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In the year 2000, the British Council says there were about a billion
English learners -but a decade later, this report says, the numbers will
have doubled.
The research has looked at the global population of young people
in education – including 120 million children in Chinese primary schools
- and how many countries are embedding English-language learning
within their school systems.
The linguistic forecast points to a surge in English learning, which
could peak in 2010.
"Pernicious"
Speaking earlier at the same conference, Mr Clarke argued that the
UK needed to improve language skills - and conceded that the country
was still lagging behind in learning languages.
«To be quite candid, I'm the first to acknowledge there is an im-
mense amount to do», said Mr. Clarke. «Not least to contest the arro-
gance that says English is the world language and we don't have to worry about it - which I think is dangerous and pernicious.»
The report's author agrees that English speakers should not be
complacent because they can speak this increasingly widely-used language. He says Chinese, Arabic and Spanish are also going to be key international languages.
«The fact that the world is learning English is not particularly good
news for native speakers who cannot also speak another language. The
world is rapidly becoming multi-lingual and English is only one of the
languages people in other countries are learning,» said Mr Graddol.
He also says that language learning numbers will decline as English becomes a «basic skill» - learnt by primary-age children, rather than
something that older children or adults might want to acquire later.
Mr Graddol also warns there could be a backlash against the global spread of English and a reassertion of national languages.
By Sean Coughlan,
Edinburgh, BBC,
Thursday, 9 December, 2004
1. complacency – самодовольство; удовлетворенность; самоуспо-
коенность.
2. native English speakers – люди, для которых английский язык
является родным.
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3. is set to expand – [будет] распространяться.
4. arrogance – заносчивость, высокомерие, надмен-
ность;самоуверенность, самонадеянность.
5. fail – терпеть неудачу, провалить экзамен.
6. UK – сокр. от United Kingdom (of Great Britain and Northern Ireland) – Соединенное Королевство (Великобритании и Северной
Ирландии).
7. onset – атака, нападение, натиск; приступ (напр, боли или болезни); начало;
to give the onset – начинать.
8. embedding – внедрение.
9. surge – большая волна; волны; подниматься, вздыматься (тж.
surge up).
10. lagging behind – (тж. lag in); запаздывать; медленно тащиться,
волочиться; отставать
lag – отставание; задержка, запаздывание; отставать.
11. candid – непредубежденный, непредвзятый, беспристрастный,
объективный, справедливый; откровенный, открытый, искренний;
чистосердечный.
12. pernicious – (подзаголовок) – прил. разрушительный, разорительный, наносящий ущерб, пагубный, фатальный.
13. native speakers – носители языка;
native – уроженец, человек, ведущий свой род из такого-то ме-
ста; абориген, туземец.
14. Backlash – отрицательная реакция, негативная реакция (на по-
литическое событие и т. п.).
С. GRAMMAR
1. Complete the sentences with the verbs try, steal, meet, look, write, make,
be knocked, wash, eat, splash, go, drive, take using –ing form:
1 Could you please stop so much noise?
2 I don't enjoy .... letters.
3 Does your job involve a lot of people?
4 I considered ..... the job but in the end I decided against it.
5 If you use the shower, try and avoid water on the floor.
6 Jack gave up .... to find a job in Britain and decided to emigrate.
7 Have you finished ..your hair yet?
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8 The phone rang while Ann was having her dinner. She didn't an-
swer it; she just carried on
9 He admitted ..... the car but denied …. it dangerously.
10 Why do you keep on at me like that?
11 They had to postpone away because their son was ill.
12. If you walk into the road without looking, you risk ... down by
a car.
3.Read each sentence and write a second sentence from the words given.
Example: Jill didn't have any money.
she / want / Ann / lend her some – She wanted Ann to lend her some
money
1 Tom's parents were disappointed when he decided to leave
home.
they / want / Tom / stay with them .............................
2 Please don't tell anyone that I'm leaving my job.
I / not / want / anyone / know .....................................
3 There's a football match next Saturday between England and
Scotland.
you / want / Scotland / win? .......................................
4 Unfortunately someone had told Sue that 1 was going to visit
her.
I / want / it / be a surprise ...........................................
3. Paraphrase these sentences with subordinate clauses using Complex
Object forms:
1. I should like to see how he would say it to my face. 2. I expect
that you will join our excursion. 3. We had not expected that she
would reply, but she did. 4. We knew that he was a clever man. 5. I
don't like it that you repeat this nonsense. 6. I hate it when people
speak so cynically. 7. We expect that everybody will be ready by seven. 8. They showed themselves even more narrow-minded than we had
expected they would be. 9. I felt that somebody touched me lightly on
the shoulder. 10. He heard that someone called his name. 11. We did
not expect that he would return so soon. 12. I saw that the telegraph
boy handed the cable to the man. 13. They heard how the woman uttered a little exclamation. 14. He hated it when people argued about
trifles.
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E. SUPPLEMENTARY READING PRACTICE
1. Read and translate the excerpts from the literary works of Eng-
lish and American authors.
Write out the underlined phrases and learn them. Follow the models suggested and get into the habit of thinking of possible English utterances in situations in which you may find yourself:
SHE PLAYED THE WHOLE SECOND
HUNGARIAN RHAPSODY FROM MEMORY.
She played the piano with a skill approaching brilliance, but she
disliked playing in front of people.
From my earliest memories I was interested in sounds. 1 loved that
of trickling water, the sound of fountains playing, the clop-clop of
horses' hoofs on the road, the call of the street traders; the wind in the
pear tree in OUR tiny walled garden in the house near the Museum, the
shouts of children, the birds in springtime, the sudden bark of a dog. I
could even hear music in the dripping of a tap which exasperated others.
When I was five years old I could pick out a tune on the piano, and
would spend hours perched on the stool, my hands, scarcely emerged
from their bracelets of baby fat, exploiting the miracle of sound.
"If it keeps her quiet..." shrugged the nannies. (Victoria Holt)
Gramp taught him basic chords on the banjo, and also on the guitar
that he sometimes played, and later on the old piano that still stood
against the wall in the dining room. He learned rapidly. (Ann Fairbairn)
He taught me how to hold the contraption tucked under my chin. I
learned how to move my fingers here and there on its handle or stem. I
learned how to draw the bow across the strings and thus produce sounds.
(Clarence Day)
"Olive was a very talented pianist," Mrs Holden was saying. "Really talented; could have gone on to the concert stage. Her father had her
practicing five or six hours a day when she was a girl and he was making
plans to send her to the conservatory in Cincinnati." (Philip McFarland)
During all this time, Jean had, off and on, played the xylophone
and sung songs. Now the parents were fortunate enough to find a piano
teacher who was willing to base her methods on Jean's auditory gift and
ingenuity in imitating. At my next visit, after being taken to my room, 1
heard somebody practicing some phrase of Beethoven's first sonata, and
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innocently remarked on the strong and sensitive touch. I thought a gifted
adult was playing.
When you learn to play the piano, you have to begin with finger
exercises. (Paul Goodman)
Mr Javone sat at the piano and played selections from Chopin,
gracefully swaying back and forth on the stool. (Bruce J. Friedman)
He looked at the grand piano and noticed the music on the rack.
"Do you still play as beautifully as you used to?"
"I still enjoy it."
"Please play, Elizabeth." (Carson McCullers)
She got hold of four pianos for her college studio and set four
dazed students to playing Bach fugues together. (Carson McCullers)
How good a composer Mr. Savage was I shall never really know.
Today he seems to be little heard of or regarded; yet I can remember a
time when people with pretensions to musical taste were apt to have
something by Frederick Savage on the piano rack. (J. G. Cozzens)
He went across the room to the piano and looked with very apparent interest at the sheet music on the stand.
Will you sightread this sonata?
Don't bang the piano keys.
He spun the stool to the right height and struck a few chords. (Ann
Fairbairn)
He stood in the curve of the piano, elbows propped, and looked at
her. (Carson McCullers)
I wasn't paying much attention because I was hearing the second
movement of the Beethoven No 4 Piano Concerto, which was what
Pietro would be playing that night, and I was asking myself whether or
not I should go to the concert. I suffered agonies when he was on a platform, playing each note with him in my mind, terrified that he would
stumble. As if he ever would. His only fear would be that he would give
something less than his best performance. (Victoria Holt)
2. Imagine that you are giving a masterclass.
Make instructions and comments on your imaginary student’s
playing, using as many phrases from the given passages as possible.
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3. Read and translate the poems:
snicker – дрожание
din – шум
to knuckle – ударять
jumble – суматоха
to pluck – дергать
rumble – громыхание
to caper – прыгать
to fumble – нащупывать
by dint of – посредством
to misstrum – бренчать
From Chamber Music
by James Joyce
The twilight turns from amethyst
To deep and deeper blue,
The lamp fills with a pale green glow
The trees of the avenue.
The old piano plays an air,
Sedate and slow and gay;
She bends upon the yellow keys,
Her head inclines this way.
Shy thoughts and grave wide eyes and hands
That wander as they list —
The twilight turns to darker blue
With lights of amethyst.
PLAYER PIANO
by John Updike
My stick fingers click with a snicker
And, chuckling, they knuckle the keys;
Light-footed, my steel feelers flicker
And pluck from these keys melodies.
My paper can caper; abandon
Is broadcast by dint of my din,
And no man or band has a hand in
The tones I turn on from within.
At times I'm a jumble of rumbles,
At others I'm light like the moon,
But never my numb plunker fumbles,
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Lesson Six
MOZART: POVERTY AND GENIUS
(continued)
Part IV
Mozart in 1791 still needed money, and he turned now to another
opera. He thought perhaps a fairy opera, based on the ideas of the Masonic order which he had lately joined, might bring him out of his financial trouble. So he wrote Die Zauberflote (The Magic Flute). The libretto was by Emmanuel Schikaneder.
Die Zauberflote tells the story of Prince Tamino who set out in
search of high ideals. With him he took Papagcno, a robust fellow who
wanted the plain things of life—a glass of wine, a pretty girl, rough fun,
and lots of children. The music is a fusion of simple folk songs, brilliant
arias, and choral fantasies.
Mozart started to work at Die Zauberflote feverishly and was in
the midst of the composition when a somberly clad man with an obsequious manner entered the room. He did not say who he was, but it
turned out later that he was the servant of a certain Count Walsegg. The
count wanted a Requiem Mass to commemorate the death of his wife.
Mozart put aside Die Zauberflote and started to work on the Requiem. His feverish imagination was haunted by the idea that this man was
a messenger from the Beyond who had come to make him write his own
funeral music. Now he worked at Die Zauberflote and the Requiem alternately. When the opera was finally finished in September 1791, he was
very ill. He never completed the Requiem.
Three months later, when Mozart was dying, a group of four friends
gathered at his bedside and sang the parts of the Requiem that he had finished. It contains some of the most sublime church music that has ever
been written.
Mozart's friends paid for his funeral. Constanze was too overcome
to attend it. There was a blinding snowstorm that day, and one after another the people dropped away from the little procession that went to the
cemetery. No one who knew him was present at the burial. When Constanze came a few days later and asked where he had been buried, the
workmen at the cemetery could not tell her. He had been put with a
number of paupers in a common grave. All that was left of Mozart was
his immortal music.
After his death the immense treasure of Mozart's music was scattered. He did not have time in his short life to arrange and give opus
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numbers to his compositions. Only in the mid-nineteenth century did the
Austrian Ludwig von Kochel collect and number Mozart's works. He
numbered them in the order in which he presumed they had been written.
Mozart's life was short; he lived only thirty-five years. He had begun it gaily, had tasted success and discouragement, had asserted his independence like a true child of his age. For the world was changing in
Mozart's time. In America and in France revolutions were seething. The
happiness and freedom of individual men were now becoming more important than the wealth and power of kings. And musicians were no longer hidden behind the music they composed. With Mozart they began to
put themselves into their music—their pain and grief, their mirth and joy.
Beethoven, who was to follow him, did this to an even greater extent
than Mozart had done.
VOCABULARY NOTES
1. He turned to another opera. – Он обратился к другой (следующей)
опере.
2. he joined the Masonic order – он вступил в Масонскую Ложу
3. robust – здоровый,
4. the plain things of life – простые радости жизни
5. rough fun – простой,
6. fusion – сплав, слияние
7. in the midst of the composition – зд. уже сочинил половину, до-
шел до середины
8. it turned out – оказалось
9. a certain Count W. – некий граф Ф.
10. to work on the Requiem – работать над Реквием
11. a messenger from the Beyond – посланник из потустороннего
мира
12. cemetery – кладбище
13. burial – погребение
14. pauper – бедняк
15. a common grave – общая могила
16. revolutions were seething – поднимались революционные
настроения
17. pain and grief, mirth and joy – боль и печаль, веселье и радость
18. to a greater extent – в большей степени
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TERMINOLOGY
A fairy opera; folk songs; brilliant arias; choral fantasies; funeral
music; church music; immortal music.
GRAMMAR COMMENTARY
When the opera was finished…
Where he had been buried…
The most sublime church music that has ever been written
СТРАДАТЕЛЬНЫЙ ЗАЛОГ
(PASSIVE VOICE)
показывает, что предмет или лицо, являющееся подлежащим,
не выполняет действие, обозначенное сказуемым, а подвергается
этому действию:
That year he was invited to visit Prague. – В том году его при-
гласили посетить Прагу.
(Past Simple Passive)
A new film will be shown tomorrow. – Завтра покажут новый
фильм.
(Future Simple Passive)
When he entered the Hall, Bach’s fugue was being played. – Ко-
гда он вошел в зал, играли фугу Баха. (Past Continuous Passive)
It has been found that 70 per cent of the Earth’s surface is cov-
ered by ocean.– Установлено, что 70% поверхности Земли покрыто
океаном. (Present Perfect Passive. Present Simple Passive)
EXERCISES
A. COMPREHENSION:
MOZART: POVERTY and GENIUS
1. Answer the questions:
What did Mozart do to get out of his financial trouble?
What story does his opera The Magic Flute tell? How was its music
described in the text?
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What happened when the composer was writing his last opera?
What idea was his feverish imagination haunted by?
He started to work at the opera and the Requiem alternately, didn’t
he? Did he complete the works?
What can you say about the music of Mozart’s Requiem? When
was it performed for the first time?
Where and how was he buried?
Who collected and numbered Mozart’s compositions after the
death of the composer?
Do you think that to live in changing world is very hard?
Do you share the existing opinion that
“Much is given to some and little is given to others”?
2. Say in English:
В 1791 году Моцарт по-прежнему нуждался в деньгах и при-
нялся за работу над другой оперой. Он считал, что сказочная опера,
сюжет которой содержал идеи Масонского Ордена, в который он
недавно вступил, сможет вывести его из финансовых затруднений.
Так он стал писать «Волшебную флейту».
Он начал лихорадочно работать над «Волшебной флейтой».
Его работа была в самом разгаре, когда в комнату вошел незнакомец. Он хотел, чтобы Моцарт написал заупокойную мессу, Реквием,
чтобы почтить память жены некоего графа.
Моцарт отложил «Волшебную флейту» и начал работать над
Реквием. Его преследовала мысль о том, что этот человек был посланником из потустороннего мира, который явился, чтобы заставить Моцарта написать музыку на свои собственные похороны.
Он работал одновременно и над оперой, и над Реквием. Когда
опера была, наконец, закончена, Моцарт был тяжело болен. Он так
и не закончил Реквием.
Три месяца спустя у постели умирающего Моцарта четверо
его друзей пели те части Реквиема, которые он закончил. В его Реквиеме воплощена самая возвышенная церковная музыка, которая
когда-либо была написана.
Жизнь Моцарта была короткой, он прожил лишь 35 лет. Он
начал свою жизнь весело, испытал успех и разочарование, провозглашал свою независимость как истинное дитя своего времени.
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