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- •4. On the East Side
- •I. Translate the following phrases and sentences from the text:
- •II. Give the principal forms of the following verbs:
- •III. Find in the text English equivalents for the following Russian phrases and sentences. Use them in situations based on the text:
- •IV. Respond to the following questions or statements and correct them(if necessary). When expressing disagreement make sure you begin your answers with such commonly accepted phrases as:
- •V. Answer the following questions:
- •VI. Find evidence in the text to support the following statements:
- •VII. Talk about: a) Erik's summer experience; b) Erik's interview with Professor Fox; c) Professor Fox's first impression of Erik Gorin.
- •VIII. Make up dialogues between:
- •XVIII. Give English equivalents for the following short sentences (see Vocabulary and Ex. Ill):
- •XIX. Suggest Russian equivalents for the word combinations in bold type and explain the use of the synonyms in the following sentences:
- •XX. Read the following sentences paying careful attention to the words and word combinations in bold type. Suggest their Russian equivalents:
- •XXI. Translate the following situations paying careful attention to the words and word combinations in bold type:.
- •XXII. Make up short dialogues using the following structural patterns:
- •XXIII. Read the text and retell it following the points in the outline given below. Make a list of the words and word combinations in the text which you could use to develop each point:
- •XXIV. Make up situations based on the episode from the autobiography of Charlie Chaplin using the following word combinations and structural patterns:
- •1. Clauses of Unreal Condition
- •II. Give the principal forms of the following verbs:
- •III. Find in the text English equivalents for the following Russian phrases and sentences. Use them in situations based on the text:
- •IV. Respond to the following questions or statements and correct them if necessary (see Unit One, Ex. IV, p. 22):
- •V. Answer the following questions:
- •VI. Find evidence in the text to support the following statements:
- •VII. Quote sentences which prove that it is a humorous story.
- •VIII. Make up stories as they might have been told by:
- •XVI. Form as many questions as possible on the topics given below using the pattern to have smth done. Ask your comrades to answer your questions:.
- •XVII. Make up short situations using the following pairs of structural patterns:
- •XVIII. Read (he text and retell it in the form of a story retaining the sentences of unreal condition:
- •XIX. Give English equivalents for the following short sentences (see Vocabulary and Ex. Hi):
- •XX. Suggest Russian equivalents for the words and word combinations in bold type and explain the use of the synonyms in the following sentences:
- •XXI. Read the following sentences paying careful attention to 'he words and word combinations in bold type. Suggest their Russian equivalent:
- •XXII. Translate the following situations. Use the active vocabulary of Unit Two for the words and word combinations in bold type:
- •XXIII. Make up short dialogues using the following structural patterns:
- •XXIV Read the story and retell it following the outline given below. Make a list of the words and word combinations in the text which you could use to develop each point:
- •XXV. Make tip situations based on the story "The-Legend of Sleepy Hollow" using the following word combinations and structural patterns:
- •I. Translate the following sentences and situations:
- •II. Render into English:
- •Vocabulary extension
- •1. Sentences with /Is-clauses
- •2. Had better, would rather
- •3. The Absense of Article with Nouns in Apposition
- •Vocabulary
- •I wonder who he is, what he wants, why he is here, whether he will come again:
- •I. Translate the following sentences from the text:
- •II. Give the principal forms of the following verbs?
- •III. Find in the text English equivalents for the following Russian phrases and sentences and use them in situations based on the text:.
- •IV. Respond to the following questions or statements and correct them if necessary (see Unit One, Ex. IV, p. 22):
- •V. Answer the following questions:
- •VI Find evidence in the text to support the following statements:
- •VII Make up stories as they might have been told by:
- •VIII Make up dialogues between:
- •XV. Respond to the following statements, questions or requests using had better or would rather. Give two variants wherever possible. Add a sentence or two to make the situation clear:
- •XVI. Give English equivalents for the following short sentences (see Vocabulary and Ex. Ill):
- •XVII. Read the following sentences paying careful attention to the words and word combinations in bold type and suggest their Russian equivalents:
- •XVIII.Analyse the use of the tenses in the following sentences. Translate them .Into Russian:.
- •XIX. Translate the following situations. Use the active vocabulary of Unit Three for the words and word combinations in bold type;
- •XX. Read the story and retell it Following the outline given below. Make a list of the words in the text which you could use to develop each point:.
- •XXI. Make up situations based on the story "The Tattoo" using the following word combinations and structural patterns:
- •XXII. Make up sentences based on the story "The Tattoo" using clauses of unreal condition.
- •I. Use one of the patterns - to do smth, to have smth done, to want/need doing smth - in your answers to the question: What would you do or say or ask if....:
- •II. Translate the following sentences and situations a) into Russian::
- •III. Render into English:
- •Vocabulary extension
- •1. Read the following text and translate the word combinations given below each point of the outline. Retell the text following the points:
- •II. Read the text and retell it in the form of a story. Enlarge on the story making use of the words and word combinations from the previous text "Being hi";
- •III. Read the text and write down the words and word combinations connected will; dentistry giving their Russian equivalents. Retell the text in brief;
- •Vocabulary
- •I. Translate the following phrases and sentences from the text:;
- •II. Give the principal forms of the following verbs:
- •III. Find in the text English equivalents for the following Russian phrases and use them in situations based on the text:;
- •IV. Develop the thought expressed in each sentence to bring out the meaning of the words in bold type:
- •V. Give a neutral variant for each of the following:
- •VI. Answer the following questions:
- •VII. Translate the following sentences using the structural patterns:
- •VIII. Give English equivalents for the following short sentences (see Vocabulary and Ex. Ill):
- •IX. Read the following sentences paying careful attention to the words and word combinations in bold type. Suggest their Russian equivalents:
- •X. Make up short dialogues using the following structural patterns:
- •1. Sentences with so fAaf-clauses ... Move his chair so that he can see
- •Vocabulary
- •I. Translate the following phrases and sentences from the text:
- •VI. Find evidence in the texts (in both parts) to support the following statements:
- •VII. Give a detailed description of each of the following episodes in the third person (Texts 1, 2)I
- •VIII. Make up stories as they might have been told by:
- •IX. Make up character-sketches of Mr. Drake and Mrs. Thayer. Make a list of words and word combinations to help you describe the characters.
- •X. Suggest a title for the story and give your reasons.
- •XI. Translate the following sentences using the structural patterns?
- •XII. Give English equivalents for the following Russian short sentences (see Vocabulary and Ex. III):
- •XIII. Read the following sentences paying careful attention to the words and word combinations in bold type. Suggest their Russian equivalents:
- •XIV. Translate the following situations. Use the active vocabulary of Unit Four for the words and word combinations in bold type;
- •XV. Read the story and give full answers to the questions that follow the text. Make a list of the words in the text which you could use in your answers:
- •XVI. Make up situations based on the text "One Coat of White" using the following word combinations and structural patterns:
- •XVII. Read (he story and write out English and American equivalents for the Russian words given after the text:
- •Vocabulary extension
- •I. Read the text paying careful attention to the words and word combinations in bold type. Give their Russian equivalents. Get ready to discuss the problem:
- •III. Comment on the following statements concerning visiting, tact, manners (use facts from the texts to prove, illustrate or refute them):
- •IV. Topics for discussion:
- •V. Read the text and retell it:
- •VI. Give a talk on the difference between be and ae, Make up a written outline to guide you.
- •VII. Read the poem. Try to trace the similarity in the views of the author of the poem and the main character of the story "Liberty Hall". Could you accept this attitude towards life?
- •I. Interpret the words given in bold type:
- •II. Answer the following questions:
- •III. Point out the main thought expressed by the poet in each of the three stanzas of the poem.
- •IV. Memorize the poem.
- •V.Read extracts from the following poems. Point out their lexical and syntactical peculiarities using the commentary given to the poem "The Song of the Wage-Slave":
- •VI. State what kinds of relations form the basis for each case of metonymy in the text of the poems "To the Men of England", 'The Song of the Shirt" and "Sons of Poverty".
- •Vocabulary
- •II. Give (he principal forms of the following verbs?
- •III. Find in the text English equivalents for the following Russian phrases and sentences and use them in situations based on the text:
- •IV. Answer the following questions.
- •V. Mke up stories as they might have been told by:
- •VI. Find evidence in the text to support the following statements:
- •VII. Suggest a title for the text and give reasons for your choice.
- •VIII. Give ail possible Russian equivalents for the parts in bold type;
- •IX. Translate the following sentences using the structural patterns:
- •X. Give English equivalents for the following short sentences (see Vocabulary and; Ex. Ill):
- •XI. Suggest Russian equivalents for the word combinations in bold type and explain the use of the synonyms in the following sentences:
- •XII. Translate the following situations. Use the active vocabulary of Unit Six for the words and word combinations in bold type:
- •XIII. Make up short dialogues using the following structural patterns:
- •XV. Make up situations based on the story "Patients Needed" using the following word combinations and structural patterns:
- •Vocabulary extension
- •I. Reproduce the following situations based on the works of famous English and American authors. Make sure that you use the active vocabulary:
- •II. Insert prepositions if necessary:
- •III. Read the story and retell it. Then, using it as a basis, think of sentences which will contain clauses of unreal condition:
- •IV. Read the text and translate it into Russian paying careful attention to the use of the modal verbs. Make up another dialogue with the same structural patterns:
- •V. Respond to the following statements expressing probability, doubt, incredulity or near certainty;
- •VI. Change the following sentences using didn't have to or needn't have done to express absence of necessity:
- •VII. Revise the texts included in Units One-Six. Get ready to answer the following questions:
- •VIII. Make up dialogues on the following topics:
- •IX. Translate the following situalions in written form:
- •Vocabulary
- •II. Look up the synonyms to snatch, to seize, to grip (схватить) in an English-English dictionary or a reference book and explain the difference between them.
- •I. Translate the following sentences or parts of sentences from the text:)
- •II. Find English equivalents in the text for the following Russian word combinations, phrases and sentences:
- •III. Reproduce situations from the text using the following word combinations:
- •IV. Make up disjunctive questions or wrong statements covering the contents of the story and ask your comrades to respond to them (see Unit One, Ex. IV, p. 22).
- •V. Answer the following questions:
- •VI. Find evidence in the text to support the following statements:
- •VII. Make up stories as they might have been told by:
- •VIII. Make up dialogues between:
- •IX. Make up character-sketches of Mrs. Packletide and Miss Mebbin.
- •I. Translate the following sentences using the structural patterns:
- •II. Make up short situations suggested by the following sentences paying careful attention to the word combinations in bold type:
- •III. Translate the following sentences paying careful attention to the parts in bold type:
- •IV. Read the sentences and explain the use of the synonyms to snatch, to seize, to grip:
- •V. Read the story and retell it following the outline given below. Make a list of the words in the text to develop each point:
- •VI. Make up situations based on the story "His Wedded Wife" using the following word combinations:
- •VII. Render into English:
- •VIII. Read the following sentences and suggest Russian equivalents for the parts in bold type:
- •1. Sentences with before-clauses
- •2. Infinitive of Subsequent Action
- •Vocabulary
- •I. Translate the following sentences into Russian paying careful attention to the word combinations in bold type:
- •II. Look up the verb to change in an English-English dictionary and write down its meanings. In which of the meanings is it synonymous to the verb to alter? Explain the difference. Give examples.
- •I. Translate into Russian passages from the text which begin and end as follows:
- •II. Find in the text English equivalents for the following Russian phrases and senr tences:
- •III. Reproduce situations from the text using the following word combinations
- •IV. Make up disjunctive questions or wrong statements covering the contents of the story and ask your comrades to respond to them (see Unit One, Ex. IV, p. 22).
- •V. Answer the following questions:
- •II. Translate the following sentences using the structural patterns:
- •III. Make op situations suggested by the following sentences paying careful attention to the word combinations in bold type:
- •IV. Translate the following sentences paying careful attention to the parts in bold type:
- •V. Read the following sentences paying carefuJ attention to the words and word combinations in bold type. Suggest their Russian equivalents:
- •VI. Make up short dialogues using the following structural patterns:
- •VII. Read the story and retell it following the outline given below. Make a list of the words and word combinations in the text which you could use to develop each point:
- •VIII. Make up sentences based on the story "The Pendulum" using the following word combinations and structural patterns:
- •IX. Render into English:
- •X. Read the following sentences and suggest Russian equivalents for the parts in bold type:
- •1. Absolute Nominative Constructions
- •2. There's not a...
- •3. Participle I as Adverbial Modifier
- •Vocabulary
- •I. Translate the following sentences paying careful attention to the words and word combinations in bold type. Give possible variants:
- •II. Look up the meanings of the verbs to divide and to share as used in the following sentences and say how they differ:
- •I. Translate into Russian passages from the text which begin and end as follows;
- •II. Find in the text English equivalents for the following Russian phrases and sentences:
- •III. Reproduce situations from the text using the following words and word combinations:
- •IV. Make up disjunctive questions or wrong statements covering the contents of the story and ask your comrades to respond to them (see Unit One, Ex. IV, p. 22).
- •V. Answer the following questions:
- •II. Translate the following sentences paying careful attention to the absolute nominative constructions:
- •III. Translate the following sentences using the structural patterns:
- •IV. Translate the following sentences paying careful attention to the parts in bold type:
- •V. Read the following sentences carefully and suggest Russian equivalents for the word combinations in bold type:
- •VI. Translate the following sentences using the verbs to share and to divide:
- •VII. Make up short dialogues using the following structural patterns:
- •VIII. Read the story and retell it following the outline given below. Make a list of the words in the text which you could use to develop each point:
- •IX. Make up situations based on the story "The Boy Next Door" using the following word combinations and structural patterns:
- •X. Read the following sentences and suggest Russian equivalents for the parts in bold type:
- •I. Translate the following situations paying careful attention to the words and word combinations in bold type:
- •II. Render into English:
- •I. Interpret the following sentences:
- •II. Ahswer the following questions:
- •III. Learn the poem by heart.
- •IV. The following are three translations of John Barleycorn. Which variant do you prefer? Give reasons for your choice:
- •V. Give the metrical scheme used in the following verses. Point out all the violations of the metre;
- •2. Clauses of Real Condition
- •Vocabulary
- •1. Translate the following phrases and sentences from the text:
- •II. Find in the text English equivalents for the following Russian phrases and sentences:
- •III. Reproduce situations from the text using the following words and word combinations:
- •IV. Answer the following questions:
- •II. Make up situations suggested by the following sentences paying careful attention to the word combinations in bold type:
- •III Translate the following sentences paying careful attention to the parts in bold type:.
- •IV. Make up short dialogues using the following structural patterns:".
- •V. Read the following sentences and suggest Russian equivalents for the parts in bold type:
- •1. Sentences with while-clauses
- •Vocabulary
- •1. Translate the following sentences from the text:
- •II. Give English equivalents for the following sentences:
- •III. Reproduce situations from the text using the following words and word combinations:
- •IV. Answer the following questions:
- •V. Find evidence in the text to support tfie following statements:
- •VI. Make an outline of the text and retell it following your points.
- •VII. Read the sentences with while-clauses. State the meaning of while and the time relations of the actions:
- •VIII. Translate the following sentences using the structural patterns:
- •IX. Make up short situations using the following gerundial phrases?
- •XI. Make up situations suggested by the following sentences paying careful attention to the word combinations in bold type:
- •XII. Read the following sentences and suggest Russian equivalents for the parts in bold type:
- •XIII. Render into English:
- •XIV. Read the following excerpt and retell it in brief:
- •I. Translate into Russian the following sentences and passages from the text which begin and end as follows:
- •II. Find English equivalents for the following Russian phrases and sentences;
- •III. Reproduce situations from the text using the following word combinations!
- •IV. Answer the following questions:
- •IX. Read the following sentences and commeqf on the character of the semantic relations between the components of the verb-postpositive phrases in bold type. Give their Russian equivalents:
- •X. Translate the Following sentences paying careful attention to the parts in bold type:
- •XI. Read the following sentences and suggest Russian equisralents for the verb-postpositive phrases in bold type:
- •XIV. Read the following excerpts and retell them in brief:
- •1. Translate the following sentences and situations:
- •III. Read the end of the story and retell it using the following verb-postpositive phrases wherever possible. Reread the whole story and discuss the title:
- •I. Reproduce the following situations. Make sure that you use the active vocabulary:
- •II. Fill in prepositions and postpositives:
- •III. Point out the structural patterns and explain their use. Translate the sentences into Russian:
- •IV. Revise the texts included in Units Seven-Thirteen. Get ready to answer the following questions:
- •VI. Choose any 10 word combinations out of the following list and "rite sentences (or short situations) in Russian based on the story "The Boatswain's Mate". Discuss the sentences in class:
- •VII. Make up dialogues on the following topics:
- •VIII. Translate the following situations in written form:
- •I. Supply a title to the story and give reasons for your choice.
- •II. Pick out sentences in the story illustrating the various types of if-clauses.
- •III. Make up 5 Russian sentences with clauses of unreal condition based on the story. Ask your comrades to translate them into English.
- •I. What helps you guess the author of the passage? What is the author's name?
- •II. How do you know that it is a passage from a detective story?
- •III. Have you read any short stories by the author? Tell one of them.
- •I. What do we learn from the extract about the author's way of reading? What did he gain from such reading?
- •II. Why did he call himself a bad reader?
- •I. What book does the passage come from?
- •II. What do you think of the man? What made him such an extraordinary person? Why did he attract other people?
- •I. What is the title of the story? Who is its author?
- •Il. What state do you think Johnsy was in? Why did she watch the dry leaves falling?
- •III. What happened later?
- •I. What book does the extract come from? Comment on the language.
- •II.How did the man happen to find himself in the gloomy passages alone and half-dressed?
- •III. Write a simplified version of the passage using your active whenever possible.
- •I. Pick out all the proverbs in the story and give their Russian equivalents.
- •II. Write an end to the story using some of the following proverbs;
- •I. What story does the passage fit into?
- •II. What do you think the cause of Mr. Jones's illness was?
- •I. How does (he passage fit info the story "One Coat of White"?
- •II. Bring out the meaning of "People don’t often look their business". Do you agree to the statement? Give examples to justify jour point of view.
- •I. How does the author characterize a modern disease the name of which is travel? Are you taken with a similar disease when your summer or winter vacations are coming?
- •II. What aim do you set yourself when you travel or go hiking?
- •III. What thoughts in the extract strike you as most humorous?
- •I. What efforts at self-improvement have you ever made? Were they successful?
- •II. Write a short story about one of your efforts at self-improvement and what came of it.
- •III. Pick out words and word combinations in the story which you think are used by the author to achieve a humorous effect.
- •I. Make up a few questions on the passage and ask your comrades to answer them.
- •II. Think of a number of statements concerning events in the text and ask your comrades to find evidence in the text to support them.
- •I. What story is the passage taken from? How does it fit into it?
- •II. What did the girl look like as she hurried to the painter's studio? What do you know about her from the rest of the story?
- •III. What city is described in the passage? What similes help you guess? What do you know about the city?
- •I. Read and translate the text.
- •II. Give English equivalents for the following Russian word combinations and phrases:
- •III. Answer the following questions. Make use of the word combinations listed in brackets:
- •IV. Translate the following sentences using words and word combinations from the text:
- •V. Make a written translation of the following passages:
- •VI. Reproduce the following passages:
- •VII. Speak on the Soviet Union's achievements in different spheres of life. Make use of the text and the additional passages given in Exercises V, VI.
Vocabulary extension
Read fhe text and retell it following the outline. Make use of the word combinations listed after each point:
Andrew went out to the call immediately, with a queer sensation, almost of relief. He was glad of the opportunity to disentangle himself from the curious and conflicting emotions stirred up by his
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arrival at Bryngower. Already he had a glimmer of a suspicion as to how matters stood and of how he would be made use of by Blodwen Page to run the practice for his disabled principal. It was a strange situation, and very different from any romantic picture which his fancy might have painted. Yet, after all, his work was the important thing; besides it, all else was trivial. He longed to begin it. Insensibly he hastened his pace, taut with anticipation, exulting in the realization - this, this was his first case.
He reached 7 Glydar Place, knocked breathlessly upon the door, and was at once admitted to the kitchen, where, in the recessed bed, the patient lay. She was a young woman, wife of a steel worker named Williams, and as he approached the bedside with a fast-beating heart he felt, overwhelmingly, the significance of this, the real starting-point of his life. How often he had envisaged it as, in a crowd of students, he had watched a demonstration in Professor Lamplough's wards! Now there was no sustaining crowd, no easy exposition. He was alone, confronted by a case which he must diagnose and treat unaided. All at once, with a quick pang, he was conscious of his nervousness, his inexperience, his complete unpreparedness, for such a task.
While the husband stood by in the cramped, ill-lit stone-floored room, Andrew Manson examined the patient with scrupulous care. There was no doubt about it, she was ill. She complained that her head ached intolerably. Temperature, pulse, tongue, they all spoke of trouble, serious trouble. What was it? Andrew asked himself that question with a strained intensity as he went over her again. His first case. Oh, he knew that he was overanxious! But suppose he made an error, a frightful blunder? And worse - suppose he found himself unable to make a diagnosis? He had missed nothing. Nothing. Yet, he still found himself struggling towards some solution of the problem, striving to group the symptoms under the heading of some recognized disease. At last, aware that he could protract his investigation no longer, he straightened himself slowly, folding up his stethoscope, fumbling for words.
"Did she have a chill?" he asked, his eyes upon the floor.
"Yes, indeed," Williams.answered eagerly. He had looked scared during the prolonged examination. "Three, four days ago. I made sure it was a chill, Doctor."
Andrew nodded, attempting painfully to generate a confidence he did not feel. He muttered. "We'll soon have her right. Come to the surgery in half an hour. I'll give you a bottle of medicine."
He took his leave of them, and with his head down, thinking desperately, he trudged back to the surgery. Inside, he lit the gas and began to pace backwards and forwards beside the blue and green bottles on the dusty shelves, racking his brains, groping in the darkness. There was nothing symptomatic. It must, yes, it must be a chill. But in his heart he knew that it was not a chill. He groaned in exasperation, dismayed and angry at his own inadequacy.
(From "The Citadel" by A. Cronin)
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Outline
1. Andrew's state of mind as he goes out to his first call (his arrival at; to stir up (curious and conflicting) emotions; how matters stood; to make use of; to run Doctor Page's practice; to be very different from; after all; to be trivial; to long to begin work; to hasten his pace; his first case).
2. The real starting point of Andrew's career begins (to knock breathlessly upon the door; to be admitted to the kitchen; an ill-lit stone-floored room; to be alone; no sustaining crowd; no easy exposition; to approach the bedside; his heart beat like a hammer; the real starting point of his life; to be confronted by a serious case; to diagnose the case; to treat the case unaided; to be conscious of; nervousness, inexperience, unpreparedness, inadequacy).
3. Andrew tries hard to diagnose the case and fails (to examine the patient with scrupulous care; to complain of a splitting headache; her head ached intolerably; to speak of serious trouble; to go over the patient again; to be overanxious; to make a frightful error; to make a diagnosis; to diagnose the case; to find himself doing smth; to group the symptoms; to straighten himself slowly; to fold up his stethoscope; to fumble for words).
4. Andrew is conscious of his inexperience, his complete unpreparedness to diagnose the case (to have a chill; (with) his eyes on the floor; to look scared; to make sure; to feel confidence; a bottle of medicine; to take leave of; with his head down).
5. Andrew's state of mind as he goes back to the surgery (to trudge back; to think desperately; to pace backwards and forwards; to rack his brains; to grope in the darkness; to groan with exasperation; to be dismayed and angry at his own inadequacy).
Memorize the poem. Try your hand at translating it into Russian:
GIFTS
By J. Thomson (1834-1882)
Give a man a horse he can ride, Give a man a boat he can sail; And his rank and wealth, his strength and health, On sea nor shore shall fail. Give a man a pipe he can smoke. Give a man a book he can read; And his home is bright with a calm delight, Though the room be poor indeed. Give a man a girl he can love, As I, O my love, love thee; And his heart is great with the pulse of Fate, At home, on land, on sea. |
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UNIT THREE
TEXT
Now just as Mr. Cowlishaw was personally conducting to the door the greatest centre-forward that the Five Towns had ever seen, there was another ring at the door and-Mr. Cowlishaw found himself in the double difficulty of speeding his first visitor and welcoming his second all in the same breath.
The second was a visitor beyond Mr. Cowlishaw's hopes. No other than Mrs. Simeon Clowes, mayoress of Hanbridge; a tall and well-built, handsome, downright woman, of something more than fifty and something less than sixty.
She eyed him interrogatively and firmly. She probed into his character, and he felt himself pierced.
"You are Mr. Cowlishaw?" she began.
"Good afternoon, Mrs. Clowes," he replied. "Yes, I am. Can I be of any service to you?'"
"That depends," she said.
He asked her to step in, and in she stepped.
"Have you had any experience in taking teeth out?" she asked in the surgery. Her hand stroked her left cheek.
"Oh, yes," he said eagerly. "But of course, we try to avoid extraction as much as possible."
"If you're going to talk like that," she said coldly, and even bitterly, "I'd better go."
He wondered what she was driving at.
"Naturally," he said, summoning all his latent powers of diplomacy, "there are cases in which extraction is unfortunately necessary.".
"How many teeth have you extracted?" she inquired.
"I really couldn't say," he lied. "very many."
"Because," she said, "you don't look as if you could say 'Booh!' to a goose."
"I think I can say 'Booh!' to a goose," he said.
She laughed.
"Don't fancy, Mr. Cowlishaw, that if I laugh I'm not in the most horrible pain. I am. When I tell you I couldn't go with Mr. Clowes to the match-"
"Will you take this seat?" he said, indicating the chair of chairs; "then I can examine."
She obeyed. "I do hate the horrid, velvety feeling of these chairs," she said; "It's most creepy."
"I shall have to trouble you to take your bonnet off."
She removed her bonnet, and he took it as he might have taken his first-born, and laid it gently to rest on his cabinet.
"Now," he said soothingly, "kindly open your mouth wide."
Like all women of strong and generous character, Mrs. Simeon Clowes had a large mouth. She obediently extended it to
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dimensions which must be described as august, at the same time pointing with her gloved and chubby finger to a particular part of it.
"Yes, yes," murmured Mr. Cowlishaw, assuming a tranquility which he did not feel. This was the first time he had ever looked into the mouth of a mayoress, and the prospect troubled him.
He put his little ivory-handled mirror into that mouth and studied its secrets.
"I see," he said, withdrawing the mirror. "Exposed nerve. Quite simple. Merely wants stopping. When I've done with it the tooth will be as sound as ever it was. All your other teeth are excellent."
Mrs. Clowes arose violently out of the chair.
"Now just listen to me, young man," she said. "I don't want any stopping; I won't have any stopping; I want that tooth out. I've already quarrelled with one dentist this afternoon because he refused to take it out. I came to you because you're young, and I thought you'd be more reasonable. Surely a body can decide whether she'll have a tooth out or not! It's my tooth. What's a dentist for? In my young days dentists never did anything else but take teeth out. All I wish to know is, will you take it out or will you not?"
"It's really a pity -"
"That's my affair, isn't it?" she stopped him, and moved towards her bonnet.
"If you insist," he said quickly, "I will extract."
"Well," she said, "if you don't call this insisting, what do you call insisting? Let me tell you I didn't have a wink of sleep last night."
The mayoress resumed her seat, taking her gloves off.
"It's decided then?" she questioned.
"Certainly," said he. "Is your heart good?"
"Is my heart good?" she repeated. "Young man, what business is that of yours? It's my tooth I want you to deal with, not my heart!"
"I must give you gas," said Mr. Cowlishaw, faintly.
"Gas!" she exclaimed. "You'll give me no gas, young man. No! My heart is not good. I should die under gas. I couldn't bear the idea of gas, you must take it out without gas, and you mustn't hurt me, I'm a perfect baby, and you mustn't on any account hurt me."
The moment was crucial. Supposing that he refused - a promising career, might be nipped in the bud. Whereas, if he accepted the task, the patronage of the aristocracy of Hanbridge was within his grasp. But the tooth was colossal, monumental.
"Very well, Madam," he said, for he was a brave young man.
But he was in panic. He wanted a stiff drink. If he failed to wrench the monument out at the first pull, the result would be absolute disaster; in an instant he would have ruined the practice which had cost him so dear. However, having consented, he was obliged to go through with the affair.
He took every precaution. He chose the most vicious instrument. He applied to the vicinity of the tooth the very latest substitute for cocaine; he prepared cotton wool and warm water in a glass. And at length, when he could delay the fatal essay no longer, he said:
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"Now I think we are ready."
"You won't hurt me?" she asked anxiously.
"Not a bit," he replied, with an admirable simulation of gaiety.
"Because if you do -"
He laughed. But it was a hysterical laugh. All his nerves were on edge. He had a sick feeling. Making a great effort, he pulled himself together and said:
"When I count one I shall take hold; when I count two you must hold very tight to the chair; and when I count three, out it will come."
Then he encircled her head with his left arm - brutally, as dentists are always brutal in the thrilling crisis, "Wider!" he shouted. And he took possession of that tooth...
"One - two -" He didn't know what he was doing.
There was no three. There was a slight shriek and a thud on the floor. Mrs. Simeon Clowes jumped up and briskly rang a bell. The attendant rushed in. The attendant saw Mrs. Clowes gurgling into a handkerchief which she pressed to her mouth with one hand while with the other, in which she had her bonnet, she was fanning the face of Mr. Cowlishaw. Mr. Cowlishaw had fainted from nervous excitement. But his unconscious hand held the forceps; and the forceps, victorious, held the monumental tooth.
"O-p-pen the window," spluttered Mrs. Clowes to the attendant. "He's gone off; he'll come to in a minute."
(From "Tales of the Five Towns" by Arnold Bennett)
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COMMENTARY
NOTES
1. ... he asked her to step in, and in she stepped.
... when I count three, out it will come.
This is a case of stylistic inversion used by the author as a means of emphasis. It is called partial inversion as only part of the predicate group - an adverbial modifier of place - is put before the subject and not the predicate itself.
Full inversion occurs, when the subject is expressed by a noun, not a pronoun, e. g. In went Mr. Pickwick.
2. He laughed. But it was a hysterical laugh.
The verb laugh and the noun laugh have an identical phonetic and graphic form, but they differ in meaning (one denotes an action, while the other - the result of the action) and in the paradigms: laugh - laughs, laughed, laughing laugh - laughs
The word-building process in which words are formed by means of changing the paradigm is called conversion.
Conversion is highly productive in creating nouns from verbs (to talk - a talk, to cut - a cut, to walk - a walk) and verbs from nouns (a button - to button, paper - to paper).
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Semantic relations between the deriving and derived members of the conversion pair are varied. Here are some typical cases:
Verbs converted from nouns
a) Object → an action performed with the help of the object:
hammer → to hammer
b) Object (mostly a living being) → an action characteristic of the object:
witness → to witness
Nouns converted from verbs
a) Action → an instance of the action:
to step → a step
b) Action → an object or the result of the action:
to purchase → a purchase
It should be noted, however, that in some cases it's difficult to point out the initial form in the conversion pair, i. e. whether a verb is converted from a noun or vice versa.
STRUCTURAL PATTERNS