- •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.
II. Insert prepositions if necessary:
1. The girl arrived ... the town ... a Friday morning. 2. The professor was still ... his vacation and she left a message ... him ... his secretary. 3. She wished she could get this job. It meant a lot ... her. 4. Everyone's impression ... him was quite favourable. 5. There was something kind and sincere ... the old man. 6. She couldn't help sympathizing ... him. 7. He would have been amazed ... any expression of sympathy. 8. Have you ever had any experience ... dealing ... children? 9. He apologized ... the hostess ... coming so late. 10. The accident prevented him ... arriving ... time. 11. We doubted ... the truth ... his story. 12. He failed to convince us ... the truth ... his story. 13. ... dinner we asked him many questions ... his immediate plans. 14. Would you care ... a walk? 15. He insisted ... taking us ... the garden. 16. We'd better join ... the ladies. 17. You shouldn't wonder ... his saying this. 18. He has always been rude ... his sister. 19. She couldn't help bursting ... tears. 20. The boy trembled ... the thought that somebody might catch him. 21. He fainted ... nervous excitement. 22. She felt faint ... fatigue. 23. If any of our friends call ... us tell
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them to wait a little. 24. He was dozing ... the newspaper when the telephone rang. 25. They were glad to stay ... us ... a week. 26. She could repeat the message word ... word. 27. It was difficult to cure him ... this habit. 28. She has been having treatment ... kidney trouble ... some time. 29. The witnesses testified ... him ... the trial.
III. Read the story and retell it. Then, using it as a basis, think of sentences which will contain clauses of unreal condition:
Model: If Pyecraft had taken his friend's advice, nothing would have happened to him.
THE TRUTH ABOUT PYECRAFT
I made the acquaintance of Pyecraft in the smoking-room of the club. I was a young, nervous new member, and he saw it. I was sitting all alone, wishing I knew more of the members, and suddenly he came, a great rolling figure, and sat down in a chair close by me, and lit a cigar, and then addressed me. I forgot what he said - something about the matches not lighting properly, and afterwards as he talked, he kept stopping the waiters one by one as they went by, and telling them about the matches in his thin piercing voice. But, anyhow, it was in some such way we began our talking. He talked about various things and came round to games. And then to my figure and complexion. I suppose I am slender, slender to what some people would call lean, and I suppose I am rather dark, still - I am not a-shamed of having a Hindu great-grandmother, but, for all that, I don't want casual strangers to point it out. So that I was set against Pyecraft from the beginning.
But he only talked about me in order to get to himself.
"I expect," he said, "you take no more exercise than I do, and probably you eat no less." (Like all excessively fat people he fancied he ate nothing.) "Yet" - and he smiled a cunning smile - "we differ."
And then he began to talk about his fatness and his fatness; and all he did for his fatness and all he was going to do for his fatness; what people had advised him to do for his fatness and what he had heard of people doing for fatness similar to his. "I'd give anything to get it down," he said, staring at me, "anything."
He came to the actual thing one day. "Our Pharmacopoeia," he said, "our Western Pharmacopoeia, is anything but the last word of medical science. Yet, in the East I've been told..."
He stopped and stared at me. There was something in his manner as though he knew I might help him.
I was quite suddenly angry with him. "Look here," I said, "who told you about my great-grandmother's recipes? Every time we've met for a week you've given me a broad hint about that secret of mine."
"I had it from Pattison," he said and pursed his mouth.
"Pattison," I said, "took that stuff at his own risk. My great-grandmother's recipes are queer things to handle. Even the smell of them... No! I do not darel"
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But it was impossible to get rid of him. I felt annoyed and at last I said, "Well, take the risk!"
Next day I brought the recipe Pyecraft had been asking for.
"Look here," I said to Pyecraft, "so far as I can make it out, this is a recipe for Loss of Weight. I'm not absolutely sure, but I think it's that. And if you take my advice, you'll leave it alone. Because, you know, Pyecraft, my ancestors on that side were, so far as I can gather, a jolly queer lot. See?"
"Let me try it," said Pyecraft.
I leant back in my chair. "What in Heaven's name, Pyecraft," I asked, "do you think you'll look like when you get thin?"
He refused to listen to reason. I made him promise never to say a word to me about his disgusting fatness again whatever happened - never, and then I handed him the recipe.
For a month after that I saw Pyecraft constantly at the club and as fat and anxious as ever. He kept our treaty, but at times he broke the spirit of it by shaking his head despondently.
I could have fancied he had given up the whole thing when I saw him one day talking to three new members about his fatness as though he was in search of other recipes. And then, quite unexpectedly, his telegram came.
"For Heaven's sake come. - Pyecraft."
I got Pyecraft's address from the hall porter and started off.
A woman with an anxious face opened the door for me. I gave my name and she said, "Mr. Pyecraft is waiting for you." And then, confidentially, "He locked himself in yesterday morning and hasn't let anyone in since, sir."
When I knocked at the door I could hear a curious pattering upon it almost like someone feeling for the handle in the dark. But for a long time the door didn't open. Then I heard the key turn and Pyecraft's voice said, "Come in."
I turned the handle and opened the door. Naturally I expected to see Pyecraft. Well, you know he wasn't there! I never had such a shock in my life. There was his drawing-room in a state of untidy disorder, plates and dishes among the books and writing things, and several chairs overturned, but Pyecraft ─ ─
"It's all right, shut the door," he said, and then I discovered him.
There he was right up close to the cornice in the corner by the door, as though someone had glued him to the ceiling. His face was anxious and angry. He panted and gesticulated.
"How the deuce," said I, "are you holding on up there?"
"It's that prescription," he panted, as he tried to climb down the wall to me. "Too successful. Loss of weight - almost complete."
And then, of course, I understood. "By Jove, Pyecraft, what you wanted was a cure for fatness! But you always called it weight! You would call it weight!"
Somehow I was extremely delighted. I quite liked Pyecraft for the time. "Let me help you," I said, and took his hand and pulled him down. "Hold tight to the door!"
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I lit a cigar. "Tell me," I said, "what happened?"
"I took a little sip first. It tasted beastly."
"Yes?"
"And as I felt lighter and better after an hour, I decided to take the draught, and then I kept on getting lighter and lighter -- and helpless, you know."
He gave way suddenly to a burst of passion. "What the goodness am I to do?" he said.
"There's one thing pretty evident," I said, "that you mustn't do. If you go out of doors you'll go up and up." I waved an arm upwards.
And then there was another burst of passion, and he kicked, out at adjacent chairs and banged the floor. He spoke of me and my great-grandmother with an utter want of discretion.
"I never asked you to take the stuff," I said.
And generously disregarding the insults he was putting upon me, I sat down in his armchair and began to talk to him in a sober, friendly fashion.
I pointed out to him that this was a trouble he had brought upon himself. He had eaten too much. This he disputed, and for a time we argued the point.
"And then," said I, "you committed the sin of euphemism. You called it, not Fat, which is just and inglorious, but Weight. You ─ ─"
He interrupted to say that he admitted all that. What was he to do?
I suggested he should adapt himself to his new conditions. I said that it would not be difficult for him to learn to walk about the ceiling with his hands ─ ─
I spent two whole days at his flat and found myself almost keenly interested. I made all sorts of ingenious adaptations for him - fixed an inverted bed, ran a wire to bring his bell within reach, turned all his electric light up instead of down, and so on. It was delightful to think of Pyecraft like some great, fat blow-fly, crawling about on his ceiling, and never, never, never coming to the club any more...
Then you know, my fatal ingenuity got the better of me I was sitting by the fire drinking his whisky, and he was up in his favourite corner by the cornice, fixing a Turkey carpet to the ceiling, when an idea struck me.
"By Jove, Pyecraft!" I said, "all this is totally unnecessary."
And before I could realize the complete consequences of my nol ion I blurted out. "Lead underclothing," said I, and the mischief was done.
Pyecraft received the thing almost in tears.
I gave him the whole secret before I saw where it would take me. ''Buy sheet lead," I said, "stamp it into discs. Sew 'em all over your underclothes until you have enough. Have lead-soled boots, carry a bag of solid lead, and the thing is done! Instead of being a prisoner here, Pyecraft, you may travel ─ ─You need never fear a shipwreck. All you need do is just slip off some or all of your clothes, take the necessary amount of luggage in your hand, and float up in the air ─ ─"
161
In his emotion he dropped the hammer within an ace of my head.
"By Jove!" he said. "I shall be able to come back to the club againl"
The thing pulled me up short. "By Jove!" I said, faintly. "Yes, of course - you will."
(After H. G. Wells)
