special question with the nuclear tone on the interrogative word, calls for a repeti-
tion of the information already given.

Examples:
´What’s his 'name? (I 'didn’t 'quite ˋcatch it.)

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 ´When can I 'phone you?

IC 5a makes a special question sound “plaintive, pleading, weary; warm, affectionate, sympathetic”.

Examples:
Oh ˋwhy don’t you "listen, 'Charles?
ˋWhat’s made you ֽchange your "mind?
ˋWhen will you be "back?

With IC 6 a special question sounds “challenging, antagonistic, disclaiming responsibility”.

Examples:
^What ֽbook?
^How?
'Why ^should I?
'What’s the 'good of 'doing ^that?
ֽWhat else ^can I say?

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 Articulation of the sound [m]

The consonant [m] is articulated with the lips slightly pressed together, forming a complete obstruction to
the air flow through the mouth cavity. The soft palate is lowered and the air passes out through the nasal
cavity. The vocal cords are drawn near together and vibrate.
Thus [m] may be defined as an occlusive nasal bilabial sonorant.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

[m]

me him seems smoke

more hem sums smile
may ham times not me
my hum aims stop Mike
miss Tom rooms ask Ma
mess sum homes spilt milk

1. Come what may. [ˋkAm wOt v meI] Была не была.

2. Many and many a time. ['menI qnd 'menI q ˎtaIm] Очень часто.
3. I’m melting. [aIm ˋmeltIN] Я изнемогаю от жары.
4. Make no mistake. [ˋmeIk nqu mIs"teIk] Безусловно. Будьте уверены.

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 5. Mike’s a made man. ['maIks q ˋmeId ֽmxn] Майк добился успеха (преуспел).
6. You might make my room. [ju· 'maIt 'meIk maI ˋrum] Убери, пожалуйста, мою комнату.
7. I’m your man, Monty. [aIm ˋjO· ֽmxn ֽmOntI] Принимаю ваше предложение, Монти.
8. Many men many minds. ['menI "men ֹmenI ˋmaIndz] Ум хорошо, два лучше.
9. You mustn’t mind about me. [ju· ˋmAsnt ֽmaInd qbaut vmJ] Без церемоний, не смущайтесь.
10. Minnie can’t make up her mind. ['mInI 'kRnt meIk 'Ap hq ˋmaInd] Мини не может решиться.
11. The name slipped my memory. [Dq 'neIm 'slIpt maI ˎmemqrI] Я забыл эту фамилию.
12. Mamie makes much of me. [vmeImI ֽmeIks ˋmAC qv mJ] Мейми обо мне высокого мнения.
13. Come for a tramp tomorrow, Lam. ['kAm fqr q 'trxmp tqˋmOrqu lxm] Приходи завтра, Лэм, мы
пройдемся пешком.
14. If my memory serves me. [If maI 'memqrI "sWvz mi·] Если память не изменяет мне.
15. That seems to me most improbable. [Dxt ˋsJmz tq mi· mqust ImvprObqbl] Это кажется мне
маловероятным.
16. Mrs. Smith is a most remarkable woman. [¯mIsIz "smIT Iz q 'mqust rIˋmRkqbl ֽwumqn] Миссис Смит –
удивительная женщина.
17. Mart knows no more about them than the man in the moon. ['mRt nquz 'nqu vmL qbaut Dqm Dqn Dq
'mxn In Dq "mHn] Март абсолютно ничего о них не знает.
18. Must Mother make a mountain out of a molehill? [ˋmAst mADq meIk q ֽmauntIn aut qv q "mqulhIl]
Зачем мама делает из мухи слона?
19. Just a moment, Mama. [ˋGAst q "mqumqnt mq·mR] Подожди минутку, мама.

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 1. God Made the Bees

God made the bees,

And the bees make honey,
The miller’s man does all the work,
But the miller makes the money.

2. Summer-time
by Rosemary Garland

Summer is the play-by-the-stream time,

Roll-in-the-meadow-and-dream time,
Lie-on-your-back-and-chew-grass time,
Watch-butterflies-as-they-pass time,
Try-and-pick-daisies-with-toes time,
Playing-where-nobody-knows time.

“Ship or Sheep”, unit 43 “Mum’s crumpets”

Jim: Mum, may Tom Mitcham come home with me for tea tomorrow?
Mrs. Smith: Of course, Jim. Have I met Tom before?
Jim: You met him in the summer. He's very small and smart.
Mrs. Smith: Oh, yes. I remember Tom. Does his family come from Cambridge?

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 Jim: Yes. Oh, Mum! Will you make some home-made crumpets tomorrow?
Mrs. Smith: Mm…maybe. If I have time.
Jim: I told Tom about your crumpets, Mum. That's why he' s coming for tea tomorrow.

Tone group 7
Such statements tend to sound soothing, reassuring. There is a hint of great self-confidence or self-re-
liance in them, e. g.:
Where are you going? 'Just to pֹ ost a "letter.
Are you ready to go? I 'shan’t be a "moment.

In echoed statements, i. e. those which repeat more or less what has just been said by the other person,
this tone group turns the statement into a surprised and disbelieving question, e. g.:
He’s broken his leg. 'Broken his "leg?

By using Tone group 7 with special questions the speaker wants to show interest not only in receiving the
information asked for but also in the listener himself, e. g.:
(Hullo, darling.) | 'What have you ֹgot "there?

In echoed questions this tine group shows disapproval of the questions being asked, e. g.:
When are you going home? 'When am I 'going "home? | (How dare you!)

This is the most common way of asking general questions; any other tone group should be used only in
special circumstances, e. g.:

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 'Are you ֹcoming "with us?
'Did you en'joy the "play ֹ last 'night?

This tone group is rather commonly used with a few interjections. The effect is quite airy, casual, and en-
couraging, e. g.:
I’ve managed it at last. 'Well "done!
It’s my exam tomorrow. 'Good "luck!

Bright and friendly greetings belong here, e. g.:

¯Good "morning. ¯Hul"lo, ֹ there.

Leave-takings are almost invariably in this form:

¯Good "bye. ¯Good "night, ֹdear.

Tune I
(LOW PRE-HEAD +) STEPPING HEAD + LOW RISE (+ TAIL)

211
212
 Tune II
HIGH PRE-HEAD + LOW RISE (+ TAIL)

213
214
 LESSON 21

The use of the main intonation contours in utterances of different communicative types. Alternative ques-
tions

The most usual way of pronouncing alternative questions is to make two sense-groups and to use a rising
tone in the first sense-group and a falling tone in the last one:
Would you like tea or coffee?
The final fall shows that these are the only choices and that the list is complete.
In fast colloquial speech an alternative question may be reduced to one sense-group with no rise of tone
in the middle:
'Would you like tea or coffee?

Articulation of the sound [n]

The consonant [n] is articulated with the tongue tip touching the alveolar ridge (apical articulation), form-
ing a complete obstruction to the air flow through the mouth cavity. The soft palate is lowered. The air
passes out through the nasal cavity. The vocal cords are drawn near together and vibrate.
Thus [n] may be defined as an occlusive nasal forelingual apical alveolar sonorant.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[n]

no in since

215
 now on aunt
near sun pence
knee moon science
nor send sent
new learn learnt

ninth often unreal

tenth snow inroad
panther written sunrise
southern cotton run races
in the sputnik in writing
northern button in richness

1. Now and then. ['nau qnd "Den] Время от времени.

2. Rain or shine. ['reIn q ˋSaIn] В любую погоду.
3. No nonsense now! ['nqu ˋnOnsqns "nau] Пожалуйста, без глупостей! Возьмись за ум.
4. On no account. [On ˋnqu q ֽkaunt] Ни в коем случае.
5. No offence intended. ['nqu q'fens InˎtendId] Я не хотел обидеть вас.
6. In any event. [In ˋenI I ֽvent] В любом случае.
7. Any news? No news. ['enI ´njHz ´nqu njHz] Есть новости? Нет новостей.
8. Nick is no genius. [ˋnIk Iz ˋnqu vGJnjqs] Ник не блещет умом.
9. I’ve been and gone and done it! [aIv 'bJn qnd 'gOn qn ˋdAn It] А все же у меня это получилось!

216
 10. Brown, Jones and Robinson. [´braun ´Gqunz qnd ˋrObInsqn] Простые рядовые англичане.
11. What’s done cannot be undone. ['wOts "dAn 'kxnOt bi· ˋAn ֽdAn] Что сделано, то сделано.
12. You’ve found an elephant on the moon. [juv 'faund qn 'elqfqnt On Dq ˎmHn] Ты попал пальцем в небо.
13. Nanny left no stone unturned. ['nxnI left 'nqu ֹstqun ֹAnˋtWnd] Ненни не жалела сил.
14. One man, no man. [vwAn ֹmxn ˋnqu mxn] Один в поле не воин.
15. Don’t run the man down. [ֽdqunt ֽrAn Dq mxn "daun] Не говори об этом человеке с пренебрежением.
16. It’s no concern of mine. [Its ˋnqu kqnsWn qv vmaIn] Это не мое дело.
17. I know Nanna by name only. [aI 'nqu 'nxnq baI 'neIm ˋqunlI] Я знаю Нанну только по имени.
18. No sooner said than done. ['nqu 'sHnq "sed Dqn ˋdAn] Сказано – сделано.
19. In need men know their friends. [In "nJd ֹmen 'nqu DFq ˋfrendz] Друзья познаются в беде.
20. Money spent on the brain is never spent in vain. ['mAnI 'spent On Dq "breIn Iz 'nevq spent InˋveIn]
Деньги, потраченные на образование, никогда не пропадают.

1. Night
by William Blake

The sun descending in the west,

The evening star does shine,
The birds are silent in their nest,
And I must seek for mine.
The moon like a flower,

217
 In heaven’s high bower,
With silent delight
Sits and smiles on the night.

2.
by Bertha R. Hudelson

If many men knew

What many men know,
If many men went
Where many men go,
If many men did
What many men do,
The world would be better —
I think so; don’t you?

“Ship or sheep”, unit 44 “At an Accommodation Agency”

Mr. Mason: Good morning. I want an apartment in central London.

Manager: Certainly, sir. How much rent did you want to pay?
Mr. Mason: No more than £ 27 a month.
Manager: £ 27 a month? We don't often have apartments as inexpensive as that. We have one apartment
for £ 29 a month in Northern Avenue. It's down near the station.

218
 Mr. Mason: Is it furnished?
Manager: No, it’s unfurnished. The kitchen has no oven. It's forbidden to use the garden. No friends in
the apartment after eleven in the evening. No noise and no television after 11,15. No...
Mr. Mason: No, thank you! I want an apartment, not a prison.

W. Shakespeare “Sonnet 29” (+ translation)

'When in dis"grace | with 'fortune and 'men's "eyes, |

I 'all a'lone be↑weep my 'outcast ˎstate |
And 'trouble ↑deaf 'Heaven with my ↑bootless "cries, |
And 'look upon my"self | and ˋcurse my ˎfate, |
'Wishing me 'like to 'one ↑more 'rich in "hope, |
ˋFeatur’d like "him, | like ˋhim with ˋfriends posˎsess’d, |
De'siring ˋthis man's ֽart | and ˋthat man's ˋscope, |
With 'what I ↑most en"joy | con'tented ˎleast;
'Yet | 'in these 'thoughts my'self ˋalmost desvpising, |
↘Haply I ↘think on ˎthee, | and 'then my 'state
'Like to the 'lark | at 'break of 'day a´rising |
From 'sullen "earth | 'sings ˋhymns | at ˋheaven's ˎgate;

For 'thy ↑sweet ˎlove re^member'd | 'such ^wealth ֽbrings, |

219
 That 'then I ^scorn | to ˋchange my ˋstate with ˎkings.

В. Шекспир «Сонет 29»

Когда в немилости у счастья и людей,

Я плачу над моей проклятою судьбою,
И глухи небеса на вопль души моей,
И жребий свой кляну с бесплодною тоскою;

Ревную ли к тому, кто посреди друзей

Надеждами богат и блещет красотою;
Завидую ли тем, кто кажется сильней
Меня талантами, успехом пред толпою,

И презирать себя средь этих дум готов.

Лишь вспомню о тебе — и вновь здоров душою,
Несется песнь моя до дальних облаков,
Как жаворонка звон над темною землею.

О, велики, мой друг, дары любви твоей,

И доля царская ничтожна перед ней!
(перевод Д. Аверкиева)

220
 LESSON 22

The use of the main intonation contours in utterances of different communicative types. Disjunctive ques-
tions

Utterances of this type represent a curious blend of a statement and a question. From the point of view of
their grammatical structure they consist of a declarative sentence, followed by a mini-question: “They know
about it, don’t they?”, or “They don’t know about it, do they?”
One might expect that since the final part of the structure is interrogative, the communicative aim of the
utterance is also interrogative.
In actual speech, however, the utterance acquires its final shape and a definite aim only after a definite in-
tonation pattern has been superimposed on it.
In disjunctive questions the predominance of the declarative or of the interrogative part is finally settled
by intonation.
Disjunctive questions usually consist of two sense-groups: the statement makes the first sense-group, and
the question-phrase makes the second:
They ˎknow about it, | "don’t they?

There are two main variants of this structure, which are very often used in colloquial English. They differ
in their linguistic function according to the tones used on them.

Compare:
a) You 'met my 'brother in the Criˎmea, | "didn’t you?

221
 b) You 'met my 'brother in the Criˎmea, | ˎdidn’t you?

The sequence of tones is used when the speaker, stating a fact, expects the listener to confirm the
correctness of the idea; in other words, he means to provoke the listener’s reaction.

With the sequence of tones the speaker conveys the impression that he is not only convinced
that what he says is right, but also that he is sure that his listener agrees. That is why, when exchanging re -
marks about the weather, and when both the speaker and the listener are in the same place, the only possible

intonation for such utterance as “It’s a fine day, isn’t it?” is the sequence of tones: ; the other alterna-

tive – would sound strange (if not absurd), as it retains interrogation, which is out of place under
the circumstances.
It is also obvious that when the so-called disjunctive question is used as an affirmative reaction to a state-

ment, its intonation can be only the sequence of tones , e.g. —

Stimulus Response
I 'think it’s a deˋlightful place. It ˋis, | ˋisn’t it?

222
 Disjunctive questions may be pronounced not only with the sequence of tones and as
described above, but also with the following sequences of tones.

Examples:

a) You could "buy one, | "couldn’t you?

b) It wasn’t "my 'fault, | ˋwas it?

c) You 'mean last vMarch, | "don’t you?

d) It’s ˋnot too "big, | ˋis it?

In example (a)—a hesitant statement is followed by an interrogative tag; final result — a question.
In example (b) — a hesitant statement is followed by a statement-like tag (emphatic); final result — a
statement.
In example (c) — an implicatory statement (correcting the interlocutor) is followed by an interrogative
tag; final result — a question.
In example (d) — an emphatic, non-categoric: statement is followed by a statement-like question; final re-
sult—an emphatic statement.
Thus the tone used in the declarative part of a disjunctive question expresses the speaker's view of the sit-
uation, while the tone used in the question-tag anticipates the listener's attitude.

223
 As a rule, after a disjunctive question pronounced with this sequence of tones , an answer fol-

lows; after a disjunctive question pronounced with this sequence of tones , where the second falling
tone cancels the interrogation contained in the question-tag, the speaker often continues speaking, expecting
no reaction form the listener.
Attention should be paid to general questions with a logical stress on the subject, which are added as a
question-tag to a declarative sentence, e.g. —

I 'never ˋheard of such a ֽthing, | did "you?

I 'call that ˎbad, | don’t "you?
I 'shouldn’t 'mind some ˋtea, | would "you?

Since their grammatical structure is similar to that of disjunctive questions, the two communicatively dif-
ferent types can be easily confused. It must be pointed out that in a disjunctive question the subject of the
declarative part and the subject of the question-tag is the same, while the appearance of a new subject in the
tag inevitably shifts the nucleus to it, in order to contrast the two subjects.

Compare:
He has 'no 'sense of ˋhumour, | ˋhas he? (a disjunctive question)
He has 'no 'sense of ˋhumour, | has "she? (a statement + a general question)

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 Articulation of the sound [N]

The consonant [N] is articulated with the back of the tongue raised and touching the soft palate thus
forming a complete obstruction to the air flow through the mouth cavity. The soft palate is lowered and the
air passes out through the nasal cavity. The vocal cords are drawn near together and vibrate.
Thus [N] may be defined as an occlusive nasal back lingual velar sonorant.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[N]

sing sings singing finger think

sang tongues ringing stronger uncle
song longs banging anger anchor
sung fangs learning English monkey
young Young’s talking jungle ankle

21. Nothing’s wrong. [ˋnATINz "rON] Все в порядке.

22. Things’re mending. [ֽTINz q "mendIN] Дела поправляются.
23. Bring them along. ['brIN Dqm qvlON] Введите их. (Приведите их.)
24. Thanks for calling. ['TxNks fq ˋkLlIN] Спасибо, что пришли (позвонили).
25. Stop fidgeting, it’s annoying. [ˋstOp "fIGItIN Its qˋnOIIN] Не вертись, это невыносимо.
26. We’re getting things moving. [wi· q 'getIN TINz "mHvIN] Дело пошло.

225
 27. Everything’s going wrong. [ˋevrITINz ֽgquIN ֽrON] Все идет вкривь и вкось.
28. Inga’s poking and prying. ['INgqz 'pqukIN qnd ˎpraIN] Инга всюду сует свой нос.
29. Saying and doing are two things. ['seIIN qnd "dHIN q 'tH ˎTINz] Важны дела, а не слова.
30. Anything’s better than going on doing nothing. [^qnITINz ֽbetq Dqn gquIN ֽOn dHIN vnATIN] Любое
занятие лучше безделья.
31. No one like Duncan for saying the wrong thing. ['nqu wAn laIk ˋdANkqn fq ֽseIIN Dq ֽrON "TIN]
Дункан не имеет себе равных в умении говорить невпопад.
32. You are fancying and imagining things. [ju· q 'fxnsIIN qnd IˋmxGInIN TINz] Все это только плод
твоего воображения.
33. I think Uncle’s keeping something back. [aI 'TINk ֹANklz 'kJpIN ֹsAmTIN "bxk] Я думаю, дядюшка
что-то утаивает.
34. Inga’s way of doing things is singular. [ˋINgqz ֽweI qv ֽdHIN "TINz Iz ˋsINgjulq] Инга все делает
своеобразно.
35. Spring is looking at the thing form the wrong angle. [ֽsprIN Iz ֽlukIN qt Dq ֽTIN frqm Dq 'rON ˋxNgl] У
Спринга неверная точка зрения на это.
36. A creaking door hangs long on its hinges. [q 'krJkIN "dL hxNz ˋlON On Its ֽhInGIz] Скрипучее дерево
два века стоит.
37. Anything damaging in sitting and smoking? ['enITIN ´dxmqGIN In 'sItIN qnd ´smqukIN] Что, нельзя
сидеть и курить?
38. Some Englishmen are murdering King’s English. [vsAm ֹINglISmqn q ˋmWdqrIN kINz ˋINglIS]
Некоторые англичане ужасно коверкают литературный английский язык.

226
 39. The whole thing’s being a roaring success. [Dq 'hqul "TINz bJIN q ˋrLrIN sqkֽses] Это чрезвычайно
процветающее дело.
40. Frank’s anxious to start earning his living. ['frxnks 'xNkSqs tq 'stRt 'WnIN hIz ˋlIvIN] Фрэнку не
терпится начать зарабатывать на жизнь.

1. Old Ellen Sullivan

by Winifred Welles

Down in our cellar on a Monday and a Tuesday,

You should hear the slapping and the rubbing and the muttering,
You should see the bubbles and the steaming and the splashing.
The dark clothes dripping and the white clothes fluttering.

Where old Ellen Sullivan

Cross Ellen Sullivan,
Kind Ellen Sullivan,
Is washing and ironing, and ironing and washing.
Like a gnarled old root, like a bulb, brown and busy,
With earth and air and water angrily tussling,
Hissing at the flatirons, getting hot and huffy,
Then up to the sunlight with the baskets bustling
Comes old Ellen Sullivan,
Cross Ellen Sullivan,

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 Kind Ellen Sullivan,
The clothes like blossoms, all sweet and fresh and fluffy.

2. Night is Ended
by Joe Wallace

March in mighty millions pouring,

Forges flaring, cannon roaring,
Life and Death in final warring
Call you, Workingmen!

At your benches planning, speeding,

In the trenches battling, bleeding,
Yours the help the world is needing,
Answer, Workingmen!

“Ship or sheep”, unit 45 “Noisy Neighbours”

Mr. Pring: (angrily) Bong! Bong! Bong! What are the Kings doing at seven o'clock on Sunday morning?
Mrs. Pring: Well, Mr. King is singing.
Mr. Pring: Yes, but what's the banding noise?
Mrs. Pring: (looking out of the window) He's standing on a ladder and banging some nails into the wall
with a hammer. Now he's handing some strong string on the nails.
Mr. Pring: And what's Mrs. King doing?

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 Mrs. Pring: She's bringing something pink for Mr. King to drink. Now she's putting it under the ladder,
and... Ohh!
Mr. Pring: What's happening?
Mrs. Pring: The ladder's falling.
Mr. Pring: What's Mr. King going?
Mrs. Pring: He's handing from the string. He's holding the string in his fingers and he's shouting to Mrs.
King.
Mr. Pring: And is she helping him?
Mrs. Pring: No. She's running to our house. Now she’s ringing our bell.
Mr. Pring: I'm not going to answer I'm sleeping.

“Tea”

The 'trouble with vtea | is that ovriginally it was 'quite a ˎgood 'drink. ¯So a 'group of the most ↘eminent
British vscientists 'put their 'heads to´gether, | and made ˋcomplicated 'bioˋlogical exvperiments to ֽfind a
ֽway of ˎspoiling it.
To the e'ternal ˋglory | of 'British ˎscience | their ´labour | 'bore ˎfruit. They sugˋgested that if you do
ˋnot drink it "clear, | or with "lemon| or 'rum and vsugar, | but 'pour a ↑few ˎdrops of 'cold vmilk into it, | and
'no 'sugar at ˋall, | the deˋsired ˋobject is aˎchieved. ´Once | 'this re´freshing, | 'aro´matic, | 'ori'ental ˎbev-
erage | was suc'cessfully 'transvformed into ´colourless and ˋtasteless ˋgargling-ֽwater, | it 'suddenly be'came
the ˋnational ֽdrink of 'Great "Britain and ˎIreland — 'still reˋtaining, | in'deed uˋsurping, | the ˎhigh-

229
ˎsounding ˎtitle of ˎtea.
There are 'some oc"casions when you must ˋnot re ֽfuse a ֽcup of ֽtea, | ´otherwise | you are ˋjudged an
e´xotic and ˋbarbarous "bird |without ^any hope of ˋever being ֽable to ֽtake your ֽplace in ˎcivilized soˋ-
ciety.
'If you are inˋvited | to an ↘English vhome, | at ˋ5 o’clock in the ´morning | you 'get a 'cup of ˋtea. It is
ֽeither ֽbrought in by a ˋheartily ֽsmiling ´hostess | or an ↘almost ma↘levolently ↘silent ˋmaid. 'When you
are disvturbed | in your 'sweetest 'morning ˎsleep | you must 'not 'say: “ˋMadame (or ˎMabel), I 'think you
are a ˋcruel, ˋspiteful and maˋlignant ˋperson who deˋserves to be ˋshot.” On the ˋcontrary, | you 'have to
de'clare with your ↑best '5 o’clock 'smile: “ˋThank you ˎso much. I 'do aˎdore a 'cup of 'early 'morning ˎtea, |
es'pecially ˎearly in the ˎmorning.” If they 'leave you aˎlone with the ֽliquid, | you may ˎpour it ˎdown the
ˎwash-basin.
Then ˎyou have ˎtea for ˎbreakfast; ˎthen you have ˎtea at ˎ11 o’ˎclock in the ´morning; then 'after
´lunch; 'then you have 'tea for ´tea; then 'after ´supper; and a↘gain at ↘11 o↘’clock at ˋnight. You must 'not
re'fuse ↑any adˋditional ֽcups of "tea | under the ˋfollowing ֽcircumֽstances: if it is ´hot; if it is "cold; if you
are "tired; if 'anybody ˋthinks that you ˋmight be ´tired; if you are ´nervous; if you are ´gay; be'fore you go
´out; 'if you ´are out; if you have 'just re'turned ´home; if you ´feel 'like it; if you do ´not feel 'like it; if you
have had ˋno tea for some "time; if you have 'just ˋhad a ֽcup.
You 'definitely must ˋnot follow my eֽxample. 'I ˎsleep at ֽ5 o’ֽclock in the ˋmorning; I have ˋcoffee for
ˋbreakfast; I 'drink inˋnumerable ˋcups of ˋblack ˋcoffee during the ˋday; I have the most 'un'orthodox |

230
and eˋxotic vteas | 'even at ˋtea-time.
The 'other ˎday, for ֽinstance — I must ˎmention this as a ˋterrifying eˋxample to ֽshow you ˋhow 'low
some ˋpeople can ˎsink — I 'wanted a 'cup of "coffee | and a 'piece of "cheese | for ˎtea. It was 'one of those
exˋceptionally 'hot ˎdays | and my vwife | (ֽonce a ֽgood English ֽwoman, ֽnow comֽpletely and ˎhopelessly
led aֽstray by my ˎwicked ˎforeign "influence) | 'made some ↑cold ˎcoffee | and 'put it in the reˎfrigerator, |
where it "froze | and became ˋone ˋsolid ˎblock. On the ´other 'hand, | she 'left the ˋcheese on the ´kitchen
'table, | where it ˎmelted. So I 'had a ˋpiece of ´coffee | and a ˋglass of ˋcheese.
LESSON 23

The use of the main intonation contours in utterances of different communicative types. Commands and re-
quests

IC 1 is the most usual intonation pattern for firm, serious, weighty commands.

Examples:
'Show me your ˎtickets, | ֽmadam.
'Don’t you ˎworry.

IC 1a makes a command sound calm, unemotional, often cold.

231
 Examples:
ˎDon’t. ˎDo. ֽTry ֽsome of the ˎother ֽkeys on the ֽbunch.

IC 2 sounds soothing, encouraging, calmly patronizing.

Examples:
'Cheer "up.
'Don’t "worry.
'Have a good "time.
'Send me a 'line and 'let me 'know 'how you get "on.

IC 2a in commands beginning with “Don’t” sounds reprovingly critical, resentful; in a few short com-
mands — calmly warning, exhortative.

Examples:
ֽDon’t ֽdo "that. "Slowly. "Gently. "Careful.
IC 3 gives a command a ring of warmth, suggesting a course of action to the listener.

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Examples:
'Come ˋin.
'Buy yourself an umˋbrella.
'Take it 'back and ˋchange it.

IC 3a is essentially the same as IC 3, but often adds a note of critical surprise.

Examples:
ˋTry it.
ֽLook it ֽup in the ˋtime-table.

IC 5 expresses an urgent warning with a note of reproach or concern.

Examples:
v
Careful. vHelp me. vRun. ↘Mind you don’t vfall.

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 IC 5a is used plaintively, sometimes reproachfully, pleadingly, reassuringly.

Examples:
ˋCheer "up.
ˋDo for"give me.
ˋPlease don’t ֽbother on "my ac'count.
ֽDon’t take ˋany "notice.

IC 6 sounds as if the speaker were disclaiming responsibility.

Stimulus Response
I ֽdon’t ˋwant to ֽplay. ^Don’t, then.
Their 'phone is 'out of ˋorder. ^Write to them, in ֽthat case.

Articulation of the sound [l]

The consonant [l] has two variants in English.

One is called the “clear” [l]. It is used before vowels and [j], e.g. lesson, live.

234
 The second is called the "dark" [l]. It is used before consonants and in word-final position, e.g. children.
When followed bу a vowel or the sonorant [j] in context the clear variant is used.
In pronouncing both variants of the consonant [l] the tongue tip is slightly pressed against the alveolar
ridge while the sides of the tongue are lowered forming rather wide passages. The air passes along these-
channels without audible friction. As a result, in the articulation of [l] tone prevails over noise.
In the articulation of the clear variant of the phoneme [l] the front of the tongue is raised in the direction
of the hard palate (tongue-front co-articulation). This slightly palatalizes the sound.
In the articulation of the dark variant the back of the tongue is raised in the direction of the soft palate
(tongue-back co-articulation). This gives a dark colouring to the sound.
In the articulation of both variants of [l] the vocal cords are drawn near together and vibrate.
Thus [l] may be defined as a constrictive lateral forelingual apical alveolar sonorant, pronounced with tongue-
front co-articulation in the clear variant and with tongue-back co-articulation in the dark variant.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.
[l]
lead large will
learn low tell
late loiter shall
light look full
lip lot all
left loom yell

will you health all the

235
 tell you wealth well then
shall you filth kill the
full yet stealth will these
all young Bill thinks shall those
yell yes all things all the things

ultra play fly

will try plan flew
shall draw plus sleep
all trees cloud slip
all dry close wash Lucy
all tricks club worth
learning

1. Live and learn. ['lIv qnd ˋlWn] Век живи, век учись.
2. Adults only. ['xdqlts ˋqunlI] Детям до 16 лет вход воспрещен.
3. It’s a small world. [Its q 'smLl ˋwWld] Мир тесен.
4. Let well alone. ['let ֹwel qˋlqun] От добра добра не ищут.
5. Lillian left the library at eleven o’clock. ['lIljqn 'left Dq vlaIbrqrI qt I'levn qˎklOk] Лилиан ушла из
библиотеки в 11 часов.
6. Will you please lay the table? [wIl ju· 'plJz ֹleI Dq "teIbl] Накрой, пожалуйста, на стол.

236
 7. Liz complains of the feeling ill. ['lIz kqm'pleInz qv ˋfJlIN vIl] Лиз жалуется, что плохо себя чувствует.
8. Len is a likely lad. ['len Iz q ˋlaIklI ֽlxd] Лен – смышленый паренек.
9. Lu’s absolutely lovely. ['lHz 'xbsqlHtlI ˋlAvlI] Лу обворожительна.
10. Larry is pulling your leg. ['lxrI Iz 'pulIN jO· ˋleg] Лэрри дурачит вас.
11. Lyle holds himself aloof. ['laIl 'hquldz hImself qˋlHf] Лайл держится особняком.
12. It’s Lola herself as large as life. [¯Its ˋlqulq hq'self qz 'lRG qz ˋlaIf] А вот и Лола собственной
персоной.
13. Lynn was blamed for the devil and all. ['lIn wqz 'bleImd fq Dq 'devl qnd ˋLl] Лина обвиняли во всем.
14. Really, all your children look alike. [ˋrIqlI ˋLl jO· ֽCIldrqn ֽluk qvlaIk] Правда, все ваши дети похожи
друг на друга.
15. Luke always travels by land. ['lHk 'Llwqz 'trxvlz baI ˋlxnd] Льюк всегда путешествует по суше.
16. He that lives with cripples learns to limp. ['hJ Dqt ֹlIvz wID "krIplz 'lWnz tq ˋlImp] С кем поведешься,
от того и наберешься.
17. Please all, and you will please none. ['plJz vLl qnd ju wIl 'plJz ˋnAn] Угождая всем, не угодишь
никому.
18. Only an elephant can bear an elephant’s load. ['qunlI qn ˋelIfqnt kqn ֽbFqr qn 'elIfqnts ˋlqud] Большому
кораблю – большое плавание.
19. In this life he laughs longest who laughs last. [In ˋDIs "laIf 'hJ lRfs 'lONIst hu 'lRfs ˋlRst] Дольше всех
смеется тот, кто смеется последний.

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 1. "I'll Try" and "I Can't"
by R. L. Stevenson

The little boy who says "I'll try",

Will climb to the hill-top;
The little boy who says "I can't",
Will at the bottom stop.

2. The Lama
by Ogden Nash

The one-l lama, And I will bet

He's a priest. A silk pajama
The two-l llama, There isn't any
He's a beast. Three-l lllama.

3. Theme in Yellow
by Carl Sandburg

I spot the hills And circle- round me

With yellow balls in autumn Singing ghost songs
I light the prairie cornfields And love to the harvest

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Orange and tawny gold clusters
And I am called pumpkins.
On the last of October
When dusk is fallen
Children join hands
moon,
I am a jack-o'-lantern
With terrible teeth
And the children know
I am fooling.

“Ship or sheep”, unit 46 “Early for Lunch”

Mr. Allen: Hello, Lily. You're looking lovely today.

Waitress: Hello, Mr. Allen. You're early for lunch. It's only eleven o’clock.
Mr. Allen: When I come later there's usually nothing left.
Waitress: What would you like?
Mr. Allen: Leg of lamb, please.
Waitress: And would you like a plate of salad? It's lettuce with black olives.
Mr. Allen: Marvelous! I love olives.
Waitress: And would you like a glass of lemonade?
Mr. Allen: Yes, please, Lily. And a slice of melon and some yellow jelly.

W. Wordsworth “Daffodils”

I wandered lonely as a cloud

That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;

239
 Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never ending line
Along the margin of a bay;
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance
The waves beside them danced, but they
Out did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company.
I gazed – and gazed – but little thoughts
What wealth the show to me had brought:

For oft when on my couch I lie

In vacant or in pensive mood
They flash upon that inward eye
Which in the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

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 LESSON 24

The use of the main intonation contours in utterances of different communicative types. Exclamations and
interjections

The most typical exclamatory intonation is achieved by using IC 1. It makes the utterance sound weighty
and emphatic.

Examples:
'Well ˎdone!
'How riˎdiculous!
'What a reˎlief!
What 'ghastly 'weather for Juˎly!
'How exˎtraordinary!

IC 1a makes an exclamation sound calm, unsurprised, reserved.

Examples:
ˎGood. ˎAwful. ֽNot ˎbad. How ֽvery ˎstrange!

241
 IC 2 is used to express airy, casual yet encouraging, often friendly exclamations. They sound brighter
than when IC 2a is used.

Examples:
'Well "done! 'Hard "luck! ¯In"deed!

IC 2a is used when the speaker is reserving judgement or casually acknowledging a fact.

Examples:
"Oh! "Thanks! ֽNice "work!

IC 3 renders the exclamation (or interjection) more emotional but less weighty than when said with IC 1.

Examples:
'How ˋawkward!
'What a ˋshame!
'Well ˋdone!

242
 The 'very iˋdea of it!
What an ˋage he’s ֽtaking!

IC 3a has very much the same effect as IC 3, but with a low head, surprise is added to the utterance.

Examples:
ˋOh!
ˋNonsense!
ˋThere’s a ֽclever ֽboy!
ˋThat’s a ֽgood ֽgirl!
What ֽwonderful ˋnews!
How ֽabsolutely ˋmarvelous!
ֽNot in the ˋleast!

When IC 5a is used in exclamations, it may express warmth, appreciation, sympathy or encouragement;

or occasionally puzzlement or surprise.

243
 Examples:
ˋAll "right!
ˋWhat a "pity!
ˋPoor old "Peter!
ˋHalf a "minute!

IC 6 is used when the speaker is impressed.

Examples:
^Splendid!
^Nonsense!
How ^marvelous!
How 'very 'nice of you to re^member!

“Ship or sheep”, unit 47 “A Spoilt Little Boy in the Bicycle Shop”

Paul: What a beautiful bicycle!

Uncle Bill: Paul! Be careful!
Salesman: Excuse me, sir. This child is too small to ride this bicycle. It's a very difficult bicycle to…

244
Uncle Bill: Be careful, Paul!
Paul: You always tell me to be careful. Don't help me. I won't fall.
Salesman: But, sir. This is a very special bicycle. It’s…
Paul: Don't pull the bicycle, Uncle Bill. I'll do it myself.
Uncle Bill: Be sensible, Paul. This gentleman says it's a…
(Paul falls)
Paul: It was Uncle Bill's fault. He was holding the bicycle.

S. T. Coleridge “The Rime of the Ancient Mariner”.

The 'sun now 'rose u'pon the ˎright, |

'Out of ˋsea | came ˎhe;
'Still 'hid in 'mist | and 'on the 'left |
Went ˋdown into the ֽsea.
 
And the 'good 'south 'wind | 'still 'blew be'hind;
But 'no sweet 'bird did ˎfollow, |
'Nor any 'day for 'food or 'play |
'Came to the 'mariners’ ˎhollo!
 
And ֽI had ֽdone a ֽhellish ֽthing, |
And it would ֽwork‘em ˎwoe:

245
 For 'all a'verred I had 'killed the 'bird
That 'made the ˎbreeze to ֽblow.
“'Ah! ˋwretch!” said ֽthey, | ” the ˋbird to "slay
That 'made the ˋbreeze to ֽ blow.
 
'Nor dim | 'nor red , | like 'God’s own 'head, |
The 'glorious 'sun upˎrist:
Then 'all a'verred I had ˋkilled the "bird |
That 'brought the ↑fog and "mist.
 “T’was ˋright” said they, | “such ˋbirds to "slay |
That 'bring the "fog | and "mist”.

The 'fair 'breeze 'blew, | the 'white 'foam 'flew, |

The 'furrow 'followed 'free; 
'We were the ˋfirst | that ever ˋburst |
'Into that ˋsilent ֽsea.

'Down ˋdropt the "breeze, | the "sails | 'dropt "down,

T’was 'sad as 'sad could 'be;
And 'we did 'speak | 'only to 'break
The ˋsilence | of the ˎsea!

246
 
'All in a 'hot and 'copper 'sky,
The 'bloody 'sun at 'noon |
'Right up above the 'mast did 'stand, |
No ˋbigger | than the ˎmoon.
 'Day after 'day, | 'day after 'day, |
We 'stuck, nor 'breath nor 'motion,
As 'idle as a 'painted 'ship
U'pon a 'painted ˎocean.
 
'Water, | 'water | 'every'where, |
And 'all the 'boards did 'shrink;
'Water, | 'water | 'every'where, |
'Nor any drop to "drink.
 
The very ˋdeep did ֽrot; - 'O ˋChrist!
That 'ever this should ˋbe!
'Yea, 'slimy 'things did 'crawl with 'legs
U'pon the 'slimy ˎsea.
 
Aˎbout, | aˎbout | in 'reel and 'rout
The ↑death-fires 'danced at 'night;

247
 The vwater, | like a 'witch’s "oils, |
Burnt 'green and 'blue and 'white.

 
And 'some in "dreams, | as"sured were |
Of the 'spirit that 'plagued us 'so;
'Nine ˋfathom ֽdeep he had "followed us |
From the 'land of 'mist and 'snow.
 
And 'every "tongue, | through 'utter 'drought, |
Was 'withered at the ˎroot;
We 'could not ˎspeak, | no 'more than 'if
We 'had been 'choked with ˎsoot.
 
'Ah! 'well a-ˎday! what ˋevil "looks |
Had 'I from 'old and ˎyoung!
In'stead of the ´cross, | the 'Albatross |
A'bout my ˎneck was ˎhung.
Tone group 8

Complete statements with this tone group have the effect of questions, e. g.:

248
 You ´like him? is equivalent to 'Do you "like him?
´Sugar? is equivalent to 'Do you ֹ take "sugar?

When the nuclear tone is on the interrogative word in special questions, Tone Group 8 calls for the repeti-
tion of information already given, e. g.:
´What was his ֹname again? | (I’ve forgotten.)

When the nuclear tone is not on the interrogative word, the speaker is often echoing the listener’s ques-
tion in order to get it clear in his mind before giving an answer, e. g.:
How many children has he? 'How ´many?

General questions may be echoed questions, e. g.:

Is it raining? 'It is ´raining, did you ֹsay?

This tone group is particularly common with short commands, designed to keep the conversation going,
e. g.:
I’ve just seen John. ´Have you?

Tune I
HIGH RISE (+ TAIL)
It’s ˋsnowing. ´Much?
I’ve 'just ֹseen the ˋEdwards ֽgirl. ´Joan ֹ Edwards?

249
 'Can I 'borrow some "matches?
I’ve 'got to ֹgo to ˋLeeds.
'Who’s 'Archibald ˎSimpson?
´Matches? | (By ˋall
ֽmeans.)
´You’ve got to ֹgo?
´Who, did you ֹsay? | (or
ˎhow?)

ֽֽHow did he find ˋout? ´How did he find ֹout? |

(Through ˋMax, I i"magine.)
'Can you "make me ֹone? ´Make you ֹone? | (With
ˋpleasure.)
'Wasn’t it ˎstupid? ´Was it so ֹstupid, I
ֹwonder?
What 'lovely ˎcherries! ´Want ֹsome?
I ˋlike "Barbara. ´Do you?
ˋTelephone me, ֽthen. ´Telephone you? | (How
ˋcan I?)

Tune II
LOW PRE-HEAD + HIGH RISE (+ TAIL)

250
 Tune III
(LOW PRE-HEAD +) STEPPING HEAD + HIGH RISE (+ TAIL)

251
252
 LESSON 25

The use of the tones in the sentences containing more

than one sense-group

In sentences containing more than one sense-group, the choice of tone for the final sense-group is deter-
mined by the communicative type of the sentence, e.g. a categoric statement, an ordinary special question, a
command, an exclamation require a falling tone, while a non-categoric statement, a general question, a re-
quest require a rising tone, and a statement with implication requires a falling-rising tone, etc.
In the choice of tone to be used in a non-final souse-group one should be guided by the degree of seman-
tic completeness of this sense-group, its semantic importance in comparison with the subsequent sense-
group, and its independence of what comes after it. Thus, the sequence of tones in sentences of more than
one sense-group (this sequence can be graphically represented by the following possible variants:

) is derived form the content and the aim of the sentence as a whole, and the
semantic weight of its parts, represented by its sense-groups.
The falling tone is used in a non-final sense-group that makes complete sense and can stand by itself, be-
ing more or less independent of the subsequent sense-group.
Example:
It was 'cold and ˋcomfortless, | for there was 'no ˎfire in the ֽgate.

The rising tone is used in a non-final sense-group that is not fully understandable, cannot stand by itself,
and is closely connected in meaning with the subsequent sense-group. It also implies continuation, or sec-

253
ondary importance in comparison to the sense-group which comes after it.
The general rules given above can be illustrated by the use of both falling and rising tones in the example
given below.

From "WILD WALES"

by Q. H, Borrow (1803—1881)
The 'old 'woman, who con'fronted me in the 'passage of the "inn | 'turned 'out to be the ˎlandlady. On
'learning that I in'tended to 'pass the 'night at her "house, | she con'ducted me into a 'small 'room on the
'right-hand 'side of the "passage, | which 'proved to be the ˎparlour. It was 'cold and ˋcomfortless, | for there
was 'no ˎfire in the ֽgrate. She ˋtold me, how"ever, | that 'one should be ˎlighted, | and 'going "out, |
'presently re'turned with a 'couple of 'buxom ˎwenches, | who I 'soon 'found were her ˋdaughters. The 'good
'lady had 'little or 'no ˎEnglish; | the ˋgirls, how"ever, | had ˋplenty, | and of 'good 'kind ˋtoo. They 'soon
'lighted a ˎfire, | and 'then the 'mother in'quired it if I 'wished for any ˎsupper.

Articulation of the sound [r]

The consonant [r] is articulated with the tongue-tip raised towards the back part of the alveolar ridge,
forming a rather wide air-passage, while the front of the tongue is to some extent depressed (cacuminal artic-
ulation). The sides of the tongue are raised and the air passes along the median line of the tongue without
any audible friction. As a result tone prevails over noise. The vocal cords are drawn near together and vi -
brate.

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 Thus [r] may be defined as a constrictive median forelingual cacuminal post-alveolar sonorant.

Read the following. Mind the pronunciation and intonation.

[r]

read spring free present cry

rule spread friend pretty crab
right strike fry prize cream
wrong straw shrill problem crew
rook scream shrewd proof crop
run scrub shrug proud cruise
upright three very tree dream
necessary through sorry try dry
birthright throw quarrel true drew
horse-race thread merry trade drive
mushroom with right for ever traffic dress
cockroach with Rob for instance trolley drop

1. Rack your brains. [ֽrxk jO· "breInz] Шевелите мозгами.

2. Very true. [ֽverI ˋtrH] Совершенно верно.
3. Rather curious. [ֽrRDq ˋkjuqrIqs] Очень любопытно.
4. It's rather strange, yet true. [Its ˋrRDq "streInG jet ˋtrH] Это очень странно и тем не менее правда.
5. The crops promise well. [Dq 'krOps ֹprOmIs "wel] Виды на урожай хорошие.

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 6. Ron was proposed as president. ['rOn wqz prq'pquzd qz ˋprezIdqnt] В председатели (старосты)
предложили Рона.
7. Rora arrived on the stroke of three. ['rLrq q'raIvd On Dq 'strquk qv ˋTrJ] Рора появилась, когда часы
пробили три.
8. Try to reduce rule to practice. ['traI tq rI'djHs 'rHl tq ˋprxktIs] Попробуй применить это правило.
9. The river is running dry. [Dq 'rIvqr Iz 'rAnIN ˋdraI] Река высыхает.
10. The three R's are reading, writing and (a)rithmetic. [Dq 'TrJ "Rz q "rJdIN "raItIN qnd (q)ˋrITmqtIk] Чте-
ние, письмо и арифметика.
11. Little friends may prove great friends. [ˋlItl "frendz ·meI prHv ˋgreIt ֽfrendz] Маленькие друзья иногда
оказывают большие услуги.
12. There is neither rhyme nor reason in it. [Dqr Iz naIDq 'raIm nO· ˋrJzn In It] В этом нет ни складу, ни
ладу.
13. Rod has brains and character. ['rOd hxz 'breInz qnd ˋkxrIktq] Род умный и волевой.
14. Ruth is hungry for flattery. ['rHT Iz ˎhANgrI fq ˋflxtqrI] Рут любит лесть.
15. Rod's eyes draw straws. ['rOdz 'aIz 'drL ˋstrLz] У Рода слипаются глаза.
16. Rolf returned to his parents as right as rain. ['rOlf rI'tWnd tq hIz 'pFqrnts qz 'raIt qz ˋreIn] Рольф
возвратился к родителям целый и невредимый.
17. When a friend asks, there is no tomorrow. [wen q ˋfrend "Rsks Dqr Iz 'nqu tqˋmOrqu] Когда просит
друг, не откладывай на завтра.
18. Who won't be ruled by the rudder must be ruled by the rock. [hH 'wqunt bi· 'rHld baI Dq vrADq mAst bi·

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'rHld baI Dq ˋrOk] Кто не слушается добрых советов, пусть пеняет на себя.
19. When angry count a hundred. [wen vxNgrI 'kaunt q hAndrqd] Когда ты выходишь из себя, считай до
ста.
20. Truth is stranger than fiction. [ˋtrHT Iz ֽstreInGq Dqn "fIkSn] Правда диковиннее вымысла.

“Ship or sheep” Unit 48 “A Proud Parent”

Mrs. Randal: Are all the children grown up now, Ruth?

Mrs. Reed: Oh, yes. Laura is the cleverest one. She's a librarian in the public library.
Mrs. Randal: Very interesting. And what about Rita?
Mrs. Reed: She's a secretary at the railway station.
Mrs. Randal: And what about Rosemary? She was always a very pretty child.
Mrs. Reed: Rosemary is a waitress in a restaurant in Paris. She’s married to an electrician.
Mrs. Randal: And what about Jerry and Roland?
Mrs. Reed: Jerry drives a lorry. He drives everywhere in Europe.
Mrs. Randal: Really? Which countries does he drive to?
Mrs. Reed: France and Austria and Greece and Russia.
Mrs. Randal: And does Roland drive a lorry too?
Mrs. Reed: Oh, no. Roland is a pilot.
Mrs. Randal: Really? Which countries does he fly to?
Mrs. Reed: Australia and America.

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 R. Aldington “The Poplar”

Why do you always stand there shivering

Between the white stream and the road?
The people pass through the dust
On bicycles, in carts, in motor cars
The wagoners go by at dawn
The lovers walk on the grass path at night.
Stir from your roots. Walk poplar!
You are more beautiful than they are.
I know that the white wind loves you
Is always kissing you and turning up
The while lining of your green petticoat
The sky darts through you like blue rain

And the grey rain drips on your flanks and loves you
And I have seen the moon slip his silver penny
Into your pocket as you straightened your hair
And the white mist curling and hesitating
Like a bashful lover about your knees.
I know you poplar, I have watched you since I was ten
But if you had a little real love
A little strength. You'd leave your
Non-chalant idle lovers and go walking

258
Down the white road behind the waggoners
There are beautiful beaches down beyond the hill
Will you always stand there shivering?

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 LESSON 26

Sentence-stress in English

A separate word, when used as a sentence, is always stressed, e.g. ˎNonsense. ˎListen.
In a sentence consisting of more than one word, some of the words are left unstressed, e.g. —
I should 'like you to ˎmeet him.

In unemphatic speech, words of small semantic value or those with a purely grammatical function (arti-
cles, prepositions, conjunctions, auxiliary, modal and link verbs, personal and reflexive pronouns) are usu-
ally unstressed. Words essential to the meaning of the utterance are normally stressed (nouns, adjectives, no -
tional verbs, adverbs, demonstrative and interrogative pronouns).
In English, which is an essentially analytical language, form-words are much more numerous than in
Russian. Hence, there is a considerable difference in the structure of English and Russian sense-groups. As a
rule, the number of unstressed words is much greater in English.
Compare:
A "schoolboy, | who had been 'working a good 'deal at a"rithmetics, | 'came 'home one 'summer for
his ˎholiday. (Ten unstressed words)

О'дин "школьник, | у'сердно заним'авшийся ариф"метикой, | при'ехал 'летом до'мой на

каˎникулы. (One unstressed word)

The degree of stress in the stressed words differs. "The relative stress of the words in a sentence depends

260
on their importance."
For practical purposes it is necessary to distinguish between three main functional types of sentence-
stress: syntagmatic, syntactic, and logical.
Syntagmatic stress represents the most important functional type. Together with one of the main tones,
this stress singles out the semantic centre of the sentence (or of the sense-group).
In sentences where no word is made specially prominent, the syntagmatic stress is usually realized in the
last stressed word and is stronger than the stress on the preceding words; e. g.—

By the 'time we 'got to the "house, | we were 'all 'wet ˎthrough.

Syntactic stress marks the other semantically important words within the utterance. These words are
mostly pronounced on level pitches, e. g. —
I'm 'sending you 'two 'tickets for the ˎtheatre.

Logical stress is connected with shifting the syntagmatic stress from its normal place on the last stressed
word to one of the preceding words; in this way a new utterance with a new semantic centre is created.
Compare the different meanings of the sentences given below, arising from the shifting of the nucleus:

261
 (a) 'Jack 'likes ˎfish. Semantic centre—likes fish.
(b) ˋJack ֽlikes ֽfish. Semantic centre —Jack.
(c) ֽJack ˋlikes ֽfish. Semantic centre —likes.

Words that are usually unstressed in unemphatic speech may be turned into the semantic centre in the
same manner. e. g.—
(a) ˋHe in ֽsisted ֽon it.
(b) The 'box is ˋunder the ֽtable.
(c) You ˎmust be ֽkind to them.

“Ship or sheep” Unit 49 “In the Airport”

Announcement: The 230 plane to NY will depart later this afternoon at four forty-four. Passengers on
this flight are forbidden to leave the airport.
Daniel: Wonderful! I’m going to the bar to order some more German beer.
Michael: Where’s the bar?
Daniel: It’s upstairs. There’s a book shop too. And a supermarket. This is a marvelous airport.
Michael: Oh, dear! I wanted to get to NY earlier. Ah! Here’s an airhostess. Excuse me. I don’t understand.
Has there been an emergency?
Hostess: Oh, no sir. There’s just a storm, and the weather forecast says it will get worse. So the plane will

262
leave a little later this afternoon.
Michael: Are you sure?
Hostess: Oh, yes. Our departure time is at four forty-four.

Read the following. Mind the pronunciation and intonation. Learn the poems by heart.

1. Rain
by R. L. Stevenson

The rain is raining all around,

It falls on field and tree,
It rains on the umbrellas here,
And on the ships at sea.

2. Trucks
by James S. Tippet

Big trucks for steel beams,

Big trucks for coal,
Rumbling down the broad streets,
Heavily they roll.

Little trucks for groceries,

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 Little trucks for bread,
Turning into every street,
Rushing on ahead.

Big trucks, little trucks,

In never ending lines,
Rumble on and rush ahead
While I read their signs.

“Stories for reproduction” Text 9

Elizabeth was a very pretty girl, and her parents were rich. Quite a lot of the young men in the town
wanted to marry her, but she was not satisfied with any of them.
One evening, one of the handsomest of the young men who wanted to marry Elizabeth came to visit her
in her parents' house and asked her to become his wife. She answered, “No, William, I won't marry you. I
want to marry a man who is famous, who can play music, sing and dance very well, who can tell really
interesting stories, who does not smoke or drink, who stays at home in the evenings and who stops talking
when I'm tired of listening.”
The young man got up, took his coat and went to the door, but before he left the house, he turned and
said to Elizabeth, “It isn't a man you're looking for. It's a television set.”

Text “A basket of fir cones”

264
 Edward Grieg was spending the autumn in the forest near Bergen It was specially fine at that time of the
year, smelling of mushrooms and golden leaves. But the best after all was the forest covering the mountains
slopes near the sea shore. The sound of the waves could be heard there, mists were always sweeping in from
the sea. The plenty of moisture causing moss to grow up profusely. It hang from the branches in green
strings reaching to the very Earth. Once when he was walking in the forest, Grieg met a little girl with pig-
tails, the daughter of the forester. She was gathering fir cones in her basket. It was Autumn. If you ought to
take all the gold and copper there is in the world, and make thousands upon thousands of the tinest leaves
from it, that would make only a tiny portion of all the beauty of the forest dress, that lay on those mountain
slopes.
“What's your name, little girl?” - asked Grieg.
“Dagni Pedersen”- she replied in a small voice. And she answered in that way not because she was afraid
but because she was shy. And she couldn't have been afraid because there was a merry twinkling in Grieg's
eyes.
“What a shame,” said Grieg, peeping in his pockets.
“I have nothing to give you. No dolls, ribbons or furry bonnets.”
“I have my mother's old doll,” said the little girl, “it used to shut its eyes, like this” - the little girl slowly
closed her eyes. When she opened them again Grieg noticed that they were hazel, and the golden leaves
were reflected in them.
“And now she sleeps with her eyes open” - added Dagni sadly.
“Old people sleep badly too. Grandad groans all night”.
“Listen, Dagni,” said Grieg, “I have an idea. I shall make you an interesting gift, but not now, in a few
years time.”
Dagni even clasped her hands together.

265
 “Oh, such a long time”.
“Remember, I have to make it”.
“And what is it?”
“Wait, and you'll see”.
“Will it take you all your life to make just five or six toys?” - asked Dagni.
Grieg was confused. “Why, no. It's not true”, he said uncertainly.”
“I shall probably make it in a few days, but things like that are not to be given to little children. I make
gifts for grown-ups”.
“I won't break it” - answered Dagni pleading and holding her hands to Grieg. “I won't break it. Grand -
dad has a little glass boat, I dust it but I've never chipped out of it even a tiniest piece”. “This Dagni has
caught me in a trap” thought Grieg somewhat next. That sort of things the grown-ups always say when put
in an awkward position by little children. “You are too small to understand. Learn to be patient. And now
give me your basket. It's much too heavy for you. And I'll take you back home. And on the way we'll talk
about something else”. Dagni heaved a sigh and held off the basket. It really was heavy. Fir cones have more
tar and therefore they are much heavier. When the house of the forester could be seen beneath the trees
Grieg asked: “Well, now you can manage yourself, Dagni Pedersen. There are many girls in Norway with
the name like yours. What your father's name?”
“Hageroop”, said Dagni. And rubbing her forehead up: “Won't you come in? We have an embroidered
table-cloth, a ginger cat and a glass boat, Granddad will let you hold it”.
“Thank you, Dagni. But I have no time just now. I have to be going”. Grieg stroked the little girl's hair
and strode off in the direction of the sea. Dagni looked after him frowning. She carried the basket lopsided
on one arm, the cones fell as she walked. “I'll write music for her”, Grieg said to himself. “On the front page
of the score I shall write: “To Dagni Pedersen, daughter of the forester Hageroop Pedersen, for her eigh-
teenth birth-day”.

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267
 LESSON 27

English rhythm

This is what English phoneticians say about rhythm: “It occasionally happens that a foreign student ac-
quires faultless pronunciation and even correct intonation, and one wonders what it is that betrays his non-
English origin. It is, in these circumstances, his faulty rhythm.”
“Examples of Shakespeare's prose ... all show that, while the English language may have changed to a
certain extent in form and pronunciation and idiom, its speech rhythm has remained unaltered for three
hundred and fifty years.”
“... Rhythm and intonation; two features of pronunciation upon which intelligibility largely rests. The
surest way to become unintelligible in a language is to distort its natural rhythm.”
In the light of the above quotations the importance of studying English rhythm systematically and thor-
oughly is obvious. Many English authors of books on teaching English recommend teaching rhythm before
teaching intonation (Hornby, Milne). They think, too, that rhythm is best taught through verse, where, be -
cause of the requirements of the metre, rhythm is very regular.
Rhythm is a regular recurrence of some phenomenon in time, e. g. the lunar rhythm of the tides; the
rhythm of the seasons; the rhythm of bodily functions.
Speech rhythm is inseparable from the syllabic structure of the language. There are two main kinds of
speech rhythm.
“As far as is known, every language in the world is spoken with one kind of rhythm or with the other. In
the one kind, known as a syllable-timed rhythm... the syllables recur at equal intervals of time —they are
isochronous. .. In the other kind, known as a stress-timed rhythm, stressed syllables are isochronous. Eng-
lish, Russian, Arabic illustrate this other mode: they are stress-timed languages.”

268
 From the point of view of rhythm, a sense-group in English is divided into rhythmical groups, like bars in
music. There are as many rhythmical groups in a sense-group as there are stressed syllables. A minimal
rhythmical group consists of nothing but a stressed syllable, e. g.— Most rhythmical

groups consist of a stressed syllable and one or more unstressed ones, e. g.— In or-
dinary speech the number of unstressed syllables between each consecutive pair of stresses varies consider-
ably. In verse, where a definite regularity in the alternation of stressed and unstressed syllables is required
by the metre, rhythm can be observed very easily.
As the rhythm of speech is more free and elastic than that of music, the regularity of the recurrent beat in
speech is only approximate. The stressed syllables are as evenly distributed in time as the stricture of the
sense-group permits.
The basic rules of English rhythm that an adult learner may find useful are as follows:
1. The stressed syllables in a sense-group follow each other at regular intervals of time; only in very long
rhythmic groups, containing many unstressed syllables, this regularity is not strictly observed.
2. Most non-initial rhythmic groups begin with a stressed syllable; unstressed syllables occurring inside a
sense-group have a tendency to cling to the preceding stressed syllable, forming its enclitics; only initial un-
stressed syllables always cling to the following stressed syllable, forming its proclitics.
3. The greater the number of unstressed syllables intervening between stressed ones, the more rapidly
they are pronounced.
4. Initial unstressed syllables are always pronounced rapidly.
5. Each sense-group has a rhythm of its own, depending on the degree of semantic importance attached
to it in comparison with the other sense-groups of the utterance.
In the examples of rhythmic groups of different structures given below, rhythmic groups are marked

269
with a curve below the line.

Rhythm in Connected Prose

270
 Text “Beethoven’s Moonlight Sonata”

"Suddenly | the 'flame of the 'single "candle | "wavered, | ´sank, | "flickered | and 'went ˎout. 'Beethoven
ˎpaused | and 'I threw ↑open the "shutters, | ad'mitting a 'flood of ↑brilliant ˎmoonlight | which 'fell
ˎstrongest | u'pon the ˎplayer.
The 'chain of his i"deas | 'seemed to have been ˎbroken by the ˎaccident. His 'head ↑dropped upon his
"breast, | his 'hands ↑rested upon his "knees, | he 'seemed ab'sorbed in ↑deep ˎthought.
¯He re'mained "thus | for 'some ˎtime. At ´length | the 'young vshoemaker | "rose | and apˎproached him |
"eagerly | 'yet ˎreverently. “ˋWonderful ֽman,” he ֽsaid in a ֽlow ֽtone. “ˋWho and ˋwhat ֽare you?”

271
 “ˋListen,” said ֽBeethoven. And he 'played the ↑opening "bars | of the So'nata in ˎF.
A 'cry of deˋlight and ˋrecog ֽnition | 'burst from them ˎboth, | and ex'claiming “Then you are
ˋBeethoven!” | they 'covered his 'hands with ↑tears and ˎkisses.
He 'rose to ˎgo, | but they 'held him 'back with enˎtreaties. “'Play to us ˎonce ֽmore | — 'only ˎonce
ֽmore.”
He ˋsuffered him"self | to be 'led 'back to the ˎinstrument. The 'moon 'shone 'brightly "in | through the
ˎwindow | and 'lighted up his ↑glorious 'rugged "head | and 'massive ˎfigure.
“'I will ↑improvise a so'nata to the ˎmoonlight!” said he | 'looking up 'thoughtfully to the ↑sky and ˎstars.
'Then his 'hands ↑dropped on to the ˎkeys, | and he be'gan playing a 'sad and ↑infinitely 'lovely ˎmove-
ment, | which 'crept 'gently 'over the ´instrument | like the 'calm 'flow of ˎmoonlight | 'over the 'dark ˎearth.
'This was "followed | by a ˋwild, ˋelfin ֽpassage | in 'triple ˎtime — | a 'sort of gro↑tesque ˎinterlude, | like
the 'dance of sprites upon the ˎlawn. Then came a ´swift, | ´breathless, | "hurrying, | ˋtrembling ֽmovement, |
des'criptive of ˋflight | and 'unˋcertainty, | and 'vague im'pulsive ˎterror, | which 'carried us a´way | on its
'rustling ˎwing, | and 'left us 'all in eˎmotion | and ˎwonder.
ˋThis | is the "origin | of that “'Moonlight Soˎnata” | with 'which we are 'all so 'fondly acˎquainted.

“Stories for reproduction” Text 11

Miss Grey lived alone in a small flat. She was old and did not like noise at all, so she was very pleased
when the noisy young man and woman who lived in the flat above her moved out. A new young man

272
moved in, and Miss Grey thought, “Well, he looks quiet.”
But at three o'clock the next morning, Miss Grey was woken up by the barking of a dog.
She thought, “I've never heard a dog here before. It must belong to the new man in the flat above.” So she
telephoned the young man, said some nasty things to him about the dog and then hung the telephone up
before he could answer.
Nothing more happened until three o'clock the next morning. Then Miss Grey's telephone rang, and
when she answered, a voice said, “I'm the man upstairs. I've rung you up to say that I haven't got a dog.”

Tone group 9

273
274
 Tune I
FALL-RISE+ TAIL OF ONE SYLLABLE

275
 TuneII
FALL-RISE + TAIL OF MORE THAN ONE SYLLABLE

Tune III
FALL-RISE ONLY

276
 Tune IV
LOW PRE-HEAD + FALL-RISE (+ TAIL)

277
 Tune V
(LOW PRE-HEAD) SLIDING HEAD + FALL-RISE (+ TAIL)

278
279
280
281
LESSON 28

Emphatic speech

When the speaker's aim is to express only the intellectual content of the thought, i. e. when he does not
mean to express his own attitude or emotions, and does not wish to give any particular prominence to any
part of the utterance, his speech may be called unemphatic (emphasis = prominence).
Two intonation contours are most commonly used in unemphatic speech:
IC 1

and

IC 2

Examples:
IC1 'Let’s take a ˎtaxi.

282
 I 'want to 'talk to you a'bout a 'very 'private matˎter.

IC 2 'Have you 'been to the "Zoo?

'Will you 'show me the 'way to the "station?

However, people often desire either to make the whole of the utterance particularly significant or to make
one or more words more prominent than the others. Such aims can he achieved in many ways by using spe -
cial intonation.
All of the main components of intonation (speech melody, sentence-stress, rhythm, tempo and timbre)
can be used for this purpose, individually as well as jointly.
To emphasize the whole of the utterance we can:
(a) Widen the range of the utterance or narrow it.

Compare:
'Which of the 'books have you ˎread?

283
 b) Modify the head of the intonation contour, i.e. instead of the stepping head , typical of

unemphatic speech, use the low head or the sliding head and

Compare: unemphatic (with the stepping head):

It 'isn’t e'xactly what I ˎwant.

284
 emphatic (with the low head):
It ֽisn’t e ֽxactly what I ˋwant.

emphatic (with the sliding head):

It ↘isn’t e↘xactly what I ˋwant.

c) Increase stress on all the stressed words.

To give prominence to one or more separate words of the utterance we can:

(a) Break the regularly descending scale of the stepping head by raising the pitch of the word to be made
prominent slightly higher than the pitch of the preceding stressed word, e. g.—

I 'saw 'clearly e'nough that I was ↑not ˎwelcome.

This “special” rise can be used more than once in the same utterance, e.g. —

285
 In about 'half an 'hour ↑one of the 'girls ↑came to 'tell me

that my ↑supper was ˎready.

After each rise the gradual descent is renewed. The special rise does not reach the pitch of the first
stressed syllable in the sense-group.
Only when the special rise is used on the second stressed word is the pitch of this word higher than that
of the first stressed syllable, e. g.—
The 'boy is an ↑awful ˎliar.

The degree of prominence achieved by the special rise is in this case greater.
(b) Omit stresses on all the words which are normally stressed in unempliatic speech, leaving stress only
on the nucleus; the latter will receive great prominence, particularly if one of the widely-ranged tones is used
on it, e. g.—

Compare:
unemphatic — 'What are you 'going to ˎdo a ֽbout it?

286
 emphatic — What are you going to ˋdo about it?

(c) Stress one of the words that are normally unstressed in unemphatic speech (personal pronouns,
prepositions, auxiliary verbs, etc.), e. g,—

ˋYou ֽshould ֽgo ֽthere.

The book is ˎunder the ֽtable.
How 'are you 'going to get ˎhome?

(d) Use one of the main widely-ranged tones (high fall, rise-fall, fall-rise) on the word to be made promi -
nent, e. g.—

Compare:
unemphatic — You 'can’t ˎwalk, | it’s 'too ˎfar.

emphatic — You ˋcan’t vwalk, | it’s 'too ˋfar.

287
 unemphatic — I could 'hardly believe my ˎeyes.

emphatic — I could ˋhardly beˋlieve my ˋeyes.

unemphatic — You 'look ˎlovely, my ֽdear.

emphatic — You look ^lovely, my ֽdear.

There seem to be two main motives for giving prominence, i.e. emphasis, in speech; they are intensity
and contrast. (D. Jones)
Intensity emphasis is often used on words which contain in their lexical meaning a possibility of some de-
gree or quantity, such as: crowds, tons, miles, hours, enormous, tiny, etc., adore, lovely, awful, wonderful, etc.

288
Examples:
^Lots!
^Terribly ֽfoolish.
It's so exˋpensive.
He 'used to enˋjoy it so.
It was aˋmazing.

Contrast emphasis is possible with any words, including purely grammatical (“empty”) words.

Examples:
'What 'sort of 'weather did you 'have in ˋLondon?
'Now it's ˋyour ֽturn.
Would ^you have ֽliked it?
'I think you're optiˋmistic.
Why 'must you be so ˎobstinate?

Text “Irene’s Return”

(from the “Forsyte Saga” by John Galsworthy)

'On reaching vhome | and 'entering the 'little 'lighted "hall | with his vlatchkey, | the 'first 'thing that ↑caught

289
'Soames' ˎeye | was his 'wife's ↑gold-mounted umˎbrella | 'lying on the 'rug ˎchest. 'Flinging off his vfur coat,
| he 'hurried to the ˎdrawing-room.
The 'curtains were ˎdrawn for the ֽnight, | a 'bright 'fire | of 'cedar 'logs | 'burned in the ˎgrate, | and 'by its
'light | he 'saw I'rene| 'sitting in her ↑usual ˎcorner | on the ˎsofa. He 'shut the 'door ˋsoftly, | and 'went ˎto-
wards her. She 'did not "move, | and 'did not 'seem to ˎsee him.
“So you've 'come ˎback?” — he ֽsaid. “'Why are you 'sitting 'here in the ˎdark?”
´Then | he 'caught 'sight of her ˎface, | 'so 'white and ˎmotionless | that it 'seemed as 'though the 'blood
must have ↑stopped ˎflowing | in her ˎveins; and her ˋeyes | that 'looked eˎnormous, | like the 'great, 'wide,
↑startled 'brown ˎeyes | of an ˎowl.
'Huddled in her 'grey vfur | a'gainst the 'sofa vcushions; | she ˋhad a ˋstrange reˋsemblance | to a vcaptive
ˎowl, | 'bunched in its ↑soft ˎfeathers| a'gainst the ˎwires | of a ˎcage. The 'supple e'rectness of her ˋfigure
was ˎgone, | as 'though she had been ˋbroken | by 'cruel ˎexercise, | as 'though there were ↑no 'longer ↑any
ˎreason | for being 'beautiful, | and ˎsupple, | and eˎrect.
“'So you've ↑come ˎback,” | —he re ֽpeated. She 'never looked ˎup, | and 'never ˎspoke, | the ˋfirelight
ˋplaying over her ˋmotionless ˎfigure.
v
Suddenly | she 'tried to ˎrise, | but he preˎvented her; it was ˎthen | that he 'underˎstood.
'She had ↑come ˎback | like an ˋanimal | 'wounded to ˎdeath, | 'not knowing ↑where to ˎturn, | 'not
knowing ˋwhat she was ֽdoing. The 'sight of her ˎfigure, | 'huddled in the ˎfur, | was eˎnough.
He 'knew "then | for ˎcertain | that Bo'sinney had 'been her ˎlover; 'knew that she had ˋseen the reˋport

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of his ˎdeath | —per'haps, like himˎself, | had 'bought a ˎpaper at the 'draughty 'corner of the ˎstreet, | and
ˎread it.
She had 'come ˋback "then | of her 'own acˎcord, | to the ´cage | she had ´pined | to be ˎfree of | — and
'taking in 'all the tre'mendous sig'nificance of ˎthis, | he 'longed to ˎcry: | “'Take your ↑hated 'body, that I
'love, ↑out of my "house! 'Take a'way that ↑pitiful 'white 'face, | so ˋcruel and ˎsoft | — be'fore I ˎcrush it.
ˋGet out of my ˎsight; 'never 'let me 'see you aˎgain!”

Material for reading and comment. Test 1.

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 Tone group 10

This is essentially a combination of a falling with a rising tune, e.g.:

By the 'time he ar"rived | he was com'pletely exˋhausted.
He was com'pletely exˋhausted by the ֽֽtime he ar"rived.

It is used when the main attention is on the main proposition, and subsidiary attention is given to the
subordinate adverbial, e. g.:
Will you join us? I’d ˋlove to, if you ֽֽdon’t "mind.

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 Final please and thank you have a rise after a statement with a falling tune, e. g.:
I’d 'like some ˋtea, "please.
I’ve 'got eˋnough, "thank you.

A considerable degree of sentiment is found in expressions of apology, of sincere appreciation, of grati-

tude and of good wishes, also in expressing regret, sorrow and sympathy or plaintiveness, petulance, self-
pity, resentment, e. g.:

I’m ˋso ֽֽglad you could "come.

I ˋdo ֽֽthink it’s "kind of you.
I ˋwish I ֽֽhadn’t been so "rude.
I ˋwish you’d ֽֽdo as you’re "told.
I ˋalways have to ֽֽdo the "dirty ֹwork.

Special questions have a plaintive, weary, even despairing note, e. g.:

You owe me ten pounds. Just ˋhow d’you make "that out?

General questions convey a marked plaintive, pleading, or long-suffering tone, coupled with a feeling of
impatience, even exasperation, e. g.:
I tell you I won’t listen. ˋMust you be so "obstinate?

The dominant attitude in commands is one of the supplication or pleading, often accompanied by plain-

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tiveness or reproach, e. g.:
Now ˋdo be "reasonable, ֹCharles.
Oh, ˋdon’t make ֽֽmatters any ֽֽworse than they "are.

Interjections said with Tone Group 10 have a warm, appreciative, sympathetic, encouraging ring and often
suggest an affectionate intimacy, e. g.:
That’s the second he’s failed. ˋPoor old "Peter! | (He’ll never make it.)

Sometimes they may convey a plaintive, sullen or resentful attitude, and sometimes a note of surprise or
puzzlement is present, e. g.:

I thought I asked you to make up the fire. ˋAll "right. |

(ˋDon’t go "on
about it. | I
wasˋjust "going.)

Greetings and leave-takings sound pleasant and friendly. Occasionally they convey a ponderously exuberant
attitude, e. g.:

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295
296
297
 LESSON 29

Some rhythmical tendencies

The tendency to distribute stressed syllables evenly is characteristic of English speech. In ordinary speech
the number of unstressed syllables between each pair of stresses varies considerably. It is important to keep
the beat of the stresses going regularly, no matter how many intervening unstressed syllables there are.
When two or three stresses come close together the speed of utterance is no ticeably slower, when they are
separated by several unstressed syllables these syllables flow more rapidly.
The following exercises help to maintain the regular beat of the stresses.

Exercise 1. The stressed syllables in this exercise should be spaced at regular intervals.
l. a 'cloth | a 'piece of 'cloth | a 'piece of 'white 'cloth | a 'large 'piece of 'white 'cloth | a 'large 'piece of 'pure
'white 'cloth.
2. a 'cup | an 'empty 'cup | an 'empty 'cup and 'saucer | an 'empty 'cup and a 'broken 'saucer | 'two 'empty
'cups and a 'broken 'saucer.
3. a 'hat | a 'straw 'hat | a 'dirty 'straw 'hat | a 'very 'dirty 'straw 'hat.
4. a 'cloth | a 'linen 'cloth | a 'linen 'table-cloth | a 'white 'linen 'table-cloth | a 'clean 'white 'linen 'table-cloth.
5. a 'desk | an 'oak 'desk | an 'oak 'desk with 'drawers | a 'polished 'oak 'desk with 'drawers | a 'polished
'oak 'desk with 'large 'drawers.
6. a 'telephone | a 'public 'telephone | 'two 'public 'telephones | 'two 'public 'telephones on 'Platform '4 | 'two
'new 'public 'telephones on 'Platform '4.
7. a 'chair | an 'arm'chair | 'Granny's 'arm'chair | 'Granny's 'favourite 'arm'chair | the 'back of 'Granny's 'fa-

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vourite 'arm'chair.
8. 'shoes | a 'pair of 'shoes | a 'dirty 'pair of 'shoes | a 'dirty 'pair of 'brown 'shoes | a 'dirty 'pair of 'brown
'leather 'shoes | a 'very 'dirty 'pair of 'brown 'leather 'shoes | 'two 'very 'dirty 'pairs of 'brown 'leather 'shoes.
9. a 'light | an e'lectric 'light | an e'lectric 'light with a 'shade | 'two e'lectric 'lights with 'coloured 'shades.
10. a 'lorry | a 'heavy 'lorry | a 'heavy 'lorry with a 'load | a 'heavy 'lorry with a 'load of 'wood | a 'heavy
'lorry with a 'full 'load of 'wood | a 'heavy 'lorry with a 'full 'load of 'two 'tons of 'wood.

Exercise 2. Read the following sentences, paying attention to the number of syllables in each group in
bold type and changing the rate of speech accordingly.
What a 'sensible 'piece of adˎvice!
What a 'useful 'piece of adˎvice!
What a 'wise 'piece of adˎvice!

I 'didn't be'lieve it was ˎtrue.

I 'didn't 'think it was ˎtrue.
I 'don't 'think it was ˎtrue.

I'm 'going to 'town for the ˎday.

I'm 'going to 'town toˎday.
I'm 'going to 'town ˎnow.

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 'What do you 'want me to ˎdo?
'What do you 'want to ˎdo?
'What do you 'want ˎdone?

Can 'anyone 'tell me the "time?

Does 'anyone 'know the "time?
Does 'anyone 'know "Tom?

It was 'good to ˎspeak to him a ֽbout it.

It would be 'better if you ˎspoke to him a ֽbout it.
It would have been 'better if you had ˎspoken to him a ֽbout it.

We 'bought a ˎbook.
We have 'bought another ˎbook.
We could have 'bought you another ˎbook.
We ought to have 'bought ourselves another ˎbook.

Exercise 3. Read sentence B more quickly than sentence A. In the sentences marked A there are more
stressed elements than in those marked B, and some words which are usually stressed lose their stress under

300
the influence of speed.
1. A. This is a 'funny 'old ˎhat.
B. This is a 'funny old ˎhat.
2. A. 'Buy her a 'pretty 'new ˎdress.
B. 'Buy her a 'pretty new ˎdress.
3. A. 'What have you 'done with the ˎink?
B. 'What have you done with the ˎink?
4. A. 'Where have you 'hidden the ˎkey?
B. 'Where have you hidden the ˎkey?
5. A. 'When are you 'going aˎway?
B. 'When are you going aˎway?
6. A. 'Go to a'nother hoˎtel.
B. 'Go to another hoˎtel.
7. A. It's 'nearly as 'far as the ˎbridge.
B. It's 'nearly as far as the ˎbridge.
8. A. 'Tell the 'girl to 'put the 'book ˎdown!
B. 'Tell the girl to 'put the book ˎdown!
9. A. There 'isn't 'really 'quite e'nough for ˎtwo.
B. There 'isn't really 'quite enough for ˎtwo.

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 10. A. 'That can be 'seen at a ˎglance.
B. 'That can be seen at a ˎglance.

Exercise 4. Sentences for rapid reading. Note the loss of stress.

1. He's 'two hours 'late aˎgain.
2. I 'shan't stay a 'minute ˎlonger.
3. Can I 'see him if I 'come back ˎlater?
4. We've 'both got the 'same ˎanswer.
5. 'Why did he run aˋway?
6. I can't find my ˎpipe.
7. 'What makes you ˎthink so?
8. It isn't 'quite what I ˎthink.
9. But she 'hasn't sent it off ˎsoon enough.
10. Don't 'ever do that aˎgain.
11. He 'can't 'make up his ˎmind.
12. For 'goodness 'sake 'make up your own ˎmind.
13. Your 'very good ˎhealth!
14. Is 'Mike 'still doing "well?
15. We'd 'better make ˎsure.

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16. Are you 'still in that 'dingy little "office?
17. We're 'quite sold ˎout.
18. 'Time to get ˎup.
19. It's 'right next 'door to the ˎstation.
20. What a de'lightful surˎprise!
21. How 'perfectly ˎcharming of her.
22. It 'turned out 'fine after ˎall.
23. It de'pends 'which way you ˎgo.
24. 'That wouldn't 'matter in the ˎleast.
25. 'That's what ˎeverybody ֽsays.
26. 'Ten or e'leven hours a ˎweek.
27. 'How long did you stay in ˎLondon?
28. 'Why not come 'down for a week-ˎend?
29. What 'ever 'made you do ˎthat?
30. 'When will you get ˎback?
31. Does it 'really make 'very much ˎdifference?
32. 'Let's go ˎon.
33. Then 'make it ˎup with her.
34. 'How much d'you ˎwant for it?

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 35. Then 'don't let him ˎbully you so.
36. I'magine how ˎsilly I'd ֽlook.
37. Then for 'heaven's 'sake 'go and lie ˎdown.
38 'Try 'turning it the 'other way ˎround.
39. 'Poor old ˎchap.
40. 'Better 'luck next ˎtime.
41. It's 'not as 'complicated as you'd ˎthink.
42. 'Which one do you preˎfer?
43. 'How long do you in'tend to "stay there?
44. 'How did you get ˎon?
45. How ˎold is he?
46. The 'tower looks ˎbeautiful.
47. Is 'everything ˎready for Miss 'Warren?
48. Well, 'when did you 'have it ˎlast?
49. Yes, but ˋdid she ֽbring it ֽback in ֽfact?
50. Now 'what's the 'price of this ˎother one?
51. Do you 'mind if I "smoke?
52. Could 'anything have been 'simpler than ˎthat?
53. Wouldn't you 'really think he'd have more ˎsense?

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54. Do you 'think it'll be all "right?
55. But do you 'really underˎstand it?
56. Shall I come to'day or toˎmorrow?
57. What a 'dear little ˎroom!
58. 'Soon after 'half past ˎsix.
59. She's a 'silly young ˎthing.
60. They've got a 'lovely little 'house in the ˎcountry.
61. She is an ef'ficient young ˎwoman.

W. Shakespeare “Hamlet’s monologue” (+ translation)

act 3 scene 1

To be or not to be- that is the question;

Whether this nobler in the mind to suffer
The slings and arrows of outrages fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die, to sleep-
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to. This a consummation

305
 Devotedly to be wished. To die, to sleep;
To sleep, perchance to dream. Ay, there’s the rub;
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely.
The pangs of despised love the law's delay,
The insolence of office, and the spurns
That patient merit of the unworthy takes.
When he himself might his quietus make
With a bare bodkin? Who could fardels bear
To grunt and sweat under a weary life,
But that the dread of something after death-
The undiscovered country, from whose bourn
No traveller returns-puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with a pale cast of thought,
And enterprises of great pitch and movement,
With this regard, their currents turn awry

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 And lose the name of action.

“Stories for reproduction” Text 12

Mrs. Robinson had one small son. His name was Billy. Mrs. Robinson loved Billy very much, and as he
was not a strong child, she was always afraid that he might get ill, so she used to take him to the best doctor
in the town four times a year to be examined.
During one of these visits, the doctor gave Billy various tests and then said to him, “Have you had any
trouble with your nose or ears recently?”
Billy thought for a second and then answered, “Yes, I have.”
Mrs. Robinson was very worried. “But I'm sure you've never told me that, Billy!” she said anxiously.
“Oh, really?” said the doctor seriously. “And what trouble have you had with your nose and ears, my
boy?”
“Well,” answered Billy, “I always have trouble with them when I'm taking my jersey off, because the
neck is very tight.”

Material for reading and comment. Test 2

1. 'Tom has ˋpassed his e"xam. Well 'fancy ˋthat!

2. 'Come "on. ¯Let’s ֽgo for a ˋwalk. We 'really ˋcan't. It's 'raining 'cats and ˋdogs.
3. 'Why were you so ˋcross with ֽAlec? No 'sooner had we 'got our 'holiday 'all ar"ranged, | (than he

307
'wanted to 'cry ˋoff).
4. The e'xams are 'over at ˎlast. 'Isn't it ˎwonderful?
5. I shall 'miss him ˋterribly. You 'ought to have 'thought of 'that beˎfore you ֽsent him a ֽway.
6. 'Mary’s dropped 'paint ↑all over the ˎcarpet. When 'is she 'going to 'learn to be 'more ˎcareful?
7. He’s 'given up ˋeverything. ¯ I ˎdo think it’s a ֽpity.
8. 'Can you 'give me his "phone number? 'Hang "on. I’ll ˋfind it ֽfor you.
9. 'What was it ˎlike in Ni ֽgeria? Oh the 'heat was ˋterrible. I 'thought I should have ˋdied.
10. He’s 'on his way "back. But 'will he be 'back in ˋtime?
11. 'What time’s con'venient for ˋyou? 'Come whenˋever you’re ˋfree.
12. Oh this 'wretched ˋclock. 'What’s "wrong with it?
13. 'Have you 'posted those "letters? 'Not "yet.
14. 'Can’t we "do 'something a'bout it? 'All in 'good "time.
15. ˋWhich one can I ˋhave? ˋ Which would you preˋfer?
16. 'I thought it was a ˋhuge suc ֽcess. Yes, 'didn’t it go ˎwell!
17. 'Which would ˋyou ֽchoose, if you were ֽme? For 'goodness 'sake 'make up your ˎown ֽmind.
18. D’you 'mind if I "smoke? 'Not at ˋall. Can I 'offer you a 'ciga"rette?
19. I’ll 'give him a 'piece of my ˋmind. Now 'don’t dis"courage him. He’s 'only a be"ginner.
20. There’s 'no esˋcaping it. 'Ah "well! I 'don’t sup'pose it’ll "kill us.

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 LESSON 30

Rhythm in English Verse

The basic tendency to space stressed syllables regularly is characteristic both of speech and verse. It has
been observed that the rhythm of the language is best taught through verse. The rhythm of verse permits
fewer variations in the number of unstressed syllables and is regulated by the metre. The rhythm of the
question: Can anyone tell me the time? is quite simple and regular, like the first line of the limerick: There was
an old man in a tree.
'Cat, 'cat, 'kill ˎrat!
'Rat 'won't 'gnaw ˎrope;
'Rope 'won't 'hang ˎbutcher;
'Butcher 'won't 'kill ˎox;
'Ox 'won't 'drink ˎwater;
'Water 'won't 'quench ˎfire;
'Fire 'won't 'burn ˎstick;
'Stick 'won't 'beat ˎdog;
'Dog 'won't 'bite ˎpig;
The 'cat be'gan to 'kill the ˎrat;
The 'rat be'gan to 'gnaw the ˎrope;

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 The 'rope be'gan to 'hang the ˎbutcher;
The 'butcher be'gan to 'kill the ˎox;
The 'ox be'gan to 'drink the ˎwater;
The 'water be'gan to 'quench the ˎfire;
The 'fire be'gan to 'burn the ˎstick;
The 'stick be'gan to 'beat the ˎdog;
The 'dog be'gan to 'bite the ˎpig.

'One, 'two, |
'Buckle my ˎshoe;
'Three, 'four, |
'Shut the ˎdoor;
'Five, 'six, |
'Pick up ˎsticks;

'Seven, 'eight, |
'Lay them ˎstraight;
'Nine, 'ten, |
A 'good fat ˎhen.
E'leven, 'twelve, |

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 'Who will ˎdelve?
'Thirteen, 'fourteen, |
'Maids a-ˎcourting;
'Fifteen, 'sixteen, |
'Maids a-ˎkissing; |

'Seventeen, 'eighteen, |
'Maids a-ˎwaiting;
'Nineteen, 'twenty, |
My 'stomach's ˎempty.
Note: When counting, the numerals 13—19 are pronounced with only one stress on the first syllable, but
when used in isolation the same numerals have two even stresses.

'One potato, 'two potatoes,

'Three potatoes ˎfour, |
'Five potatoes, 'six potatoes,
'Seven potatoes ˎmore.

***
'One, 'two, ↑three, "four, |
'Mary 'at the 'cottage ˋdoor;
'Five, 'six, 'seven, "eight, |

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 'Eating 'cherries off a ˎplate.

***
'Tinker, 'tailor, 'soldier, 'sailor,
↑rich man, 'poor man, 'beggarman, ˎthief.

***
'Hark, 'hark, the 'dogs do ˎbark,
The 'beggars are 'coming to ˎtown;
'Some in ˎrags | and ˋsome in "tags,
And 'one in a ↑velvet ˎgown.

***
'Hotcross ˎbuns!
'Hotcross ˎbuns!
'One a penny, 'two a penny, |
'Hotcross ˎbuns!

'Hotcross ˎbuns!
'Hotcross ˎbuns!
'If ye have no "daughters

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 'Give them to your ˎsons.
***
I 'like to go 'out in the "garden, |
I 'like to get 'up on the ˋwall, |
I 'like to do ↑anything ˎreally, |
But I ˋhate to do 'nothing at ˋall.

***
To 'bed, to ˋbed, says ֽSleepy- ֽhead, |
ˋTarry a ֽwhile, says ֽSlow.
'Put on the ˎpan, says ֽGreedy ֽNan, |
Let’s ˋsup 'before we ˎgo.

***
(The comic verse form known as the limerick has five lines; the first two have three stresses, the next two
have two stresses, and the last one again has three stresses. There are two unstressed syllables between each
pair of stresses.)

There 'was an Old 'Man in a "tree,

Who was ˋhorribly ֽbored by a ˋBee;
When they 'said, | “Does it "buzz?”

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 He re'plied, “Yes, it ˎdoes!
It’s a 'regular ˋbrute of a ֽBee.”

***
There 'was a young 'man of Benˎgal, |
Who 'went to a 'fancy-dress ˎball;
He de'cided to 'risk it
And 'go as a ˎbiscuit, |
But a ˋdog ate him ֽup in the ˋhall.

***
There 'was a young 'man of De"vizes, |
Whose 'ears were of 'different ˋsizes;
'One was so "small,
It was ֽno use at ˋall,
But the 'other won ↑several ˎprizes.

***
'Stitch! 'stitch! 'stitch!
In 'poverty, 'hunger and ˎdirt;
And 'still with a 'voice of 'dolorous 'pitch |

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She 'sang the “'Song of the ˎShirt”!

“'Work – 'work – 'work!

From 'weary 'chime to ˎchime, |
'Work – 'work – 'work!
As ˋprisoners ֽwork for ˋcrime!”
(T. Hood. The Song of the Shirt.)

My 'hair is ˎgrey, | but 'not with ˎyears |

Nor 'grew it "white
In a 'single ˎnight, |
As 'men’s have 'grown form 'sudden ˎfears.
(G.G. Byron The Prisoner of Chillon.)

And 'through the 'drifts the 'snowy 'clifts

Did 'send a 'dismal ˎsheen:
Nor 'shapes of 'men | nor 'beasts we 'ken —
The ˋice was 'all beˎtween.

The 'ice was "here, | the 'ice was "there, |

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 The 'ice was ↑all aˎround:
It 'crack’d 'growl’d, and 'roar’d and 'howl’d |
Like ˋnoises in a ˎswound!
(S. Coleridge. The Rime of the Ancient Mariner.)

“Long trousers”. Text

There "was a 'time | when 'merely 'wearing ↑long ˋtrousers ֽbrought ´me de'light. In 'those "days | when I
'must've been a'bout fif´teen, | I had 'only ↑one ˎsuit, | my ˎbest, | ¯with ˎlong ֽtrousers. My ˋother "suits |
had ˎknee ֽbreeches | 'buttoning ˋtightly 'just below the ´knee | and 'worn with ↑thick long ˎstockings |
'turned 'down at the ˎtop.
There was 'really nothing 'wrong with my ap´pearance | when I 'wore these 'knee "breeches | and 'long
"stockings, | for after 'years of ´football | I had 'muscular, 'well-shaped ˎlegs. But when'ever I ˋwore them | I
'felt I was ↑still im"prisoned, | a 'shame-'faced "giant | in the 'stale 'miniature 'world of ˎchildhood, |
con^demned | and I ֽuse this ֽterm be ֽcause there were ֽstrict ֽrules at ^home | about ֽwhich ֽsuits ˋcould be
ֽworn. To ↘wear these ˋknee "breeches | I ↘felt that no ↘glimpse of my ˋreal "self | could 'catch the ˋtown's
ˎeye. I might ↘almost have been ↘sent to ↘school in a ˎpram.
Con"versely | I 'felt that as 'soon as I 'put on the ´long 'trousers | 'then ap'pearance and re'ality were ↑glo-
riously ˎwon. I ↘joined the ↘world of ˋmen | and ֽeven without ֽdoing ֽanything ֽmore than ˋwear these

316
"trousers | and ֽleaving the other ֽwretched ֽthings at ´home, | I could ֽfeel my ֽwhole ˋnature| ex'panding
magˎnificently.
On the oc'casional ´days | when I was al↘lowed to ↘wear the aˋdult ´trousers | to ˋgo to ´school | ¯I 'al-
most ˎfloated there. 'Never did 'eighteen 'inches of ˎcloth | do ˎmore for the ֽhuman ֽspirit.
On those ˎmornings ˎnow when I ˎseem to ˎstare "sullenly | at the ↘wreck of a ˋshining "world, | 'why
don't I re^mind my ֽself | that al↘though I grow ^old | and ˋfat and vpeevish, | at "least | I am 'wearing my
↑long ^trousers.

“Stories for reproduction” Text 13

Some friends hired a bus to go to the seaside for the day. When they returned to the bus late at night to
go home, someone was lying on the ground beside it. They looked at him and discovered that he was a man
from their town whom they were sure had not come on their bus. He was very drunk.
“I suppose he came in another bus,” one of the men said, “and missed it when it left for home because he
was drunk. Now he's come to our bus to go back in that.”
Two men put him into the bus. He did not wake up during the drive back, and when the bus arrived,
they took him to his home, still very drunk.
They knocked at the door for several minutes, and then a neighbour opened a window and said, “It's no
use knocking there. They've gone to the seaside for two weeks.”

Material for reading and comment

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 Exercise 16. Read the following sentences and analyse them for intonation.
1. The 'book 'fell on the ˎfloor, | and be'fore he could 'pick it "up | the 'telephone ˎrang.
2. 'When I 'asked him 'how much he had 'paid for the 'theatre "seats, | he said ˎnothing | but 'only ˎs-
miled.
3. ˋWe "men | dis'cuss "politics, | "business | and the 'latest ˎnews.
4. 'Shall we have "cakes | or "pastries | or 'buttered ˎtoast?
5. We’d have ˋwaited for him | and 'brought him aˋlong with us | if we'd "known.
6. In'stead of "waiting, | she 'went to the "wardrobe, | 'took out her 'best "clothes, | 'dressed with 'great
"care, | and 'went 'out for a ˎwalk.
7. As they 'aren't "ready| and 'aren't "likely to be, | we must 'manage withˋout them | until we ֽget a ֽfresh
sup"ply.
8. I could 'only 'look ˎupwards; the 'sun be'gan to 'grow "hot | and the 'light 'hurt my ˎeyes.
9. 'Monday 'came at ˎlast; the 'rain "fell again | and the 'wind ˎhowled.
10. The 'journey 'passed ˎsafely, | and at our "stop | I 'somehow 'managed to 'drag my ↑heavy 'load 'off the
ˎtram.
11. 'On the "sideboard | the 'Browns 'usually have a 'bowl of ˎfruit: "apples, | "pears, | "plums, | "cherries, |
"grapes, | "oranges | or ba"nanas, | ac'cording to the ˎseason.
12. We had 'tea in the 'afterˋnoon, | and our 'landlord's "daughter, | a 'modest 'civil "girl, | 'very 'neatly
"dressed, | ˎmade it for us.

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 13. You'll come vearly, | and 'stay as 'long as you vcan, | ˋwon't you?
14. "Tribes, | 'even ˋclans, | wore 'special inˎsignia, | so that 'friend could be dis'tinguished from "foe, | and
'chief from 'common ˎwarrior.
15. 'English 'artists were in'spired by ˋclassical "models, | but 'made out of them 'something of their ˎown,
| a tra'dition ↑more reˎstrained,| ˋquieter, |'more ˎmoderate.
16. 'Isaac ˎNewton, | 'one of the ↑greatest 'men that 'ever "lived, | was 'born in "England | 'more than 'two
'hundred years aˎgo. It is "said | that ˋone "day, | while he was 'sitting in his 'garden under an 'apple-"tree, |
he 'saw an 'apple 'fall to the ˎground. Now, the 'fall of an ˎapple | is a 'very common eˋvent, | and a 'great
many "people | beˎfore Newton | had 'seen an 'apple 'fall to the ˋground. But 'Newton was the 'first who
ˎsaid to himself: | “ֽWhy does it ֽnot go ֽup into the ˋsky, |or ֽwhy does it ֽnot go ˋsideways | when it ֽleaves the
ˎtree?”

Exercise 17. Read the following sentences and comment on the possible tones.
1. The ice broke and he fell into the water and it took us some time to get him out.
2. We had better get moving if we want to see the beginning of the film.
3. If you're going to stay on a farm you'll need some old clothes to get into.
4. It was a long job but it's done at last.
5. We shan't go walking this week-end if the weather looks doubtful.
6. She saw us from an upstairs window and came down to open the door.
7. If they put the rent up when our lease runs out we shall have to move.
8. I speak French better than she does but when it conies to English she is better by far.

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 9. When I lost my identity card I went through all my writing-table and eventually found it in the
wastepaper basket.
10. A great many of these afternoon performances consisted of old plays that had achieved a permanent
place in the company's repertoire, but there was also a steady supply of new scripts in which the actors were
investing their time, their faith and their money.
11. It was perfectly true that he had never taken the slightest interest in his clothes, a suit off the peg had
always served him excellently, covered him, kept him warm without elegance. Christene, too, though she
was always so neat, never bothered about clothes. She was happiest in a tweed skirt and a woollen jumper
she had knitted herself.

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 СОДЕРЖАНИЕ
Предисловие.....................................................................................3
LESSON 1................................................................................................5
The classification of English consonants phonemes...........................5
Articulation of the consonants [p], [b]...............................................9
"Ship or Sheep" Unit 24" Passports, please"....................................12
Tone Group 1.....................................................................................12
LESSON 2..............................................................................................16
“Ship or sheep” Unit 25 “Happy birthday”.....................................16
“Tit for Tat”......................................................................................19
“Stories for reproduction” Text 1.....................................................19
W. Wordsworth “Upon Westminster Bridge”...................................20
LESSON 3..............................................................................................21
Articulation of the consonants [t], [d]..............................................21
“Ship or Sheep” Unit 26 “In a department store”...........................23
“One too many for him”. Text...........................................................24
G.G. Byron “Twilight”......................................................................24
LESSON 4..............................................................................................26
Intonation. Its main functions............................................................26
“Ship or sheep” Unit 27 “A damaged telephone”............................30
“Stories for reproduction” Text 2.....................................................31
Tone group 2.....................................................................................32
LESSON 5..............................................................................................35
Articulation of the consonants [k] [g]...............................................35
“Ship or Sheep” Unit 28 “The Cuckoo Clock”................................38

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 H. W. Longfellow “The Twilight”.....................................................38
“Stories for reproduction” Text 3.....................................................39
LESSON 6..............................................................................................40
The components of intonation...........................................................40
“Ship or Sheep” Unit 29 “Guests in August”..................................43
“Accuracy”.......................................................................................43
“Stories for reproduction” Text 4.....................................................44
LESSON 7..............................................................................................45
English speech melody. Its forms......................................................45
Articulation of the consonants [s] [z]...............................................49
“Ship or Sheep” Unit 30 “The Smile of a Snake”...........................52
Tone Group 3.....................................................................................52
LESSON 8..............................................................................................56
Types of Heads..................................................................................56
“Ship or Sheep” Unit 31 “Surprises in the post office”...................61
“Stories for reproduction” Text 5.....................................................61
T. Moore “Those Evening Bells”......................................................62
LESSON 9..............................................................................................63
Types of Pre-Heads...........................................................................63
Articulation of the consonants [S] [Z]..............................................64
“Ship or Sheep” Unit 32 “A Special Washing Machine”.................66
“Nothing to complain about”............................................................67
LESSON 10............................................................................................68
Types of Tails.....................................................................................68
“Ship or Sheep” Unit 33 “Television Programmes: Channel 0”....71

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 “Stories for reproduction” Text 6.....................................................71
Tone group 4.....................................................................................72
LESSON 11............................................................................................75
The main English intonation contours..............................................75
Articulation of the consonants [C] [G].............................................84
“Ship or Sheep” Unit 34 “At the Butcher’s Shop”...........................86
“Cinderella”.....................................................................................87
LESSON 12............................................................................................88
English speech melody, its distinctive and attitudinal functions.......88
“Ship or Sheep” Unit 35 “George Churchill”.................................90
“Not so stupid”.................................................................................92
“Stories for reproduction” Text 7.....................................................92
LESSON 13............................................................................................94
The main English intonation contours and their variants.................94
Articulation of the consonants [f], [v]...............................................94
“Ship or Sheep” Unit 36 “At the Photographer’s”..........................96
Tone group 5.....................................................................................97
LESSON 14..........................................................................................101
The semantic function of the nucleus...............................................101
“Ship or Sheep” Unit 37 “A Fine View”........................................104
“Too great a majority”...................................................................107
“Child’s play”.................................................................................107
LESSON 15..........................................................................................109
The semantic function of the head...................................................109
Articulation of the sound [w]..........................................................110

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 “Ship or Sheep” Unit 38 “A Walk in the Woods”..........................113
“Stories for reproduction” Text 8...................................................114
LESSON 16..........................................................................................115
The semantic function of the pre-head............................................115
Articulation of the sound [j]............................................................116
“Ship or Sheep”, unit 39 “A Stupid Student”.................................119
“The story of Narcissus”.................................................................119
LESSON 17..........................................................................................121
The sense-group or the syntagm......................................................121
Articulation of the sound [h]...........................................................124
“Ship or Sheep”, unit 40 “A horrible Accident”............................126
Tone group 6...................................................................................127
LESSON 18..........................................................................................130
The use of the main intonation contours in utterances of different communicative types. Statements 130
Articulation of the sounds [T] [D]..................................................134
“Ship or Sheep”, unit 41 “Gossips”...............................................137
W. Shakespeare “Sonnet 18” (+ translation).................................137
LESSON 19..........................................................................................139
The use of the main intonation contours in utterances of different communicative types. General questions 139
“Ship or Sheep”, unit 42 “The hat in the window”........................143
“Dialectal differences”...................................................................146
“Stories for reproduction”. Text 9..................................................146
LESSON 20..........................................................................................148
The use of the main intonation contours in utterances of different communicative types. Special questions 148
Articulation of the sound [m]..........................................................151

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 “Ship or Sheep”, unit 43 “Mum’s crumpets”.................................153
Tone group 7...................................................................................153
LESSON 21..........................................................................................157
The use of the main intonation contours in utterances of different communicative types. Alternative questions 157
Articulation of the sound [n]...........................................................157
“Ship or sheep”, unit 44 “At an Accommodation Agency”............159
W. Shakespeare “Sonnet 29” (+ translation).................................160
LESSON 22..........................................................................................162
The use of the main intonation contours in utterances of different communicative types. Disjunctive questions 162
Articulation of the sound [N]..........................................................165
“Ship or sheep”, unit 45 “Noisy Neighbours”...............................167
“Tea”...............................................................................................168
LESSON 23..........................................................................................170
The use of the main intonation contours in utterances of different communicative types. Commands and requests
.........................................................................................................170
Articulation of the sound [l]............................................................172
“Ship or sheep”, unit 46 “Early for Lunch”...................................175
W. Wordsworth “Daffodils”............................................................175
LESSON 24..........................................................................................177
The use of the main intonation contours in utterances of different communicative types. Exclamations and interjec-
tions.................................................................................................177
“Ship or sheep”, unit 47 “A Spoilt Little Boy in the Bicycle Shop” 179
S. T. Coleridge “The Rime of the Ancient Mariner”.......................179
Tone group 8...................................................................................182
LESSON 25..........................................................................................185

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 The use of the tones in the sentences containing more than one sense-group 185
Articulation of the sound [r]...........................................................186
“Ship or sheep” Unit 48 “A Proud Parent”...................................188
R. Aldington “The Poplar”.............................................................189
LESSON 26..........................................................................................190
Sentence-stress in English...............................................................190
“Ship or sheep” Unit 49 “In the Airport”......................................192
“Stories for reproduction” Text 9...................................................193
Text “A basket of fir cones”............................................................193
LESSON 27..........................................................................................196
English rhythm................................................................................196
Text “Beethoven’s Moonlight Sonata”...........................................198
“Stories for reproduction” Text 11.................................................199
Tone group 9...................................................................................200
LESSON 28..........................................................................................204
Emphatic speech..............................................................................204
Text “Irene’s Return” (from the “Forsyte Saga” by John Galsworthy) 209
Material for reading and comment. Test 1......................................210
Tone group 10.................................................................................211
LESSON 29..........................................................................................216
Some rhythmical tendencies............................................................216
W. Shakespeare “Hamlet’s monologue” (+ translation)................221
“Stories for reproduction” Text 12.................................................222
Material for reading and comment. Test 2......................................222
LESSON 30..........................................................................................224

326
Rhythm in English Verse.................................................................224
“Long trousers”. Text.....................................................................228
“Stories for reproduction” Text 13.................................................229
Material for reading and comment.................................................230

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ПРАКТИЧЕСКАЯ ФОНЕТИКА
АНГЛИЙСКОГО ЯЗЫКА
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327
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