reading, memorize and dramatize it. c) Give conversational situations with

the phrases below:

1. Have you got (any seats for tomorrow) ? 2. They'll do very well, thank

you. 3. May I see your (tickets), please? 4. This way, please. 5. Yes, please. 6.

The (play) isn't over till (half past five). 7. What did you think of (it) ? 8.1

thought it was splendid. 9. The whole thing was first-rate from beginning to end.

10. How much (is that) ? 11. Shall I (bring you some tea, sir) ? 12. Neither have

I.

30.

Make up a conversation with a fellow-student using any phrases from the dialogue

**At the Theatre".

31.

This exercise is meant to develop your ability to reproduce the text with correct

intonation, a) Listen to the joke "The Bell-Boy" sentence by sentence. Write it down. Mark

the stresses and tunes. Practise the joke for test reading, b) Listen to the narration of the joke.

Observe the peculiarities in intonation-group division, pitch, stress and tempo. Note the use

of temporizers. Retell the joke according to the model you have listened to.

32.

Read the jokes silently to make sure you understand each sentence. Find the main

sentence in the text. Split up each sentence intonation-groups if necessary. Mark the stresses

and tunes. Underline the communicative centre and the nuclear word of each intonation-

group. It is not expected that each student will intone the text in the same way. Your teacher

will help you to correct your variant. Practise reading the jokes several times. Retell the jokes

following the model above (See Ex. 31):

A man was at a theatre. He was sitting behind two women whose continuous

chatter became more than he could bear. Leaning forward he said to one of them:

"Pardon me, madam, I can't hear."

"You are not supposed to — this is a private conversation," she answered.

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 expressing

disapproval of one of his plays.

It was the first night of "Arms and the Man", a play which had an enthusiastic

reception from a crowded house. When the curtain fell at the end of the last act

there was tremendous applause, accompanied by insistent calls for the author to

appear. One man in the gallery, however, kept up a string of catcalls and

whistling, thus expressing his disapproval.

Shaw appeared before the curtain and waited in silence until the applause had

died down. Then, looking up at the hostile critic, he said:

"I quite agree with you, sir, but what can we two do against all these people?"

Section Thirteen

Intonation Pattern VIII

(LOW PRE-HEAD + ) LOW HEAD + LOW RISE ( + TAIL)

Model: He says he'll never speak to me again.

He „doesn't Mreally ,mean it.

Stress-and-tone marks in the text: a stressed syllable of the low head: | H |

In the usual form of the low head, all the syllables contained in it are said on

the same, rather low pitch. This intonation pattern is used:

1. I n s t a t e m e n t s , encouraging further conversation; reprovingly

critical, guarded, reserving judgement, appealing to the listener to change his

attitude.

e. gr. Гш just back from seeing my mother. I , .trust you ,,found her ,well.

—

Take no notice of him. We must „do as he ,says.

2.1n q u e s t i o n s : h

a) s p e c i a l q u e s t i o n s , calm, but very disapproving'.

e. gr. I don't agree. „Why ,not?

—

b) g e n e r a l q u e s t i o n s , expressing disapproval, scepticism.

e. g. I'm sorry, Mummy. — MAre you , really sorry?

3. I n i m p e r a t i v e s , reprovingly critical, resentful.

e. g. He'll let me have it by Monday. ,.Don't be „too ,sure.

—

4. I n e x c l a m a t i o n s ; calm, reserving judgement, expressing casual

acknowledgement.

e. gr. You can have it if you like. — ,.Thanks very /much.

1 . a)* Listen carefully to the following conversational situations. Concentrate your

attention on the intonation of the replies:

Verbal Context

Drill

How much did you win? I've got odd socks on. I feel terrible about it.

What's your opinion of his work? I'm

S t a t e m e n t s

told you refused his offer. Will you be

(encouraging further

calling again? Can I have another apple? cdptversation, ' reprovingly

He's nice, isn't he?

critical guarded, reserving

judgement)

It's not bad. That's quite right. It's quite possible. Well, I don't know. So I'm

told. So they say. We shall see.

About a thousand pounds. No one'll notice. You've nothing to reproach

yourself about. I trust you found her well.

I hope you had a good game.

I'm just back from seeing my mother.

I've just been playing badminton.

You were rather harsh with him. I'll give you a jolly good hiding. Please don't

do that. Harry's just arrived.

I'd like a new hat.

I thought she was in France.

Let's talk to him on the phone.

S p e c i a l q u e s t i o n s (calm, but very disapproving)

Well, what of it?

And who'll help you?

And why shouldn'11 ?

Who on earth told him to

come?

Who's going to pay for it? Where did you get that idea from?

What makes you think that will do any good?

G e n e r a l q u e s t i o n s

I'd no idea how to get there. The bus is at five I'm told. He's not good enough,

I tell you. We must get on with it now.

He says he'll never speak to me again.

I've asked Mary but she hasn't any.

I don't think I can dive from that height.

I won't have anything to do with him.

She's so terribly rude. I'm sorry.

I'm terribly sorry.

I can't make six o'clock.

I can't help you.

You can have it if you like.

(disapproving, sceptical) *

Couldn't you have asked? r Have you made sure? Mayn't you be mistaken?

Couldn't it be left till this evening?

He doesn't really mean it (does he?)

I m p e r a t i v e s (reprovingly critical, resentM)

Ask Mabel then.

Have a shot at it.

Don't be so silly.

Don't take any notice of her. Well, say it as if you meant it.

Don't apologise.

E x c l a m a t i o n s

(calm, reserving judgement, expressing casual acknowledgement)

All right. Very well. Thanks very much.

b) Listen to the replies above and repeat them in the intervals. Make your voice follow

the intonation line exactly, c) Listen to the verbal context and reply in the interval, d) In order

to fix Pattern VIII in your mind and ear, pronounce each reply several times until it sounds

perfectly natural to you. Don't forget to pay attention to the verbal context, e) Listen to a

fellow-student reading the replies above. Try to detect any failure to reproduce the pattern.

The errors must be pointed out and eliminated.

2. Listen to your teacher saying the context sentences below. Pronounce each of the

following replies in two ways: first with Intonation Pattern VIII, then with Intonation

Pattern IV. Be careful with the intonation line, observe the difference in attitudes. Make

a fellow-student decide what attitude you are trying to render;