"But you'd better tell us quick how you come to bank that money for yourself when it's Doctor Page's money and you know i t . . . . "

"It's mine. Joe Morgan made me a present of it." "A present! Ho! Ho! I like that." (AJ.Cronin)

"But I'll never get it," he fretted as he paced up and down, "never, never, never. No, he couldn't be so lucky!" (AJ.Cronin)

"Gentlemen!" cried Andrew in a panic. "Please, please! How can we ever do anything if we quarrel among ourselves. Remember

what we're here for?" (AJ.Cronin)

It's like old times to hear you talk that way. I can't tell you how I love it. Oh, it's beginning all over again. I am happy, darling, happy!

(AJ.Cronin)

M r s . B a r t h w i c k : Out of her hand? Whose hand? What bag — whose bag?

J a c k : Oh! I don't know — her bag — it belonged to — a woman. M r s . B a r t h w i c k : A woman? Oh! Jack! No! (J.Galsworthy)

M r s . H o p e : The green-flies are in my roses already! Did you ever see anything so disgusting! (J.Galsworthy)

20. Make up a talk using the following phrases.

Yes, what is it now?

I think you're being very silly.

Look here (Nora), I'm tired

It's no use talking, o f . . .

I hate ...

Now don't be bitter about it.

Don't be silly.

Why do you keep ... ?

I can't bear it.

Good heavens!

Stop being funny.

Oh, what a pity!

What's the use of staying in bed?

What did you say?

21. Read the following extract from "Three Men in a Boat" by Jerome K. Jerome. Use logical and emphatic stress in it wherever possible.

There was silence for a moment, and then George's father said:

"Joe!"

"What's the matter, Tom?" replied Joe's voice from the other end of the bed.

"Why, there's a man in my bed," said George's father, "here's his feet on my pillow."

"Well, it's an extraordinary thing, Tom," answered the other, "but I'm blest if there isn't a man in my bed, too!"

"What are you going to d o ? " asked George's father.

"Well, I'm going to chuck him out," replied Joe.

"So am I," said George's father valiantly.

There was a brief struggle, followed by two heavy bumps on the floor and then a rather doleful voice said:

"I say, Tom!"

"Yes!"

"How have you got on?"

"Well, to tell you the truth, my man's chucked me out."

"So's mine! I say, I don't think much of this inn, do you?"

"What was the name of that inn?" said Harris.

"The Pig and Whistle'," said George. "Why?"

"Ah, no, then it isn't the same," replied Harris.

'"What do you mean?" queried George.

"Why, it's so curious," murmured Harris, "but precisely that very same thing happened to my father once at a country inn. I've often

heard him tell the tale. I thought it might have been the same inn."

22. Listen to the following dialogue.10 Read it according to the model. Vary intonation patterns thus changing the attitudes expressed in the sentences.

A: I think I'll go shopping today. I want to buy a hat.

B: Why? You've got a hat already.

A: But I can't wear that. It's two years old.

B: That's not very old. My hat's nearly ten years old.

A: Don't be silly. I must have another hat. ...

A: Do you like this green hat?

B: It's not bad. But I like the red one better.

A: The one with the feather? I couldn't wear that!

B: You could. It's quite big enough.

A: Try to be serious. I think I like the green one best.

B: All right, then. I'll pay for it if you like. Fifteen shillings, isn't it?

A: Fifteen pounds, darling. B: What!

23. Make up a dialogue of your own with words and word combinations from the dialogue above. Use logical and emphatic stress in it.

SECTION FOUR

Wide and Narrow Range of Pitch

The meaning of the whole sentence can be emphasized either by widening or narrowing the range of pitch. If the range is wid ened

the pitch level is raised. The stressed and unstressed syllables are said on a higher pitch level. The pitch intervals between the

stressed syllables are greater than in an unemphatic sentence. The nuclear tone has a wider range. The stress is increased.

If the range is narrowed the pitch level is lowered. The stressed and unstressed syllables are pronounced on a lower pitch. The

pitch intervals between the stressed syllables are smaller than in an unemphatic sentence. The nuclear tone has a narrower range.

The words are pronounced almost in a whisper.

The effect produced by widening and narrowing the range is the same as it would be in Russian.

By widening the range the speaker can express different violent emotions such as anger, horror, fear, abhorrence, irritation, impa-

tience, joy, joyful surprise and others.

By narrowing the range the speaker can express sadness, hopelessness, admiration, aversion, regret, reproach, sympathy, hatred,

fear and other emotions.

EXERCISES

10

1. Listen carefully to the following conversational situations. Concentrate your attention on the sentences in which the widening of the pitch

range is heard. Why does the speaker widen the range of his voice? Try to define attitudes and emotions associated with it.

L a d y B r a c k n e l l : Mister Worthing! Rise, sir, from this semi- recumbent posture. It is most indecorous.

G w e n d o l e n : Mamma! I must beg you to retire. This is no place for you. Besides Mr. Worthing has not quite finished yet.

L a d y B r a c k n e l l : Finished what may I ask? (O.Wilde)

L a d y B r a c k n e l l : Where did the charitable gentleman who had a first-class ticket for this sea-side resort find you? J a c k: In a

hand-bag.

L a d y B r a c k n e l l : A hand-bag? (O.Wilde)

L a d y B r a c k n e l l : In what locality did this Mr. James, or Thomas Cardew come across this ordinary hand-bag? J a c k: In the

cloak-room at Victoria Station. L a d y B r a c k n e l l : The cloak-room at Victoria Station? J a c k : Yes. The Brighton line.

L a d y B r a c k n e l l : The line is immaterial. (O.Wilde)

J a c k : May I ask you then what you would advise me to do? I need hardly say I would do anything in the world to ensure Gwen -

dolen's happiness. (O.Wilde)

H a r r y : Nora! Nora! ("Meet the Parkers")

N o r a : Anyhow, I'd have enjoyed the film much more if Elsa Hollywood had been in it, instead of Linda Spangle.

H a r r y : And I'd have enjoyed it more if we hadn't gone at all. N o r a : And I'd have enjoyed it more if you hadn't been so rude to

that woman in front.

H a r r y : Wel I shouldn't have been rude to her if she had stopped chattering when I asked her. ("Meet the Parkers")

H a r r y: I behave better! I like that! Why, if that woman had But look, isn't that a No. 12 bus just going? ("Meet the Parkers")

H a r r y : Don't be too quick about spreading that table-cloth, Nora. I felt a spot of rain.

N o r a : Oh dear, what did I tell you! It's coming on to pour.

R o b e r t : We'd better run for it.

N o r a : Where to? There's no shelter in sight.

R o b e r t : What about that pub we came past?

N o r a : It's much too far away! ("Meet the Parkers")

2. Listen to the situations again and repeat the sentences pronounced with the widening of the pitch range in the intervals, trying to concentrate