M ic h a e l M O N T G O M E R Y
Joseph A LA M O U
Jean D A G O
A m a d o u GUEYE
L a z a re K O FFI
MACMILLAN
GO
FOR ENGLISH
l re
M ic h a e l M O N T G O M E R Y
Joseph A LA M O U
Jean D A G O
A m a d o u G UEYE
L a z a re KO FFI
MACMILLAN
EDICEF
58, rue Jean-Bleuzen, 92178 VANVES Cedex
INTRODUCTION
Go For English combines the best features of traditional methodology with imaginative new techniques of
language learning to develop students’ communicative skills. The British author, who has considerable
experience of teaching English in Africa, has worked closely with African colleagues to produce the
Second Cycle of this course for secondary schools.
The course provides for the needs of both arts and science students and covers a wide range of topics
of current interest. All texts are based on authentic material and are relevant to the educated citizen of the
future.
The four main skills - listening, reading, speaking and writing - are thoroughly taught and fully integrated.
The practice of study skills follows on from the reading and summary ski. s developed in Seconde. The writing
skills cover both the needs of everyday life, such as formal and informc? Setter writing, and writing for academic
purposes.
The Communication items develop skills in using English to communicate - to express obligation, to make
requests, to agree and disagree, and so on - and at the same Erne *^ey teach the grammatical structeres
which are necessary for these purposes. This book continues to reinforce existing skills while introducing
new language points. Throughout the book, arrows direct students tc ~e Grammar Summary and Functions
list which provide further explanation and are recommended for use n revision.
Each unit has items which extend the students’ vocabulary in specific areas., and help prevent possible
confusion. A comprehensive Word list with phonetic transcription and ^^encn translation facilitates the mas­
tery of vocabulary.
Every unit ends with a set of Consolidation exercises to e r:_ '= *^ar essential functions, grammar and
vocabulary are mastered.
A Literature section with short stories and poems proviaes enrichment of students’ language experience.
A central aim of this book is to involve students in the learning process at every possible opportunity. Be­
fore starting each reading text, Brainstorming challenges the students to think carefully about its topic and
Picture interpretation stimulates free discussion. The text is ™en read for a purpose, using newly acquired
study and summary skills. Abundant oral and written practice is provided. Frequent pair and group work
gives plenty of opportunity for real and enjoyable communication, sometimes in the form of games or
competition. There is a variety of activities and exercises which will make it interesting and enjoyable to
learn English.
The Teacher's Book provides all that is needed to make the lessons a success and includes detailed
suggestions for classroom management, as well as a Test to prepare students for final examinations.
THE AUTHORS
Illustrations : Pascale Bougeault, Eugene Collilieux
Maquette : SG Creation
Realisation : SG Production
© The Macmillan Press ltd / EDICEF, 1994
ITous droits de traduction, de reproduction et d'adaptation reserves p our tous pays.
Le Cede de la propntete im eileduelle n'autorisant, aux lermes des articles 1 . 122-4 et L. 122-5, d'une part, que les ^copies ou reproductions strictement
reserv£es & I'usage priv£ du copisle et non destinies £ une utilisation collective)!, et, d'autre part, que «les analyses et les courtes citations» dans un but
d'exemple et d 'illustration, «toute representation ou reproduction integrate ou partielle, faite sans le consentement de I'auteur ou de ses ayants droit ou
ayants cause, est illicite*.
Cette representation ou reproduction, par quelque precede que ce soit, sans autorisation de Itediteur ou du Centre (ranijais de I'exploitation du dro it de
copie (20, rue des Grands-Auguslins, 75006 Paris), constituerait done une contrefagon sanction rtee par les articles 425 e t suivants du Code ptenal.
Premiere publication : 1994
Publie par The Macmillan Press Ltd, London and Basingstoke
ISBN Macmillan : 0-333-58570-4
ISBN EDICEF : 2-84-129059-X
CO N TEN TS
SB
Skills
Vocabulary
Functions*
Grammar**
LOVED O R
EXPLOITED
Study skill:
skimming
Rights and
abuses
Expressing
obligation (F 1)
Children's rights
Speech: stress for
verbs that start
with a prefix
Should, ought to,
need
(affirmative and
negative, present
and past)
An inspiration
to young
people
Expressing
contrast (F 2)
Conjunctions,
prepositions
and adverbials
Computers
Expressing past
habit
would, used to
(affirmative,
negative and
interrogative)
(G 3B)
Word formation:
verbs in
-ify, -ise
Agreeing and
disagreeing
(F9)
Idiomatic
expressions
Words that go
with make and
do
Referring, using
pronouns
Don’t be
confused!
Expressing
conditions
-self/-selves,
each other,
one another
personal
pronouns as
subject, object,
after a prepo­
sition, reflexive
pronouns (G 2)
Type 1: simple
present, future
Type 2: simple
past, conditional
[would + bare
infinitive) unless,
otherwise
Inversionswith
were andshould
(G3L)
Synonyms
Placing a group
of adjectives in
the right order
Adjectives with
different kinds
of meaning (G 4)
Page Unit Title
INTRO DUCTION
7
1
and duties
Listening
Writing: argument
21
2
COM PUTER
M A G IC
Study skill:
skimming
Private
property
Speech: pronunriacoc
of /w/, Irl
Listening
Writing:
- adding ideas
- a story or letter
35
3
ANYO NE CAN
SUCCEED
Women's
World
Banking
Study skill:
making notes
on a text
Speech: pronun­
ciation
/e//ei/as
in let, late
Listening
Writing:
explaining
an idea
49
4
C U ST O M S A N D
TRAD ITIO N S
Traditionnal
ceremonies
4 S e e F u n c t io n s lis t , p a g e 1 9 9
Study skill:
comparing
texts
Speech: pronun­
ciation of
consonant
clusters with /s/
Listening and
note-taking
Writing: description
Phrases with
adverbs
Expressing
frequency
Don’t be
confused!
* * See G r a m m a r S u m m a ry , p a g e 18 8 .
Adverbs of frequency
their positions
and positions of
other kinds of
adverb
(G5A,B,C)
SB
Page
62
Skills
Vocabulary
Functions*
Grammar**
EYES IN
THE SK Y
Summary
Ways of
emphasising
(F11)
Position for
emphasis
Healthnet
Satellites and
telecommu­
nications
Speech:
emphatic stress
Unit Title
5
Adjectives/
adverbs used
for emphasis
Punctuation:
colons
If things had
been different
I f + past perfect,
What you have
to/ooghr to do
(FI)
Have/has to,
must, need to,
doesn’t!don’t
have to, needn’t,
ought to, should
Writing:
compare and
contrast essay
75
6
GETTING
A JO B
Four
occupations
Study skill:
making notes
and exchanging
information
Application
forms
Speech: intonation
Don’t be
when contradicting
confused!
Listening
Predicting
progress
Future perfect
tense; future
perfect continuous
tense (G 3C)
Writing: letter
of application
89
7
O N E BITE
TO O M A N Y
Summary
Public health
Malaria
Telling someone
to do or not to
do something
(F4)
Speech: intonation
for requests and
commands
Idioms
Listening
Making requests
and asking
permission (F 4)
Writing:
interpreting
charts
103
8
MEDIA
Cockcrow
Reading and
study skill:
detecting bias
Speech: pronun­
ciation of Pnl
Newspapers
would/could!
might have +
past participle
Inversion using
had (G 3L)
Would you...,
please?
Imperative, do +
imperative,
will you...? You
will..., You are
to..., You +
imperative;
Don’t..., You
are not to...
Could you...,
please? Can
you...? Can’t!
Couldn’t you...?
Could 1/ we...,
please? Can
I/we...? May
I/we... ?
Talking about
ideas
The news/story
that... (as
subject); Have
you heard the
news that...?
(as object);
Rumour has it
that...
Saying what you
prefer and
showing what
you think (F 8)
Would/’d rather
+ bare infinitive,
wouldfd rather
+ verb + object,
SB
Page
Unit Title
Skills
Vocabulary
Functions*
Listening
would/’d prefer
+ to + infinitive,
would/’d prefer
+ object,
would/’d rather
+ noun phrase
+verb
Writing: report
of an accident
116
9
POLITICS A N D
ELECTIONS
Electing an
American
president
Activity: holding
an election
Study skill:
making a flow
chart
Adverbs that show
user’s attitude
Elections
10
ART, CRAFT
Mmakgabo
Mmapula
Helen Sebidi
Expressing past
time
Simple past
tense, active +
passive; past
continuous active
and passive;
present perfect
continuous, active;
past perfect,
active and passive;
past perfect
continuous,
active (G 3A,B)
Apologising and
accepting
apologies (F 10)
Idiomatic
expressions
Countable and
uncountable
Nouns that may
be countable
or uncountable
depending on
their use (G 1)
Speech: pronun­
ciation of /!/, fd
Phrasal verbs
with stand
Listening
Writing: report
of an event
130
Study skill:
scanning for
specific
information
Arts and crafts
Speech: intonation
for question tags
Checking
information
Listening
Writing: letter to
an adult friend
143
11
SEED S FOR
THE FUTURE
Study skill:
using an index
Phrasal verbs
with get
Patterns: Verb
+ to + infinitive;
verb + verb
ending in -ing;
verb + noun/
pronoun + to
+ infinitive;
adjective + o f
+ noun/pronoun
+ to + infinitive
(G3J)
Comparing
things
idiomatically
(F 3)
Various idiomatic
ways of
comparing
Speech: pronun­
ciation of /d/, /ou/
Writing: formal
letter
Question tags
where an
auxiliary is
repeated
Question tags
where do, does
or did replace
a main verb
(G 31)
Some patterns
with verbs
Sharing ideas
Listening
Grammar**
Agriculture
SB
P age
U n it
Title
S k ills
V o c a b u la r y
Functions*
G ra m m a r* *
156
12
FA SH IO N
Speech: intonation
and stress for
exclamations
Fashion
Reporting
speech
Tenses when
reporting verb
is past; tenses
when reporting
verb is present;
verbs of reporting
(G 3G,H)
H o w + adjective/
adverb + subject
+ verb/W hat +
noun phrase
(+ noun phrase
+ verb)
Subject + wish
+ subject +
past tense verb
Imperative for
offering
Elegance and
fashion
Listening and
study skill:
making notes on
a talk, revision
techniques
Exclamations,
wishes, offers
(F 5,6, 7)
Writing: informal
letter of
invitation
169
UTERATURE
188
G R A M M A R SU M M A R Y
199
FU NCTIO N S
204
W O RDLIST
Acknowledgements
Texts and documents
The authors and publishers wish to thank the following who have kindly
given permission for the use of copyright material:
Anti-Slavery International for extracts from articles in Anti-Slavery Reporter
magazines. Bloodaxe Books Ltd and Miroslav Holub for ‘Casualty’ from
Poem s B efore an d A fter by Miroslav Holub, 1990. BBC and David Higham
Associates on behalf of Nigel Barley for an extract from his talk ‘Smashing
Pots’ broadcast on Radio 4 , 2 0 June, 1993. BBC World Service for extracts
from articles ‘Insuring Azania’ N" 2, Vol. 4 and ‘Focus on Fashion’ N” 4,
Vol. 4 in BBC Focus on Africa Magazine. East African Educational Publishers
Ltd for T h e Rain Came’ by Grace Ogot from Land Without Thunder, and
‘Poem’ by Jorge Rebelo from When Bullets Begin to Flower, selected and
translated by Margaret Dickinson. T he E conom ist for an adapted extract
from the article ‘One Bite is Too Many’, 21.8. 93. Encyclopaedia Britannica Inc.
for an extract from the article ‘Shoes’ in Children’s Britannica, 3"1Edition
(1985), 16 : 60. Express Newspapers pic for an extract from the Daily Express,
1 February, 1993. HarperCollins Publishers Ltd for extracts from Collins
C obuild English Gram m ar by Collins Birmingham University International
Language Database. A. M. Heath 8c Company Ltd on behalf of the Estate
of the late Sonia Brownell Orwell for ‘Shooting an Elephant’ by George Orwell
from Selected Essays published by Martin Seeker 8c Warburg Ltd. Heinemann
Publishers (Oxford) Ltd for ‘Dear God’ by Dennis Brutus from Stubborn ■
Elope. David Higham Associates on behalf of Alice Walker for ‘First, They
Said’ from Horses M ake a Landscape M ore Beautiful published by The
Women’s Press. Johns Hopkins Magazine, Johns Hopkins University, for an
extract from an article on Benjamin Carson. Longman Group UK Ltd for a
graph from G hana an d B eyond by M. W. Senior and F. Quansah, 1971.
John Murrary (Publishers) Ltd for an extract from Cam eroon with Egbert by
Dervla Murphy. Newspaper Publishing pic for an extract from the article
‘Liberia’s boy soldiers leave a trail of ruin’ by Karl Maier, 27 March, 1993, and
extracts from Guide to Careers, Summer 1993, both published in The Independent.
Oxford University Press for ‘The Washerwoman’s Prayer’ from Sounds o f a
C ow hide Drum by Mbuyiseni Oswald Mtshali, 1971. Cecil Rajendra for his
poem ‘Requiem for a Rainforest’. Royal Society of Tropical Medicine and
Hygiene for two graphs from an article by B. M. Greenwood et al, in
Transactions o f the Royal Society o f Tropical M edicine and H ygiene, Vol. 81,
pages 4 “8-486. Caroline Sheldon Literary Agency on behalf of John Agard
for the poem ‘The Soldiers Came’ from Laughter is an Egg published by
Vikmg (1990). Signature Magazine for an extract from ‘Pieces de Collections’
N '2 6 0 , December, 1992. Times Newspapers Ltd for extracts from articles
‘Social workers condemned over child isolation’ by Jill Sherman, The Times,
30.5.91, and ‘Crumbling Haiti preys on its slave children’ by Christine Toomey,
The Times, 1.3.92. United States Information Agency for an extract from
the article ‘Path to the Presidency’ by Lester and Irene David in TOPIC, 197,
and an adapted extract from an article on Helen Sebidi from TOPIC, 190.
Every effort has been made to trace all the copyright holders but if any
have been overlooked the publishers will be pleased to make the necessary
arrangement at the first opportunity.
Photographs
The authors and publishers wish to acknowledge, with thanks, the following
photographic sources: J. Allan Cash, p. 153. Associated Press, p. 116.
Barnaby's, p. 15. British Aerospace (Space Systems) Limited, p. 66 top and
bottom. Camera Press, p. 59 left and right. Eric Don Arthur, p. 156 left.
Explorer p. 16 (J. Brun). Juliet Highet Brimah, p. 156 right, p. 158 top.
Michael Holford, p. 150 boctom. Hutchinson Picture Library, p. 60.
Georges Koampah Lotte Photo, p. 140 left and right. Daniel Laine, p. 49.
Guy Lambin, p. 84 left and right. Oxford Scientific Films, p. 89.
PANQS Pictures, p. 9 top (Trygve Bolstad). Popperfoto, p. 8, p. 30, p. 38,
p. 95, p. 117. Rex Features, p. 157 cenne and bottom. Mmakgabo Mmapula
Helen Sebidi, p. 130, p. 131, p. 132. Still Pictures, p. 9 bottom (Jorgen
Schytte), p. 113 (Mark Edwards). Alan Thomas, p. 67. Topham Picture
Source, p. 5 0, p. 51.
The publishers have made every effort to trace the copyright holders but
if they have inadvertently overlooked any, they will be pleased to make the
necessary arrangements at the first opportunity.
L oved o i Exploited?
Rights and duties
Have you heard about the new UNICEF charter* on the rights of the child? The charter defines
a child as a person under 18. In your opinion, what rights and duties do children have? Make
two lists.
A charter is an agreement. Countries which sign it agree to do certain things.
Q
Picture interpretation
a
A n s w e r t h e s e q u e s tio n s a b o u t p ic tu re 1:
1 Which continent is each child from? How do you know?
2 Why does the picture show children from different continents?
3 Why does the picture show both girls and boys?
f b l Read th e lis t o f rights. Study picture 1 (page 7) again, and pictures 2 to 9 below.
W hat rights does each picture represent? Do these add to the ideas you already had?
f-i
ft ^
Every child has
the right to life.
3 Children must n o t take
part in any military activity.
5 Parents must care fo r their
children and n o t neglect them.
Children should n o t be
separated from th e ir parents.
2 States must make every e ffo rt to stop
the abduction and selling o f children.
4 Countries must p rote ct children from economic
exploitation- People must n o t make o r allow
children to do w ork that interferes w ith their
education or harms their health and well-being.
:: Countries should p ro te c t children
from physical o r mental harm.
Each child should enjoy full rights w ith o u t
discrimination o r distinctions o f any kind.
9 A child has the right to the best health care available. Countries
should emphasise preventing diseases and reducing infant mortality.
UNIT 1 * LovedoaEjokot-z '
This child is eight. He carries three tons of bricks
f 'l c
Study skill: Skimming
Skim m ing is reading a te x t quickly to fin d o u t w h a t its m ain ideas are. One w a y o f
doing th is is by noticing w ords connected w ith a particular topic. For example, if you
see th e w ords fish, n e t catch, b o a t you w ill kn o w th e te x t is about fishing.
W hat rights are violated in th e texts [ 2 to 0 below? Find o u t by skim m ing th e texts,
looking fo r words connected w ith each right. For instance, fo r rig h t 3, look fo r words
connected w ith m ilita ry activity: soldiers, rifle, fighters. Where there are headings,
study them .
m
OME soldiers, members of the Small Boy Unit,
_
S
are as young as nine years old, their auto­
matic rifles nearly as tall as they are. "They can
be the best fighters because they have no fear,"
said a local businessman. "They are usually or­
phans and they have nothing to lose. Their
loyalty to their warlord is total." One barefoot
soldier near the headquarters was in shorts, wore
a winter hat pulled tightly over his ears and held
an AK-47 in one hand. In the other he cradled a
football, like a schoolboy
E
the right to Eve w
his grandparents a
i
^
life. He
made tQ eat up_
^ on the stairs
to be separate
his mother. His parents whd
were divorced when he family
rest
the
was two.
two. His mother
.
was
~.1 roll
His mother
seldom
.
then had three
children
allowed him to see his
bv her second hus­ natural father or his
band. Peter, a shy and grandparents.
nervous teenager, was
• Four out of ten women are illiterate and in some countries
eight out of ten. In many countries nearly twice as many I
women as men are illiterate. This is because in some countries I
fewer girls are sent to school than boys.
[~7~]
0
Police Sergeant S u p ho t Kongdee was on
show f o r press pho tog ra ph e rs in Bangkok.
Three Chinese girls sat next to him . Suphot
was accused o f being a slave trader. He was
arrested fo r se lling girls as yo u n g as 12.
They had been kidnapped fro m China and
ta ke n to Thailand. There th e y had been
drugged and forced to w o rk as prostitutes.
HOW MUCH ARE GIRLS WORTH?
JYtaniken Ramaswami is a south Indian farmer
with a few cattle and a field cleared of stones
where he grows lentils and papayas. He agrees
with the proverb that “bringing up a girl is as
pointless as watering a neighbour’s plant.” His
first child was a girl, so he had to start saving
money to pay her dowry’, which would be eight
times his annual income. Then his wife had twin
girls. Maniken decided that when they came
home from the hospital, they would be killed.
“BO Y DIVORCES M OTHER”iuded
16-year old Peter won
At 4 a.m. the boys, who were aged between six
and ten, had water poured over them to wake them
up; they then worked at the looms without food
until 2 p.m. when they had a half-hour break,
mainly to allow them to eat. The meal consisted of
bread and lentils. They then continued work until
midnight when they were given more bread and
lentils before being allowed to sleep.
Social workers in a town in England faced severe
criticism for giving cruel and humiliating punish­
ments to children in their care. More than 100
children, some as young as nine, were each locked
up alone in rooms by themselves for long periods.
During their isolation, they wore only their night
clothes and were forbidden to talk to anyone. They
had to ask for permission to go to the lavatory.
Their personal possessions, including clothes, ma­
gazines and music were removed ■
A loom is a machine which weaves cloth.
His wife refused to allow the girls to be killed. She went back to live with them at her father’s house.
UNIT I
•
Loved or Exploited ?
What are their chances?
A baby bom in
a rich country
A baby bom in one
of the poorest countries
Chance of dying before
the age of one year
1 in 100
1 in 5
Life expectancy
70 years
50 years
Chance of seeing
a health worker
all
1 in 10
Probable years
at school
11 years
2 years
ong before dawn, Gaye Raymonde. one o f
the world’s smallest slaves, struggles a kn g
the streets o f the capital o f Haiti with a bucke: of
w ater spilling over her head.
L
She is one o f the children w ho are given away by
their impoverished rural parents to urban famines
in the hope that they will b e better fed and per­
haps even g o to school. Instead, m ost are
condem ned to lives o f drudgery and despair,
performing household chores from dawn to dusk
w ith the threat o f severe beatings should they
dare stop to play. Most never see their families
again.
Few are ever sent to school. Many are sexually
abused. Most are malnourished ■
Drudgery is very hard and boring work.
Do these te x ts a d d to th e ideas yo u h a d in B ra in sto rm in g ? E x p la in .
H
Vocabulary 1: Rights and abuses
[ a j M atch each phrase w ith its
illu stra tio n .
1
2
3
4
5
6
7
freedom of speech/expression
protection against violence
in danger
infant death
illiteracy
discrimination
exploitation
i TtfWE t h e
RI&ht tc -?Ay
WHAT I THINK-
m
|T>| Match each expression with its synonym.
expressions
synonyms
in danger
prisoner
infanticide
to kidnap
to abduct
to allow
w ar
captive
armed conflict
to force
to make (someone do something)
killing babies
responsibilities
duties
to permit
at risk
El Communication 1: Expressing obligation
and unnecessary action
S tu d y th e s e e x a m p le s, n o tin g th e use o f should and ought to
( you sHsuLP MEVfS |’\
\
-v
UllW INTOTHE R O A P . '
•
'
Sentences with sh o u ld or o u g h t to
Right things
• Children go to school.
...»
Children ought to go to school.
• Girls and boys live with their parents.
<
Girls and boys should live with their parents.
Wrong things
• Make children work all day.
■»
People shouldn't make children work all day.
• Children fight as soldiers.
j»
Children ought not to fight as soldiers.
Past wrong things
• I forgot my sister's birthday.
——»
I should not have forgotten her birthday.
• I did not give her a present.
— &-
I should have given her a present.
You may fin d it easier to use sh o u ld n o t h a v e th a n o u g h t n o t to h a v e . They mean the
same.
UMJT
! » Loved or Exploited?
: f;fcn : Ta|<e jt in tu rn s to m ake up a p p ro p ria te sentences fo r th e " r ig h t th in g s ",
JJj
"w ro n g th in g s " and "p a s t w ro n g th in g s " liste d below . Use should o r ought,
™
in c lu d in g n o t to ancl have w here necessary.
Right things
Wrong things
Parents look after their children.
People buy and sell children.
Parents feed their children properly.
People make children fight as soldiers.
People send girls to school.
People kidnap children.
People let children have enough sleep.
People lock children up alone.
Past wrong things
Peter's mother d id n 't give him any love
text 2)
She d id n 't let him eat with the family. ~ext2J
The policeman kidnapped three Chinese girls. (Text 3)
G aye's parents gave her to another fam ily. [Text 9j
For an unnecessary action, use
it w asn't.
: sd n 't have if it w a s done; use didn't have to if
Ali
I arrived at the station two hours before the train left. I had a long time to wait.
E mile
Y ou needn't
yesterday, so I
.
there so early. I arrived 15 minutes before the train left
tat e to w a it long.
V[ ; ;„ r For each picture, w r it e a s e n te n c e s a y in g w h a t people should or sh ou ldn 't do,
" 'll jp should have done, shouldn't have done, didn't have to or needn't have done.
Use ought to fo r some o f y o u r sentences, if you prefer
Q
Speech: Stress
M o s t v e rb s t h a t s t a r t w it h a p r e f ix a re s tre s s e d o n th e s y lla b le a f t e r it.
a
Say th e s e w o r d s , s tre s s in g th e s y lla b le s in c o lo u r:
s
M eanings
N e g a tiv e / a w a y
dislike, dismiss, disperse, distinguish
R e v e rsa l
undo, unlock, unwind, unnoticed
‘B a d ’
mislead, misuse, maltreat, malfunction
Exceed
outrun, outlive, outweigh, outnun oer
W ith
collect, collide, conclude, co-operate
P la ce
transplant, transport, subside, submerge
Tim e / a g a in
foretell, predict, postpone, reserne
Some EXCEPTIONS: disagree, undisturbed, comment, subc:
Je, rorecast.
Jb J Say th e s e s e n te n c e s :
I
predict that you will never retire and will outlive us all.
Although outnumbered, we persuaded the crowd that had collected to disperse.
H
Vocabulary 2: An inspiration to young people
C h o o s e o n e o f th e f o l lo w in g w o r d s a n d p h ra s e s f o r e a c h g a p :
achievement, brought up, deserted, education, grew up, improved, in order, inspiration, knife,
knowledge, medical, old, read, teenager, watching, weak.
Carson ( 1 ------ ) in Detroit, Michigan. He and his elder brother Curtis, were ( 2 ------ ) by their mother
because their father ( 3 ------ j the family when Carson was eight years ( 4 ------ ■). Their mother had
left school after only a few years of
------ ■). Carson’s moods swung from good to bad: he was a
volatile ( 6 ------ ). Once he tried to stab another boy. Fortunately, the ( 7 ------ ) hit the buckle of the
boy’s belt. Carson did not do well at school where he was always a ( 8 ------ ) student.
‘Then,’ he says, ‘I decided to put my life ( 9 ----- •). I prayed and the Lord took hold of me.’ His
mother also helped. She stopped him from (1 0 ----) television and insisted that he ( 1 1 ---------) lots
of books. ‘I discovered through reading, that the world was at my fingertips. All the ( 1 2 ------ ) of
mankind is in books, and just about everybody has access to books.’ His grades ( 1 3 ------ ). He
went to ( 1 4 ------ ) school and became a neurosurgeon. His greatest ( 1 5 ------ >)-was when he
successfully operated on Siamese twins in 1987. Newspapers called him a miracle man. Benjamin
Carson is an ( 1 6 ------ ) to all young people.
UHi T 1 « Loved onExpioiteb?
Communication 2. Expressing contrast
M r Amoi and M r Mambo are discussing whether to
appoint M r Coulibaly as their new detergent sales­
man. They contrast his good and bad qualities.
Note th e w ords and phrases in italics.
M r Amoi
Although Mr Coulibaly has a few bad qua­
lities, I want to have him as our new sales­
man. He doesn’t always come to work on
time; on the other hand , he's willing to stay
on late.
M r M ambo B u t he’s bad at keeping records or figures.
M r A moi
Nevertheless , he’ll sell more detergent than
anyone else.
M r M ambo
M r A moi
He may be a good salesman. H ow ever , I
know we’ll have problems with him. He
doesn’t like being told what to do.
Well, then, let’s offer John the job: he’s very
hardworking.
L
f\r CaiibtAj
Kmc* a lot <jbowt dekrgptta
gpod A m%fivim,
gX)d jfkudlM m d elwtwiwg
dr&sSiK SKiifrtL
uotks lows’, hours
bud
M r M ambo O n the contrary , he’s lazy. Yet he manages
to appear hardworking. He's very clever.
M r A moi
drafts doo j.tst
cotutsdo work m i
dpai lAwuiliwe do obw
bm A rtcotiig, -fiw<(wcutl
md olhir iwtortwdiow
D espite what you say, I think he works well, even i f he doesn’t work all the time.
M r M ambo He works well when he works. A ll the sam e , he spends too much time chatting
instead o f working.
M r A moi
You’re never satisfied!
You can use In s p ite o f instead o f
sspite.
You and yo u r partner w o rk fo r a ^adic station. Discuss
y f e v these tw o applicants fo r the post o f disc jockey.
^
Compare and contrast them . Decide w h o to appoint.
Appdicant 1
chatty,
entertaininy
pod
.,
ckeerkod
yoany
tad
sometimes kesitant/nero-oas
sometimes tadds too mock
not coeddinown
notsoyoodat ckoosiny
popodor records
Applicant- 2
ms£&g dots okyodes
experienced
cneii.known
amusiny
popodar
sometimes rode
a hit odd
tadds afoot kimsedfjtoo mo.ck
woaddineeda kiy sadary
You m ay add ideas o f yo u r own.
.
Wntmg w r jt e a conversation b e tw e e n t w o s e n io r s t a f f in a hotel. Two people have applied
pairs fo r th e jo b o f cook. Only o n e o f th e applicants m u s t b e c h o s e n . Before w ritin g the
conversation, make a lis t o f th e good and bad qualities o f each applicant. Use some
o f th is vocabulary.
»
good / bad at
enthusiastic
experienced
to have a hot temper
untidy
to waste
to work well with other people
to refuse to do other kitchen work
national/international dishes
Chinese/Indian food
vegetables
desserts
sauces
delicious
ingredients
Listening
R ead t h e q u e s tio n s b e lo w ; ta k e n o te s as y o u lis te n t o t h e ta lk about "Tempo boys"
a n s w e r t h e q u e s tio n s b r ie fly .
1
2
3
4
5
W hat is a tem po ?
W hat does a tempo boy do?
Why do drivers prefer to employ boys under 12 years old?
What are the dangers for the boys?
W hat do the laws of Bangladesh forbid?
Discussion A t w h a t a 9 e d o y o u th in k children s h o u ld b e a llo w e d t o w o r k f o r m o n e y ? F o r how
m a n y h o u rs a d a y ? Are there s o m e k in d s o f w o r k t h e y s h o u ld n 't d o ?
U N I T 1 • Lo v e d o « Exploited ?
Composition: W riting th a t includes argument
Reparation T^ 's fyPe o f w ritin g is like a debate. There are a t least tw o sides' and there are
argum ents fo r and against each side. Here is an example.
Saliou wrote to his brother, Ahmadou, asking his advice about who should bring up his son,
Abdoul, and wondered if his wife’s brother, Ahmed, who lived in the capital, would be a
good choice. To clarify his ideas, Ahmadou began by noting down all the arguments, for
and against Saliou and Ahmed bringing up Abdoul.
' (Irildren W e being, separated , roiV
W s.
' (Jncles and awds doni iiM ps-W
for child
Ling bth
nephews and nieces kindkp.
■parents
' Children w p W e df(icjip relating
-to parents ajjer ,tn ife jn .'
* Chiden soon adpst to
*d
tor child
rdits k.Ja to
raitii
rcivr -iVs J patent.
* a id lit gel a better eciWicn in
W.
Line imfin
* Ovid J be neir a school.
4 reWive
* Piscipliwe all be stricter.
■-Rich family
* ?eUtae all kneu people alto can tvfp tin.;
scuckl ueuze-y
prrree joi&ciPuMe
in a crip
the child a pb euenLAp.
I
G u id e lin e s
CHiLDtewApjiajr
Go o d
s c m o o u
•
CUIlDfW W H ATS
5SFA R A T I0N
RetATJVe UNKIPJJ5
UTLATBnSHIP M FyA LT FeR
B efore YOU INCLUDE ARGUMENT IN a PIECE OF WRITING:
* Th in k carefully about the topic and decide what you really believe.
* N ote any arguments and information which sup port what you believe.
* N ote any arguments and information against your position.
W
h e n
y o u
w r it e :
* M en tio n arguments against your position.
* Sh o w that they are untrue or weak.
* M e n tio n arguments that favour your position:
* G iv e details , facts, reasons, information to support your position.
* State your conclusion.
T h e t e x t b e lo w is p a r t o f A h m a d o u 's l e t t e r t o h is b r o t h e r . W r ite o n e o f th e s e
w o r d s o r p h ra s e s in e a c h s p a c e in t h e a n a ly s is o f it :
against, argument, contrasting, in favour of, evidence, position, supports
You asked for my advice about who should
Analysis
bring up Abdoul. You said in your letter that
he was being bullied by his elder cousin.
I think his uncle Ahmed would be the best________ 1 7ie writers---------- ,
person to have him.
I know that many people think it's a bad_________2 A
idea for an uncle or aunt to bring up a child.
They say that children hate being separated________ 3
from their parents. They cry and are homesick I
and sometimes even become ill. However, in_______ f tro e rc e tied -------------- tiis orpment
my experience children quickly get over this
5 Arpaxent -------------- tie oontrastinpposition.
stage. As long as their relative is kind to
them, they soon adjust to their new family.
You remember that my wife's niece li\ ed
with us for several years and was perfect!)
6 ------------ tintsupports tiis orpaonent.
happy after the first few weeks.
If Abdoul lived with Ahmed, he would__________ 7 New--------- in faroor o^w riter's position
have all the benefits of living in a city...............
Writing W r 't e a n a r9 u m e rrt e s s a y o n o n e o f th e s e to p ic s :
1 Are you for or against divorce?
2
Should school uniform be compulsory?
3 Corporal punishment is necessary in education,
4 Traditional ways of living are better than modern ways.
Expressions used when arguing
1
To introduce arguments against your position:
It is sometimes said th a t. . .
Some people argue th a t. . .
Those w ho are a g a in s t. . . say th a t, . .
There are those w ho claim th a t. . .
2
To introduce your arguments:
However
But
On the other hand
Although
In spite of
Despite
Nevertheless
Even so
Yet
Even if
A ll the same
On the contrary
U N I T 1 • Loved or Exploited?
Consolidation Exercises
Vocabulary: Children's rights
Copy and com plete th is crossword.
Across
1
When some people are treated worse
than others, this is (--------- j .
7 A person who is sold or bought is
af-------■).
D own
1
2
3
4
5
Parents and the State must carry out their t---------- ) towards children.
Freedom to say what you want is freedom of (---------- 1.
A safe and loving home, education, health care: these are some of the (--------- ) of children.
Another word for a baby: (----------).
Boys shouldn’t have to put their lives :r. dinger by righting as soldiers: *in danger’ means
(--------------------- ■). (2 words)
6 An illiterate person can’t (---------- 1or write.
Communication 1: Expressing obligation
1 Choose th e rig h t expression fo r each gap and w rite it in yo u r exercise book:
should, shouldn’t, ought, oughtn’t.
Abiba
Thanks for the ice cream.
Aminata You’re welcome. I like your smart shoes.
Abiba
You (1 ---------- ) get some yourself. And if you haven’t got the money, you
( 2 ---------- ) to start saving right away. People ( 3 ---------- j be more careful with their
money. They ( 4 ---------- ) waste it.
AMINATA Your blouse is very nice, too. Is it silk?
Abiba
Yes. I really ( 5 ---------- ) to have worn it today. I ( 6 --------- ) have put a cotton one
on. But the silk feels so cool and nice. You ( 7 ----------j have wasted money on those
ice creams just now. It’s very hot, isn’t it?
Aminata Yes. I think we ( 8 ----------) to take a taxi home and share the fare. W hat do you
think?
Abiba
Er ... yes. But I’m afraid I haven’t got any money on me. I ( 9 ---------- ) to have
Aminata
If you think I’m going to buy the ice-creams and pay the taxi fare while you buy smart
shoes and silk blouses, then you ( 1 0 ---------- ) to think again. You (11 ----------)
have spoken so rudely. I’m not paying your fare - unless you do something for me in
exchange.
Abiba
What?
Aminata
Give me your silk blouse when we get home!
brought some with me, but I’m saving up for . . .
2
C o m p le te th e s e n te n c e s w it h n e e d n 't n eed n 't have, don 't have to o r didn't have
to a n d th e c o rre c t f o r m o f th e v e rb in b ra c k e ts . Each s e n te n c e m e n tio n s a n e v e n t
t h a t is n o w p a s t.
1 It is raining. He (----------) (water) the plants.
2 We don’t want any more to drink. The waiter (----------) (bring) any more bottles.
3 This isn’t a formal occasion, so I (—-------) (make) a speech, but I’ll just say a few words.
4 There are no mosquitoes here, so I (----------) (use) a mosquito net last night.
5 I was able to phone my friend, so I (----------) (write) a letter.
6 He (---------- ) (climb) over the wall, because the gate is open.
Communication 2: Expressing contrast
Choose one o f these expressions fo r each gap and w rite it in yo u r exercise book.
Some are needed m ore than once:
but, although, however, on the other hand.
Loser wins
It was the day of the big Sumo wrestling
competition. The whole village turned
out. They wanted their champion, the
local baker, to win, ( 1 --------- ) they knew
the newcomer was good. ( 2 ---------- ) he
had only played the game for a few
months, he was already able to beat ex­
perienced local players. He was not just a
short-term visitor, (3 ---------- ) someone
who wanted to live permanently in the
village.
The newcomer was good. He realised,
( 4 ---------- ■), that he still had a lot to learn
about the game. So he had asked an old
friend of his for some advice the day be­
fore. He came away smiling, confident of
victory.
The com petition started. The baker
played skilfully. It was obvious, (5 --------- ),
that he was afraid of losing his position as
village champion. In the end, after hours
of playing in the hot sun, it was the baker
who won. He was very happy.
Surprisingly, the newcomer, to o, was
happy, ( 6 ---------- ) he had lost. There was
much rejoicing in the village. A big party
was held and the newcomer joined in and
was made very welcome. He explained
to a friend later, “I lost the champion­
ship. But ( 7 ---------- ) I won a friend and
the village accepted me. I could have won
the championship, you know. ( 8 ---------- )
I would have made some enemies if I
had.”
Computer Mask
W hat are computers used for?
Picture interpretation
S O M E T H IN G
TERRIFYING
BE HIND THE DOOR.
IT W A S
S O M E T H IN G
B E H IN D THE DOOR.
IT WAS TERRIFYING.
UMlX_2_f_ Computes m a g •:
[ b j C h o o se o n e o f th e s e w o r d s o r p h ra s e s t o c o m p le te th e c a p tio n f o r each
o f th e p ic tu re s in a f.
calculates, design, information, learn, edit, playing, robot.
1 A computer tells the (------ ) where to do the work.
2 The police ask their computer for (------ ) about any vehicle.
3 A computer (------ ) the right direction and speed for the aircraft.
4 Computers help pupils (------ ).
5 People who (------ ) buildings and machines sometimes use computers.
6
Computers can be given instructions for (•------ ) games.
7 Computers or word processors make it easier to (------ ) a text before it is printed.
Stu d y s kill: Skimming*•
T h e f o l lo w in g p a r ts o f a t e x t w i l l h e lp y o u t o s k im . L o o k q u ic k ly a t t h e m a n d f i n d c lu e s
t o its m a in to p ic s :
• the heading
• the first paragraph
• the first sentence of other paragraphs
• the last paragraph.
S k im t h e t e x t b e lo w t o a n s w e r th e s e q u e s tio n s :
1 Read the heading and the first sentence. What ‘private property’ will the text be about?
2 Read the rest of the first paragraph. Read the last paragraph. What name occurs in both para­
graphs? What has this person been doing?
3 Read the first sentence of paragraph 2 and paragraph 3. What thing is mentioned in both sentences?
4 Read the first sentence of the fifth paragraph. What will the topic of this paragraph be?
5 The first sentence of this text includes the word ‘crime’. What phrase in the last sentence means the
same? Would you read this text carefully if you wanted to leam more about:
A the parts of a computer?
B how to use a computer?
C violent crime among young men today?
D the crime of getting into other people’s computers?
E the role of universities in preventing crime?
S k im m in g is n o t t h e s a m e as c a re fu l a n d t h o r o u g h re a d in g . Y o u s k im a t e x t t o d e c id e
w h e t h e r i t w i l l b e u s e fu l a n d r e le v a n t t o y o u o r n o t . I f i t w i l l b e u s e fu l, y o u m u s t th e n
re a d i t c a re fu lly .
3 Reading
As you read, find out how Paul's computer affected his life.
Private property
T
he information in a person’s computer is private,
he placed the greeting ‘Welcome to the world of
and normally it is a crime for anyone to find a
magic’.
way of seeing this information when they have no
How was Paul able to reach computers all over the
right to do so. Young men who have committed the
world from his mother’s house? He made a piece of
crime of ‘hacking’, or finding a way of seeing the data
in other people’s computers have been sent to prison
through the telephone line. This piece of electronic
equipment which linked his computer with others
for as long as six months. However, a court decided
that Paul Bedworth, aged 19, did not intend to commit
equipment is called a ‘modem’. The first computer he
a crime when he illegally gained access to other
of a network of computers linking universities all over
people’s computers. In the opinion of the court, Paul
the country. So he'was able to reach all these university
was an addict who could not stop what he was doing.
computers through the one at his nearby university.
Paul was given his own computer when he was 11
and started by playing computer games. But he soon
‘hacked’ was at a university near his home. It was one
From these machines he could ‘go’ anywhere in the
world.
became bored with this and quickly learned to write
his own ‘programs’, that is, give the computer
instructions to do certain things. By the age of 14 he
was able to gain access to other people’s computers,
starting with ones belonging to a travel organisation.
Quickly moving on to bigger and more powerful
machines, he was even able to see the secret details of
people’s illnesses by reading health records on
computers.
His computer was the only thing that mattered to
Paul so he would stay up nearly all night, sitting at it
in a darkened room hour after hour, night after night,
hardly eating or sleeping. When his friends called
round to see him, he ignored them even when they
were in the same room with him. He even gave up
swimming, which he used to enjoy.
His physical and social life suffered, but Paul’s skill
with computers had no limits. He was very intelligent
His mother became very worried that her son spent
and the reason for his ‘hacking’ was because it was an
all his time with his computer. So she switched off the
intellectual challenge. Computer owners try to keep
electricity supply in their house. But, whenever she did
their information private by using what are called
this, he would become very aggressive and turn it on
‘security systems’, which simply means ways of
again. She even tried to stop him using the telephone
protecting their information. Paul’s aim was to use his
by placing an electronic device on it. But he was able
brain to find a way of defeating these systems. Before
he could get into a computer, he had to discover its
to discover how it worked and find a way around it.
Fortunately, Paul obtained a place at university to
secret word, called a ‘password’. But he was not
study computing. He finds the work there very
content just to read the information he found: he
challenging, so he no longer feels the need to ‘hack’
would add his own messages. On one computer
other computers and has stopped breaking the law.
ti § 11 2
*
Computer Magic
A n s w e r th e s e q u e s tio n s :
1
When is it a crime to try to see the information on someone else’s computer?
2
Why was Paul Bedworth not sent to prison?
3
What three things that you can do with a computer are mentioned in paragraph 2?
4
What interested Paul, apart from his computer?
5
How did Paul’s use of his computer affect his health?
6
Name one part of a security system that is mentioned in the text.
7
Paul didn’t buy a modem. So how did he obtain one?
8
What does ‘these machines’ (paragraph 5) refer to?
9
a) What two things did Paul’s mother do to stop him using his computer?
b) Was she successful?
c) What effect did her actions have on Paul’s feelings?
10
Give other words or phrases which occur in the text for each of these expressions:
d a ta , co m m ittin g a crim e, tu rn o ff, in stru ctio n s fo r a co m p u ter.
Q
Vocabulary 1: Computers
U ses
A It prints text.
B It gives you a choice of things to do.
C You use it to type words and tell the computer what to do.
D It links one computer with another.
E You use it to move the cursor around.
F It shows you text and pictures.
G It acts as a pointer, to point to what you want the computer to do.
Close your books and see ho vj much you s lh
Questions:
Answers:
What does the printer do?
What is the mouse for?
It prints text.
You use it to move the cursor around.
C o m m u n ic a t io n 1: Expressing past habit
N o te t h e fo r m s in th is b o x :
Actions do n e often o r regu la rly , but not now .
O ne ac tio n repeated
T w o OR MORE
ACTIONS REPEATED
N egative
colloquial
NEUTRAL
FORMAL
Q uestion
N egative question
He w o
He
stay up nearly all night.
e n jo y swim m ing.
He
get into com puters and leave messages.
He
He
He
visit his friend.
visit his friends.
visit his friends.
he
stay up all night?
he
visit his friends at all?
UNI T E • Computer Magic
Role-play in pairs
W r i t e d i a l o g u e s a n d t h e n a c t t h e s e p a r t s , t a l k i n g a b o u t h o w t h i n g s used to b e .
1 Two people discussing improvements in their village.
‘There used to be no electricity.’ ‘We used to walk miles every day to g e t. . . ’
2 Tw7o village elders discussing old village customs that have stopped. ‘In the old days, we
used t o . . . ’
3 Two parents discussing a child. ‘Do you remember what Fatou used to do when she was
hungry?’
4 Two former students returning to their school after several years’ absence. They discuss
a) the changes, b) things they used to do. ‘This used to be the headmaster’s office.’ ‘We used
to climb this tree and watch . . . ’
m^
Wr'*e out this dialogue as follows: if a verb in brackets expresses past habit,
rewrite it using would or used to; otherwise use the past simple.
I ssa
Do you know what Abdoul was like when he was at primary school?
A nne I expect he (1 w o r k ) hard and (2 p le a s e ) his teachers.
I ssa
\
Not at all! He (3 stay ) away from school. He (4 miss) lessons. He (5 play) all kinds of tricks
on his teachers.
A nne What sort of things ( 6 h e , d o j?
I ssa
You know what a good actor he was? Well, sometimes he ( 7 p u t ) on a suit and pretend to
be an adult - an important official, perhaps - and he ( 8 m a k e ) up a story to tell the head­
master. One day, he ( 9 p r e t e n d ) to be his own father and ( 1 0 tell) the headmaster that his
son ( 1 1 h a v e ) to attend a wedding and ( 1 2 c a n ’t) come to school for several days, i
A nne And did the headmaster believe him?
I ssa
Yes, he ( 1 3 b e li e v e ) him at first, until he ( 1 4 h e a r ) a knock on the door, and
Abdoul’s real father ( 1 5 e n t e r ) the room!
6 Speech: Pronunciation of / w / , / r /
L is te n , d ic ta te , discuss. F o llo w th is p ro c e d u re :
1 Listen to your teacher pronouncing each word.
2 In pairs:
* Partner A dictates half the words (chosen at random) to Partner B, who writes them
down.
* Partner B dictates the remaining words to Partner A, who writes them down.
* Both partners discuss what they have written.
3 The whole class discusses the pronunciation.
wear
w id e
w ise
w a ke
w a ist
rare
ride
rise
rake
raced
w hite
w in g
w ip e
w hich
west
In p a irs : o n e p e rs o n says e ith e r s e n te n c e a) o r b ); th e
a p p r o p r ia te . Take i t in tu r n s t o s ta rt.
1 a) That’s a fine wing.
b) That’s a fine ring.
2 a) We waste a lot.
b) We raced a lot.
right
ring
ripe
rich
rest
re p lie s w it h c) o r d ) as
c) Yes, it’s solid gold.
d) Yes. The red feathers are beautiful.
c) And I always lost.
d) Especially water.
3 a) Buy the white cloth.
b) Buy the right cloth.
c) But there isn’t any white cloth left.
d) That was the blue cloth, wasn’t it?
4 a) I’ve seen the West.
b) I’ve seen the rest.
c) The East is rather different.
d) Why not look at them again?
5 a) Is that a whale?
b) Is that a rail?
c) No, it’s a dolphin.
d) Yes, you can hang your coat on it.
UNI T £ ® Computer Magic
Q
Vocabulary 2: Word formation: verbs in -;fy,
W h e n a snake terrifies you, it m akes you very a fra id .
To urbanise an area is to make it into a town.
You can turn some words into verbs using the endings -ify or -ise. Com plete the
definitions below w ith suitable verbs:
a) to make a score e q u a l in a match is to (------- ).
b)
to place things in c a t e g o r i e s is to ( ------ ) them.
c) to make something s i m p l e is to (------ ) it.
d) to make something p u r e is to (------ ) it.
Complete the verbs below with -ise, -ify, -ised or -ified.
I rent a little bookshop,
I emphas— it's small,
And recently I modem— it:
Computer— it all.
Alas! It cost too much,
And I knew the rent would rise,
I was terrif— and asked
My father to advise.
It horrif— my father
When he heard what I had spent.
'Econom— at once/ he said.
1 won't subsid— your rent.'
'M y son, I can ident—
The error you have made.
I'll spec— your problem:
It's extravagance, I'm afraid.'
He didn't even sympath— .
To summon— ,' he said
'Minim— your costs,
Good luck, and use your head.'
8
Communication 2: Agreeing and disagreeing
Study this conversation. Notice h o w these tw o people often ag ree or disagree
w it h e a c h o th e r.
J ea n
B rend a F assie’s the big­
gest star in the history
o f South A frican music.
Fatou
I en tirely a g r e e . S h e ’s
so full o f life, su ch an
e x c itin g
p e rso n a lity .
You co u ld c a ll h er th e
b la c k M a d o n n a .
J ea n
I a g r e e w ith y o u ab o u t
h er p erso n ality , b u t I
d o n ’t g o a lo n g w ith the
id ea th a t sh e’s som e
so rt o f M a d o n n a . Sh e’s
p o p u la r becau se sh e ’s
in
to u ch
w ith
the
y o u n g p eo p le in the
tow nship s.
Fatou
E x a c t ly .
Sh e
know s
h o w they feel and she
ca n exp ress th eir feel­
ing s fo r th e m . S h e ’s
su ch a su ccess becau se
s h e ’s so p ro v o c a tiv e ,
so o u trag eo u s.
J ea n
T h a t ’s w h a t I th in k ,
t o o . S h e ’s s o m e th in g
sp ecial.
Fato u
A b s o lu te ly .
But
she
d oesn’t do enou gh fo r
the you ng peop le. She
is
o n ly
in terested
in
m aking her new album .
J ea n
I ’m a fr a id I c a n ’t a g ree w ith y ou on that. She gives people hope. W h en they are suffering,
she tells th em to stand up and fight fo r th eir rights. T h a t’s a positive th in g to do.
Fatou
I ta k e a d ifferen t view . She should encourage them to do som ething th at w ould keep them
o ff the streets and out o f trouble.
J ea n
In m y op inion th a t’s som eone else’s job, A fter all, she’s a singer.
Fatou
I d isag ree. She has so m u ch influence and popularity. She really ough t to use h er position
to teach the young people to be responsible.
UNIT
M ake tw o lists of
w a ys of disagree!
2 • Computer M agic
le phrases in italics: one for w a ys of agreeing, th e other for
Further expressions
Style
Agreeing
Disagreeing
Informal
1couldn't agree more.
Well, that's it, isn't it?
Too true.
No wayl
Come off it!
You don't mean that, do you?
Neutral
That's right. *
True enough.
Do you really think . . . ?
That's not the way 1see it.
That's not right, surely.
Formal
1wouldn't disagree with that.
1think that's quite correct.
That's my view / opinion exactly.
1can't accept. . .
1can't say that 1share your view.
1see things rather differently.
Discuss one of these topics in sm all groups. Agree w ith the other speakers on som e
points. Disagree on others.
*
W h o is th e c o u n try ’s lead in g sing er / fo o tb a lle r / m ed ia p erso n a lity ?
*
P olygam y. Is it a g o o d th in g ?
*
T h e id eal n u m b er o f ch ild re n in a fam ily.
*
A n id ea o f y o u r o w n .
W rite a dialogue in w h ich tw o people discuss one of the above topics that you
didn't choose.
Listen in g : Love-link
S o m e m e n a n d w o m e n w h o w a n t to fin d a p e rs o n th e y w o u ld lik e to
m a r r y jo in a n in t r o d u c tio n (o r d a tin g ) ag en cy . F ir s t, th e y c o m p le te a
q u e s tio n n a ir e , g iv in g a lo t o f in f o r m a tio n a b o u t th e m s e lv e s . N e x t , th is
in fo r m a tio n is e n te re d in to a c o m p u te r w h ic h th e n m a tc h e s th e ir d eta ils
w ith th o se o f sim ilar p eop le o f th e o p p o site sex. E a ch p erso n is th en given the
n a m e , ad d ress an d p h o n e n u m b er o f sev eral p o ssib le p a rtn ers. A fte r th a t it is
up to th e in d iv id u a l to w rite to o r p h o n e e a c h p e rs o n o n th e ir lis t a n d
a rra n g e to m e e t th e m .
Listen tw ice to these interview s w ith people w h o have m et th eir partners through an
agency called L O V C - lin K and w rite a short account of each of their stories.
10 Composition: Finding a partner
Preparation Adding ideas
fir s t idea
There's peppe re d chicken.
In addition,
At the
b eg in n in g
o f the
sen ten ce
W h a t is more,
Besides (that),
O r (in
s e c o n d or
third p la ce)
O r (at the
end)
there's beef cooked in ginger.
There's alsc beef cooked in ginger.
There's beef cooked in ginger,
s&condid&a.
j^
N o t e : F u r t h e r m o r e a n d m o r e o v e r a r e u s e d in f o r m a l c o n t e x t s a n d c o m e a t t h e b e g i n n i n g o f th e
s e n te n c e .
W r it e o u t t h is t e x t a d d in g s u it a b le c o n n e c t in g w o r d s a n d p h r a s e s .
L ad ies and g en tlem en , w e b rin g y o u an evening o f splen d id en terta in m e n t. W e are p ro u d to
in tro d u ce th e fan tastic Agege G o g o D a n cers. ( 1 ------- ), you w ill h ea r th e gentle m u sic o f the Six
H a rm o n y H arp ists. T h e re w ill ( 2 ------- ■) be singing by the A rch an gel C h o ir an d y ou w ill have a
ch a n ce to jo in in so m e o f th e songs ( 3 ------- ). ( 4 ------- ■), w e have so m e m ag ic, ( 5 ------- ■). A c o n ju ­
ro r w ill am aze you w hen he m akes a sm all boy disappear and co m e b a ck again. ( 6 ------- ) he w ill
te rrify you as he ap p aren tly saw s a w o m a n in h a lf. E n jo y a b rillia n t evening.
\
£itku>
W r ite a n
J
* 0 *'
im a g in a r y s t o r y o f t w o
p e o p le w h o
m e t th ro u g h a n
in t ro d u c tio n
ag ency.
m
or
W r it e a le t t e r in t r o d u c in g y o u r s e lf t o s o m e o n e o f t h e o p p o s it e s e x w h o m y o u
w o u ld lik e t o m e e t .
or
W rite a
le t t e r g iv in g
a d v ic e t o
a fr ie n d
w ho
w a n ts to
m e e t a p a rtn e r, b u t
h a s n 't f o u n d t h e r ig h t p e r s o n y e t .
or
W r it e a le t t e r t o a n a g e n c y , t h a n k in g it s s t a f f a f t e r y o u h a v e h a p p ily m a r r ie d
s o m e o n e y o u m e t t h r o u g h t h e m . T e ll t h e m
p a rt o f y o u r sto ry .
UNI T 2 • Computer M agic
Consolidation Exercises
Vocabulary 1: Computers
Copy th is crossw ord puzzle and com plete it.
D own
1 A sm a ll o b je c t w h ich y o u use to m ove th e p o in te r a ro u n d th e scree n : a ( ------- ■).
2 T h e cu rso r acts as a (------- j to p o in t to w h a t y ou w a n t the co m p u te r to d o .
3 T h e (------- j p rin ts te x t.
5
T h e p a rt y ou lo o k a t w h en you w a tch T V o r use a co m p u te r: ( ----- ■).
A cro ss
4
T h is equipm ent is used by secretaries, w riters and other
people to prod uce a te x t: a (■----------------------- ). (2 w ord s)
1
2
4
3
5
6 A m o d em (------- ) a co m p u te r w ith o th e r co m p u te rs
6
th ro u g h th e te le p h o n e.
7 A list o f things you can ask the com puter to do: a (------- ■).
8 T h e (-------jis the p art you tap w ith your fingers to m ake
letters ap p ear o n the screen.
7
8
Communication 1: Expressing past habit
Put each verb in brackets into the past sim ple, if the action happened once.
Use w o u ld or u se d to if it w a s habitual. W here h e or n o t are inside th e brackets,
place them correctly in th e verb form .
ISSA
I (1 h e a r ) a ru m o u r y esterd ay th a t A b d o u l h as b o u g h t th e F a s t a n d F u rio u s T a x i
C om p an y.
IBRAH IM
Y o u m ean th e A b d o u l w h o (2 d riv e) his o w n ta x i so cra z ily ?
Issa
Y es. T h e F a st and F u rio u s T a x i C o m p a n y (3 b e lo n g ) to J e a n , b u t it h a d a d iffe re n t
n am e. It (4 b e ) th e Su re an d C e rta in C h a u ffe u r Serv ice.
Ib r a h im
A b d o u l w a s s u c h a lu n a tic o n th e r o a d . If h e th o u g h t a n o n c o m in g v e h ic le w a s n o t
g i v i n g h i m e n o u g h r o o m , h e (5 drive) s t r a i g h t a t i t . H e (6 pu t) h is h e a d a n d s h o u l d e r s
r ig h t o u t o f th e w in d o w a n d w a v e h is fis t a n d s h o u t a t o t h e r d r iv e r s . H e
( 7 terrify )
th e m .
Issa
W h a t d id th e o t h e r d r iv e r s d o ?
Ib r a h im
T h e y (8 g et) o u t o f his w ay fast. Som etim es th ey (9 drive) rig h t o ff th e ro a d an d in to
the bush. O n e o f them (1 0 drive) straig h t th rou gh a h o u se an d (11 en d ) up in a river.
ISSA
W h a t a b o u t his p assen gers? (12 h e, h a v e) lo ts o f a ccid e n ts?
Ib r a h im
H ard ly ever. So his passengers h ad g rea t fa ith in h im . In fa c t th ey (1 3 en joy ) it. T h e y
(1 4 n ot, m in d ) at all. T h e y ( I S p a y ) a sm all ta x i fa re and w itn ess a g re a t d ra m a if
th ey w ere lucky.
Issa
A nd if th ey w ere u nlu cky ?
Ib r a h im
A t le ast th ey all stayed alive.
Communication 2: Agreeing and disagreeing
C h o o s e o n e o f t h e s e w o r d s f o r e a c h g a p a n d w r i t e it in
your exercise
30k:
ag ree, ab so lu tely , d iffere n t, d isag ree, en tirely, go a lo n g , sh a re, th in k , w ith
Student A
I th in k every th in g o u g h t to be free.
Student B
( 1 ------- ■). I th in k fo o d o u g h t to be free, m eals in re s ta u ra n ts , s o ft d rin k s, ...
Student A
I ( 2 ------- ) w ith y ou : free h o te ls, free tra v el, free b o o k s.
Student B
T h a t ’s e x a c tly w h a t I (.3 ------- ■), to o . E v ery th in g sh o u ld b e free
Student A A nd p eop le shou ld w o rk fo r n o th in g .
A dult
N o n se n se! I en tirely ( 4 ------- ) w ith you . I w o rk h a rd , b u t m a n y p eop le d o n ’t. I
sh o u ld n ’t have to w o rk h ard fo r n o th in g w h ile o th e rs are lazy.
Student A
I agree ( 5 ------- ) you a b o u t th a t. B u t w e w o n ’t allo w p eop le to be lazy. So th e re’ll
be n o th in g fo r you to co m p la in a b o u t.
Adult
I d o n ’t ( 6 ------- ) y ou r o p tim ism . I have a ( 7 ------- ■) view o f h u m an n a tu re. T h e re ’ll
alw ay s be lazy peop le.
Student A
I th in k w e sh o u ld sta rt a n ew o rg a n isa tio n an d ca ll it ‘E v ery th in g F re e ’.
Student B
Y es. I (8 —— ■) agree. Y ou ca n p rin t som e leaflets, h ire a h all fo r a m eetin g, m ak e
so m e p o ste rs, a rra n g e fo r so m e ad v ertisem en ts and g en era lly p u b licise it.
Student A
I ’ll glad ly do th a t. W ill you give m e so m e m o n ey fo r all th o se th in gs?
Adult
You see? M o n ey again. Y our ideas are unrealistic and I just ca n ’t (9 ------- ) w ith them .
$ Vocabulary 2: Word formation: verbs in -ify, -ise
C h o o s e t h e c o r r e c t e x p r e s s i o n f r o m t h e b o x t o r e p l a c e e a c h w o r d o r p h r a s e in
it a lic s in t h is c o n v e r s a t io n :
M r B amba
T h is n ew ep id em ic. H a v e w ^ f j fo u n d o u t w h a t it is)}
M s K acou
Yes. It’s ch o lera , as I th o u gh t. I have ju st (2 c h e c k e d ) th is w ith th e h o sp ital. T h ey
hav e (3 in fo r m e d ) all the n ecessa ry a u th o ritie s.
M r B amba
H o w w id esp read is it?
M s K acou
F o rtu n ately , it ’s (4 r e s tr ic te d to a s m a ll a r e a ).
M r B amba
G o o d . T h e n w e ca n p rev en t it sp read in g if w e (5 g e t th e a c tiv e s u p p o r t o f) th e
m edia an d use th em to (6 m a k e k n o w n to th e p u b lic ) th e w ays o f a v o id in g the
illness.
Ms K acou
Yes. It w ill be m o re im p o rta n t to (7 stress) the need fo r h ygiene an d clea n w a te r
th a n to (8 g iv e im m u n ity to) p eop le by v a cc in a tin g th em . W e m u st (9 in c r e a s e )
o u r p u b lic h e a lth ed u ca tio n .
M r B amba
W h y d o n ’t w e (1 0 m a k e a d r a m a o f) g o o d an d b ad h ygiene an d w ays o f g ettin g
and using w a te r? W e co u ld m a k e a film and th e n (11 s h o w it o n telev isio n ).
M s K acou
intensify,
notified,
G o o d idea! Perhaps this w ill be the sta rt o f a new ca reer fo r you in b ro ad castin g .
localised,
publicise,
ve rifie d ,
m obilise,
identified it,
emphasise
immunise,
televise it,
dram atise,
A nyone can succeed
C o n sid er w h a t h ap p en s in y ou r ow n co u n try :
1 W h y do few er g irls th a n b o ys stay o n a t sch o o l?
2 D o w o m en w o rk lo n g er h o u rs th a n m en?
3
4
A re th e d isab led (su ch as blind o r d ea f p eop le) tra in ed to ea rn a living?
D o o ld er p eop le find it h ard er to g et a jo b th a n you n g o n es?
Picture interpretation
S tu d y th e
icture and a n sw e r th is q u e s t i o n :
D o es any g ro u p o f p eo p le have m o re o p p o rtu n itie s in life th a n a n o th e r g ro u p ?
Study skill
H o w to m a k e n o te s o n a te x t
*
I n c l u d e t h e m a i n i d e a s , n ot u n n e c e s s a r y d e t a i l s .
*
O n l y m & k e n o t e s o n a t e x t w h e n y o u h a v e f o u n d o u t w h a t it s m a in id e a s a r e . Y o u
m u s t fir S t r e a d , o r s k im , a g o o d s e c t io n o f t e x t t o d o t h is .
*
R e a d c a r e f u lly
a) th e
main h e a d i n g
b ) s u b h e a d in g s
c) t o p ic s e n t e n c e s ( u s u a lly t h e f i r s t o n e in e a c h p a r a g r a p h )
*
S e t o u t y o u r n o t e s c le a r ly .
*
S t a t e t h in g s lik e
*
B e b r ie f .
results, contrasts, examples v e r y c l e a r l y .
R e a d t e x t A , lo o k in g f o r it s m a in id e a s .
HXH
Women's W orld Banking
M a ria Emelina Cerrato, a shoemaker and the
mother of three children, couldn't obtain a normal
bank loan to make her business successful. She
learned her craft from her brother-in-law in a small
town in Honduras. W hen she decided to start her
own business in 1985, he lent her equipment and
she started producing one dozen pairs of shoes a
day, with sales totalling 240 lempiras (about $120).
Yet her net profit was only 55 lempiras ($27.50) barely enough to provide food, education, and
minimum comfort for her family. Most of her gross
profit went to go-betweens and a loan shark * from
whom she borrowed the money for supplies and to
whom she had to pay interest at the rate o f 10 per
cent a day.
Cerrato was convinced that if she could borrow
money at a normal rate of interest and sell directly
to consumers, she could do much better. But the
traditional banks of Honduras would not even consi­
der extending credit to her**.
M aria Cerrato's story is like those of women in
many countries throughout the w orld. Traditional
bankers see people like her as a bad risk. In the
view of their loan officials, it is a waste o f time and
money even to consider making a loan to an under­
educated w om an w ho has d ifficulty fillin g in a
simple application form for a loan and w ho may
not even know her date of birth.
This problem was noticed by M ichaela W alsh, a
senior official in a N ew York City bank in the mid
1970s. She saw, too, that women did 65 per cent
of the w orld's work, yet earned only 10 per cent of
the income and owned less than 1 per cent o f the
world's assets ***.
She decided that this situation had to change.
W ith a number of enthusiasts from various parts of
the w orld she obtained enough money to establish
W om en's W o rld Banking. Their aim was to create
'a more equitable society in w hich women are
equal partners in economic development.' The foun­
ders agreed that the key to this was access to credit.
M arket women in Ghana came to the same conclu­
sion at a meeting in 1974. Their voice was loud
and clear - first and foremost, they needed the
opportunity to obtain a loan: not better education,
housing, health care, fam ily planning, equality or
peace. Once they had credit, they could use it to
make the money required to satisfy all other needs.
'O u r goal was to reach women w ho had been
bypassed by the traditional banking system and to
* person who lends money at a very high interest rate and may use violence to obtain repayment.
** giving her a loan.
* * * property and money
UNI T 3 • A nyone can succeed
bring them into the economic mainstream/ said Ela
Bhatt, one of W W B 's founders.
W W B consists of the international headquarters
and local W W B organisations in individual coun­
tries. Together they are now helping business
women all over the w orld. One person who has
benefited is M aria Cerrato, who has been able to
transform her business. W W B in Honduras gua­
ranteed a loan o f 4 00 lempiras ($200) for her to
buy new materials. Today, after nine loans and the
possibility of borrow ing up to $ 50 00 , her annual
sales have jumped from $ 10 ,8 9 0 to $ 87 ,12 0 and
her profits have grow n from $ 2 ,9 4 0 a year to
$21,780.
\ _________________ ________________________
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* \jrjLhzoJzzxL jaAo^it to- -S 21,7 8 0 jR.a,.
A n s w e r t h e s e q u e s tio n s o n t h e t w o s e t s o f n o te s .
1
W h a t is th e m ain th em e o f T e x t A?
A M a ria C e r r a to ’s sh o em a k in g b u sin ess.
B
2
H e lp in g w o m en to g et bu sin ess lo an s.
C S o m e th in g else (say w h a t).
D o b o th sets o f n o tes m e n tio n this th em e?
3
W h ic h set o f n o te s m ak es it clea r th a t th e sto ry o f M a ria C e rra to is a n e x a m p l e ?
4
W h ic h set o f n o tes gives m o st d etail a b o u t M a ria C e rra to ? Is it a p p ro p ria te to give so
m u ch d etail? G iv e y ou r reaso n s.
5
6
W h ic h set o f n o tes has b ette r h ead in gs? Say w hy they are better.
R ea d the first sen ten ce o f set o f n o tes 2 . W h y w ou ld such a sen ten ce be w ro n g in an y set
o f n o te s ?
7
F ro m w h ich set o f n o tes do w e learn th a t M ic h a e la W alsh n o tice d th a t w o m en co u ld n ’t
g et lo a n s? Is it rig h t to inclu d e th is p o in t?
8
Set o f n o tes 2 lists the th ree w ays in w h ich w o m en ’s w o rk is n o t rew ard ed . Set o f n o te s 1
sim ply says ‘W o m en received very little m o n ey fo r all th eir w o r k .’ W h ic h is b etter? W h y?
9
W h a t is w ro n g w ith all th ree p o in ts listed u nd er W W B in set o f n o tes 2 ?
10
W h ic h set o f n otes presents p o in ts such as e x a m p le s , resu lts and r ea so n s the m o re clearly?
Y o u a r e g o in g t o t a lk t o a g r o u p o f s t u d e n t s a b o u t d e t e r m in a t io n .
R ead Text B and
m a k e a s e t o f n o t e s o n u s e f u l p o in t s f o r y o u r t a lk .
M
$
When he was 12, his much-loved father was
killed in a gas explosion at work. His mother had to
struggle to bring him up with very little money. He
had to start at secondary boarding school within
two weeks of his father's death. 1 realised that I
would have to fight back or go under,' he said. 'I
fought back.'
His school was not encouraging. They didn't
believe examinations were necessary and only offer­
ed their blind pupils three career options: piano­
tuning, lathe-turning or office work. David chose
office work and learned typing and shorthand. 'By
my late teens I became determined not to be a typi­
cal blind person with dark glasses and a white stick.'
He went to night school for six years to get the
qualifications he needed to enter university. 'Looking
back, I don't know how I managed. It was very
hard work.'
David Blunkett is a member of parliament in the
United Kingdom. He was born blind, but has made
a successful career for himself in politics by his
determination.
At university he became involved in politics. 'There
are people in politics who feel that because I am a
blind man, I cannot work on equal terms,' he said.
'The only way I can answer them is by doing a
first-class job. And when I make a mistake, it is
because I am human like other people, and not
because I am blind.'
U I! IT 3 • A nvone can succeed
Vocabulary 1: Words that go with make and do
Do
Make
Meaning to
I'm making a basket.
She's made a cake.
create
With 'speech'
and sound
nouns
With some
nouns
to make
a suggestion
a remark
a speech
a complaint
a noise
to make a mistake
to make a difference
to make an effort
to make a phone call
to make a note of something
With some
other words
to make sure / certain
to make something clear
to make oneself understood
With words
meaning work
Have you done the work?
We've done the past tense.
With nouns
ending in -ing
1do all the cooking.
W ho did the driving?
With the idea of She did well in the exams.
good or bad
The medicine did me some good.
You haven't done badly.
Could you do me a favour, please?
Meaning cook
1haven't done any rice.
With other
actions
W hat have you done?
Let's do something exciting.
To m ake do w ith som ething m eans to accept som ething although it is not w h a t you
really w ant.
Ex:
T h e re w as n o ele c tric lig h t, so w e m ad e do w ith an o il lam p.
W e co u ld n ’t g et co ld d rin k s, so w e m ad e do w ith w arm ones.
L is t t h e p h r a s e s w it h
M ake a n d d o t h a t o c c u r i n Text A o n p . 3 6 - 3 7 a n d Text B o n p . 3 8 .
one or tw o of these w ords for each gap:
C h o o se
d o , d o in g , d o n e, m a k e, m ad e.
D ave
W e’ve ( 1 ------- ) very well. It’s only 8 .0 0 a.m . and w e’ve ( 2 ------- ) all the packing. I’m afraid
w e lent our sm art new suitcases to so m eo n e so I had to ( 3 ------- j w ith som e old ones. I
th in k w e ’re ready to start ou r journey. H ave w e ( 4 ------- j everything?
Guy
D ave
I’ll ju st ( 5 ------- ) sure th a t I’ve locked all the doors.
It d oesn’t ( 6 ------- ) m uch difference. If a burglar is determ ined to b reak in,
he w ill. I w ish the police w ould ( 7 ------- ) a greater effo rt to stop theft. T h ey
( 8 ------- ) no good at all. O n e day I’m going to ( 9 ------- ) a c o m p la in t...
G uy
T h e r e ’s no need to ( 1 0 ------- ) a speech. I c a n ’t get in to
th e h ou se. W h a t have y ou
( 1 1 ------- ) w ith th e key?
pu t it in the c a r after I had ( 1 2 ---- ) everything in the house.
D ave
I
Guy
B u t the ca r is locked . L et m e have the ca r key, please.
D ave
I
haven’t g ot it. L o o k ! It’s in the car. I ’m afraid I ’ve ( 1 3 -----)
som ething very foolish. I’ve locked the keys inside the car.
T h a t’s a m istake I’ve never ( 1 4 ------- ) before. W h a t shall w e (I S
Guy
-) now ?
M a y I ( 1 6 ------- j a suggestion? A sk this policem an . H e kn o w s ou r pro b lem . H e ’s been
stand ing here listening to everything y o u ’ve said.
Communication 1: Referring, using pronouns
S t u d y t h is t a b le . T h e n w r it e
pronouni, subject or -selves i n e a c h g a p i n t h e s e n t e n c e s
b e l o w it.
Person
Person
Person A
Person
Person B
__________ A — ► B
Person
__________A ^ Z ^ B
A n n e is my sister. I (A) saw
her (B) yesterday.
I (A) enjoyed myself (A) at
the party. A nne (B) enjoyed
nerse (B). W e enjoyed our­
selves.
A nne and I see
(or one another) on Sun­
days. I (A) see A nne (B)
and A nne (B) sees me (A)
I (A) sometimes talk to nysel
(A) when I am alone.
Pr o n o u n s
Per so n a l a n d
Singular
r e f l e x iv e
pro n o u n s
after
a
verb
or
PREPOSITION
Subject
Object
Reflexive
W h en the p ro n o u n refers to the
1
me
you
him
her
it
one
myself
yourself
himself
herself
itself
oneself
(1 ------- ■) o f th e cla u se , use a
form ending in -self or ( 2 ------- ■).
you
he
she
it
one
W h en it refers to so m eo n e else,
use a personal ( 3 ------- ■) (E x: m e,
him , th em ).
(formal)
Plural
we
you
they
us
you
them
ourselves
yourselves
themselves
C o p y a n d c o m p le t e t h e s e s e n t e n c e s , u s in g t h e p r o n o u n s b e lo w :
5
her, h erself, h im , him self,, it, itself, m e, o u rselv es, us, y ou rselv es.
1
W h ile w a itin g fo r E m ile to b rin g (------- ) a b a n a n a , I saw (------- ■) h elp ing (------- ) to o n e first,
2
T h e ta x i brin gs m e in a lo t o f m oney. (------- ) p aid fo r (--------} in its first year. N o w (------- ) is
ea rn in g big p ro fits fo r (------- ■).
3
A fter w o rk in g fo r years w ith o u t a b re a k , she allo w ed (------- ■) a th ree-m o n th holiday. T h is is
a p ictu re o f (------- ■) o n th e b each .
4
A s w e set o ff, o u r m o th e r w aved g o o d b y e to (------- ) an d said , ‘T a k e c a re o f (------- ■).’
5
W h a t sh a ll w e do w ith (------- ■)? W e h ave n o th in g to do an d n o -o n e w ill give (------- ■) any
w o rk .
U N 11 3 • A nyone can succeed
O
th er
u ses
o f
r e f l e x iv e
p r o n o u n s
• For emphasis o r clarity:
Ex: The a irp o rt is very big, but the town itself is quite small.
I saw the minister limself.
• To mean 'w itho ut help' o r 'alo ne':
Ex: M y father built this house himsell and now lives here
S o m e
id io m a t ic
himself
u ses
He prides himself on his skill at football. (= He is very proud o f this)
W h y have you absented yourself from class again? (= stayed aw ay from - a form al expression)
W h ile I was in the capital, I availed myself of the chance to see its fine cathedral. (= I took the
o pportun ity to do something - form al)
She was beside herself with rage. (= uncontrollably angry)
The cham pion thinks too much of himself. (= is too proud)
Personal and reflexive pronouns
D e s c r ib e t h e s e p ic tu r e s to e a c h o th e r,
com pleting
t h e s e n t e n c e s w it h a p p r o p r ia t e p r o n o u n s .
0
1 M oussa likes Fatim a.
She likes ( 1 ------ ■).
He is looking at ( 2 ------ ■).
2 Julie is looking at ( 1 ------ ■).
Paul is looking at ( 2 ------ ■).
They are looking at ( 3 ------ ■}.
4 Pierre has hurt ( 1 ------ ■). Kwedi is helping (2 ------ ).
He is grateful to (3 ------ ■).
3 I am pouring ( 1 ------ ) a drink.
Michel is pouring ( 2 ----- ■) a drink.
W e are pouring ( 3 ------ ) drinks.
5 Fatima never travels by ( 1 ------ )
Awa made her clothes ( 2 ------ ).
Reflexive pronouns and each other
™
W ith yo u r partner, m atch each picture w ith its sentence and com plete each sentence
w ith th em selves or each o th e r
# —
A T h e y a re very p leased w ith (■------- ■).
B
T h e y are w a rm in g (------- ■).
C T h e y are w ra p p in g th e ir b la n k ets
a ro u n d (------- ■).
D T h e y a r e g r e e t i n g (-------E
T h e y c a n ’t h e a r ( -------- ).
F
T h e y are giving (------- ) p resen ts.
G T h e c a r s c r a s h e d in to (------- ■).
H
S tu d y th e se
c o n v e r s a t io n s .
T h e y a re w a sh in g ( ------- j .
W rite f iv e s e n t e n c e s a b o u t t h e m , s a y in g w h e t h e r
a d ic t /
em selves, a r e
p leased w i t h them selves/each other, blam e th e m se lv es/each other f o r ..., and so on.
t h e s p e a k e r s : a g r e e / d is a g r e e w it h e a c h
^.BDOUL
A lco h o l should be forbidden.
I d r is s
I a g re e w ith y o u . It d o e s so m u c h h a rm .
Ib r a h im
I d i s a g r e e . P e o p l e m u s t d e c i d e f o r t h e m s e lv e s w h a t t o d r i n k . Y o u c a n ’t t a k e t h e i r
I d r is s
Y o u can . T h ere are m any things people are n o t free to do.
J ea n
I never w o rk on Sundays. ... W ell, I suppose th a t’s n o t quite true. I do som etim es,
if I am forced to.
f r e e d o m a w a y lik e t h a t .
D R I \ ^ R ~ A '~ t1 ie a c c i d e n T w a s y o u r f a u l t "
D r iv e r B
N o . It w a sn ’t m y fault. It w as yours.
H usban d
If w e had locked the house, thieves w ould n o t have stolen ou r property.
Yes. It w as foo lish o f us to forget to lo ck the house.
W ife
ANNELISE
W e c a m e h r s t a n d second in th ^ ra ce.
Yes. W e w ere g reat, w eren ’t we?
J u l ie
W e ce rta in ly w e re .
M a rcel
I a l w a y s d r i v e c a r e f u l l y !-
J u l ie
A l io u
B u t w h a t a b o u t y o u r re c e n t a c c id e n t?
M a rcel
I w a s j u s t w a v i n g t o a f r i e n d . I d i d n ’t s e e t h e lo r r y .
UNIT
3 • a n y o n e can succeed
Speech: Pronunciation /e/, /ei/as in let, late
L is t e n , d ic t a t e , d is c u s s .
1
men
let
pen
best
tell
sell
2
main
late
pain
* . based
tail
sale
■ I
b)
c)
Com plete the w o rd s in th e sentences below w ith e , a o ra/. Practise saying these
sentences
your partner.
1
The (
t) is n o t (y— t) (— b le ) t o (g— t ) o u t o f ( b — d).
2
I (m — d e )th e (s— m e) (m ist— ke) (w h— n ) I (w — nt) to th e (m-— n) (g— te).
3
T h e (b r— k e s )a r e (m — king) a (str— nge) n o ise.
4
It (m — y) (r— n) (ag— n ) o n (W — dnesday).
P r a c t is e s a y in g
ords w h i c h la v e the s o u n d / ei / as i n late:
ch a n g e, ta k e , w a k e , sa fe, play, sta te, g rea t, fa ce , s itu a tio n , e x p la n a tio n , e d u ca tio n ,
im a g in a tio n , re g u la tio n s.
•
Vocabulary 2: Don't be confused!
s u p p o r t / b e a r, e n d u r e , p u t u p w it h
S tu d y
H e su p p o rts his fam ily. (= earn s m o n ey fo r its needs) M y sister su p p o rted m e w h en I
w as a ccu sed o f th e ft. (= she helped m e)
B ut
H e end u res / b ea rs / puts up w ith p a in bravely.
C o m p l e t e e a c h g a p w i t h bear o r support.
M y so n plays his c la rin e t fa r to o lo u d . I c a n ’t (1 -■— ) it an y longer. H e w a n ts to go a w a y to
study m u sic. I am very hap p y to (2 ------- ) his a p p lic a tio n .
g a in , p u t o n / e a r n
S tu d y
A b a b y gains (= puts on) a lo t o f w eig h t w h en he is very sm a ll.
But
She earns h er living as a singer (= ea rn s m o n ey fo r h er need s by singing)
C o m p l e t e e a c h g a p w i t h put on I gain or earn.
T h a t b ro th e r o f m ine! H e is so lazy. H e ju st sits a t h o m e eatin g. A ll h e does is ( 1 ------- ) w eight.
H e o u g h t to fin d a jo b an d (2 -------- ) his living.
cl ch an g e/ m oney
S tu d y
I h a v e n ’t en o u g h m o n ey to bu y so m eth in g
But
T h e s h o p a s s i s t a n t d id n ’t give m e th e rig h t c h a n g e
c o st o f a rticle:
4 5 0 0 C FA
m o n ey given:
5000
c o rr e c t ch an g e:
500
C o m p le t e e a c h g a p w it h
money o r change.
A ssista n t:
W h a t are y ou w aitin g for?
C u sto m e r:
F o r m y ( 1 ------- ■), please.
A ssista n t:
T h e re is n ’t an y! Y o u gave m e e x a c tly th e righ t a m o u n t o f ( 2 ------- ■).
Communication 2: Expressing conditions
C o m p a r e t h e s e s it u a t io n s a n d t h e s e n t e n c e s t h a t g o w it h th e m .
If it ra in s , th e y ’ll go insid e.
If it ra in e d , th ey ’d g o in sid e.
(R ain is lik ely )
(R ain is u n lik ely )
C h o o s e o n e o f t h e s e w o r d s o r p h r a s e s f o r e a c h g a p in t h e t a b le :
’d , r a i n e d , p a s t s im p le .
Unlikely conditionals
Forms:
I f + f l - — ■) tense, would (’d) + base form o f verb.
Example:
If it (2 - — ■), they ( 3 ------- j go inside.
N ote 1:
In unlikely conditionals, I can be follow ed by was o r were.
N ote 2:
Study the use o f unless and otherwise in these examples:
‘ If I were / was a politician, I w ould ....’
W e ’ ll have an accident unless you slow down, (if you do not slow down).
Slow dow n! Otherwise w e ’ll have an accident. (If you do not, w e ’ll ...).
UNIT
a ) Y o u a n d a f r ie n d a r e v is it in g A m e r ic a .
3 • A nyone can succeed
Y o u a r e w a l k in g a lo n g a s t r e e t in N e w
Y o r k lo o k in g a t t h e g o o d s in t h e s h o p w i n d o w s . T e ll e a c h o t h e r w h a t y o u
would
b u y o r could b u y i f ...
E x : I f I h ad ... d o lla rs, I w o u ld b u y ...
If I b o rro w e d ..., I co u ld g et ...
W o u ld you b u y ... if y o u co u ld ?
If I sav e d ... d o lla rs a w eek fo r 2 0 w eek s, I co u ld b u y ...
If y ou b o u g h t th a t w a tc h and th e rin g , th ey w o u ld c o s t y ou ... d o lla rs.
b ) T a k e it in t u r n s t o s a y w h a t y o u w o u l d d o if y o u w e r e t h e s e p e o p le :
E x : If I w ere th e h ead teach er, I w ould give th e s c h o o l a feast.
1
a b ig c a ttle fa rm e r d u rin g a d ro u g h t.
2
a h e a d te a c h e r w h o se sp o rts tea m s h a v e w o n m a n y prizes.
3
a p o lice m a n faced w ith a very b ig tr a ffic ja m .
4
a c lo th seller in th e m a rk e t w h o saw so m eo n e ste a l so m eth in g .
5
a p a re n t w h o se ch ild did very w ell a t sch o o l.
c ) Y o u le n t M ic h a e l a s u m
o f m o n e y a n d h e s a y s h e c a n n o t r e p a y it.
p a r t n e r a ll t h e t h in g s y o u w il l d o if h e d o e s n 't . U s e
T e ll y o u r
unless a n d otherwise.
E x : U n less he pays m e n e x t w ee k , I w ill te ll his p a re n ts. H e m u st rep ay it s o o n , o th erw ise
I w ill in fo rm th e p o lice .
W r i t e t h e a p p r o p r i a t e f o r m o f e a c h v e r b in b r a c k e t s in y o u r e x e r c i s e b o o k . C h o o s e
e i t h e r t h e past simple tense o r would o r could f o l l o w e d b y t h e b a s e f o r m
o f th e
v e r b . T h e f ir s t t w o a r e d o n e f o r y o u a s e x a m p le s .
Y aya
N o t tra in in g th is a fte r n o o n , D ra m a n e?
D ram ane
N o . I ru n tw ice a w ee k . T h a t ’s en o u g h .
Y aya
Y o u k n o w , y ou (1 b e ) cou ld b e a g re a t a th le te if y ou (2 w an t) w a n te d . If y ou
(3 train ) m o re o fte n , y ou (4 rep resen t) th e reg io n .
D ram ane
D o y o u th in k I (5 c o m p e te ) in th e O ly m p ics if I (6 train ) ev ery day?
Y aya
E r ... possibly. Y o u ( 7 h av e) a b etter ch a n ce if you (8 lo se) som e w eight. Y o u (9 b e)
a b le .to ru n fa ste r if y ou (1 0 ea t) less.
D ram ane
T h a t ’s a d read fu l id ea.
Y aya
Y o u (11 b e ) m u ch fitte r if y o u (1 2 h a v e ) o n ly tw o m eals a d ay in stea d o f th ree.
D ram ane
A nd if I (1 3 h a v e) ju st on e m eal, I (1 4 b e) a w o rld ch a m p io n , I suppose! A nd w h a t
a b o u t y ou ? Y o u ’re g o in g to a p a rty to n ig h t, a re n ’t y ou ?
Y aya
Y es.
D ram ane
W ell, if y ou ( I S stu dy) all nig h t in stead , you (1 6 d o ) w ell in y o u r exam s. And I’m
sure you aren ’t going to w o rk on Saturd ay and Sunday. B u t if you (1 7 d o ), perhaps
on e day y ou (1 8 b e c o m e ) a sen io r civil serv an t.
Y aya
If I (1 9 listen) to y o u r ad v ice, I (2 0 b e) m iserab le, I w ill h ave a b rillia n t career
w ith o u t w o rk in g all th e tim e.
Listening
R e a d t h e q u e s t io n s b e lo w . T h e n lis t e n t o t h e t a lk a n d w r it e y o u r a n s w e r s t o t h e
q u e s t io n s .
1
W h a t seem to be ‘th e tra d itio n a l ro le s ’ ?
2
A c co rd in g to th e sp eaker, h o w c a n th e situ a tio n be ch an g ed ? D o y ou ag ree?
3
D o e s th e sp e a k e r th in k th a t w o m en a re as b ru ta l as m en? D o you agree?
4
W h y are w o m en likely to be m o re ca rin g an d sen sitiv e? D o y o u agree?
Composition: Explaining an idea
-------------------------------------------------------------------------------------------------------------------
A
W r it e a n e s s a y o n t h e d is a d v a n t a g e s f a c e d b y w o m e n . F ir s t m a k e a lis t o f y o u r o w n
id e a s f o r t h is e s s a y . T h e n f o llo w t h is s tr u c tu r e :
■
Guidelines
In t r o d u c t io n
M a in
body
C o n c l u s io n
* M e n tio n
a re cen t ex a m p le o f d isc rim in a tio n .
L ist the m ain areas o f d iscrim in atio n th a t y ou w ill deal w ith
(E x : ed u catio n , w o rk in th e h o m e, ou tsid e w o rk , p o sitio n in so ciety).
E x p la in ea ch a re a o f d isc rim in a tio n in tu rn .
F o r ea ch are a give d etails an d ex a m p les.
*
In ea ch ca se su gg est w h a t sh o u ld b e d on e.
*
Say h o w m u ch p ro g ress h as b aen m ad e recen tly.
M e n tio n th e b en efits o f fa ste r ch a n g e.
*
W h a t is lik ely to h ap p en in fu tu re.
UNI T 3 • a n y o n e can succeed
C onsolidation
tS
Exercises
Vocabulary: Words that go with make and do
C h o o se o n e
of 'T h e s e w o r d s for e a c h g a p :
d o , d o in g , d id , d o n e , m a k e , m a d e
■
THE BURNT CAKE
I'm going to (1 —
j an effort
(If I ( 2 ---------- ) another cake)
To ( 3 ---------- j a careful note
O f the time it starts to bake.
I knew last time I (4
j one
j a slight mistake
That I'd (5
-) the comment,
W hen someone (6 ■
'I can smell a burning cake.'
I rushed into the kitchen
To see w hat harm I'd ( 7 ---------- j:
I'd ( 8 ---------- j a hard black rock,
N o use to anyone.
There was nothing I could ( 9 --------- -)
To hide the cruel fact
That I had ( 1 0 ---------- j the burning,
I'd ( 1 1 ---------- ) the careless act.
*
It didn't ( 1 2 ---------- j a difference
W hen I cut the outside off.
M y rock was just as hard inside,
a ( 1 3 ---------- j a concrete block.
If I (1 4 -) no more cooking,
j
no
more ironing either,
(1 5 I'd avoid ( 1 6 ---------- ) further damage
To food and clothes by fire
Communication 1: Pronouns
C h o o se
1
a s u i t a b l e p r o n o u n o r each other for e a c h g a p .
‘T h a t’s m y friend M a rc - the person w h o is pou ring (-----------) a
drink. I have k no w n (-----------j fo r m any years. W e k n o w (-------very w ell.’
2
T ea ch er
s to ry
T h i s i s n ’t y o u r w o r k . Y o u d i d n ’t w r i t e t h i s
( ------------- ■).
St u d e n t
N o . I d i d n ’t d o it a ll b y (------------- j . B e r n a r d h e l p e d m e .
T each er
W h y d i d n ’t y o u d o it a ll ( ------------- -j?
St u d e n t
B ecause you
( ------------- ) s a i d w e s h o u l d w o r k in p a i r s .
‘T h e re ’s a h ole in you r shirt. Y o u ought to m end (--------- ) or buy (-
3
-) a new one. Look
a t (■---------j in th e m irro r an d y o u ’ll ag ree w ith (------------ ■).
A fter o u r race w e sat in th e shad e to c o o l f----------- j. W e w ere to o tired to sp eak to (-----------),
4
W e ju st w atch ed th e o th e r ath letes fo rcin g (■----------- ) to keep o n ru n n in g.
Communication 2: Expressing conditions
1
Read th e first aid guidance. Then w rite th e correct form o f each verb i n brackets
in yo u r exercise book. The instructor is testing the trainee on w h a t he has read
in t h e m a n u a l.
C h o k in g
D is c u s s io n
T h is is w h en so m eth in g is stu ck a t th e
IN STRU CTO R
b a c k o f th e th r o a t an d b lo c k s it.
m e how7 you (1 rec o g n ise ) th is.
R e c o g n itio n :
T r a in e e
* T h e p e rso n h as d ifficu lty in sp ea k in g
and b reath in g .
* T h e p e rso n m ay p o in t to his th ro a t.
If th e p erso n (2 h a v e ) d ifficu lty in
sp eakin g and b reath in g an d if he (3 p o in t) to
h is th r o a t o r (4 h o ld ) his n e c k , I (5 su sp ec t)
ch o k in g .
* T h e p e rso n m a y h o ld his n eck .
A n d w h a t (6 y o u , d o ) if y o u
(7 fin d ) so m eo n e ch o k in g ?
T re a tm e n t fo r an ad u lt:
T r a i n e e I (8 ca lm ) th e p e rso n d o w n . T h e n I
* C a lm him .
* B en d h im fo rw a rd s so th a t his h ead is
lo w er th a n his ch est.
* Encourage him to cough up the obstruc­
tion.
* G ive up to five sh arp b lo w s to his b a c k
b etw ee n th e sh o u ld er b la d e s, w ith th e fla t
o f th e h an d .
2
If a p e rso n w ere c h o k in g , tell
In s t r u c t o r
(9 b e n d ) h im fo rw a rd s u n til his h ea d w as
lo w er th a n his ch est. I (1 0 en c o u r a g e) h im to
co u g h up th e o b s tr u c tio n .
I n s t r u c t o r W h a t (11 you , d o) if th at (12 fail)}
T r a i n e e If th e o b stru ctio n (13 n o t, g o ) aw ay,
I (1 4 give) him up to five sh a rp b lo w s o n the
b a c k betw een his sh o u ld er b lad es. I ( I S use)
th e fla t o f m y h an d .
u n le s s , o t h e r w is e
1 a n d t h e t w o s e n t e n c e s b a s e d o n it. T h e n w r i t e a s e n t e n c e w it h
unless a n d a s e n t e n c e w i t h otherwise f o r e a c h o f t h e o t h e r s i t u a t i o n s :
S t u d y s it u a t io n
W e m u st get so m e p e tro l so o n , o th erw ise w e w ill ru n o u t.
U n less w e g et so m e p e tro l so o n , w e w ill ru n o u t o f it.
Customs and Traditions
W h a t tra d itio n a l events ta k e p la ce in y ou r a re a every y ear? W h a t c h a r a c te r do th ey
have: m ilitary? religious? other? W h o tak es part? H o w are th ey dressed? W h a t do they do
an d w hy?
Reading
and B contain w o rd s you m ay not know. Do not be anxious. If you realise a
refers to a piece of clothing or a m usical in stru m e n t th at is enough on your
f i r s t reading. Perhaps you w ill understand the w o rd b etter w h en you read th e text
a s e c o n d tim e.
T e x ts A
w o rd
A s y o u r e a d , m a k e a lis t o f t h e p a r t ic ip a n t s in e a c h e v e n t .
As we walked towards the centre of N’gaoundere,
many groups of children and young people were
showing off their colourful new Id outfits and
exchanging Id gifts to celebrate the prophet’s
birthday. The streets were dominated by horse­
men on extravagantly decorated horses. Some of
the horsemen, aged eight or ten, had difficulty
because their horses were too lively.
Suddenly the excitement among the horsemen
reached a peak. Then copper trumpets two or
three metres long were blown by followers of
the Lamido in knee-length tunics as he emerged
from his palace at the head of a procession mounted on a warhorse and brandishing a
spear. Beside him walked an unbelievably tall
retainer, who was gorgeously robed and was
twirling a colossal blue and white umbrella
above his master’s turbaned head. The horses’
manes were tightly plaited and their bridles
lavishly ornamented with coloured beads and
woollen bobbles. Their warrior riders wore
fine old brocade * gowns, immensely long
cummerbunds (to be taken off later and waved
during mock battles) and ancient tooled
leather knee-boots. Small boys riding small
ponies carried small spears. Everyone chanted
vigorously to the sound of war-drums, cymbals
and trumpets.
Enthralled, we accompanied this drama from
a past age through the town centre to a sandy
parade-ground. There a huge crowd had
assembled to watch daring feats of horseman­
ship and processions of solemnly dancing
women singing songs to inspire the warriors.
After several mock battles, the Lamido was
fanned with ostrich feathers while he held a
council of war. Then without warning he galloped
off, spear poised, leading all his warriors in a
charge that raised so much dust that we soon
lost sight of them. But ten minutes later they
were back to report ‘victory’ and then repeated
this performance twice. Finally, at sunset, there
was a public concert of military music in the
Lamido’s palace.
* a type of embroidered (decorated) cloth
* * decorated by marking with a hot tool
traditional uniforms and carrying out elaborate
drill* movements very accurately on the word of
command of their officers.
Each regiment in the British Arm y has a special
flag of its own, its Colour, which symbolises the
regiment and is held in high honour. In the old
days, battles were very confused events and it was
easy for soldiers to become separated from each
other. In order to regroup, soldiers would look for
the Colour of their regiment, held high by one of
their comrades, and go towards it. So it was essential
for every soldier to be able to recognise his regi­
mental Colour. Trooping the Colour means taking
the Colour slowly along the lines of soldiers so that
they can all have a good look at it and will be able
to recognise it in future.
At this ceremony, the Queen, riding side-saddle,
wears the uniform of one of her regiments. This
consists of a red tunic decorated with gold braid **
and epaulettes, with white gloves and a white plume
in her hat. Her horse is also magnificently decorated
In England, Trooping the Colour is a military parade
with red and gold reins and bridle.
which is held every year on the Queen's birthday.
Several military bands take part, some of them
riding horses. A particularly strong and disciplined
Hundreds o f soldiers fake part wearing their finest
♦ the m a rc h in g u p a n d d o w n o f s o ld ie rs
'tw is te d silk th re a d s
a
UNIT 4
horse carries Iwo enormous drums, one on each side.
'And now the massed bands perform their spec­
tacular drill movement called the spin wheel in which
over 300 scarlet-tuniced musicians and drummers in
an enormous square pivot on the centre. Those in
C h o o se o n e o f th e se
w o rd s fo r each g ap:
1
b o b b le , brand ishing, bridle,
cu m m erbu n d , plaited ,
tw irling.
• Customs and Traditions
the middle mark time or even take a step or two
backwards while those at the outside edge march
very fast, all this time carrying and playing instru­
ments of various sizes and weights. And so through
the ranks of guardsmen the Colour moves.'
2
b ra id , ep au lettes, glove,
p lu m e, rein s, tu n ic.
A n sw er these questions:
1
W h a t sign alled the arriv al o f the L a m id o (T ex t A )?
2
In T e x t A , w h a t p h rases tell you:
3
a)
th a t th ere w ere a lo t o f h o rsem en ?
b)
th a t th ere w ere a lo t o f p eop le?
W h a t g en eral w o rd is used in T e x t B to refer to su ch th in gs as w a r-d ru m s, cy m b a ls and
tru m p ets (T e x t A )?
4
W h a t d o th e w o rd s ‘th is d ram a fro m a p a st ag e’ re fe r to?
5
W h a t w o rd tells you th a t th e n a rra to r o f T e x t A g reatly en jo y ed th e o c c a s io n ?
6
W h ic h o f th e ce rem o n ies inclu d es m em b ers o f th e gen eral p u b lic as w ell as o ffic ia ls?
7
W h a t p a rt d o feath e rs play in each event?
8
9
B ritish so ld iers reg ro u p ed by lo o k in g fo r th eir C o lo u r .
a)
H o w did o u r so ld iers reg ro u p in th e old days?
b)
H o w d o m o d ern so ld iers k eep in to u ch ?
B o th te x ts em p h asise an im p o rta n t ro le w h ich tra d itio n a l ru lers d o n o t u su ally h ave
tod ay. W h a t ro le is this?
1 0
W h y do p eop le in m o st co u n tries co n tin u e to ca rry o u t tra d itio n a l ce rem o n ies?
Study skill: Comparing texts
It is often necessary to com pare tw o texts or to w rite an essay th a t com pares tw o
thing s. W hen you do these tasks, it is helpful to tak e one aspect a t a tim e and look at
th e sim ilarities and differences. For exam ple, w e can start to com pare tex ts A and B
(p. 49-50-51) as follow s:
UNI T 4 • Customs a n d Traditions
A spect
W h o is i n v o l v e d in t h e c e r e m o n i e s ?
S im il a r it ie s
B o th involve a tra d itio n a l ru ler (the L a m id o , the Q u e en ). B o th in volve sold iers.
D iff e r e n c e s
In the Id cele b ratio n s the w h o le peop le p a rticip a te and ex ch a n g e gifts. In T ro o p in g
th e C o lo u r o n ly o ffic ia ls an d so ld iers ta k e p a rt.
C o p y t h is t a b le a n d
w rite one o f t h e s e s e n t e n c e s or phrases in each g a p :
in clu d es sing ers, h ig h ly d e co ra te d , T h e tra d itio n a l ru ler is also th e lead er in b a ttle , d ru m s,
m u sic, m o c k b a ttle s, B o th lead ers ride h o rses, P ast m ilita ry a ctiv ities are d ra m a tised .
C o m p a r is o n
A sp ect
Sim ila rities
M ilita ry
1
of
T ext
A and T ext B
2
D iffe ren ces
T e x t B : d rill m o v em en ts
3 p ro cessio n s
o n ly d etails
U n ifo rm s
H o rses
1
2 T h e y a re rich ly d eco ra te d
o n ly d etails
i
2 o th e r in stru m en ts as w ell
T e x t B in clu d es m o u n ted b a n d s
A d d a n y o t h e r p o in t s o f c o m p a r is o n .
It is n o t a lw a y s n e c e s s a r y t o a n a ly s e t e x t s s o s y s t e m a t ic a lly , b u t it is u s e f u l t o b e a b le
to d o so .
Vocabulary 1 : Synonyms
A t e x t o f t e n c o n t a i n s p a i r s o f w o r d s w i t h t h e s a m e m e a n i n g . Ex: s o l d i e r , f i g h t e r . I f
y o u d o n 't u n d e r s t a n d a w o r d , s e e if y o u c a n f in d a n o t h e r w it h t h e s a m e m e a n in g
s o m e w h e r e e ls e in t h e t e x t .
F i n d w o r d s a n d p h r a s e s in T e x t s A a n d B t h a t m e a n t h e s a m e a s t h e s e o n e s :
a n cie n t, a t th e h ead o f, ch a n tin g , ex tra v a g a n tly , follo w er, gorgeou sly , m o u n ted o n ,
o rn a m e n te d , w arrior.
M atch each w ord w ith its m eaning:
M eanings
W ords
alive
to hold someone's attention completely
costume
an impressive action
deed
an action
enthral
opposite o f dead
fe a t
opposite o f d ull and opposite o f lacking in sp irit
live ly
set o f traditional o r special clothes
o u tfit
an y set o f clothes
robe(s)
clothes w orn by an im portant person at a ceremony
Communication 1: Placing a group of adjectives
in the right order
W hen w e use m ore th a n one a d je ctiv e b efo re a noun, w e u su a lly p u t th e m in a
p a rticu la r order. So w e s a y co lo u rfu l n e w Id o u tfits, not ‘Id co lo u rfu l n e w o u tfits ’.
The b asic p rin cip le is th a t th e m o st im p o rtan t a d je ctiv e g oes clo se st to th e noun.
This ta b le sh o w s so m e e x am p le s:
A
General
Size and
shape
Age
Colour
Participle
Origin
Material or
'to do w ith'
Id
new
c o lo u rfu l
a n c ie n t
ch e a p
o u tfits
u m b re lla
blu e
colossal
•ah
N oun
d j e c t iv e s
to o le d
A m e ric a n
le a th e r
b oots
car
ra d io
Copy the table above and place each adjective and noun in the phrases b elo w
under the appropriate heading:
a m a g n ific e n t w id e b ro w n river
a ta ll beard ed p o lice o fficer
a b ro k e n fo reig n e le c tricity g en era to r
a new o ra n g e n y lo n c a rp e t
his eld est u n m arrie d d au g h ter
an en o rm o u s clo th -w ra p p e d bu n dle
a hig h w oven g rass fence
an exp en siv e blu e silk sh irt
d elicio u s g old en m a iz e -flo u r ca k es
an old green bus tic k e t
UNIT 4
• Customs and Traditions
Speaking Describe each picture, using the w ords supplied in the right order:
pairs
c)
d)
b ag
earrin g s
w h ite
sm all
stro n g
pearl
p la stic
round
m o d ern
huge
sm a rt
you n g
sh o es
hap p y
le a th e r
p layer
red
g u itar
bu ild in g
co n c re te
Speech: Pronunciation of consonant clusters with / s /
Listen, dictate, discuss.
1
3
5
2
so rt
sell
sp o rt
e x p o rt
lo ck s
exp el
lo ck
lack
loss
spell
lass
la ck s
seem
stream
ex trem e
M ic k
m iss
m ix
cot
co ts
c o st
co sts
m a rk
m a rk s
gets
g uest
guests
tu ck
tu ck s
m ask
tu sk
m a sk s
g et
n et
nets
n est
nests
deck
d ecks
desk
d esks
boss
bo sses
box
m iss
m isses
m ix
b o x es
m ixes
4
tu sk s
R e a d t h is p o e m a lo u d .
Do bosses p a y taxes?
Do foxes w e a r socks?
Do boxers use axes?
O r ducks nest on rocks?
Just make up some questions,
Sit still at yo u r desks,
A n d ask about artists
A n d typists and texts.
Vocabulary 2: Phrases with adverbs
N o t ic e h o w t h e a d je c t iv e b e c o m e s a n a d v e r b in t h is e x a m p le :
M o u n t a in s o f im m e n s e h e ig h t = im m e n s e ly h ig h m o u n t a in s .
C o m p le t e t h e f i r s t g a p w it h a n a d v e r b f o r m e d f r o m t h e a d je c t iv e in
it a lic s . C o m p l e t e
t h e s e c o n d g a p w it h t h e r ig h t n o u n .
E x: A fo llo w e r dressed in colourful clo th e s
A jo u rn e y th a t w as sh o rt (w h ich w as surprising)
a co lo u rfu lly dressed fo llo w er,
a su rp risin g ly s h o rt jo u rn e y .
1
a p erso n o f exceptional stren g th
an -
•stro n g
2
a ra c e th a t w as fa st (it w as amazing)
an ■
■fa s t —
3
a d elay th a t w as lo n g and unexpected
an ■
■lo n g —
4
an ex e rcise th a t w as easy (it w as unbelievable )
an ■
■easy —
5
a lo n g sp eech (its len gth w as unusual)
an •
lo n g —
6
a c a r p o lish ed to a high degree
a —
7
a ro o m p o in ted a t a recent d ate
■p a in te d -------
8
a p a tie n t w h o w as ill (it w as serious)
• ill-------
■p o lis h e d -------
Vocabulary 3: Don't be confused!
a liv e / liv e ly
S tu d y A p erso n o r a n im a l th a t is alive is n o t dead.
B ut
A lively p erso n is a ctiv e , en th u sia stic an d ch eerfu l.
A lively m eetin g is full o f in terest.
C o m p le t e e a c h g a p w it h
alive o r lively.
She gave us a ( 1 ------- ) a cc o u n t o f h o w she fell in to th e river w h ich w as full o f cro c o d ile s. She
w as lu ck y to g et o u t ( 2 ------- ■).
UNI T 4 • Customs and Traditions
cu sto m / co stu m e
S tu d y A cu sto m is so m eth in g n o rm a lly d o n e, a tra d itio n .
B ut
A co stu m e is a set o f sp e cial c lo th e s w o rn in a p a rtic u la r p la ce , a t a c e rta in tim e in
h isto ry o r fo r a sp ecial o cc a sio n .
C o m p le t e e a c h g a p w it h
custom(s) o r costwne(s).
D an cers tak e p art in the D am a cerem on y in M a li. T h ey w ear m asks over rough vroven ( 1 ------- )
m ad e o f fib re . It is th e ( 2 ------- j fo r m en to fo rm a circ le a ro u n d th e d a n ce rs, b u t it is to o
d an g e ro u s fo r w o m en o r ch ild ren to be p resen t.
t u n ic / t o n ic
S tu d y A tunic is a g a r m e n t f o r t h e top part of the b o d y . I t g o e s d o w n t o o n e ’s h ip s , th ig h s o r knees.
B ut
A tonic is a d r i n k , m e d i c i n e or even ( m e t a p h o r i c a l l y ) a n y t h i n g t h a t m a k e s o n e fe e l better.
C o m p le t e
each gap w ith tunic o r tonic.
I alw ay s feel b e t t e r w h e n I pu t o n my ( 1 ------- j f o r t h e festiv a l; i t a c t s a s a ( 2 --------- ) f o r m e.
Communication 2: Expressing frequency, degree,
manner and place
C h o o s e a n a d v e r b o f f r e q u e n c y f r o m t h e l i s t t o f i l l e a c h g a p in t h e t a b l e .
freq u en tly , never, n o rm ally , seld o m , so m etim es, usually
M e a n in g s
A d verbs
alw ays
o n e v ery o c c a s io n
g en erally
o n m o s t o c c a s io n s
o ften
o n m a n y o c c a sio n s
o c c a sio n a lly
o n so m e o c c a sio n s
rarely
o n few (n o t m a n y ) o c c a s io n s
o n n o o c c a s io n
P o s it io n s
Auxiliary
1
Pierre
M y mother
My brother
has
o f
a d verbs o f
fr eq u en cy
Adverb (frequency)
Main verb
usually
visit
my uncle
on Saturdays.
never
been
here
before.
sometimes
has to work
gets up
Adverb
at weekends.
at six o'clock
every day.
N otes
1
Have to a n d has to c o u n t a s m a i n v e r b s .
2
In s h o r t a n s w e r s , a d v e r b s o f f r e q u e n c y c o m e b e f o r e th e a u x ilia r y .
E x : P a u l e t t e I o f t e n p l a y t e n n i s in t h e m o r n i n g .
G lL LE S
Speaking
in
.
pairs
I never d o .
T e l l y o u r p a r t n e r how often y o u
do e a c h a c t i o n show n in th ese pictures. Use the
w o r d s b e lo w e a c h p ic t u r e .
1 g o t o s c h o o l b y ta x i
2 s w e e p th e f lo o r
8 w a tch T V
9 tra v e l b y b u s
P o s it io n s
Subject
Main verb
She
Object
o f
3 g o s w im m in g
o t h e r
k in d s
o f
a d v e r b
Adverbs of
Place
Degree
Manner
sang
really
beautifully
at the concert
last night.
The witness
spoke
completely
truthfully
in court
yesterday.
He
kicked
extremely
hard
between the goal posts
just now.
the ball
Time
UNIT 4
• Customs an d Traditions
N ote A n ad verb ca n be eith er o ne w o rd o r a p h rase like m the morning or at my friend’s house.
A d verbs ca n be p laced at o r n ear the begin n in g o f a clau se fo r em p h asis o r w h en the focu s o f the
sp eak ers is o n tim e o r p la ce , fo r ex a m p le.
E x : I u su ally get up w h en m y a la rm c lo c k rings.
B u t this m o rn in g I slep t rig h t th ro u g h it.
vjjtfbfc
U se e a ch
ation and th e i n f o r m a t i o n t h a t g o e s w i t h i t t o w r i t e a s e n t e n c e w i t h
a t least tw o adverbs.
■m
1
L eo p o ld Senghor
A g o stin h o N e to
B o rn : Senegal
B o rn : A n g o la
D ate: 1 9 0 6
D a te: 1 9 2 2
N o te s m ad e by th e a th le tic c o a c h
I p osted the letter
L IB R A R Y R U L E S
6
1
^ E V E R Y O N E M U S T 4 $ P E A K % j l N H E R E ^ 5 A T A L L T IM E S A ^ Q U I E T L Y #
2
>BO O K S $ i i i r d l ^ I A L E A V E V ^W H E N Y O U X E A V E f- ^O N Y O U R TABLE 4
3
W I L L R E P L A C E f^ X T T H E E N D O F T H E D A Y ^ ^ B O O K S f^ T H E L IB R A R IA N S ^ .
4 Q N T H E SH ELV ES?
A r r a n g e t h e w o r d s f o r e a c h r u l e in t h e r ig h t o r d e r .
9
Listening and note-taking
L is t e n t o t h e t a lk t w ic e
a) fo r th e g e n e ra l se n se ,
b ) to c o p y a n d c o m p le te t h e s e t o f n o te s .
P o tv .
W
OmAs
\ihzh>
n u
C U ^ tfV IT b V
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Composition: Description
W r i t e a d e s c r ip t io n o f o n e o f t h e t r a d i t i o n a l e v e n t s in y o u r a r e a .
Guidelines
* Mention lots of details. Describe the appearance of people and things as vividly as
you can. Aim to enable your reader to feel that he or she was present.
* Explain any parts of the event that your reader may not understand, just as Trooping
the Colour is explained on p. 50.
UNIT
4
• Customs an d Traditions
Consolidation Exercises
A Vocabulary: Phrases with adverbs
Choose one of hese expressions for each gap;
cheerfu l, helpless, lively, m iserably, noisily, overload ed , sm artly, steeply, u np leasan t, w orried .
T h e jo u rn e y w as n o t en jo y a b le . In fa ct it w as a p a rtic u la rly ( 1 ------- ■) o n e. T h e re w ere fa r to o
m an y p assen gers fo r o u r d an gero u sly ( 2 ------- ) bus. I felt so rry fo r th e ( 3 ------- ) d ressed m a n I
w as crushed n ex t to . T h e driver had a friendly sm ile and gave us an extrem ely ( 4 ------- ■) greeting.
W e set o ff up a ( 5 ------- ) w ind ing road and the driver sw itch ed o n th e rad io w h ich p o u red o u t
som e p articu larly ( 6 ------- ) dance m usic. B u t he w a sn ’t satisfied w ith listen in g to it: he to o k his
hands o ff the steering w heel and clapped in tim e to th e ( 7 ------- ) th ro b b in g b eat. By n o w som e
of th e p assen gers had fairly ( 8 ------- ) ex p ressio n s o n th e ir fa ces. I g la n ced a t m y ( 9 ------- )
u nhappy neighbou r. T h e driver, how ever, w as still n o t satisfied and k ep t lo o k in g in th e m irro r
to e n jo y th e e ffe c t he w as h av in g on his u tterly ( 1 0 ------- ■) p assen gers!
Communication 1: Using a group o f adjectives
Write out this conversation, arranging each group of words in italics in the right order.
C ustomer
I’d like a y ello w / a u tom atic / ca m era / sm all in a green / p lastic / sm art case with
a leath er / re d / shiny strap, and I want a large / p h o to g r a p h / y ello w album, too.
Shop assistant Yes, madam, y ou w a n t a la r g e / a u t o m a t ic / r e d c a m e r a in a l e a t h e r /
sh in y / y e llo w ca se w ith a p la s tic / g r e e n / c h e a p stra p , a n d y ou a ls o w a n t a
p h o t o g r a p h / g r e e n / s m a ll a lb u m . Is th a t righ t?
C ustomer
N o ! N o ! N o ! Get me a piece of paper and a n ew / p a in t / large brush and a pot
of black paint and I’ll write it d ow n fo r y ou in c a p ita l / larg e / b la c k letters.
Communication 2: Adverbs
W here there is a choice of expressions, choose the one w ith the right w ord order.
(1 d o n ’t o fte n g o / g o o fte n d o n ’t / d o n ’t g o often ) to a restau rant. B u t I (2 d o en jo y so m etim es /
d o so m etim es en joy ) a m eal out. I w ent (3 last w e e k w ith a frien d to a restau ran t / to a restaurant
w ith a fr ie n d last w e e k ) and she w hispered to m e, ‘L o o k a t the m iddle-aged co u p le ea tin g a t th e
table over there. (4 T h ey n ever say / N ever they say / Say they never) a w ord to each other. (5 A lw ays
is m arriag e / Is a lw a y s m a r r ia g e / Is m a r r ia g e a lw a y s) lik e th a t ? ’ I co u ld n ’t a n sw er (6 a t th a t
m o m en t m y frien d con fiden tly / m y frien d confidently a t th at m o m en t / a t th at m o m en t con fiden tly
m y frien d ). B u t I happened to lo o k up as the cou p le w ere getting up to g o an d noticed th a t they
w ere h o ld in g (7 a ffe c t io n a t e ly u n d er th e ta b le h a n d s / u n d er th e ta b le h a n d s a ffe c tio n a te ly /
h a n d s a ffe c t io n a t e ly u n d er th e ta b le). I ask ed the w a iter a b o u t th em . ‘Y e s ,’ he said , (8 ‘th ey
c o m e fr e q u e n tly h e r e / th ey h e r e fr e q u e n tly c o m e / th ey frequ en tly c o m e h ere). In fa ct, (9 they
ev ery T h u rsd ay c o m e ! th ey c o m e every T hursday). (1 0 T h ey s p e a k n ev er / T h ey n ev er speak. /
N ev er they s p e a k ) to each other, bu t (11 th ey alw ay s h o ld h an d s u n d er th e ta b le / u n d er th e ta b le
alw ay s they h o ld h an d s / they h o ld u n der the table alw ays h a n d s’). A fter hearing the w aiter’s story,
I had an answ er fo r my friend: (12 ‘N ev er ju d g e by a p p ea ra n c es / Ju d g e b y a p p ea ra n c es n ev er /
Ju d g e n ev er b y a p p e a r a n c e s ’)
I
Eyes in the Sky
W hat are satellites used for?
Picture interpretation
UNI T
S •
eyes-in the Sky
C h o o s e o n e o f t h e s e w o r d s t o c o m p le t e t h e c a p t io n f o r e a c h ite m :
extent, distant, movements, pictures, position, send, follow.
1 A satellite can receive T V pictures from one place and transmit them to a (------ ) place.
2 A satellite can send (------ ) to help w ith map making.
3 A satellite can (------ ) a doctor in one continent inform ation from a different one.
4 A satellite can tell a ship its exact (------ ).
5 A satellite can observe the.(---- -) of floods.
6 A satellite can observe the (---- ) of a swarm of locusts.
7 Satellites can (------ ) the movement of storms.
2 Reading
a fl Read this in terview to discover the benefits of Healthnet.
Interviewer Our guest today is D r Phiri, who works at a hospital in Kitwe, Zambia. Doctors
in Africa can now send messages to
each other and to professionals in
other continents by means of a satellite
which travels around the earth in an
orbit. This satellite is at the centre of
a communications netw ork called
Healthnet, which links ground stations
in Africa, Europe and America.
D r Phiri, how does Healthnet help you
in your work?
D r Phiri
Healthnet allows me to send a message
to Kampala or London or New York
even though I am a long way from a
medical school. N o t only can I send a
message, but it w ill be delivered on the
same day and I can expect a reply a
day later. It’s a completely reliable ser­
vice and it only costs as much as a telephone call or a letter to the capital.
Interviewer W hy is it important for doctors to be able to send and receive messages?
Dr Phiri
Well, one type of message that the satellite can send is an up-to-date article on
medical research or new developments in medicine. We have a dire shortage of
reading material dealing with medicine. Particularly in my part of Africa, medical
textbooks are very old - if there are any textbooks. Journals do not come at all,
except to the very few people who have foreign exchange and are thus able to
subscribe to medical journals. W ith the satellite, we w ill now be able to receive at
least some recent articles.
Interviewer I see the value of the articles. Can you also explain why doctors in Africa need
to communicate w ith each other and w ith doctors elsewhere?
Dr Phiri
Yes. It is usual for doctors to discuss their patients w ith their colleagues. A
young doctor often describes a patient’s symptoms to a senior doctor and asks
his advice. But if a doctor is working alone maybe a hundred kilometres from
his nearest colleague, he can’t discuss his patients w ith anyone. However, by
using the communications network, he can. He can also speak to world experts
in other countries. N ow we can all advise each other and learn from each other
just as doctors all over the world do.
Interviewer Does the network need a lo t of equipment?
Dr Phiri
N o, only a little. All I need is a personal computer with a special radio modem
and an antenna which looks just like a satellite receiving dish on a house.
Interviewer Are more ground stations planned?
Dr Phiri
Yes. There w ill be additional ones in Ethiopia and Congo.
UNI T
5 •
eyes in the Sky
A n s w e r t h e s e q u e s tio n s .
1 Complete this diagram w ith these words:
earth, satellite, network, orbit, ground, antenna
2 Who can doctors in Africa send messages to by using Healtbnet?
A only to other doctors in Africa.
B only to ground stations in Europe and America.
C to doctors in Africa, Europe and America.
D to any satellite they wish.
3 Say whether each of these statements is true or false:
A Healthnet is cheaper than the postal service.
B Messages travel more quickly by Healthnet than by post.
C Healthnet is unreliable.
D Messages are delivered the day they are sent if there is a rocket launch on that day.
E A rocket is not needed to send a message by Healthnet.
4 List the difficulties faced by doctors in Dr Phiri’s area.
5 Why do doctors need to speak to each other?
6 In what countries is it usual for doctors to discuss professional matters?
7 What use could satellite links be to a) teachers, b) the police, c) lorry owners?
Summary
A s the person w h o interview ed Dr Phiri, you next w a n t to w rite an article about
Healthnet. To prepare fo r this, w rite a sum m ary of your interview , covering
a) the uses of H ealthnet and b) its advantages.
Vocabulary: Satellites and telecommunications
P l a c e o n e o f t h e s e w o r d s in e a c h g a p :
electricity, antenna", satellite, solar, rocket, launched, signals.
plural: antennae or antennas
1 A (1
■
) being (2
■)
UNIT § » Eyes in the Sky
1 A (------ ) phone is one you can carry around w ith you.
2 An (------ ) machine w ill give a recorded message to a caller when you cannot answer the tele­
phone. It w ill also record a message from the caller.
3 A (■
----- ) makes a ‘bleep’ sound w'hen someone is trying to contact you.
4 A (----- ) machine w ill send a copy of any text (typed or handwritten) or drawing you place in
it.
5 A (------ ) machine enables you to type and send a message and to receive messages from other
telexes.
Communication 1: Ways of emphasising
S t u d y t h is c o n v e r s a t io n w h ic h s h o w s t h r e e w a y s o f s p e a k in g w it h e m p h a s is . T w o
p e o p le a r e m e n d in g a n o ld ca r.
Guy
That was exhausting w ork! W hat I need is a rest.
JOSEPH A good drink is what I need. Are you going to get one for me?
Guy
Me! It was I who got you a drink last time, and it’s you who should get me a drink
now.
B e lo w is a lis t o f p a ir s o f t h in g s . W it h a p a r t n e r , s a y s e n t e n c e s lik e t h e s e :
I don’t mind eating cold food.
Half-cooked food is what I don’t like.
What 1 don’t like is half-cooked food.
T o s s a c o in t o d e c id e w h ic h p a t t e r n t o
use fo r the second s e n t e n c e .
1 d o n ' t m i n d ...
1 d o n ' t LIKE ...
w a i t i n g f o r b u s e s in t h e r a i n
w a i t i n g in th e h o t s u n
w a s h i n g m y c lo t h e s
ir o n in g them
p r e p a r in g fo o d
d o i n g th e w a s h i n g u p a f t e r w a r d s
th e r o u g h n e s s o f th e r o a d
th e d u s t
m eat
fis h
A d d y o u r o w n id e a s .
in9 Mastermind competition
O n e te a m
p la y s a g a in s t a n o th e r .
W h ic h t e a m k n o w s m o s t ?
t h e t a b le o n t h e o p p o s it e p a g e t o m a k e
E x : T eam A MEMBER
T eam B MEMBER
U s e t h e in f o r m a t io n in
true o r false s t a t e m e n t s .
H itler invented the factory assembly line.
False! It was Henry Ford who invented the factory assembly line.
UNI T
T e a m B is c o r r e c t a n d s c o r e s a p o in t . If t e a m
S • Eyes in the Sky
B h a d g iv e n a w r o n g a n s w e r , t e a m A
w o u ld h a v e s c o r e d a p o in t .
Marie Curie
created
M acbeth
Julius Caesar
discovered
the first African to win the marathon
Victor Hugo
was
Germany in World War II
Shakespeare
ended
India to independence
Yuri Gagarin
invented
African independence movements
Abebe Bikila
led
radium
Walt Disney
inspired
negritude
Martin Luther King
invented
the factory assembly line
Hitler
wrote
Les M iserables
Henry Ford
was
Mickey Mouse
Mahatma Gandhi
wrote
the first man in space
Marcus Garvey
led
bus segregation in the USA
Leopold Senghor
invented
the Julian calendar
S t u d y t h e s e a d je c t iv e s a n d a d v e r b s w h ic h c a n a ls o b e u s e d t o e m p h a s is e o n e 's
f e e lin g s :
Adjectives
absolute, entire, perfect, pure, total, utter, complete, outright, positive, real, true.
E x : I was so uncomfortable, I spent the entire night awake.
A d v e rb s
absolutely, entirely, outright, positively, quite, simply, truly, completely, just,
perfectly, purely, really, totally, utterly, definitely.
E x : I am
H
amazed: our guests have eaten absolutely all the food in the house.
Speech: Emphatic stress
W hen you w a n t t o g i v e e x t r a i m p o r t a n c e t o a w o r d , y o u s t r e s s i t m ore strongly.
a ) P r a c t is e t h e s e c o n v e r s a t io n s , s t r e s s in g t h e s y ll a b le s in c o lo u r .
1 A W hat a splendid car! I like its smart colours.
B What I like are its seats. They’re so comfortable.
A It’s the acceleration that impresses me most.
2 A Listen to that taxi. The engine is roaring and screaming.
B It’s the rattling of the bodywork that worries me.
A The tyres are what shock me. They are as smooth as a bald head.
b ) In t h e n e x t c o n v e r s a t i o n d e c i d e w h i c h s y l l a b l e s s h o u ld b e s t r e s s e d . T h e n
p r a c t i s e it .
3 A I did enjoy that film . Wasn’t it exciting?
B It was the acting that was so good.
A W hat I liked was the photography. It was superb.
Communication 2: If things had been different
R e a d t h is p a ra g r a p h .
Moussa lived one kilometre from the
railway station. He left home at 9 a.m.
to catch a train at 9.20. On the way
he met a friend and they chatted for ten
minutes. He arrived at the station at
9.22 and missed his train.
t mihihh ^
U N IT 5 • Eyes in the Sky
Com plete the table b elo w w ith have, p articiple, p a s t
C o n d it io n a l s
Pattern
a b o u t
t h in g s
t h a t
d id
not h a p p e n .
First event (that did no t happen)
Result (that did n o t happen)
If the train had lef a bit later,
Moussa would have caught it.
If Moussa had only chatted for two minutes,
he would have been in time,
If
would + (2
+
( J ____ J perfect
) + past (3
)
N otes
1 Not is placed as follows: If Moussa had not met a friend, he would not have missed the train.
2 The comma is omitted when the if-clause comes after the result clause.
E x : Moussa would have been in time if he had not met a friend.
3 In some sentences,
or
t take the place of would.
4 The following pattern is occasionally used in more form al contexts:
Had I known how tired you were, I would have done the w ork myself. (= If I had known).
Speaking a) u se th e ideas in this table to m ake up m ore sentences about M oussa.
«m
clause
run
not talk
look at his watch
leave home earlier
be wise
Result clause
catch the train
not miss the train
not chat with his friend
b) Take another situation w h ere som ething w e n t w rong and an sw e r yo u r friend's
questions, saying how things w o uld have been different if ...
Ex: A
B
A
I ran out of petrol and had to walk a long distance to buy some.
W hat would
u have done if the petrol station had been closed?
I
have gc
home by taxi.
Take it in tu rn s to discuss other possible situations such as losing a m atch or a
race, failing to g et a job, losing an object.
a) Put each verb in brackets into the appropriate verb form .
W ife ■
W hat a pity we didn’t win the lottery!
H usband Yes I (1 buy) a new car immediately and a new house if we (2 win) all that money.
W ife
I don’t want to move house. I ’m happy here. I (3 go) on a journey around the
world, travelling in luxury if I (4 be) the winner.
H usband It (5 be) a terrible waste of money if you (6 do) that. If I (7 receive) all that money,
I (8 invest) it, after spending some on a house.
W ife
How boring!
H usband Maybe it’s just as well we didn’t win. We (9 argue) for weeks about what'to do with it.
W ife
Yes. And we (10 worry) about keeping it safe too. In fact, we (11 not, be) happy if
we (12 win)\
b) This plane a rch -la n d e d because one w h eel fe ll off.
But th e p ilot w a s v e ry skilful and no one w a s hurt.
M ake up sentences beginning w ith H ad.
E x : Had the plane gone a little further, it would have
hit the building.
Punctuation: Colons
A c o lo n is u s e d t o in t r o d u c e :
• a n e x p la n a t io n
W e h a d a r e s t : w e h a d b e e n w o r k in g v e r y h a rd .
I
• a co n tra st
h a v e o n e b o o k : a n E n g lis h d ic t io n a r y .
I d id n 't w a l k : I r a n a s f a s t a s I c o u ld .
• a lis t o f d e t a ils a f t e r a
general w ord
The house has five room s a s i t t i n g r o o m , a
kitchen, a bathroom and tw o b e d r o o m s .
N ote
When writing a list, place commas between the items in it except between the last two
which are linked by and as in the example above.
a ) W r it e o u t t h is c o n v e r s a t io n , a d d in g c o lo n s
a n d c o m m a s w h e r e a p p r o p r ia t e .
M other
Look at all the rubbish in your room
bits of wire electrical parts plugs old
TV sets circuit boards dials and screw­
drivers. What a mess! H ow can I clean
your room?
Son
You don’t understand. I ’m designing
something very important a new type
of computer. A ll I ask is this be patient
and don’t come into my room.
M other
I t ’s absurd! I’m expected to do all the
housework to buy the food to cook it to
wash the clothes and keep the house
clean and tidy, and at the same time I’m
not allowed in your room!
b ) M a k e u p t h r e e s e n t e n c e s w it h c o lo n s :
1
List the tourist sights of your country or region.
2 Say what kinds of public transport are available in your area.
3 Say what crops are grown in your area.
UNIT S • eyes in the Sky
Composition: 'Compare and contrast' essay
-vtjft ?
Y o u a r e g o in g t o w r it e a n e s s a y c o m p a r in g p r e s e n t - d a y m e t h o d s o f t r a n s p o r t w it h
p o s s ib le f u t u r e m e t h o d s . S t u d y t h e p ic t u r e s a n d t h e ir c a p t io n s . U s e y o u r im a g in a t io n .
P la n y o u r e s s a y c a r e f u lly . S t a r t w it h a n in t r o d u c t io n . E n d w it h a c o n c lu s io n .
1 Individual rockets
attached to a person’s
back. Very flexible;
how much fuel?
2 Monorail train: overcomes congestion;
could be expensive.
4 High-speed train (400 km an hour).
3 Small electric car: no pollution;
needs little space,
5 Hovercraft; floats on air; can go over any flat
surface; very flexible; not cheap.
6 Head-up displays will make it 7 Computers will detect accidents 8 Travel to other planets and the
easy for drivers to find their
ahead and automatically apply
stars: exciting; expensive; danger­
way.
a car’s brakes.
ous, only for few people.
W r it e y o u r e s s a y c o n s id e r in g t h e s e a s p e c t s a n d a n y o t h e r s y o u w is h : s p e e d , c o s t,
f in d in g o n e 's w a y , c o m f o r t , s a f e t y , f le x ib ilit y , c it y c o n g e s t io n , p o llu t io n .
*
C onsolidation
Exercises
Vocabulary: Satellites and telecommunications
t
C h o o se o n e o f th e se w o rd s fo r e a c h
g a p :
antennae, answering, fax, launched, mobile, orbit, pager, rockets, satellite, signal, solar.
B o ss
Secretary
Boss
Secretary
Boss
Secretary
B o ss
I can hear my (1 -----■
). I t ’s going ‘bleep, bleep, bleep’. Where’s my ( 2 ------ )
phone? I must call my secretary.
We’ve received an urgent ( 3 ------ ) for you, sir, and there’s an im portant message
on your (4 ——) machine.
W hat’s it all about?
It’s our new telecommunications (5 ------ ■). It’s not circling the earth in the correct
( 6 ------ ■). There was a fault in the rocket that ( 7 ------ ■
) it and one of its ( 8 ------ )
panels is slightly damaged.
Is it far from the correct orbit?
No, sir.
Then there should be no problem. We w ill send it a (9 ------ ) to use its own
(1 0 ------ ) to place it in the correct orbit. It w ill receive our signal as long as the
(1 1 ------ ) are not damaged.
Communication 1: Ways o f emphasising
P u t th e
W
r ite
w o rd s into th e right o r d e r to m a k e a n em phatic sentence.
inces I y o u r e x e r c i s e b o o k .
I ’ve got a spade, but it w ill be dark where we’re going.
Abdoul Yes. (1 we / a torch / what / is / need.)
M oussa I ’ve got one. M ay I come w ith you? Are you going to a friend’s house?
Abdoul N o. (2 an unfriendly jolace / it’s / that / we’re going to.)
Issa
(3 the forest / we’re going / where / is). Come on, then.
M oussa W hat’s that noise? Is it a thief?
Issa
(4 you can hear / your own heart pounding / what / is.) Go back if you want to.
M oussa No. I ’m all right. (5 a little encouragement / what / 1 need / is.)
Issa
This is the place! We saw the men digging here.
Abdoul N o. (6 where / the place / they buried the gold / is here.)
M oussa I t ’s not our job to look for stolen goods. (7 it’s / who should do that / the police.)
Policeman (appearing in the dark) Quite right, young man. N ow hand over the spade. You
can forget about any digging. (8 you’re going to do / what / is / come with us to the
ISSA
police station.)
Communication 2: If things had been different
W rite out each sentence, putting verbs in brackets into the right form :
Alima How terrible! Michael has fallen into the riven If he (1 not climb) the tree, he (2 not fall) in.
Betty Yes. If he (3 not crawl) along that branch, it (4 not break).
Alima I hope he’ll be all right. Oh dear! If I (5 not ask) him to pick the mangoes, he (6 not have)
this accident.
Betty Hfe’s very lucky. If there (7 be) hard ground under the tree, he (8 hurt) himself very badly.
Alima Yes. If he (9 not fall) into water, he (10 break) a leg at least.
S etting a Job
a) H ow many jobs can you think of? List them under manual and professional.
b) W hat other categories can you put jobs into? Give a job for each category.
Picture interpretation
A n s w e r t h e s e q u e s tio n s :
• What do you know about the work of lawyers, journalists, actors and construction workers?
• W hat qualities are needed for each occupation?
• H ow do people gain the necessary training and skills?
• Would you like to do any of these jobs?
• W hat would give you job satisfaction"?
a feeling that you are doing an enjoyable and worthwhile job
Reading
Read to d isco ver w h a t each person liked ab o u t th e ir w o rk, w h a t q u alities they
n eeded and w h a t d ifficu lties th e y faced. Then w rite d o w n one ex am p le of each
from each text.
A
‘There’s been a bus crash on the main road.
Take a taxi. Talk to some of the survivors. Find
some heart-breaking cases.’ Those were my
first instructions. M y headline was accepted
by the news editor and next day the front page
cried out ‘O h N O , N O , N O T M Y B A B Y ! ’
But not every headline or report is accepted.
You have to get used to your stories being re­
jected, cut in half or completely rewritten. Don’t
become a journalist if this would upset you.
Not all the work was as exciting as that first
bus crash. I had to report on weddings, school
matches, traditional ceremonies and present
each as a unique and memorable event. But
even if an event was boring, there was a dead­
line to meet and the pressure was sometimes in­
tense.
Do journalists have feelings? You may think
they don’t when they question the relatives
of people who have just died. But it is often
journalists who have the courage to speak out
against injustice or the humanity to inform the
world about famine and so make people do
something to help.
1 operate an excavator. 1 started w ork with a
small local builder d ig g in g trenches for foun­
dations and laying blocks. Then 1 took the
opportunity to w o rk on a big construction site.
W e w ere b u ild in g a 20-storey office block. 1
w as fascinated b y the various m achines:
cranes, excavators and b u lld o ze rs, w hich
m ade the w o rk so much faster and easier.
But it was very hot and dusty w ork. It was
dangerous, too. A friend o f mine was badly
injured when a concrete block fell on his leg.
W h e n 1 had the chance to train as an ex­
ca va to r operator, 1 took it eagerly. 1 have al­
w ays been interested in machines. O perating
the excavator is a ve ry responsible job. You
need q u ick reactions and g o o d eyesight.
O n e mistake and someone m ight get killed.
But at the end o f the d a y w hen you see the
b u ild in g com pleted, you get enorm ous satis­
faction. A nd 1 have a g re a t tim e w ith my
friends. W e have to rely on each other. That
makes us really close.
Law deals with the best and worst aspects of
human behaviour. At one end, you really have
the most minute and unimportant fussing over
detail, while:at the other end, you are upholding
the most fundamental human freedoms.
One lawyer I know specialises in immigration
law. Much of his work involves helping people
who want to stay in the country and may have
entered it illegally. He puts their cases to the
government. He likes to feel he is helping people
who have suffered great hardships. Other lawyers
help companies with contracts. ‘The hours are
long. I have sometimes worked all day, then
through the night, going home at 6 a.m. to have
a shower before going back to work.’
Another lawyer says, ‘You have to be intelli­
gent and practical. Law is a peculiar mixture of
academic work and practical problem solving.
It is necessary to understand complex legal
documents and think logically and at the same
time be imaginative and think creatively. You
need to study evidence very thoroughly and
see where it may not be valid or complete.
You really can’t miss anything.’ All lawyers
agree that you need to get on with people.
B
C
UNIT G • Getting a Job
D
Starting an acting career takes plenty of talent,
determination, luck and courage. If you do not
go to drama school, you need even more.
When Connor Byrne was sixteen, his father
gave him some time-honoured advice: stay on
at school, do a degree and then do what you
want. But it was already too late. Connor only
wanted to be in the theatre.
It is very difficult for a young actor to obtain
regular work and an income. So to widen the
possibilities and in the hope of finding work in
productions that included music and dancing,
Connor trained as a dancer, receiving a grant of
some money to do this. But he still had financial
problems and had to work as a waiter, too,
putting in up to 18 hours work a day. ‘As an
actor, you have to be ready for anything. You
have to ignore the fear of unemployment that
grips you after the last performance. Acting is not
a job, it's a way of life. You sacrifice any chance
of stability and security'.’
‘Never believe any actor who tells you he
doesn’t want to be known.’
W o r k in g in s m a l l g r o u p s , c o m p l e t e t h i s g r id u s in g w o r d s a n d p h r a s e s f r o m t h e lis t s
b e lo w . Y o u c a n u s e s o m e e x p r e s s io n s m o r e t h a n o n c e a n d a d d y o u r o w n id e a s .
C o m p a r e y o u r r e s u lt s w it h t h o s e o f a n o t h e r g ro u p .
O c c u p a t io n
In t e r e st s a n d
l ik e s
Q u a l it ie s n e e d e d
P o s s ib l e d if f ic u l t ie s
Journalist
Excavator
operator
Lawyer
Actor
Interests and likes
Q ualities n e e d e d
P o s s ib l e d if f ic u l t ie s
helping others
long working hours
travel
ability to get on with other
people
no security
company of other workers
intelligence
always moving
excitement
courage
absence from family
fame
determination
danger
politics
quick reactions
machines
willingness to travel
not always liked by the
authorities
solving problems
talent
dirty, uncomfortable work
sense of responsibility
willingness to w ork hard
attention to detail
imagination
good eyesight
academic ability
A n s w e r t h e s e q u e s tio n s :
1 One of the lawyers and the actor had to w ork hard at certain times. For what different
reasons did each accept this?
2 Which workers faced dangers? What kind of danger was it in each case?
3 Which of the following aspects of work was most important to the writers of these texts?
A Salary
B Enjoyment of work
C Enough time off work
D Living with one’s family.
4 Which of these jobs would you
a) most like to do? b ) least like to do? Give your reasons.
5 Here are brief character sketches of four people. Which career would you suggest for each of them?
b) • a good singer
a) • likes working w ith his hands
• mends bicycles and cars
• enjoys entertaining people
• is fit and strong
• confident and hard-working
• not academic
• likes other people to notice her
c) • enjoys w riting
• has visited many countries
• not afraid of anyone
• interested in government
d) • very successful in exams
• wants a secure career
• thinks clearly and accurately
• good at solving intellectual problems
Study skill: Making notes and exchanging information
W o r k in s m a l l g r o u p s .
• H a lf t h e g r o u p s r e a d T e x t A ; t h e o t h e r g r o u p s T e x t B .
• M a k e b r ie f n o t e s o n t h e im p o r t a n t p o in t s .
• P a ir s o f g r o u p s e x c h a n g e in f o r m a t io n .
to i
Mr Mthembu's present w ork and education
Khehla Mihembu is making a name for himself in
business in South A frica. He is the chief executive
of A frican General Insurance Com pany (Afgen)
and heads a staff of 4 4 highly qualified personnel,
60% of them white.
'It has been a hard ro a d / he says. 'It's especially
hard for black people to succeed in business in
South A fric a .'
M r M them bu w as born in Johannesburg in
South A frica and went to school in Soweto where
he became interested in activities to w in political
rights fo r black people.
He w ent on to university w here he took p a rt in
political activities. He was one of many students
who opposed the government's policy o f apartheid
(separate development) in the 1970s. The university
expelled him after one year because o f his activities.
UNIT G • Getting a Job
taj_____________
Mr Mthembu's career
Next, in 1976, M r M thembu found a job as a
p ro vid e d insurance fo r the g ro w in g trades
door-to -d o o r insurance salesman. This type of
w o rk suited him because it gave him enough
union movement. But his company was a small
one and not able to do business w ith the b ig ­
ger unions.
spare time to engage in political activity. But it
w asn't easy. T h e companies that I w orked for
w ere not ready fo r a black man going up the
ladder. The other advantage I had was that
being in a sales job I was on my own. I d id n 't
experience the usual kind o f racism from
bosses.'
In 1985, he started his ow n business, which
A few years later, M r Mthembu was invited to
w ork together with another com pany that was
controlled by black businessmen. So the two
companies merged and M r Mthembu became
the head o f a ve ry b ig com pany that was
able to insure taxis and the N a tional Football
League.
T e x t B readers a s k a b o u t M r M t h e m b u ' s p r e s e n t w o r k a n d e d u c a t i o n :
1
Present work
2
• W hat sort of business it is
• His position
• Numbers of staff
• Qualifications and race of staff
T e x t A re a d e rs a s k a b o u t M r M th e i
• W hat job he got after university
• W hat he did in his spare time
• W hat he liked about this job
Education
• Where he went to school
• Special interests at school
• What he did after school
• H ow long he stayed at university
• H ow his university career ended
s ca re e r:
• W hat he did next
• W hat happened to his company
• Was it big or small?
El Vocabulary 1: Application forms
M a t c h e a c h e x p r e s s io n w it h its m e a n in g o r s y n o n y m :
M e a n in g s o r s y n o n y m s
Expressions
p e rs o n a l p a rtic u la rs
m a id e n n a m e
U0TC6I 1 % THIS
to d e le te
e x p e rie n c e
to le a v e o u t
jo b o r p o s t
m a rita l status
to c o m p le te
p re v io u s w o r k
h u s b a n d o r w if e
spouse
to o m it
m o th e r to n g u e
w h e th e r y o u h a v e o r
N o . (a n a b b re v ia tio n )
p o s itio n
to cro ss o u t
have had a husband
e lig ib le
first la n g u a g e
d e ta ils o f n a m e s,
o r w if e
in b lo c k c a p ita ls
a g e , sex, n a tio n a lity ,
fa m ily
a llo w e d to d o o r
h a v e s o m e th in g
to fill in
num ber
a w o m a n 's s u rn a m e
b e fo re h e r m a r ria g e
5
Communication 1: What you have to / ought to do
H a v e to , m u s t
If y o u w a n t t o b e a g o o d la w y e r ,
to be intelligent and p r a c t i c a l ,
le e d to be logical and i m a g i n a t i v e ,
l nust be thorough.
(Text C on p. 76)
have
you
U s e m u s t o r h a v e t o t o s a y w h a t i t i s necessary t o b e o r d o . T h e s e a r e w a y s o f e x p r e s s i n g
strong o b l i g a t i o n . U s e d o e s n ' t h a v e t o / d o n ' t h a v e t o o r n e e d n ' t t o s a y w h a t i t i s not
n e ce ssa ry to d o .
Som e of th
b e lo w a p p ly t o a n u r s e a n d s o m e t o a h a ir d r e s s e r . S o r t t h e m
has
doesn't have t o d o t h a t . ' T h e
t h e m a s y o u d o s o , s a y i n g t h i n g s l i k e 'I t h i n k a n u r s e
t o a c t q u ic k ly a n d c o o lly in e m e r g e n c ie s . A h a ir d r e s s e r
p a ir w it h t h e m o s t c o r r e c t d e c is io n s w in s . A n s w e r s o n p . 8 6 .
ESSENTIAL QUALITIES
1 be fit and strong
2 be healthy, cheerful and friendly
3 look neat and attractive
4 not have skin problems or bad breath
5 be able to work for long hours, even when
tired
6 be emotionally strong
7 have a good brain, a kind heart and a
sharp eye
8 be able to accept the pain and suffering of
others
9 have a strong sense of fashion
10 be able to use sophisticated machines
11 have a good eye for shape
12 be sincere in wanting to help people
13 act quickly and coolly in emergencies
14 be a good listener and able to give advice
tactfully
15 accept discipline
16 be able to work under pressure
17 be able to work as a member of a team
18 be able to work quickly and neatly
19 be creative and imaginative
O u g h t t o , s h o u ld
C o n tra st th e se tw o se n te n ce s.
1
I m u s t h a v e a te x t b o o k , o t h e r w is e
2
I o u g h t to
C o m p le t e t h is t a b le w it h
W ord /
ph rase
h a v e to
(1 —
I w ill d o b a d ly a t s c h o o l.
h a v e a te x tb o o k , b u t I sp e n t th e m o n e y o n so m e sh o e s.
m ust otherwise or weak:
O b l ig a t io n
Can
strong
( 3 -------) and bad result if action not done.
( 2 -------)
but
be f o l l o w e d by
)
o u g h t to
and reason o r excuse fo r not acting.
UNIT G • Getting a Job
6 p ic t u r e o r a C p ic tu re . T h e o t h e r t h e n m a k e s u p a s e n t e n c e
have to o r ought to f o r t h e A p i c t u r e a n d c o n t i n u e s w i t h h u t . . . o r otherwise ...
O n e s t u d e n t p o in t s t o a
w it h
a s a p p r o p r ia t e .
1 A I (----- ) finish this essay
now.
B (------ ■
) I ’m too tired.
C (------ ) I w ill get no marks.
2 A
I (■
------) train every day.
B (---- ) I don’t have time.
C (------) I won’t win the race.
3 A
I (----- ) mend this roof.
B (——) it w ill leak.
C (------ ) I can’t because
I hurt my arm.
C (------) we had better pick
them now or thieves w ill
steal them.
6 Speech: Intonation when contradicting
L i s t e n t o t h e s t a t e m e n t a n d e a c h c o n t r a d i c t i o n o f it .
Statement
Contradiction
Paul’s got three sisters.
No. He’s got
Paul’s got three sisters.
No. He’s got three " others.
sisters.
The w o rd w hich expresses the disagreem ent (
fa lls on it.
Speaking
pairs
thers) is stre sse d and the voice
w o rk like this:
one w a y .
different
•
T h e f i r s t s p e a k e r s a y s t h e s t a t e m e n t ; t h e s e c o n d c o n t r a d ic t s it in
•
T h e f i r s t s p e a k e r r e p e a t s t h e s t a t e m e n t ; t h e s e c o n d c o n t r a d ic t s it in a
•
T h e sp e a k e rs ch a n g e p a rts.
w ay.
U seful words:
cars, houses, short, sister, cat, dog, past, five, ten, black, white.
Sta tem en ts
1 A li’s got a black cat.
C o n t r a d ic t io n s
a) No. He’s got a (—— ) cat.
No. He’s got a (— ) dog.
b)
2 M rs Boli’s got two houses.
a) No. She’s got (— -)■
No. She’s got (— -)■
b)
3 It’s five to six.
4 Your brother’s tall?
b)
a) No. It’s (
No. It’s (
c) No. I t ’s (
).
).
).
No. M y (
b ) No. He’s (
).
).
a)
M ake up your ow n statem ents and contradictions for fu rth er practice.
] Vocabulary 2: Don't be confused
[~a~j
/ c la s h
Study The car crashed into the side of the house.
but
We can’t have our training session today: it
two events are in conflict.)
The two politicians
w ith an im portant match. (= the
over the price of petrol. (= disagreed strongly.)
Com plete each gap witl crash 01 clash.
M any vehicles (1 ------ ) here where the road is narrow, Our local representatives can’t decide'
whether to widen the road .or not: they always ( 2 ------ j on this issue.
UNIT 6 » Getting a Job
f a m in e / h u n g e r
Study Hunger (noun) is a feeling you have when you haven’t eaten recently. It is not necess­
arily serious for a person to feel hungry (adjective).
BUT
Famine is when a whole community has been seriously short of food for a long time
and people are starving (near to death).
C o m p le t e e a c h g a p w it h
hungry o r famine.
There has never been a (1 ------ ) in this area although a few individuals may occasionally have
felt ( 2 ------ ■).
p a in k illin g / p a in s t a k in g
STUDY A painkilling drug (a painkiller) removes feelings of pain.
BUT
A painstaking worker works very carefully and thoroughly.
C o m p le t e e a c h g a p w it h
painkiller o r painstaking.
The doctor was very (1 ----- ) in his search for the best (2 ------- ) for me.
Communication 2: Predicting progress
R e a d t h is c o n v e r s a t io n w h i c h u s e s i n f o r m a t io n in t h e
Building programme, t h e n
c h o o s e o n e o f t h e s e w o r d s f o r e a c h g a p in t h e t a b l e :
by, continuous, have, w ill.
W orkman
I think we should have a few days’ holiday in the middle of May.
O wner
Why?
W orkman
We will have completed the roof by then and we will have been building the house
fo r 4 y months.
Building Programme
Start
Finish
Marking the position of the house on the ground
Laying the foundations
Forming the ground floor
Building the walls up to window height
Putting in frames for doors and windows
Building the walls up to roof height
Building the roof
Putting glass in the windows
Fixing, water pipes and waste pipes
Installing electric wiring
Painting and other work
1 Jan
4 Jan
11 Jan
21 Jan
5 Feb
13 Feb
13 Mar
16 May
2 June
16 June
1 July
3 Jan
10 Jan
20 Jan
4 Feb
12 Feb
12 Mar
15 May
1 June
15 June
30 June
31 July
Lo
o
k i n g
b a c k
f r o m
a
t im e
in
t h e
f u t u r e
Time adverbs
Tense and Use
Future p erfect
W e will ( 1 ------- j complete
the ro o f...
the m id d le o f M a y
(a c tio n c o m p le t e d )
Future perfect
( 2 ------- ■
)
( a c t i o n still in p r o g r e s s )
W e ( 3 ------- ) h o ve been w o ik in g on the h o u s e ...
for 4 4-m onths ( 4 ------- j then.
Use th e B uilding program m e to discuss the stages in the w ork.
E x : Dave
Guy
Dave
Guy
When w ill we start building the walls?
On 21st January. We’ll have finished making the ground floor by then.
When will we finish the roof?
On 15th May. We’ll have been building the roof for two months by that date.
Writ!rt'Q C om plete these sentences about the building program m e, placing each verb in
y brackets in th e fu tu re p e rfe c t or fu tu re p e rfe c t co n tin u o u s.
1
2
3
4
5
By 1st June we (finish) (----- ■
) putting glass in the windows.
We (build) (------ ) the walls up to window height by 4th February.
By A p ril 13th we (work) (------ ) on the roof for one month.
By June 15th we (fit) (------ ) the water and waste pipes.
We (paint) (------ ) the house for two weeks by July 15th.
Listening: Interviews
L is t e n t o t h e t a l k a b o u t jo b in t e r v i e w s a n d c o m p le t e t h e t a b le . It w il l p r o v id e y o u
w it h a u s e f u l lis t o f p o in t s t o c h e c k b e f o r e a n in t e r v ie w .
N o t es o n in terv iew s
The ( ------ ) o f the interview
Preparing for an ( ---- )
Advice
Example / Method
Advice
1 (------ ) for the interview.
2 Find (----- ) about type of
(
) and (
).
3 Think of likely ( ----- ■) and
prepare ( ----- ) .
4 Prepare to answer questions about your (------ ■).
Ask a friend to ( ------ ) you.
Ask (
) ,(
) and (
).
Be (-----) and (-----■).
A llow enough (-----) to get to
the (----- ■). D on’t be ( ---- ) !
During the interview be ( ---- ),
(
) and (
).
Answer (---- ) (---- ■).
Say ( ---- ) but not (---- -).
5 Prepare to answer questions about previous ( -----■).
6 Find out how (-----■).
W hy (
) ? W hy (
) ?
When and (----- ) you take
part in a ( -----■) you are interested in.
T ru th fu l answers that w ill
make a good ( -----■).
Times of (---- ) and ( ---- ■),
how much the ( ------■) is.
M ention anything ( -----■).
I f you are given the opportumty, (
).
UNIT B • Getting a Job
Composition: A letter of application
S t u d y t h i s m o d e l le t t e r a n d p la c e o n e o f t h e s e p h r a s e s in e a c h s p a c e in t h e a n a l y s is :
reason for applying, job you wish to apply for, names and addresses of referees, qualifications
and experience.
Mr A. Duval
Manager
Lagotel
PO Box 459
30, --Street
Analysis
25 June
Dear Mr Duval,
I would like to apply for the post of receptionist
advertised in the National Times of 24th June.
I have recently qualified as a secretary and can type
at 50 words per minute and take shorthand at 100 words
per minute. I also have a year's experience in using
computers and word processors. At present I am working
as a doctor's receptionist.
My reason for applying is because I wish to gain ex­
perience in the hotel business and eventually have
managerial responsibility. Everyone I know who has been
a guest at Lagotel speaks very highly of it.
The following have agreed to act as my referees:
1 D r ---50.---- Street, ----2 Ms ---- , Principal,
Modern Secretarial Training College,
25, ---X can be contacted during working hours on 09 35 26 14.
Yours sincerely
Jeanne Dembele
(Ms JEANNE DEMBELE)
Guidelines
■
* Use a form al layout and style.
* Have a separate paragraph for each topic.
* Be brief.
* Make a good impression on the employer.
* Read the advertisement very carefully. Provide any inform ation it asks for.
* Think of what qualities the job requires. M ention anything which shows that you
have these qualities. But only say what is true.
* W rite a rough draft of your letter. Check it for content and again for language,
especially spelling.
* W rite a neat copy of your letter and check it.
* Keep a copy of the letter for your own reference.
A p p l y f o r o n e o f t h e j o b s in t h i s a d v e r t i s e m e n t .
JOB VACANCIES
1
2
3
4
Secretary
Accounts clerk
Installation and maintenance fitter
Electrician
A well-established and fast-growing air-conditioning company requires hard-working and
forward-looking staff for employment at the earliest possible date.
Qualifications: At least two years’ training in either
secretarial skills (1),
book-keeping and accounting (2),
metal work and technical drawing (3)
or electrical engineering (4).
Applicants should have at least two years' work experience.
,
Salary: Above average salaries will be offered and successful applicants will be expected to
travel whenever asked and work long hours.
Method of application: If you are ambitious and wish to advance rapidly in your career, apply in
writing, giving the names and addresses of two referees to:
Ms Anne Marie Konan,
Director of Human Resources, Aircool Universal,
P.O. Box 47 1,------------------ .
ANSWERS FOR COMPETITION (Exercise 5, page 80)
1 A nurse has to be fit and strong.
A hairdresser doesn’t have to be/needn’t
be fit and strong.
2 Both have to be healthy, cheerful and
friendly.
3 A hairdresser has to look neat and
attractive. A nurse has to look neat, but
doesn’t have to / needn’t look attractive.
4 Both a hairdresser and a nurse must not
have skin problems. A hairdresser must
not have bad breath.
5 A nurse has to work long hours, even
when tired.
6 A nurs
nurse has to be emotionally strong.
7 Nurse
8 Nurse
99 Hairdi
Hairdresse
11 Hairdresser
Hairdi
12 Nurse
13 Nurse
14 Hairdresser
Hairdi
15 Nurse
16 Nurse
17 Nurse
18 Both
19
19 Hairdi
Hairdresser
ON;! G • Getting a Job
C onsolidation
Exercises
Vocabulary: Application forms
C o p y t h is i t e m
w rit in g o n e
o f t h e s e w o r d s in e a c h s p a c e :
apply, capitals, complete, delete, education, experience, maiden, marital, mother,
particulars, position, spouse.
Please ( 1 -----■) this form in block ( 2 ---- ■).
( 3 ----- ) applied for:
SECTION A
PERSONAL ( 4 ----- )
Surname-------------------------( 5 ----- j name
First names--------------------------------
Male/Female: ( 6 ----- j w h ich ev er d o es n o t apply.
A ge----( 7 ----- ■) status: Single, Married, Divorced: D e le te w h ich ev er d o n o t ( 8 -----).
Name of ( 9 -----) (if m a rrie d ).
( 1 0 ----- ) tongue---------------
SECTION B
( 1 1 ----- )
List schools in the order you attended them.
SECTION C
( 1 2 ----- )
Give names of employers, with starting and finishing dates.
Communication 1: What you have to / ought to do
C om plete each s e n t e n c e w i t h have t o , has to, don't have to, doesn't have to, ought
to o r oughtn't to.
1
A Brigitte is a crazy driver.
B Yes. She (------ ) take more care.
2
M y sister lives only 200m from her school, so she (------ ) carry her books far.
3
A John never listens to me,
B N o r to me. I (------ ) repeat everything I say to him,
4
This pocket calculator is solar-powered, so I (------ ) buy batteries for it.
5
A I haven’t seen my grandfather for months.
B Then you (------ j pay him a visit.
6
Tinned sardines are ready to eat: you (—— ) cook them.
7
A W hy are you worried about Abdoul?
B Because he ('------ ) walk home alone in the dark every evening.
8
A Would you like some more chocolate?
B I really (------ ), but I can’t resist them! Yes please!
9
A Come to the cinema w ith us tonight.
B Yes! I know I (------ ) write this essay, but I ’ll leave it till tomorrow.
10 A Come and meet my parents on Saturday.
B I can’t. I (------ ) help my father in his shop.
Communication 2: Predicting progress
Copy and complete this itinerary, placing each verb in brackets in the future perfect
tense or future perfect continuous tense.
Georges M akokola’s family are awaiting his return in two hours’ time at the end of his two
week holiday. The present time is 9.30 p.m. on 15th February. His family talk to each other
about his journey .
G. M akokola’s Itinerary
1 Feb: Leave home 10.30 p.m.
14 Feb: Arrive Rome
3 Feb: Arrive New York
15 Feb: Depart Rome 4.30 p.m.
7 Feb: Arrive Tokyo
15 Feb: Arrive home 11.30 p.m.
12 Feb: Arrive Singapore
1 By now his plane (cross) (—— ) the Mediterranean Sea.
2 By now he (fly) (■
------ ) for five hours.
3 He (have) (------ ■
) a meal on board by now.
4 In an hour’s time he (travel) (------ ) for exactly two weeks.
5 By the time he gets home, he (be) (---- ) away for two weeks and one hour.
6 I expect that by now he (spend) (--- ■
) all his money and (put) (------- ) on quite a bit of
weight,
7 I ’m su re he (m et) (- - - - ) so m e in te re stin g p e o p le .
O ne Bite Too Many
Have you ever had malaria? What are the symptoms? W hat can you do to avoid
getting it?
Study t h e p i c t u r e a n d a n s w e r t h e s e q u e s t i o n s :
1 This creature is harmful to humans. Can you name it?
2 Is it male or female?
3 W hat serious harm does it do?
4 W hat is this one standing on?
5 W hat exactly is it doing at this moment?
Reading
R e a d t h is t e x t t o d is c o v e r w h y t h e n u m b e r o f c a s e s o f m a la r ia is in c r e a s in g .
Malaria kills about three times as many Africans each year as does AIDS, and is one of the top
two killers of African children. According to the World Health Organisation (WHO) , between
1,4m and 2.8m Africans south of the Sahara now die of malaria each year. Statistics are
patchy, but this is a big rise from the WHO's previous estimate of 1m. Yet, unlike AIDS,
malaria is largely treatable. So why are more Africans dying from it?
The disease was wiped out, largely by the lavish use of the insecticide known as DDT, in
many sub-tropical areas - Greece, Italy and America's southern states, for instance - in the
1950s. It was thought - mistakenly - to have been brought under control in the poorer
countries by the drug chloroquine. The scale of its return is hard to measure as it is probable
that not all deaths caused by malaria in Africa are reported.
There are several reasons why malaria is on the increase again. Some of these are linked
with the behaviour of the parasite that is spread by the mosquito and causes the disease.
This parasite keeps on developing resistance to the drugs designed to combat it. It began to
build up resistance to chloroquine, used as a preventive, in the 1970s; now, in countries such
as Kenya and Malawi, it has developed stubborn resistance. Chloroquine is thought by the
WHO to work in only about two-thirds of cases, even when much higher doses are taken as a
treatment.
One reason why the parasite becomes resistant is because it is very adaptable. There are
many different forms of it and if one form has a natural resistance to a particular drug, it will
survive and then increase in number. Sometimes changes in the parasite occur with the result
that a particular drug is no longer effective against it. Another reason why the parasite
becomes resistant is because some malaria sufferers do not treat the disease properly. They
may not have enough money to pay for the full course of treatment; they may not know the
correct amount of the drug to take and for how long; they may buy drugs that have been
diluted. In such cases, the parasite may become more resistant and harder to treat in the future.
In the past, whenever the parasite became resistant to one drug, a new one was often
becoming available to fight it. But now there is less interest in Europe and America in
producing new anti-malarial drugs. This is partly because few people in these areas get
malaria. It is typically a disease of poorer countries: 80% of those who die of it are African. So
there is a danger that new drugs may not be available in time to halt the present increase in the
illness.
Malaria does not attract the notice of western countries in the way that AIDS does. Malaria
does not come as a sudden epidemic: it is a slow but sure killer. Because it is not dramatic and
does not appear on TV screens, western countries do not give so much money to the fight
against it.
Another reason why malaria is killing more Africans is the movement of people to the cities.
Townsfolk grow up lacking the immunity to malaria that usually builds up in those who
survive the disease in childhood. In rural tropical Africa, malaria kills one in twenty children*
* W H O
is t h e E n g l i s h v e r s i o n o f O M S ( O r g a n i s a t i o n M o n d i a l e p o u r la S a n t e ) .
UNI T
7 •
O ne Bite To o Many
under five - but few adults. When city-bred adults visit their families in remote villages, many
are as vulnerable as westerners. Aid workers in Kenya report a growing number of adults
dying of malaria in city hospitals.
Hopes that the disease could be eradicated by such measures as spraying houses with DDT
or draining stagnant water faded with the growing power of organisations concerned with
protecting the environment. The organisations argued that the use of DDT and the practice of
draining large areas of stagnant water harm the environment.
Health workers now focus more on protecting people, less on destroying mosquitoes. One
hope is that an effective vaccine will be found. But malaria specialists say that Africa may have
to wait until the next century for one.
In the meantime many African health workers are going back to some old-fashioned
methods. Some of the most promising results in Africa come from recent experiments carried out
in villages in the Gambia, which have been monitored at the British Medical Research Council's
centre in the country. Gambian families hang cotton or nylon bed-nets at night, which have
been dipped in an insecticide solution at the local clinic. The solution repels mosquitoes for up
to six months before the nets have to be redipped. The result: the death rate from malaria in
children younger than five has dropped by half.
A n s w e r t h e s e q u e s tio n s :
1 Roughly how many people die of AIDS each year in Africa, according to paragraph 1 ?
A Between 200,000 and 300,000.
B Between 500,000 and 1,000,000.
C Between 1,000,000 and 2,000,000.
D Between 2,000,000 and 3,000,000.
2 W hat inform ation in paragraph 1 needs an explanation, according to the writer?
3 W hat problem is caused by the failure to report all deaths caused by malaria?
4 W hy did chloroquine fail to eradicate malaria?
5 In what two ways can chloroquine be used to combat malaria?
6 In what way have attitudes in western countries to malaria changed?
7 W hy does AIDS receive more attention than malaria?
8 Which of the following groups is most at risk from malaria?
A rural children
B rural adults
C urban adults who do not visit rural areas
D urban children who do not visit rural areas
9 W hat is the most hopeful anti-malarial measure mentioned in the text?
10 Do you think environmental organisations are fair in their protests?
Summary
L i s t t h e r e a s o n s f o r t h e i n c r e a s e in m a l a r i a t h a t a r e g i v e n in t h e t e x t o n p , 9 0 - 9 1 .
T h is w o r k w i l l h e l p y o u p r e p a r e t o w r i t e a n a r t i c l e a b o u t s o m e a s p e c t o f h e a l t h in
S e c t io n 11 o n p . 1 0 0 .
Q
Vocabulary 1: Public health
: - - 'k
Quiz
,
pairs
1
P r e v e n t io n / T r e a t m e n t
a) Which stops you getting an illness? Which cures it? Choose one of the above words to
label each picture.
if*
b) Complete this pair of sentences;
AIDS is preventable. Is it also (------ ) ?
2
R e s is t a n c e / Im m u n it y
a) Who or what is resistant or immune to something?
Complete these sentences w ith An illness or A person.
(----- ■
) may be immune to a disease.
(■
----- ) may be resistant to a drug.
b)
Complete the sentences below each picture w ith immune or resistant.
- s.
Y
> S
It is (------ ) to the drug.
3
He is (------ ) to malaria.
M a t c h e a c h e x p r e s s io n w it h its s y n o n y m
o r m e a n in g .
E x p r e s s io n s
Sy n o n y m s a n d
to e r a d ic a t e
a w id e s p r e a d o u t b r e a k o f a d is e a s e
m e a n in g s
a n e p id e m ic
a h e a lth c e n tr e
a m e a s u re
to w ip e o u t ( g e t r id o f c o m p le te ly )
a c lin ic
in f o r m a t io n in th e fo r m o f fig u r e s
s ta tis tic s
a s te p o r a c t io n
2
UNIT
7 * O ne Bite Too Many
a) Public health m easures are m ore successful ag ainst som e diseases than ag ainst
o th ers. A rran g e th e se exp ressio n s, w h ich d escrib e illn e sse s, according to th e
degree o f success th ey indicate:
under control, eradicated, out of control, on the increase.
b)
t h e ta b le a n d g ra p h a n d c o p y a n d c o m p le te e a c h s e n te n c e b e lo w th e m
w it h o n e o f t h e a b o v e e x p r e s s io n s .
T a b le
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
0
0
0
0
0
0
0
0
0
0
0
0
Number of cases of smallpox each year
Graph1
Number of cases in a particular area
1 Smallpox has been (------ ■
).
2 Leprosy is (------ ■).
3 AIDS is (-----4
M alaria is (------ ■).
5 Communication 1:Telling someone to do
or not to do something
In the conversation below, the parent starts by giving a polite instruction, then
loses patience and ends by giving an angry order. Study it.
T h e SCEN E: A
teenager is e n te rta in in g som e frie n d s in h is ! h e r ro o m w ith som e lo u d m usic.
P A R EN T
W o u ld y o u t u r n d o w n th e v o lu m e , p le a s e ? D o b e a little q u ie te r in h e re .
(A little la te r) I a s k e d y o u t o t u r n d o w n t h e v o l u m e . W i l l y o u t u r n i t
d o w n , p l e a s e . D o n ’t p r e t e n d y o u d i d n ’t h e a r m e .
I will. (D o e s n o th in g .)
C h il d
Pa ren t
(a little la te r)
You will switch off that terrible sound at once! I have asked you three
times now. Turn it off immediately! You arc not to play any more
music today.
C h il d
But I have turned it off!
Pa ren t
(ve ry a n g rily ) Y o u d o w h a t I s a y ! I c a n s t il l h e a r i t .
N e ig h b o u r
A r e y o u s p e a k i n g t o m e ? I t ’s m y r a d i o y o u c a n h e a r . P l e a s e d o n ’t b e
a n g ry .
Oh, I’m terribly sorry. I th o u g h t...
Pa r en t
Copy the table. Find examples of these items in the dialogue and complete the
table:
Would you ...?
Do + imperative, D on’t + imperative, imperative, Will you ...?
Please don’t + imperative,
You + imperative, You w ill..., You are to ..., You are not to ...
T e l l in g s o m e o n e t o d o s o m e t h i n g
Polite
Firm
V ery forceful
Imperative
Positive
N egative
-
You w i l l ...
UNI T 7 * One Bite Too Many
SPSjN Role-play
Pairs
A c t o u t t h e s e s c e n e s . In e a c h c a s e t h e p e r s o n w h o g iv e s t h e in s t r u c t io n s s t a r t s b y
making a polite request and ends
, ire c t o rd e r.
1 An older child refuses to say ‘sorry’ for accidentally hurting a younger one. The parent
wants the older one to apologise.
2 A younger brother or sister refuses to give back to an older brother or sister one of the,
older person’s possessions. The older one asks for it back.
3 A child has not slept under his mosquito net. The parent insists that he use it. The child says
he has used it. The argument continues until the parent realises that the child thought the
mosquito net was a house for the mosquitoes and had hung it under a tree in the garden.
</)
Speech: Intonation for requests and commands
Practise these conversations:
N ote The voice rises on requests and falls on commands.
—y
a ) C h il d
C a n I p r a c t i s e m y g u i t a r in h e r e ?
Yes. But please shut the door.
Pa r en t
b) G a s t o n
BERNARD
c)
Anne
,
F R A N g o iS E
C o u ld y o u le n d m e s o m e m o n e y , p le a s e ?
A l l r i g h t , b u t d o n ’t te ll a n y o n e , a n d p a y m e b a c k n e x t S a t u r d a y .
Do tell me where you’ve been.
Could you let me have a d r i n k f i r s t , please?
You will keep it secret, won’t you?
Vocabulary 2: Idioms
A s y o u r e a d t h is a n e c d o t e , t r y t o u n d e r s t a n d t h e
id io m a t ic e x p r e s s io n s g iv e n in co lo u r.
A n d re A g assi, a fa m o u s ten nis p lay er, h ad to ch an g e his shirt d u rin g
a m a tc h a n d so m e s p e c ta to rs th o u g h t he h ad less h air o n his ch est
th a n th e y e a r b efore.
A fte r th e m a tc h , th e press w a n te d h im to g e t so m eth in g o f f his
ch e st.
‘T ell us y o u r secret. W h y d o y o u rem o v e it? ’ th ey ask ed .
‘It m a k e s m e a little m o re a e ro d y n a m ic o u t th ere o n th e ten nis
c o u r t, y o u k n o w .’
‘W h o re m o v es it? ’
‘I d o
it m y se lf m o s t
of
th e
tim e ,
but
s o m e tim e s
I h ave
s o m e o n e else d o it.’
H e didn’t m en tio n an y n am es. H e w as keeping his card s d o s e t o his
ch e st.
Choose a meaning from the box below, for each idiom.
M e a n in g s
a) t o a r g u e o v e r t i n y d e t a i l s
b) t o c o n f e s s
c) t o t e r r i f y
d) b y a v e r y , v e r y s m a l l d i s t a n c e
e) t o m e n t i o n a w o r r y o r p r o b l e m
f) t o b e v e r y s e c r e t i v e
g) n o t t o s h o w a n y s i g n o f f e a r
A I can see something’s bothering you. W hat’s the matter? If you’ve done something wrong,
it’s best 1 to make a clean breast of it.
B
I’m angry with Robert, that’s all - 1 suppose it’s best if I 2 get this off my chest. I didn’t get
him a lemonade yesterday because he said he didn’t want a fruit juice. Then he complained
about not having a lem onade, saying it w asn’t fruit juice because they didn’t use real
lemons to make it. I’m going to teach him not 3 to split hairs'. I shall give him a fright that
will really 4 make his hair stand on end!
A W hat are you going to do?
B I’m not saying. It won’t work if I don’t 5 play my cards close to my chest.
A But Robert is fearless, you know. Nothing you can do will make him 6 turn a hair, not even
7 a hair’s breadth escape from disaster!
Vocabulary 3: Don't be confused!
[ a ] ho liday/vacancy/vacation
Study
In on e sense holiday and vacation mean the same: a period o f leisure tim e awray
from w ork and often away from home. A vacation is also the time between two
university terms. A vacancy is an ‘empty position’, usually a job waiting for someone to
be chosen to do it.
Complete each gap with holiday, vacation or vacancy.
I see there is a ( 1 ---- ) for a mechanic at the nearby garage. Instead o f going away on ( 2 ------ )
during the next ( 3 ------ ■), I’ll apply for this position.
damage / injury / insult
Study
Damage (noun and verb) is done to a thing. An injury (noun) is done to a person.
T h e v e r b is to injure.
But
T o s a y s o m e t h i n g very rude and offend a person is to insult them. The noun is an insult
Complete each gap with dam ag ed , injured or insulted.
I admit I was rather careless and drove into the back of the taxi. It was slightly ( 1 ---- ■), but
no one was ( 2 ------ ■). The driver shouted, ‘You crazy idiot!’ Yes. He ( 3 ----- -) me with those
exact words.
UNI T 7 • O ne Bite Too Many
9
Communication 2: Making requests and
asking permission
S t u d y t h e c o n v e r s a t io n .
O ld er
so n
Here it is.
Fath er
Y oun g er
O ld er
so n
so n
Can I have a look, too?
C an’t you wait a minute? Can we go to the seaside for a holiday, Dad?
I’m afraid there’s nowhere for us to stay.
Father
O ld er
Could you let me have a look at the map, please, Dad?
so n
Couldn’t we stay with uncle ... ?
C o p y a n d c o m p le t e t h e t a b le b e lo w , u s in g t h e s e w o r d s :
please, can, could, couldn’t.
Req u ests
v e r y p o lit e
(-------) you ... ?
m o re d ire c t
o r n o t su re o f a
Can you / we ... ?
p o s itiv e a n s w e r
e m p h a tic
P e r m is s io n
N ote
C an't 1/ we / you ... ?
(-------) 1 / w e / you?
v e r y p o lit e
Could 1 / we ... ?
M ay 1/ we ... ?
d ire c t
(-------) 1/ we ... ?
A ddi ng (------- ) makes any type of request more polite.
a ) U se t h e g u id a n c e b e lo w t o h o ld c o n v e r s a t io n s r a t h e r lik e t h e o n e a b o v e .
F ir s t c o n v e r s a t i o n
S e c o n d c o n v e r s a t io n
... t e a c h m e to p l a y t h e g u i t a r
... g i v e m e a lift to t h e t o w n
A
m a k e s a p o lite re q u e st.
B
s a y s ye s.
A
m a k e s a m o r e d ir e c t re q u e st.
... b o r r o w y o u r g u i t a r
... p r a c t i s e d r i v i n g y o u r c a r
B
g i v e s a r e a s o n w h y n o t.
... n e e d to p l a y it n e x t w e e k
... n o l i c e n c e
A
m a k e s a n e m p h a t ic re q u e st.
... b o r r o w it ju st f o r o n e d a y
...
ju st d o s o m e o f t h e s t e e r i n g
b) J o t d o w n s o m e id e a s f o r a n o t h e r c o n v e r s a t io n a lo n g t h e s e lin e s a n d p r a c t is e
s a y in g it.
97
10 Listening
Listen to the
dio in k
o f t h e t a lk b e lo w :
Kalumo. Then copy and complete t h e key points
AIDS in Africa is very (------ ■).
However, the figures may be too high.
R ea so n s fo r
b e l ie v in g t h is :
1
2
3
Nevertheless, AIDS is increasing. Therefore, people
should still (------ j
P eople shou ld av oid these tw o dangerous attitudes:
1 the attitude that (------ )
2 the belief that (------ )
Composition: Interpreting charts*1
a) Answ er these questions about the climate
chart for Navrongo in the north of Ghana:
1 The temperature in January is 27°C .
a) W hat is the temperature in May?
b) W hat is the temperature in August?
2 The rainfall in M ay is 100m m.
a) W hat is it in September?
b) W hat is it in January?
Climate graph
for Navrongo
UNIT 7 • O ne Bite Too Many
b) Copy and complete this paragraph about the climate for Navrongo, choosing
from these words:
rainfall, temperature, lowest, highest, M arch, September, February.
At Navrongo in the north of Ghana there is a link between temperature and ( 1 ------ ■). The two
months with the ( 2 ------ ) temperatures (26°C) are August and ( 3 ------ ■). These are also the
months with the ( 4 ----- ) rainfall. The highest temperatures (31-32°C) occur in ( 5 ------- ■), April
and May, the first months of the rainy season. From November to ( 6 ------ ■) hardly any rain
falls. At this time the ( 7 ------ j remains steady at about 27.5°C .
c) Answer these questions about the bar charts for malaria in rural children in
The Gambia. The charts are based on information collected by researchers in
41 villages.1
1 Name the four months when rain falls.
2 No children died o f malaria in January. How many died of other causes in that month?
3 In August the total number o f deaths was 15. Two o f these were due to malaria.
a) W hat was the total number o f deaths in October?
b) How many of these were due to malaria?
a) Use.the charts to answer this essay question: Describe the link between malaria
and climate in rural Gambia and suggest w ays of reducing malaria.
Guidelines
F irst paragraph
(general points)
Complete this introduction: In rural Gambia there is a link
between malaria in children and (------ ). This link exists both for
the time when most malaria deaths occur and the time when there
is most malaria (------ ).
S econd paragraph
(deaths from malaria)
Say when deaths occurred:
* in general (rainy season)
* in detail
Link this information with the fact that mosquitoes breed in water.
T hird paragraph
(malaria fever)
Say when malaria fever occurred:
* similar times to deaths from malaria
* details
F ourth paragraph
(conclusion)
Suggest action, such as:
* use of mosquito nets around beds
* spraying insecticides at certain times
b) Find inform ation about the clim ate in your area or about the tim es w hen a
particular illness is most common, and w rite tw o or three paragraphs describ­
ing the situation. Include a table, graph or diagram in your com position.
Consolidation Exercises
Vocabulary 1: Public health
Copy and complete this conversation, choosing from these words:
centre, curing, data, disease, epidemics, eradicated, health, immune, increase, out, preventing,
rid, statistics, to, under.
A clinic in a rem ote, rural area in the 1970s.
DOCTOR
know we have t o send in form ation about illnesses, especially
widespread ( 1 ------ j to the W H O every year so that they can publish their
Y ou
& —
)-
N U RSE
D o they even want to receive ( 3 ------ ) from our remote health ( 4 ------ ■}}
D octor
Yes. They want to know how successful we are in (5 ------- ) illness and
(6 — —) people who have become ill. The problem is, we have no figures on
smallpox to report to them. Do you think everyone in this area is ( 7 ------ ) to
the illness?
N urse
1 doubt i t . They will just think we are bad at diagnosing the ( 8 --------- ) or
bad at keeping records.
UNIT 7 • O ne Bite Too Many
D octor
T h at’s what I’m afraid of. I must say, I can’t remember when I last saw a
case o f smallpox. W e^ertainly have it well ( 9 ------ ■) control here.
NURSE
It has certainly shown no resistance ( 1 0 ------ j drugs and no one could say
it is on the ( 1 1 ------ ■).
N ews bro a d ca st
The World Health O rganisation has just announced that the disease
known as smallpox has been totally ( 1 2 -------).
N urse
W e’ve done it! We’ve wiped ( 1 3 -------■) that terrible illness. Do you think
they will mention our names?
D octor
I’m afraid we haven’t got ( 1 4 -------■) of it all by ourselves. There are too
many ( 1 5 ------ ■) workers like us to name them all.
Communication 1: Telling someone to do something
Write a suitable instruction for each of the father's lines in this conversation;
J e a n - M a r ie
This comic is really funny. Listen to this.
Fath er
(Politely asks Jean -M an e i f b e w ould help him in the vegetable garden.)
J e a n - M a r ie
Yes, in a minute. (He carries on reading.)
Fath er
(Repeats his request.)
J ean -M arie
All right. I’m coming. (But h e still delays an d d o e s n ’t com e.)
F ather
(Angrily tells Jea n -M arie to com e.)
J ean -M arie
But I just want to finish reading this page
F ather
(Tells him very angrily to d o w h a t h e says.)
Vocabulary 2: Idioms
C h o o se o n e o f th e se w o rd s fo r each g ap :
breadth, breast, chest, down, end, hairs, hair’s, let, make, off, stand, turn
I threw my spear at the lion - whizz! But I missed it, just by a ( 1 ---- ) breadth! The lion got
up and began to walk towards us. I glanced at M oussa. He was perfectly calm and didn’t
( 2 -------■) a hair. But it made my hair ( 3 ------ ) on ( 4 -------■}.
‘Keep still,’ he whispered. ‘The lion still doesn’t know we’re here.’
He was right. The creature walked straight past within a hair’s ( 5 -------) of us. But I could
see that Moussa was upset now. So I said, ‘Come on. Tell me why you’re angry with me. Get
it ( 6 -------) your ( 7 -------■).’
‘I’m not angry with you, just rather annoyed.’
‘You’re splitting ( 8 ------ ) now,’ I said. ‘But I think I know what I’ve done wrong and I’ll (9 ------- )
a clean ( 1 0 ------ ) of it. I confess that it was I who ate all the biscuits and drank the last bottle
o f C oke.’
He laughed. ‘N o, it’s not th at,’ he said. ‘But you were an idiot to miss the lion and put our
lives in danger. You need some target practice. Come on, let’s go to a party tonight and really
( 1 1 -------) our hair ( 1 2 -------) .’
t
Communication 2: Making requests and asking permission
Write out this conversation, adding appropriate sentences with the words in colour
where you see this sign:
C u s t o m e r A : G iv e m e a k ilo o f r ic e .
Sh o p k e e p e r :
( Using C o u l d n ’t requests the custom er to speak m o re politely.) □
C usto m er B:
(Asks i f she m a \>make a suggestion) □
C u s t o m e r A : Y e s , p le a se d o .
C u sto m er B:
U se
c o u ld lik e th is: □
Sh o p k e e p e r :
(Asks i f he can m ake another suggestion: say p l c a s d □
C U S T O M ER A : S o , t a k i n g y o u r s u g g e s t i o n s t o g e t h e r , I s h o u l d s a y t h i s :
(Asks fo r a kilo o f rice
using c o u l d an d p l e a s d D
Sh o p k e e p e r
and
C U S T O M ER A :
$
custo m er
B : E x a c tly .
(Asks i f he m a y thank them both fo r a useful lesson) □ .
Vocabulary 3: Crossword
5
1
A cro ss
1 Diseases that have cures a r e
(-------)•
2
2 Diseases that can be treated
are (------ ).
3 Doctors and scientists believe
that malaria can be controlled
they think it is (------ ).
6
3
4 A scanner can detect an ill­
ness like T B , so it is (-------).
D own
5 AIDS, unlike inherited con ­
ditions, can be prevented it is
(------ )•
6 Parasites, like some viruses,
adaptvery easily: they are (------ ).
4
W hat does the
ass med include? Do you believe everything you read? If not, what
features of a text might make you have doubts about it? Consider these features: its
author or which newspaper (for example) it is published in; its choice o f words; the
evidence (if any) it offers; its fairness and balance. Can you find examples o f biased texts
in any language and say why you think they are biased?
Picture interpretation
W o rk in g in g r o u p s , in t e r p r e t t h is p ic tu r e in a s m a n y d if f e r e n t w a y s a s y o u c a n .
in ven t a w id e v a r ie t y o f c a p t io n s f o r it, s h o w in g o p p o s in g a t t it u d e s . C o m p a r e y o u r
id eas w ith th o s e o f o th e rs in
2
Reading and study skill
As you read these two newspaper reports, consider their attitudes and which
aspects of them you believe.
Stubborn peasant refuses to move mad cock
W AR has broken out in the normally peaceful village o f Lafia. M r Nianzou, a
top engineer, has been driven out o f his mind by the deafening crowing of his
neighbour’s cock. Every night he is woken up after only a few hours’ sleep. Just
as he is going back to sleep, the evil-minded bird brutally wakes him up again.
the time. There were 4 0 crows
between 6 a.m. and 6 .3 0 a.m.
According to an expert in noise
levels, the noise in M r Nianzou’s
bedroom was 4 0 decibels,
w hich was 33 decibels above
the background level, enough
to be ‘extremely disturbing and
annoying’. T h e crow ing was
10 decibels greater than the
sound m ade by singing birds
and bleating goats and sheep.
‘I spoke to Mrs Sadi, the owner,’
said M r Nianzou, ‘and politely
asked her if she could move the
bird a little further from my win­
dow. The unreasonable woman
swore at me and refused.’
The local health inspector re­
corded the cock on 4th M arch
last year, starting his observa­
tions at 4 .3 0 a.m . T h e first
co ckcro w cam e 15 minutes
later at 4 .4 5 a.m ., followed by
a loud series o f 23 crows in the
next eight minutes. Then there
were 2 6 crows in the next 50
m inutes, becom ing louder all
M r N ianzou is now taking
this attack on his personal
rights to court. ‘I f I do not win
this case?I will be surrounded
by noisy cocks,’ he said.
Arrogant townsman threatens
to kill harmless cock
M R NIANZOU, who has newly
arrived from the capital, is trying
to impose his will on the peaceful
village of Lafia. After the silence
of his luxury town house, he can­
not get used to the normal coun­
try sound of a cock crowing.
He complained of the noise to
M rs Sadi, the cock’s owner, and
demanded that she move the
animal away from his window
or kill it.
M rs Sadi said she was willing
to listen to any polite request, but
was naturally very upset at the
newcomer’s cruel demands. ‘If
you come to live in the country,’
she said, ‘you have to expect
country noises.’
M r and M rs Bello, who live in
a house on the other side of Mrs
Sadi and who are equally close to
the cock, say they are never dis­
turbed by its crowing.
UNIT 8 • media
b l Answer these questions:
1
a) W h ic h re p o rt ap p eared in th e L a fia E ch o an d w h ic h in th e N a tio n a l Tim es}
b ) G ive re aso n s fo r y o u r ch o ice .
2
W h y are the w ord s p easan t and to w n sm a n used ra th er th a n o th er w ord s fo r w om ari'and
m an?
3
W h ic h a d jectiv es d escrib in g th e c o c k te ll y o u m o re a b o u t th e a ttitu d e o f th e w riter
th a n a b o u t the co c k ?
4
W h ich ad jectives d escribing peop le tell you m o re a b o u t th e b ias o f th e n ew sp ap er article
th a n a b o u t th e p eop le?
5
a) W h ic h a rtic le m e n tio n s scie n tific fa cts as ev id en ce in su p p o rt o f its p o in t o f view ?
b ) W h a t is th e s u b je c t m a tte r o f th is evid ence?
6
W h a t evid ence d oes th e o th e r a rticle o ffer?
7
W h y is it d iffic u lt to k n o w w h ic h v e rs io n o f th e c o n v e rs a tio n b e tw e e n M r s Sddi an d
M r N ia n z o u to b eliev e?
8
O n e w ay a rep o rt can be m isleading is by ch oosing to m ention only in fo rm atio n fav ou rable
to its point o f view. W hen you com pare the tw o reports o f the conversation, w h at inform ation
m ay M r N ianzou have left ou t deliberately?
9
D o e s eith er re p o rt present b o th sides o f the arg u m en t?
10
Y o u are m o re lik ely to believe a re p o rt if it
a) avoids biased language
b ) presents both sides of an arg u m en t
c) o ffers ev id en ce, and
d) d oes n o t hid e evidence d eliberately .
T o w h a t e x te n t d oes each te x t satisfy ea ch o f th e c rite ria o f a ), b ), c) o r d) ?
Vocabulary 1: Newspapers
I T I The mass iwdia
C o p y and c o m p le t e t h e d ia g r a m , p la c in g o n e o f t h e s e w o r d s in e a c h g a p :
w eekly, te le v isio n , magazines, broadcasting, b o o k s.
T h e m ass m edia
Describe t h e d ia g r a m , s t a r t in g y o i
sentences with phrases like these:
T h e m ass m ed ia in c lu d e s—
B ro a d ca stin g co n sists o f —
T h e p ress can be divided in t o —
N ew sp ap ers are o f tw o k in d s—
Newspaper staff
Arrange these positions in order, placing the most senior first:
su b -ed ito r, rep o rter, editor.
The paper itself
Choose a label for each part:
c a p tio n , co lu m n s, co rre sp o n d e n c e , h ea d lin e, item , rep orter.
Types of newspaper
Match each name with the appropriate description.
UNI T B • Media
Who? what? and where?
Copy and complete each sentence with one of these words:
agency, a rtic le , b a c k , bu sin ess, fea tu re , h o m e, in te rn a tio n a l, jo u rn a lis t, n ew sa g en t’s, o p in io n ,
o w ner, p ag e, sp o rts.
1
T h e p ro p rie to ro f a n ew sp ap er is its (------- ).
2
A correspondent's a (------- ) w ho w rites new s item s on a p a rtic u la r to p ic (such as sp orts)
o r re g io n .
3
A n ed ito ria lis a leading (------- ■) o r leaderand provides comment, th a t is, (------- ■).
4
A rticle s on topics of g en eral in tere st are (------ ) articles.
A n o rg a n isa tio n w h ich collects and sells news to newspapers is a n ew s (------- ■). A sh o p
5
th a t sells n ew sp ap ers is a (------- ■).
6
N e w s a b o u t o u r o w n c o u n try is (------- j news.
7
N e w s a b o u t o th e r co u n tries is foreign or (------- ■) news.
8
N e w s a b o u t te n n is an d b o x in g is on the (------- j (-------j.
9
N e w s a b o u t th e e c o n o m y will be with other financial o r (------- ) new s.
10
A previous issueof a newspaper (for instance, one o f last w eek ’s edition^ is a (------ ) number.
Communication 1: Talking about ideas
Study this conversation:
A W h a t’s th e p a rty fo r?
B H a v e n ’t y o u h e a rd th e
new s th a t M r s Sad i has
w o n h er case?
C Y es. T h e c o u r t’s d ecisio n
that th e c o c k is allo w ed
to c r o w h as m ad e us all
very happy.
one of these words for each gap in the paragraph below:
su b je c t, o b je c t, th a t, d ecisio n .
So m e n o u n s, like new s o r ( 1 ------- ), m ay be fo llo w ed by (2 — —) an d a clau se. P h rases lik e T h e
new s th a t M rs Sadi has w o n her case m ay eith er be th e ( 3 ------- ) o f a sen ten ce, as in T h e co u rt’s
d ecisio n t h a t ... h as m ad e ...o r th e ( 4 ------- ), as in H a v e you h eard th e new s t h a t ... ?
Speaking Take it in turns to tell your partner which clue to use t o m a k e u
in
pairs
choosing a suitable phrase from those listed.
E x-: M o u s s a
C lu e 5 .
Fatou
I have an id ea th a t J o h n ’s p la n e h as ju s t lan d ed . C lu e 8 .
M o ussa
R u m o u r h a s it t h a t th e p o lic e h a v e c a u g h t th e th ie f!
2
&
- J l_.
L o st / w ill lose ou r way.
a sentence,
UNIT 8 • Media
11
S teal / sto len .
12
R etu rn ed h o m e.
1 3 -/We w o n / w ill w in.
l /
km .
r
__--
tfc&aL'Ui
15
A n o th e r g o a l.
'A?
14
16
A big p arty.
P a trice .
What chance/hope/likelihood is there that ... ?
Have you heard tne news that. .. ?
There is a rumour that ...
Rumour has it that ...
1 have an idea that ...
The announcement that...
is / was true / false
The possibility that ...
is / was correct / a mistake
The thought/realisation that ...
(has) made us very happy /
pleased / anxious / angry/
upset
The report/news that ...
Use the above phrases to make up five sentences of your own about events in your
own life.
5 Speech: Pronunciation /h /
L is te n , d ic ta te , d is c u s s .
.
1
eye
and
a rt
eat
old
1
it
arm
N
air
ea r
2
hig h
h an d
h e a rt
h ea t
h o ld
2
h it
h a rm
hen
h a ir
h ea r
1
N ote A few words start with an ‘h’ that is not pronounced:
Ex : hour ?heir (pronounced like air), honour, honest.
In p a ir s : O n e p e r s o n s a y s e it h e r s e n t e n c e a ) o r b ) t h e o t h e r r e p lie s w it h c ) o r d ) a s
a p p r o p r ia t e . Take it in t u r n s
1 a) T h e s e n s a re sm all: n n n n n n .
b) T h e se h ens a re sm all.
c) B u t th ey lay big eggs.
d) B u t it ’s p o ssib le to read th em .
2 a) Is th e re an y th in g to e a t th is fo o d w ith ?
b) Is th e re an y th in g to h ea t th is fo o d w ith ?
c) Y es, h ere’s a sp o o n .
d) Y es, th e re ’s a c o o k e r o v er th e re.
3 a) T h e p riso n ers hav e b een h arm ed !
c ) A re th ey a ll still alive?
b ) T h e p riso n e rs hav e b een arm ed !
d) H a v e they g o t rifles?
4 a) P ie rre ’s a rt is am azin g ,
c) Yes, he can run a m arath on alth ough h e’s 6 0 .
b) P ie rre ’s h e a rt is am azin g .
5 a) H e h a s n ’t g o t m u ch h a ir le ft,
b) H e h a sn ’t g o t m u ch a ir left.
6 a) I saw h er e a r yesterd ay,
b) I saw h er here yesterday.
d) Y es, h e ’s a w o n d e rfu l p ain ter.
c) Y es, h e ’s n ea rly b ald .
d) I h o p e he co m e s to th e su rfa ce so o n .
c) Sh e lo o k e d very w ell, d id n ’t she?
d) It w as very sw o llen , w a s n ’t it?
Vocabulary 2: Don't be confused!
a
s a y / t e ll / t a lk / s p e a k
S tu dy
Say and tell are tran sitiv e v erb s. U se say to fo cu s o n th e Words-, use tell to fo cu s on
th e inform ation. ‘I to ld you th e tru th w h en I said I w a s a F ren ch citiz e n .’ T a lk an d
speak a re in tran sitiv e verbs. U se ta lk to fo cu s o n th e activity-, use sp eak to fo cu s on
the person w h o is sp ok en to o r on the manner o f speaking. ‘I co u ld h ear tw o peop le
ta lk in g . I realised it w as m y p a re n ts sp eak in g q u ietly to a m o n ey le n d er’.
C o m p le t e e a c h g a p w it h
talked told saidor spoke
A stran g er cam e and ( 1 ------ -) to m e ju st now . H e (2 —— ) m e his n am e an d (3 ------- ) he w as a
v isito r to th e area. W e ( 4 ------- ) fo r a sh o rt tim e and I ( 5 ------- j him w here he co u ld find a ro o m
fo r th e n ig h t. B u t he ( 6 ------- ■), ‘I alw ay s sleep u nd er th e s ta rs ’ an d w e n t o n h is w ay.
Media
ander/ wonder
Study
T o " .nid cr is to go fro m p la ce to p la ce w ith n o cle a r id ea w h ere o n e is g o in g . To
w onder
j s t o be u n certa in a b o u t so m eth in g an d q u e stio n o n e s e lf a b o u t it.
Complete each gap with wanderor wonder
I ( 1 ------- ) w h a t it w ould be lik e to be a tra d itio n a l sin g er and ( 2 ------- j fro m v illag e to v illage.
Communication 2: Saying what you prefer and showing
what you think
Study the conversation:
Y vette
C o ffee?
M O U SSA
1 J ra th e r h av e
te a , p lease. (T hin ks fo r a m om en t.) A ctu ally, 1 d p r e f e r to h a v e a
co ld d rin k , if you hav e one.
Y vette
Unfortunately, I haven’t. I asked Robert to get some more yesterday, but apparently
he forgot. I just don’t understand how he survives: he forgets everything. I honestly
thinks he’s capable of forgetting to breathe!
C h o o s e o n e of these expressions for each gap in the table below:
noun, have, to have, would.
Patterns f o r preferen ces
a ) would
d r a t h e r + bare infinitive + object
E x: I’d rather ( 1 ------ ) tea.
b) ( 2 ------ ) / d p r e f e r + to + infinitive + object
E x: I’d prefer (3 — —) tea.
c j w o u l d / *d p r e f e r + (4 -------- .)
E x: I’d prefer tea.
N ote The simple past is used in these patterns :
I’d rather you c a m e with me.
I’d rather you d i d n ’t c o m e with m e .
List the five adverbs in the conversation in a which show the speaker's a t t it u d e .
T h e s e a n d s im ila r a d v e r b ia l e x p r e s s io n s c a n b e a r r a n g e d in g r o u p s :
In m y view : (u n fo r tu n a te ly , lu ckily, h o n estly , fra n k ly , in m y view.
T h is is tru e / p o ssib le : actu ally , ap p aren tly , in fa c t, u n d o u b ted ly.
I w a n t to em p h asise th is: ju st, sim ply, really.
S t u d y t h e s e n t e n c e s t h a t g o w it h e a c h p ic tu r e ; c h o o s e p h r a s e s t o c o m p le t e t h e m
f r o m t h e lis t s u p p lie d ; p r a c t is e s a y in g th e m .
C ompletions
she adores them
lift it out
In my opinion
my shirt
break down
I simply love
going to rain
a spaceman
He’s taken (----- ). I just don’t
believe it!
(----- j ice cream!
$l*ap| Hold conversations with each other, using the adverbs taught in this section.
Ex:
MlCHEL W h y d o n ’t y ou w ear m a tch in g so ck s?
PlERRE
A c tu a lly , I d id n ’t rea lise th ey w ere d iffere n t.
M ichel But don’t you look at your socks when you get dressed?
PlERRE
N o . I sim ply ta k e tw o o u t o f m y d ra w er a t ra n d o m .
UNI T B » M edia
Use the menu to hold conversations like the example in JJLII on p.111._Say w hat
you would prefer to have and use the a d v e r b ia l e x p r e s s io n s listed in
on p.111.
m
ic e
cream
or
F is h o r ch ie h e n o r g o af
and
S a la d o r b e a n s o r s p in a c h
c h o c o la te
or m o u s s e
#
w ith
R ic e o r p o u n d ed y a m o r p o ta to e s
f re s h
fruit
C offee o r te a o r m in e ra l w a fe r
F ru it iu ie e s
O ran g e o r g ra p e fru it o r p in e a p p le
1
Listening
You will hear a radio broadcast. Report its main p o in t s t o a friend w ho w as unable to
listen to it.
* L o o k o u t fo r w o rd s th a t sig n al a n o th e r m eth o d . E x : way, m e th o d , th ird
* D o n o t re p e a t a p o in t.
Listen to the broadcast again and discuss these questions:
1
W o u ld it be fea sib le to in tro d u ce sa tellite te le v isio n in y o u r a re a o r in y o u r h o m e?
2
W o u ld y ou w elco m e so m an y fo reig n b ro a d ca sts?
3
W h o d o y ou th in k m ad e th e b ro a d c a s t, an d w hy?
9 Composition: Report of an accident
The picture below show s an accident. The drivers are blam ing each other and the
passengers also disagree about w ho is
Work in small groups. Each group writes a
of the accident for a local newspaper.
• som e groups rep o rt th e accid en t in favou r o f th e lorry driver.
• som e groups w rite in favou r o f th e bus driver.
• o th e r groups w rite a b alanced , neu tral account.
Consolidation Exercises
e
Vocabulary: Newspapers
and complete this conversation, choosing from these words:
captions, columns, headlines, items, magazines, press, reporters, sub-editor
W if e
W h o a r e a ll th o s e p e o p le a t th e d o o r ?
Farm er
They are the ( 1 ------ ■): photographers an d ( 2 ------ j from national and local n ew s­
papers and ( 3 ------ ■).
W if e
W h a t d o th e y w a n t?
Farm er
T o p u b l i s h s t o r i e s a b o u t u s b e c a u s e w e w o n th a t en o rm o u s ca s h p rize.
WIFE
It would be rather nice to see our names in the paper.
Farmer
I d o n ’t t h i n k so.
Im a g in e th e
( 4 ------ ■): F r o m rags to riches and pictures of us with
( 5 --------- ■) l i k e ‘T h e r i c h e s t c o u p l e i n t h e c o u n try ’ !
W ife
We could choose the headlines and captions ourselves, couldn’t we?
FARMER
Certainly not. A sen io r journalist like a ( 6 ------ j does that. And as for stories a b o u t
u s, h av e y ou ever read n ew s ( 7 ------- ■) a b o u t sto ries w h ere y ou h av e b een involved
y ou rself?
W ife
N o.
FARMER
Y ou w o u ld n ’t reco g n ise th em . Jo u rn a lis ts m a k e so m a n y ch a n g es. A nd th e re ’d be
( 8 ------- ) o f p rin t a b o u t o u r p e rso n a l lives. Y o u ’d h a te it!
UNI T B » Media
Communication 1: Talking about ideas
Write four sentences about each picture: one with each of the phrases listed below.
E x : R u m o u r has it th a t p eop le w ill tra v el to M a rs o n e day.
1 Guy Solo (win).
a
2 Diamonds (find) in the north
of the country.
3 People (travel) to Mars.
Have you heard the news that... ?
b The story that... is true/false/hard to believe,
c
Rumour has it th a t...
d The idea th a t... is crazy/exciting/fantastic.
: : .......... :............................................................
Communication 2: Saying what you prefer
and showing what you think
Three friends have Jug up a co lle cto r of very o i golt coins and rings, bracelets
and brooches set w ith diam onds and other precious stones. No one else know s
about their discovery. W rite dov their discussion about w hat to do next. Each can
say w hat he or she would prefer t o d o I w o u ld r a t h e r d o a n d w hat in his / her
opinion they o u g h t to do
Use some of these leas an expressions:
—
Ideas
Expressions
keep quiet about the find
tell the police
tell an archaeologist
try to find out who owned them
write to the local newspaper
divide them equally among themselves
take them to a jeweller
try to sell them
put them back in the ground
In my opinion / view
actually
frankly
just
simply
really
Politics and Elections
M e n tio n all th e w o rd s and p h rases you ca n th in k o f w h ich h av e s o m eth in g to do w ith
p o litica l p a rtie s, electio n s an d g o v ern m en t. Say w h a t th ey m ean .
Picture interpretation
Study the picture and
an sw e r th ese questions:
1
W h a t d oes th e you n g
m a n feel?
2 W h a t d oes he w a n t?
3
W h y d o e sn ’t he h o ld
th e p la c a rd in h is h an d s?
4
116
W h a t s o rt o f ev en t is he
ta k in g p a rt in?
UNI T 9 • Politics and Elections
Reading: Electing an American president
Read to find out the main steps in a presidential election.
A
J . X.m ericans hold an election to choose their
president every four years. It takes place early in
November and people who wish to stand for election
as president sometimes start campaigning as much as
two years in advance. Their first step is to say that
they wish to stand for president.
The second step for each candidate is to set up
an organisation to run his campaign. The job of
this organisation is to make the candidate and his
policies wrell-known and to raise money. It costs a
lot to pay staff, to m ake radio and television
broadcasts, to print and send out literature and to
pay travel and hotel bills.
There are two parties in America: the Republican
Party and the Democratic Party. M ost people who
want to stand for president aim to be chosen as
either the Republican candidate or the Democratic
candidate. But it is also possible to stand as an inde­
pendent, that is, as a candidate who does not support
any party. There may be several people hoping to be
chosen as the candidate for each party. But before
anyone is chosen, each candidate must win as
many supporters as possible in the various states.
So candidates travel a lot, speak at meetings and
talk to voters. At different times primary elections
are held at state level or there are special meetings of
local party officials. The purpose of these primaries
and meetings is to choose special representatives
called delegates who will later vote for particular
candidates. T he more popular a candidate is, the
more delegates are chosen to vote for him. So, to
summarise the third step, the object is to win as
many delegates as possible in the primary elec­
tions and at party meetings.
The fourth step takes place in about July or
August of an election year. It is this: each party
chooses its candidate at a big party meeting called a
convention, a noisy, colourful and cheerful occasion
that lasts a week. During this week, the delegates
cast their votes for the candidate they represent.
After the two conventions, there will be one Repub­
lican candidate and one Democratic candidate.
The next step is the election campaign itself. During
it, the two candidates try to persuade the American
people to vote for them. They use television a lot and
sometimes hold public debates on the main issues.
Meanwhile, the public opinion polls play their part.
Through them each candidate learns if he is gaining
or losing support from various groups o f people.
This information enables him to alter his campaig­
ning methods if necessary.
Then comes the election itself. It is organised on a
state basis. The voters cast their votes and the candi­
date who wins most votes in the state wins the
support of people called ‘electors’ in that state. The
number of electors is in proportion to the size of the
state’s population. The electors of all the states then
vote in what is called the ‘electoral college’. Each
elector has to vote for the candidate who won most
votes in his state. The candidate for whom most
electors vote become president.
A n s w e r t h e s e q u e s t io n s :
1
Sin ce th ere w as an A m e rica n p resid en tia l electio n in N o v e m b e r 1 9 9 2 , in w h a t m on th
and year will the last presidential e le c tio n this century be held?
2
List the purposes for which a candidate needs money.
3
W h e n a can d id a te cam p aig n s b efo re his party’s convention, what is his specific aim (apart
fro m g en erally w in n in g su p p o rters)?
4
A t w h a t tw o k in d s o f events are d elegates ch o sen ?
5
W h a t d oes a d eleg ate do a t a co n v e n tio n ?
6
H o w m an y p resid en tial can d id a tes d oes each party have
a) b e fo re its co n v e n tio n ?
A one
B tw o
C th ree
D any number
b) a fte r its co n v e n tio n ?
A one
7
8
B tw o
C th ree
D an y n u m b er
H o w ca n p u b lic o p in io n p o lls help a ca n d id a te?
Suppose a sta te h as te n e le c to rs an d su p p ose th a t ca n d id a te A wins six million votes and
ca n d id a te B fo u r m illio n . H o w m a n y e le c to rs w ill v o te for candidate B in the electoral
co lle g e ?
G ive re a so n s fo r y o u r answ er.
j
9
D o e s th is e le c tio n p ro cess seem fa ir to you?
10
W ill su ch a p ro cess give A m e rica n s the p erso n th ey really w a n t to have as president?
j Study skill: Making a flow chart
• Study again the text on p. 117.
• Complete each of the six steps in the e le c t io n p r o c e s s g iv e n below by putting in
each gap one of the verbs provided in t h e r ig h t a c tiv e , o r passive, form.
• Decide on the right order for these steps.
• Write them in your exercise book in boxes as a flow chart like this:
T H E PRO C ESS O F E L E C T IN G AN A M ERICA N PRESID EN T:
Ujj | T 9 • Politics and Elections
Steps
V erbs
• P a rty c o n v e n tio n s (------- ■).
cast
hold
choose
D eleg ates (------- j their votes. One
ca n d id a te (------- ) fo r each party.
•
P eo p le w ho (------- j to stand for
e le c tio n (------- ) so.
•
T h e p resid en tial ca m p aig n (------- ■)
p lace. T V and o p in io n p o lls (------- ) a lo t.
•
E a ch ca n d id a te (------- ) an o rg a n isa tio n
to ru n his ca m p a ig n .
P re p a ra tio n s (------- ■):
- R a d io and T V tim e (------- ).
- L ite ra tu re (------- ) and (------- ) ou t.
- M o n e y (------- ■),
• T h e e le c tio n itse lf ('------- ■).
O n e ca n d id a te (------- ■).
•
wish
say
use
take
make
send
set up
print
buy
raise
hold
elect
P rim ary e lectio n s and p arty
m eetin gs (------- ■). C a n d id ate s try to
w in
(------- ■) as m an y d eleg ates as th ey ca n .
hold
Vocabulary 1: Elections
Use the words in each list to complete the gaps. Then decide on the right ©rder
the pictures in each group.
A B efo r e elec tio n day
You get to know the various
(■------ ) parties.
W ords to ch o o se from :
You consider the (—— ) which the party leaders put forward
and decide how to (------ ■).
campaign
leaders
policies
political
vote
voter
B V oting
You go to the polling (------ ■).
W ords to ch o o se from :
ballot
box
You vote, often by putting your (—----- ) paper in the ballot
station
(—
C A fter voting
The votes are (------ ).
The (------ ■) are announced .
W ords to ch o o se from :
assembly
candidate
counted
results
seat
The successful (------ j takes his f------ ) in the national (------ j
or parliament.
UNI T 9
Politics and Elections
[ b ] A n s w e r t h e q u e s t io n s n e x t t o t h e c a r t o o n s .
1 THE SECRET BALLOT
It’s n o t a secret
th at you g o and vote!
So w h a t is secret?
2
A FLOATING VOTER
A floatin g voter does n o t flo a t
in a liquid. W h a t has a floatin g
voter n o t yet decided?
Communication 1: Expressing past time
Study this conversation:
P oliceman ’s friend
Y ou lo o k unhappy. W h a t’s th e m a tter?
POLICEMAN
A sen io r o ffic e r has b een q u estio n in g rne a b o u t m y g u ard duty a t th e
p o llin g sta tio n . H e ’s very an gry an d I th in k I ’ll be d ism issed .
F riend
Why? W hat happened?
P oliceman
Some ballot boxes were stolen from the back of the polling station
while I was guarding it at the front.
F riend
Y o u w ere stand in g at th e fro n t w h ile th e b o x e s w ere b ein g sto len a t the
b a c k ! W h y d id n ’t y ou lo o k ro u n d th e b a c k fro m tim e to tim e?
POLICEMAN
B ecau se I had been to ld n o t to leave m y p o st a t th e fro n t. N o -o n e had
ex p ected a th ie f a t th e b a c k . I tried to e x p la in th a t I h ad b een ca rry in g
o u t m y o rd ers, b u t n o -o n e listen ed to me.
Copy the table below and write in each space one of the verbs in colour.
A ctive
Passive
no examples
no examples
Past simple »
Past continuous
Present perfect
Present perfect continuous
no examples
Past perfect
Past perfect continuous
no examples
J ean-P ierre
M r T en d o is lo o k in g much better. H e’s eating sensibly now.
Sylvie
I d id n ’t k n o w he (1 w as b e in g / has been / h a d been ) ill.
jEAN-PlERRE
Yes, he (2 w e n t / w as g o in g / has been g o in g ) in to h o sp ita l tw o m o n th s ag o su f­
fering fro m m aln u tritio n ! H e receives a big salary, b u t he (3 h a d n ’t been eaten I
h a d n ’t been e a tin g / h a s n ’t been e a tin g ) p rop erly. H e (4 w as c o lla p s in g / h a d
been c o lla p s in g / c o lla pse d) su dd en ly w h ile h e (5 s p o k e / w as s p e a k in g / w as
b eing spoken) a t an electio n rally. H e (6 w as ta ke n / w as b e in g ta ke n / h a d been
ta k e n ) to h o sp ita l im m ed iately.
Sylvie
I k n o w he isn’t m arried . I suppose he h ad n ’t been lo o k in g after h im self properly.
J ean -P ierre
E x a c tly . H e ( 7 has been liv in g / h a d been liv in g / w as b e in g liv e d ) o n co ffe e
and b iscu its: n o fru it o r v eg etab les o r m e a t. H e (8 w a s n ’t eaten / h a d n ’t been
e at / d id n ’t eat) p ro p e r m ea ls. A p p aren tly , h e (9 h a d been w a rn e d / has been
w a rn in g / w a rn e d ) th a t he ou g h t to ea t a b alan ced diet. I ’m afraid th a t fo r years
his h e a lth (10 d a m a g e d / w as d a m a g in g / w as b e in g dam ag ed ).
Sylvie
You said that he was looking much better now.
J ean-P ierre
O h yes. F o r th e last few w eeks, party w orkers (11 to o k / have been ta k in g / w ere
ta k e n ) it in tu rn s to c o o k d elicio u s m eals fo r h im . I th in k h e has been le a rn ­
in g th e v alu e o f lo o k in g a fte r o n e ’s h ea lth .
Sylvie
P erh ap s th a t ex p la in s th e ru m o u r th a t he h o p es to b eco m e M in is te r o f H e a lth !
UNIT 9 • Politics and Elections
Speech: Pronunciation of /1 /, / r /
Listen, dictate, discuss.
a)
b>
rock
road
right
wrong
rip
lock
load
light
long
lip
■ glass
glue
climb
fly
play
grass
grew
crime
fry
pray
|~b| In pairs. One person says either sentence a) or b): th e other replies w ith c) or d) as
appropriate. Take it in turns to start.
1
a) The child is quite right
The child is quite light.
b)
2
3
a)
4
5
6
c)
d)
a) That was a terrible climb.
That was a terrible crime.
a) Will you collect her?
Will you correct her?
b)
a) Are you the tourist?
b ) Are you the tallest?
Yes, but if you get tired, I’ll ca rry h im
H e’s seldom wrong.
c)
This road is uneven.
This load is uneven.
b)
d)
They make it in a nearby factory.
d ) It grows behind the house.
a) W here do you get the
glass for your house?
b ) Where do you get the
grass for your house?
b)
c)
Then we’ll go a different way.
Then I’ll rearrange it.
Yes, murder is always shocking.
d) Yes, you must be exhausted.
c)
c)
d)
I always do, but she still makes that mistake.
I’m afraid I’m not going in that direction.
N o. I live here.
d ) N o. Francois is taller than me.
c)
Vocabulary 2: Phrasal verbs with stand
Study this example and note the structure of a phrasal verb:
P hrasal verb
I couldn’t
A
B
make
out
what he was saying.
A is the main verb.
B is the particle (either an adverb or a preposition).
Study these conversations and work out the meanings of the phrases in colour.
Ignore the numbers in brackets at this stage.
1 C hairman
Gilles is going to stand for (1) election as our secretary.
T reasurer
Isn’t Claire going to continue as our secretary?
C hairman
N o. She’s decided to stand down. I think we should elect G illes. In my
opinion, he stands out as obviously the best candidate.
2
3
4
Pa u l
M y sister plays her C D s far to o loud. M y ro o m ’s n e x t to hers and Pm ju st n ot
going to stand fo r (2) it any longer.
Pa u l
C o m p act disc: it’s a w ay o f recording m usic.
M a r ie
T h e y ’ve arrested Fran^oise fo r theft! All her friends have deserted her.
K o s s ia
I ’ll stand b y her. I’m sure she’s in n ocen t. W h o ’s tak in g her p a rt in the play?
M a r ie
I’m going to stand in fo r her.
D r is s a
I ’ve ju st had a big row w ith m y father. I co u ld n ’t ju st stand b y and let him m ake
life m iserable fo r m y sister.
P ie r r e
W h atev er happened?
D r is s a
H e refused to let her go ou t on Saturday night. She had arranged to m eet Je a n ,
bu t co u ld n ’t do so. Je a n w as very angry th a t she had stoo d him u p . T h e trou ble
is th at she never stands up to our father. She alw ays does w h a t he w ants w ithout
any discussion. If she had explained th at she had arranged to see Je a n , he w ould
p ro bably have let her go.
Match each phrasal verb with its meaning.
Phrasal verbs
stand down
by (intransitive)
stand by (someone)
stand for (1)
not stand for (2)
stand for ( 3)
stand in
stand out
stand up to
(someone)
MEANINGS
stay loyal to someone
be clearly seen or remembered
defend oneself against someone
resign
represent
look on and do nothing
fail to meet someone as arranged
take someone's place
offer oneself for election
refuse to tolerate or accept something
—
U NIT 3 ■ Politics and Elections
M ake up and practise conversations using these situations and phrases.
1
A boy has failed to keep an arrangement to go to the cinem a with
a girl. She is angry and says she ca n n o t accep t this behaviour.
A friend o f his has rem ained loyal to him and supposed th a t he
m u st have fallen ill suddenly. T h e girl discusses these things
w ith a friend.
2
T w o people are discussing a girl they know . O n e says th at his
clearest m em ory o f her is th at she alw ays allow ed her elder sister
to tell her w hat to do. T h e other rem em bers the occasion w hen
she gave up her place in the athletics team because her sister
w anted to be in the team .
Communication 2: Apologising and accepting apologies
There are m any d if f e r e n t w a y s of a p o lo g is in g a n d a c c e p t in g
apologies. S t u d y t h e f o llo w in g c o n v e r s a t io n s and t r y t o see that
different w ays a r e s u it a b le f o r d if f e r e n t o c c a s io n s .
In form al
1
2
Y o u ta k e so m e o n e ’s p la ce o r th in g :
O ffended person
T h a t ’s my u m b rella !
You
I ’m very sorry.
OFFENDED PERSON
That's quite all right, no harm done.
Y o u bu m p in to so m e o n e , sneeze very n ea r th e m , etc.
I lo s t m y b a la n c e .
You
P lease forg iv e m e.
O ffen ded perso n
It reallv d o esn 't m a tte r / N o t to w orry.
T h a t w as very clu m sy / ca re le ss o f m e.
I w as ta k e n by su rp rise.
F o rg iv e m e, please.
F orm al
3
Y o u bu m p in to so m e o n e , sneeze n ea r th e m , etc.
You
O ffended person
4
ap o lo g ise.
I (do) b eg y o u r p a rd o n .
{
{
T h a t ’s p e rfe ctly all righ t.
T h e r e ’s no need to ap o lo g ise.
Y o u hav e o ffen d ed so m e o n e , esp ecially by say in g so m eth in g w ro n g (ex: b y c o n tra d ic tin g
so m e o n e in stro n g lan g u ag e, by a false a cc u s a tio n ).
P lease forgiv e m e fo r
You
ex cu se m e fo r
j c o n tra d ic tin g y o u ju s t n o w
1 a ccu sin g y o u o f ...
I w as q u ite w ro n g / ^ o u w ere q u ite righ t-
O ffended person
T h a t ’s all rig h t. T h e r e ’s n o need to say any m o re a b o u t it.
I t ’s really n o t a m a tter o f g rea t im p o rta n c e -
{
N ote
Y ou can also use Excuse me:
• to gain attention when someone is speaking to another person or doing something else
• to ask someone to let you go past.
Make up, write down and then practise saying a short conversation for each of
these situations. One person apologises; the other accepts the apology.
1
‘Excuse me. Those are my boots you’re wearing.’
4 You have recently insisted that the sun goes around the earth. When you find out that you
are wrong, you apologise.
5 You arrive late for class.
6 You have wrongly accused someone of doing something wrong.
7
You have misquoted a rival politician by mistake. M ake a public apology.
UNIT 9 • Politics and Elections
Listening: Interviews before an election
Listen to each discussion and answer the questions about it.
A 1
B
W h ic h p a rty d o es M r B ell lead ?
2
W h a t d oes M r K o u m b a th in k a b o u t M r B ell?
3
W h a t w ill M r K o u m b a do w h en it is tim e to v o te?
4
H o w w ill M s B a k ia vote?
5
W h a t issues d o es she th in k im p o rta n t?
C 6
W h a t p e rce n ta g e o f th e v o ters k n o w h o w th ey w ill v o te a t th e m o m en t?
7
W h a t is th e in te rv ie w e r’s jo b ?
8
W h a t is M r B a h ’s o p in io n o f o p in io n p o lls?
Activity: Holding an election
Hold an election like this.
P L A N N IN G
• Choose 2 or 3 parties to contest the election.
E x : T h e E n v iro n m e n ta l P arty
T h e N e w D e m o c ra tic P arty
T h e P arty o f N a tio n a l S a lv a tio n
• Decide on the main policies o f each party.
E x : to b a n ca rs fro m cities
to in tro d u ce m o re so la r and h y d ro -e le c tric p o w er
to e x te n d th e v o te to a ll seco n d a ry s c h o o l pupils
to d o u b le th e n u m b e r o f u niversity p laces
to bu ild m o re railw ay s
to lend m o re m o n ey to n ew bu sin esses
• Choose a leader for each party.
T H E C A M P A IG N
• T h e party leaders give one-minute talks on their parties’ policies.
• Other 'party members’ speak for about a minute each if they want to.
V O T IN G
• Each person receives a piece o f paper
with a different number.
• Each person writes the name o f the party leader he
wishes to vote for on a small piece of paper, folds it a
passes it to the front of the class.
• T h e votes for each party are counted.
T H E RESU LT
• T h e winner is announced.
• T h e winner makes a short speech:
- th a n k s his su p p o rters
- c o m m e n ts o n th e ca m p aig n
- p ro m ises to serve th e p eop le
- lo o k s fo rw a rd to a b rig h t fu tu re
11 Composition: A report of an event
Write a report of the election you have just held. Divide it into four parts:
IN T R O D U C T I O N , T H E C A M P A IG N , V O T IN G , T H E R E S U L T .
IN T R O D U C T I O N
• Briefly state the result.
• M ention any particularly important aspect or character of the election.
T H E C A M P A IG N
• M ention the various parties and the main differences between their policies.
• Say how well the party leaders spoke.
• Say what the character o f the campaign was.
• Say what result seemed likely as the campaign drew to a close.
V O T IN G
• Say whether the voting went smoothly.
• M ention the counting process and any problems.
T H E RESU LT
• Give the full details of the results, describing the reactions o f the voters as they were announced.
• M ention the winning candidate’s speech and any important things he said.
• M ake a comment about the future.
• Say whether the outcome o f the election was as expected or a surprise.
Consolidation Exercises
Vocabulary: Politics and elections
&
Write out this report, putting one of these words in each gap:
ballot, campaigners, campaigning, candidates, election, leader, meeting, party, policies, polling,
posters, result, votes.
Four pupils ( 1 ------ ) for the Green Party in a school’s ( 2 ------ ■) have been expelled for beating
up a member of the Radical Left ( 3 ------ ■). The 16-year-old victim received three broken teeth
and cuts and bruises to his face during an election ( 4 ------ ■). The trouble started after the
Radical Left complained about the violent methods of the Green Party ( 5 ------ ■}. Encouraged
by their party ( 6 ------ ) they had torn down the ( 7 ------ ) o f the other ( 8 ------ ).
The uncle of the victim said, ‘I hope they learn from this incident that it’s better to discuss
( 9 ------ | calmly and cast their ( 1 0 ------ ) in a peaceful way.’
During the election itself there was no trouble at the (1 1 ------ ) station and no one interfered
with the ( 1 2 ------ ) boxes.
The (13 ----- ) of the school’s election will be known today.
UNIT S • Politics and Elections
Communication 1: Expressing past time
Copy and complete this conversation, choosing one of the verb forms where there is a choice.
Driver Listen to that! The engine is running sweetly. In fact it (1 had been working / w o rk ed / has
been working) well for two days now.
F riend What was it like before?
Driver It was making a terrible noise, like a machine that makes flour. It (2 sounded / has been
sounding / was being sounded) as if it (3 was grinding / has been grinding / had been
ground) up pieces of metal.
F riend Who (4 was repairing / has been repaired / repaired) it for you?
D river i\4y friend Bill. He’s brilliant. The car (5 has been m a k in g /h a d been m akin g / was being
made) unpleasant noises for several weeks and it (6 has been getting /had been got /had
been getting) worse. I (7 was being advised / had advised /advised) by all my friends to get
it seen to as soon as possible. Some said they (8 have been seeing / was seen / had seen)
sparks flying as I drove by.
F riend What did Bill do?
Driver He (9 to o k / had taken / had been taking) one look underneath it and said it was the
exhaust. It (10 had been hung / was hanging / was being hung) down. As I drove along
it (11 h ad been bumping / has been bumping) along the road making that awful
noise and sending sparks flying. And I am very angry because it was a new exhaust: it
(12 was fitting /had fitted / had been fitted) only a month before!
Communication 2: Apologising and accepting apologies
Choose one of these words for each gap:
apologise, all, beg, clumsy, excuse, for, need, matter, right, sorry.
W oman spectator
Y oung man
W oman spectator
Y oung man
W oman spectator
Y oung m an
W oman spectator
Y oung m an
W oman spectator
Y oung man
W oman spectator
Y oung man
W oman spectator
Y oung man
W oman spectator
Ouch!
Is that your foot I’m treading on? I’m so ( 1 ------ ■). I thought it was a piece of
wood.
T h at’s quite ( 2 ------ ) right.
Haven’t I met you somewhere before? I’m sure I’ve seen you at the Unity Bar.
W hat do you mean! I never go to rough places like that.
I do ( 3 ------ •). I didn’t mean to insult you.
T h at’s all right. There’s no ( 4 ------ ■) to say any more about it.
Look at that incredible runner! Over there!
You’ve knocked my headtie off!
( 5 ------ ) me, please. That was very ( 6 ------ ) o f me.
It’s all (7 - ——). I can put it on again. It really doesn’t ( 8 ------ ■).
Actually, it would be better if you left your headtie off. Then the people
sitting behind you would be able to see much better.
Who do you think you are, young man? You have no right to tell me how
to dress.
Oh, I do ( 9 ------ ) your pardon. Please forgive me ( 1 0 ------ ) mentioning
your headtie.
No, I won’t! There’s a vacant seat ten rows away over there, and I suggest
you go and sit in it at once.
Name any painters, sculptors, dancers, singers or other artists whom you know of.
Describe their work. Say whose work you like best.
Picture interpretation
Study the picture and answer these questions:
1
W h a t a re th ese p eop le d oing?
2
W h y a re th e p ictu re s th ere?
3
W h a t a re th e p eo p le th in k in g ?
4
D o you lik e lo o k in g a t p ictu res?
0 HIT }[1 •« A rt, Craft
Study skill: Scanning for specific information
Look for th e an sw ers to these questions in the reading text. Work v e ry quickly. Take
no more than three minutes:
1
W h o w as th e first g re a t in flu en ce o n th is artist?
2
W h a t did Jo h n K o e n a k e e fe M o h l do fo r h er?
3
W h e n did she g o to th e U SA ?
Guidance
* Cast your eyes quickly down the text, looking out for key words.
For question 1: words to do with early life and great influence.
For question 2: John Koenakeefe M ohl.
For question 3: USA.
* Read the sentences that include these ideas and words; they may tell you the answers.
* Read any topic sentence that may help you.
Reading
Read the text more slowly to discover what things are in conflict and what
Mmakgabo Mmapula H. Sebidi's paintings show.
T
1 o tell the story of Mmakgabo Mmapula H. Sebidi, artist,
is also to tell the story of a black woman living and working in
South Africa today. The subjects of her paintings are so closely
linked with the culture of that country that it is impossible to
separate the artist from the turmoil of a changing society.
Her work has been described as anguished, tormented,
emotional, vibrant, unsettling.
The name Sebidi means ‘boiling’ and it is certainly true
that her works boil over with the energy of a unique talent.
Uninhibited and forceful in her art, Mmakgabo uses vivid
colours, distorted figures, animal heads and various symbols
all crowded together in clashing combinations. Many of
her works in a recent exhibition deal with the painful
conflict between traditional and modern African life. She
has experienced firsthand the clash of lifestyles. She also
expresses life in a society governed by apartheid, which
has dictated how she has lived for all but the first five
years of her life.
gave way to what seemed to her a fragmented,
un-African and unfamiliar way of living. Town­
ship life was harsh: women were frequently
treated as little more than sex objects in a society
where only material things were important.
Throughout the 1960s she worked as a domestic,
cook and later as a dressmaker.
However, one of her employers recognised her
flair for art and gave her some paints. She received
encouragement from John Koenakeefe Mohl, a
prominent artist, and her own career as an artist
began. He arranged to have her paintings
shown at the ‘Artists Under the Sun’ exhibition
in 1977. These early works, showing rural
black people in traditional scenes were strictly
representational. They sold very well.
Mmakgabo Mmapula H. Sebidi was born in a
village north of Pretoria about 50 years ago. She
remembers growing up amid the tranquillity and
order of village life, which she loved. The tradi­
tional customs, beliefs and family roles were
clearly defined, and made sense to her. Early on,
however, the seeds of the cultural conflicts that
would later be reflected in her art were already
taking root. Her mother, like many others, left
the village to work in the city. So Mmakgabo
experienced the wrenching sadness of family
disruption from an early age.
She was brought up by her grandmother whom
she greatly respected and who became the domi­
nant force in her life. It was her grandmother
who first advised her that ‘actions speak louder
than words’. ‘I was told by my grandmother,’
Mmakgabo recalls, ‘that this mouth of mine
would not grow anything; if you follow the
mouth, you will go to the dead world.’ And it was
her grandmother, a traditional mural painter, who
gave the young girl a sensitivity to art as well as a
deep respect for the values of the community.
Later, Mmakgabo went to Johannesburg to
join her mother. She was unhappy and confused
by city life. The clarity of the traditional society
Traditional African customs are everywhere in
her works. The husband’s eating dish, for
example, appears more than once. It is always
decorated as his special dish, as it is in village
life. When the man dies, the dish is turned over
and is not used by anyone else. She is critical of
the wedding ring - ‘the wire’, as she calls it imposed on Africans by ‘others’. She said that
such things were not needed.
In 1988 she won a competition to work in
the U.S.A. for 45 days in a peaceful setting.
‘There were no cars and there was no noise
there, and the traditional things were coming
back to me a lot.’ Her new paintings burst out
with uncontrolled energy and conflict. The
figures in her paintings were distorted, muti­
lated, disjointed, showing the splits between
traditional and modern, rural and urban, result­
ing in what Mmakgabo calls ‘ Life cut in
pieces ’. A tragic aspect of the paintings is the
realisation that it is not possible to go back to
the old ways. To a large extent, the traditional
African rural life is permanently changed by
the necessities of modern existence.
As Mmakgabo has moved from the village to
the townships, so her painting has travelled a
long journey from the peace of pastoral scenes to
the painful expression of life in the changing
South Africa of today, tortured and troubled as it
has been.
O U T 10 » A rt, Craft
In grout,
1
decide on the right an sw er to each question and ju stify it from the text.
Compared with the lives of most black South African women, M m akgabo’s life has been:
A better
2
3
4
B worse
C typical
D unusual
W hat is she closely linked with in the first paragraph?
A life in South Africa
B rural society
C pain
D female unemployment
W hat is or are described as ‘anguished’, ‘tormented’ etc., in the first paragraph?
A life in South Africa
B African women
C earning a living
D Helen Sebidi’s paintings
The main conflict in her paintings is between:
A freedom and oppression
B traditional and modern African life
C her mother and grandmother
D her domestic and artistic work
5
The reader needs to know that her mother left her, to work in the city, because:
A the pain of this sort of separation is shown in her work
B this delayed her artistic career
C this encouraged her to follow in her mother’s footsteps
D her mother’s work provided money for her paints
6
W ho among the following people are not mentioned as helping her become an artist?
A her mother
B her grandmother
C one of her employers
7
She is critical of the wedding ring because it is:
A traditional
8
D John Koenakeefe Mohl
B metal
C foreign
While in the USA she
A made fewer paintings than usual
C missed Africa
C
D expensive
B painted very actively
D destroyed some of her paintings
On yo u r ow n:
1
M atch each picture on page 134 w ith one of these labels:
2
W rite dow n w ords from the first three paragraphs of the text th a t m ean nearly
th e sam e as these w o rd s and phrases:
confusion, in great pain, full of life, uncontrolled, conflict, peace, break-up.
UNI T 10 * A rt, Craft
Q
Vocabulary: Arts and crafts
a T E X T IL E S
Study th e te x t and th e picture. Decide on the right w o rd o r phrase fo r each label.
The weaver is at a loom; he makes different types o f cloth. The piece of cloth hanging from the
rope is an embroidered cloth. The other piece, drying in the sun, is a tie-dyed cloth, and you
can see others like it in the dye pit under the mango tree.
loom
dye pit
weaver
tie-dyed cloth
embroidered cloth
---------------------- J>>
b M ETA LW ORK
Stu d y th e te x t and th e picture. Decide on th e right w o rd o r phrase fo r each label.
This is a forge, the workshop o f a smith. The smith (= metal worker) is holding a piece of
metal in the tongs. He is placing it on the anvil to beat it into shape. His assistant works the
bellows to make the furnace very hot. The brass caster has just taken this brass figure from a
dry mould. The goldsmith is working on a ring.
smith
furnace
forge
bellows
anvil
metal
tongs
brass figure
mould
brass caster
goldsmith
5 Communication 1: Countable and uncountable
This conversation takes place at a formal dinner party. Read it carefully, paying
attention to the words in colour.
M ichael Would you like some chicken?
A bdoul
N o, thank you, I never eat chicken I once
had an unpleasant experience with a chicken
bone: it entered my lung. I hope no one asks
me to make a speech. The thought of it fills
me with anxiety.
M ichael There’s nothing for you to worry about: you
have so much experience of making speeches.
Anyway, it will be useful practice for you.
ABDOUL
Shall I just say very briefly what an interesting life Helen has led and how her paintings
reflect life in South Africa today?
M aster of ceremonies I call upon Abdoul to say a few w ords about painting in South Africa
today.
M ichael (whispering to Abdoul): Nothing to w orry a b o u t, Abdoul.
Study the table about the words in colour in
. What conclusions can you draw?
U n co un table
C o u n table
Example
M eaning
Example
M eaning
a chicken
whole ones, ex: live
(some) chicken
cooked, often in pieces
speech
the ability to speak, way
tw o chickens
a speech
ones in the market
one talk
of speaking, ex: Her
speech was slow.
a n e xp e rie n c e
one event
som e e xp erience s
several events
e xp e rie n ce
what a person has
learned through
everything that has
happened to him
a p a in tin g
one picture
th re e p a in tin g s
three pictures
p a in tin g
the activity of making
paintings or painting
walls
a life
one person's life
life
the process of living
a n a n x ie ty
a specific thing
a n x ie ty
the feeling of anxiety
that gives anxiety
UNIT ID » A rt, Craft
Complete each gap in the rules with one of these words:^
a, an, counting, one, plural, process, several.
R ules :
a) We say ( 1 ------ j chicken, ( 2 ------ j experience, etc., when we mean ( 3 ------ j object or
event, and we can use such words in the ( 4 ------ ■) when we mean ( 5 ------ ) objects or
events.
b) We omit a or an when we mean an ability, activity, a ( 6 ------ ) or a mass that we are
not interested in ( 7 ------ j.
Competition
Take it in turns for one partner to choose a word from the box and for the other to fit
it into an appropriate sentence from the two lists. Each correct answer scores a point.
beer, beers, b u ild in g , b u ild in g s , coffee,
coffees, crim e , crim es, d uck, ducks,
le m o n a d e , lem onades, life, lives,
m urder, m urde rs, p a in t, paints, p a in tin g ,
p a in tin g s , sculpture, sculptures,
tea, teas, theft, thefts, tim e, tim es,
y a m , yam s
C ountable (singular o r plural )
U ncountable
1 Actors lead interesting (------ ■).
1
Would you like some more (------ ■)}
2 I spoke to him several (------ ■).
2
I need more (------ ) to finish the job.
3 She’s had a good (------ ■).
3
(------j is sometimes difficult.
4 Her (------ ) are very good.
4
His (------ ) has improved a lot.
5 New (------ ) cost a lot of money.
5
A lot o f (------ ) is going on in the capital.
6 H e’s guilty of many (------ ■).
6
(------j harms society.
7 Six (------ ) and two (------ ■),
7
We must buy some more (------ ) and (------ ■).
please.
8 I bought two (------ ■).
•n
Choose three of the words from the box above and write sentences using each
as an uncountable noun and as a countable noun. If you wish, you may use the
outline sentences above.
6 Speech: Intonation for question tags
The vo ice falls on th e tag w h e n th e sp eak er is su re and rise s on th e tag w h e n he is
unsure.
Practise this conversation:
M r D iallo (sure)
\
X
You forgot to lock the door, didn’t you?
D aughter (unsure)
But nothing was stolen, was it?
M r D iallo (sure)
T h at’s not the point, is it?
2 Practise these conversations, using appropriate intonation:
C harles
L ouise (unsure)
C harles
L ouise (sure)
C harles
L ouise (unsure)
C harles
L ouise (sure)
We ran out of petrol!
But you filled up before you started, didn’t
you?
I’m afraid I forgot.
That was very careless, wasn’t it?
I didn’t have enough money!
But you took plenty with you, didn’t you?
I’m afraid we enjoyed a few drinks in a cafe!
Then it’s not surprising, is it?
Communication 2: Checking information
Study these conversations. A re the speakers sure or not?
1 A lpha
A biba
ALPHA
A biba
2
Girl
M other
Girl
M other
Girl
M other
It was a great film, wasn't it?
I don’t think so. It was violent. You know I hate violence, don’t you?
But the actors were so good, weren’t they?
Since I kept my eyes shut most of the time, I can’t say what the acting was like, can I?
I’ve sold all the oranges.
You’ve done very well, haven’t you?
H ere’s the money.
T h a t’s not very much, is it? How much did you charge?
2 0 0 Francs for one pile.
But I told you not to sell them for less than 3 0 0 Francs, didn’t I?
U N j j 10 « A rt, Craft
Study the table below and complete the following sentences with these words:
did, have, negative, part, positive, tag.
Check your answers against the table.
• If the verb in the first part is positive, the tag is ( 1 ----- ■).
• If the verb in the first part is negative, the tag is ( 2 -----■).
• If there is an auxiliary in the first part, ex: was, can, ( 3 ------ j , it is repeated in the ( 4 ---- j.
• If there is no auxiliary in the first (5 —-— ), use do(n’t), does(n’t) or ( 6 ------ ■} (n’t) in the tag.
• This table sums up the possibilities.
Positive first part , n eg a tiv e ta g
W ith
a u x ilia ry
N eg a tiv e first part , positive t a g
He's tall, isn't he?
He isn't tall, is he?
1was w ro n g , w a sn 't 1?
She can sw im , ca n't she?
1 w a s n 't w rong, w as 1?
She ca n't swim, can she?
You like her, d o n 't you?
No
A la in speaks Chinese, doesn't he?
a u x ilia ry
W e all passed, d id n 't we?
W ith
You do like her, d o n 't you?
a u x ilia ry for
A lain does speak Chinese, doesn't he?
W e d id all pass, d id n 't we?
em phasis
.....................................................................
I'm late a g a in , a re n 't 1?
Irregular
You'll try an d rem em ber, w o n 't you?
Everyone's coming, a re n 't they?
forms
You w o n 't forget, w ill you?
N obody has seen him to d a y, have they?
Study these patterns for answers to questions with tags.
If th e first part is negative, ex; 'She can't swim...', it is clearer to give a longer
an sw er, not ju s t 'yes' or 'no'.
Po sitive first part
N eg a tiv e first part
Q u estio n
He's tall, isn't he?
Q u estion
She c a n 't swim, can she?
A n sw er s
Yes. (| a g re e that he's tall.)
A n sw er s
No. (| d isag ree).
OR
Yes, she can.
N o, she can't.
OR
a)
Write down what you think you know about your partner.
Ex: He / She is 16 (age).
He / She lives i n ...... (house, street, district)
He / She lik es...... (hobby, pastime)
He’s / She’s been t o .......
He / She wants t o ....... (ambitions, hopes)
He’s / She’s g o t....... brothers a n d .........sisters.
His /Her uncle /aunt is a ...... (occupation).
Uj—
b)
Check up about each piece of inform ation, using an appropriate tag.
If you are su re ab out th e inform ation, your voice should fall on th e tag.
If you are unsure, it should rise.
E x (confidently):
c)
You’ve been to Paris, haven’t you?
W rite dow n w h at you think you know about other people and then check up on
each piece of inform ation w ith your partner.
E x:
Julie wants to be a pilot, doesn’t she?
Listening
Read the instructions below. Then listen to the interview w ith Em ile Yebo Guebehi
and carry out th e instructions.
IN STRU CTIO N S
1 W rite notes on two kinds of
sculpture that Emile Yebo Guebehi
makes.
2 Say where he works and whether
he is glad to work there.
3 Tell the story of the dishonest
keeper.
4 Say what Emile Yebo Guebehi
does if he sees a face that interests
him.
Composition: Letter to an adult friend
Plan a 'thank you' letter to the parents of one of your friends w h om you have recently
stayed w ith for a fe w days. Here are som e ideas:
• Ask how members of the family are. If someone was not well, say you hope they will soon be
better.
• Say how much you enjoyed your visit and what you especially liked, giving details (ex: an art
exhibition, a local ceremony, celebration or other event).
• Mention any interesting news about yourself and / or members of your family.
• Mention any other topic.
• Make concluding points and send greetings.
• End Yours sincerely followed by your names.
UNIT ill » art ,. Craft
*
Write your letter.
Guidelines
style
* U se a se m i-fo rm a l style.
* U se sim p le an d d ire ct lan g u ag e.
* A void very lo n g sen ten ces.
Consolidation Exercises
Vocabulary: Arts and crafts
Choose one of these words for each gap:
anvil, beads, bellow s, bellow s, carvers, carv er’s, carvings, crafts, craftsm en , dye pit, em broid ered ,
fo rg e, ivory, lo o m s, sm ith , w eavers.
H ost
C o m e and I ’ll show you aroun d the crafts m ark et. It’s w here ( 1 ------- ) o f all kin d s sell
th e thin gs they m ak e: w o od ( 2 ------- ), n eck la ce s m ad e o f b rig h tly -co lo u re d ( 3 ------- ■),
b eau tifu lly ( 4 ------- ) c lo th , ( 5 ------- ) ca rv in g s, le a th e rw o rk an d m a n y o th e r th in g s.
G uest
I ’d much rather see the craftsmen at work making the things.
H ost
A ll rig h t. W e ’ll sta rt here a t th e ( 6 ------- ) w h ere th e sm ith s w o rk . B e ca refu l! D o n ’t
trip o ver th e ( 7 ------- ) and fa ll in th e fire.
G uest
I ca n see it. It m u st be very h o t fo r th e ( 8 -------- ■). I ’d p refer to w o rk th e ( 9 ------- ■).
H ost
N ow I ’ll ta k e you to the place w h ere clo th is m ad e. It’s im pressive to see th e way the
( 1 0 ------- j use th e ir ( 1 1 ------- ■). B e ca re fu l! D o n ’t fa ll in to th a t h o le o v er th e re: it ’s a
( 1 2 ------- ) an d very deep.
G uest
I’m not blind! Can we see the wood carvings being made next?
H ost
C ertain ly . H e re w e are. O u ch !
GUEST
What’s the matter?
HOST
I th in k a piece o f w o o d fro m a w o o d ( 1 3 ------ ) ch isel h it m e in th e face.
G uest
I ’m so so rry a b o u t th a t. Y o u ’re sure y o u ’re a ll right?
H ost
I t ’s all right. It’s n o th in g really serious.
G uest
T h a n k y ou very m u ch fo r ta k in g y ou r tim e to sh o w m e ro u n d the ( 1 4 ------- ) m a rk et.
Y o u k n o w w h at? I th in k I ’m g o in g to a sk o n e o f th e ( I S ------- ) to ca rv e y o u r face.
Y o u ’ll lau gh y ou r h ead o ff. Y o u r ch eek s are ju st lik e a p air o f ( 1 6 ------- ■).
H o st
W ell, th a t’s very k ind o f you ...
Communication 1: Countable and uncountable
Choose the correct expression, w here you have a choice.
Boss
Is everything ready? I’m glad to see the cameras are here. It will certainly be
good for (1 business l a business) if we are on (2 television l a television).
A ssistant
I wish I had been able to buy (3 television / a television) in time for our launch.
Come on. The pilot is waiting for us. This is going to be (4 really thrilling ex ­
perience l a really thrilling experience). Are you nervous?
Boss
No. The pilot has (5 considerable experience I a con siderable experience).
REPORTER
I hear you are launching (6 new business / a new business). Can you tell me
what it is?
Boss
Certainly. We are offering (7 transport service / a transport service) for people
who are here (8 on business I on a business).
R eporter
W on’t they be afraid to fly?
Boss
N ot at all. These helicopters have an excellent safety record. There have been no
(9 death / deaths) in this model. Travellers have more reason to be afraid of
(10 death / a death) on the roads. Our service will be very popular. It’s a very
quick way to travel. So busy people will save (11 time /a time). And we’ll look
after them while they’re on board, providing food and video entertainment. In fact
we’ll give them (12 g o o d time / a g o o d time). Are you ready with your cameras?
ASSISTANT (whispering)
There’s a serious delay. The airport authorities say the pilot’s
(13 paper /papers) aren’t in order. I think his licence is out of date.
Communication 2: Checking information
Choose an appropriate tag for each gap.
a)
b)
A
We aren’t all perfect, ( 1 ------ )
B
Why do you say that? You’ve done something wrong, ( 2 ------ )
A
Well, it depends on what you consider wrong. I needed a drink badly.
B
You haven’t drunk the last bottle o f lemonade, ( 3 ------ )
A
You don’t mind, ( 4 ------ )
B
You know I’m expecting a guest, ( 5 ------ )
A
Yes.
B
So it was bound to be a problem, ( 6 ------ )
A
I suppose so. I’m sorry.
A
It’s nice weather, ( 7 ------ )
B
Yes. But it will rain this afternoon.
A
Why?
B
We have an important match. It always rains for matches, ( 8 ------ )
A
You really are a pessimist, ( 9 ------ )
Seeds for the Future
W hat changes in agriculture are taking place in your area? Are new methods and crops
being introduced? Are traditional methods being brought back?
The picture shows a maize crop growing under mango trees. Is this a good idea?
W hy (not)?
H ow can it help the mangoes or the maize?
Can you think of any problems?
H ow might they be overcome?
2 Reading
Read to discover what seed qualities are mentioned in this discussion and who
favours each of them.
V il l a g e c h ie f
It’s tim e to ch oose our maize seed for n e x t year. I th in k w e all get on well
enough w ith each oth er to exch an ge o u r ideas. I ’m sure w e have a lo t to
learn fro m each other. C an you each tell m e your plans?
M r M in im u m W o r k
I’m going to buy the high yielding variety from the seed com pany. It
yields so m uch m ore than our traditional varieties. I calcu late th at if I use
this seed, I need o n ly p la n t a q u a rte r o f a h e cta re in stead o f a w hole
h ecta re . I will be able to save m y energy fo r o th er things.
V il l a g e c h ie f
I k n o w w h at y ou ’re getting at: you will save your energy so th a t you can
sit and drink w ith your friends. Anyway, h o w w ill you pay fo r the seed?
M r M in im u m W o r k
W ith a loan, o f course. W ith any luck I w o n ’t be asked to pay it back next
year or the year after that! I ’m all in favour o f high yielding varieties.
V il l a g e c h ie f
Y o u ’re a lazy scoundrel! You w o n ’t get aw ay w ith it, if I have anything to
do w ith it. Please tell us your plans, M rs T rad ition al W ays.
M r s T r a d it io n a l W a y s
T w o o f m y neighbours grew crops th a t had very g ood qualities last year.
O n e crop w as very resistant to drought, so I w an t som e o f th ose seeds.
T h e oth er crop produced a hard grain th a t stored very w ell, so I w an t
som e o f those, to o . I will ask the grow ers if they are w illing to exch an ge
som e o f their seeds for some o f mine, w hich also have good characteristics.
F o r exam p le, they have a high rate o f germ ination. M y ap p ro ach w orks.
W h en did I last have a serious crop failure? I’ve seen a few failures w ith
im proved varieties.
U N I T 11
« S eeds for the Future
Village chief
You’re a good example to us all, Mrs Traditional Ways. It’s because of
people like you that when the time comes to choose seeds we still have a
wide variety of characteristics to select from in our village. I’m glad you’re
getting along so well. Tell us your plans please, M s Polly Hectares.
Ms Polly H ectares
This year I’m going to plant ten hectares of our locally produced seeds and
ten of the high yielding variety. But I’m not choosing the HYVs for the
same reason as M r Minimum Work. He’s going to have problems if
there’s a period of drought. The H YV can’t stand it. He’s also going to
have problems if he’s too lazy to get down to some thorough weeding
when necessary. He won’t get the crop he expects at all. 1 don’t know if
anyone can get this across to him. One reason why I’m choosing the HYV
is because I can irrigate it, so it will succeed. Another reason is because the
H YV has shorter stalks, so the beans and groundnuts which I will plant
between the maize ridges will have more light than with the tall local
varieties.
V illage chief
Of course, you can grow the HYV here because you can irrigate them. But
many of us can’t afford irrigation equipment.
M r H ard W orker
It’s not as simple as that. I successfully raised a hectare of H Y V maize last
year without irrigation. W hat I did was this. First I grew groundnuts
before the maize crop. This added nitrogen to the soil, and is one way
of giving the H YV the nutrients it needs. Secondly, I dug the remains of
the groundnut plants into the soil months before planting the maize.
This organic matter helped retain moisture in the soil. Thirdly, 1 weeded
the crop regularly. This way there was more water in the soil for the
maize plants.
V illage CHIEF
So the HYVs aren’t only for those who can afford expensive inputs and
equipment. And they certainly aren’t a way of getting out o f doing
some hard work. Thank you all for coming to the meeting. Pm sure the
exchange of ideas will help us all achieve bigger harvests in future.
Answer these questions:
1 W hat two faults does M r Minimum Work have in his character?
2
W hat two things might cause M r Minimum Work’s crop to fail?
3
W hat three seed qualities are mentioned by Mrs Traditional Ways?
4
W hat does Mrs Traditional Ways mean by ‘M y approach’?
5 Why does it cost a lot to irrigate crops?
6
W hat was M r Hard Worker’s special achievement?
7
List the steps M r Hard Worker took to raise a crop of high yielding maize.
8
Apart from the higher yield, what other advantage does the high yielding variety have?
9
Which people is the chief thinking of when he sums up at the end of the meeting and says
a) those who can afford expensive inputs and equipment
b) getting out of doing some hard work?
10
In what way does the chief change his opinion during the meeting?
3 Vocabulary 1: Phrasal verbs w ith get
Find a phrasal verb with get in the Reading text on p. 144-145 for each of these
meanings and write them in your exercise book.
M e a n in g s
1
m ean
2
m ak e progress
3
d o (or n o t do) som ething and escape punishm ent
4
m ak e som eone understand som ething
5
start w o rk on som ething
6
avoid doing
7
have a good relationship w ith
Study skill: Using an index
An index is a list of th e topics and nam es in a book, in alphabetical order. It gives the
pages w h e re th e y are m entioned and is printed a t th e end o f the book. It is a valuab le
aid to a reader w h o w a n ts to find inform ation quickly, if th e word you w a n t to look
up is not listed in th e index, do one of th ese things:
•
Look fo r it in th e tab le o f contents at th e beginning o f the book.
•
Look up a synonym o r w ord w ith a sim ilar m eaning.
E x : If trees or w oodland are not listed, look up fo re st
• Look up the larger topic it comes under.
E x : if orange isn't listed, look up citrus or fruit
• Look up examples of the word.
E x : if fertiliser isn't listed, look up nitrogen, phosphate, ammonium sulphate etc.
• Think o f a phrase th a t includes th e w ord, and look up th e phrase.
Ex: If rotation is not listed, think of crop rotation and look it up und er crop.
• Think o f a m ore technical word with a similar m eaning.
Ex: if road is not listed, look up transp ort or com m unications.
If you can't find th e topic you w a n t at yo u r first o r second a tte m p t d on't g ive up.
Keep trying to think o f o ther w o rd s th a t m ay lead you to it.
Activity
using the index on page 147 from an agriculture textbook, say on w h ich page or
pages you w o uld look for inform ation on these topics:
ants
high yielding variety
chemicals
hillside
sprinklers
diseases
maize
storing grain
)
drought
market
termites
\
evaporation
plant nutrients
terraces
heat
rats
L~
UNI !
11 • S eeds for the Future
IN D EX
Cereals: ................. ....
Cotyledon: .......... ....
Earthworm: ....... ....
Econom ic life: .... ....
Erosion: ............. ....
Fertiliser: ............. ....
Granary: ............. ....
Improved seed: . ....
Insects: ................. ....
Irrigation: .......... ....
1 ,2 7 9
148, 151
183
18
7 l ,9 3 f f , 9 9 f P
187, 2 4 5 ff
157ff, 1 6 1 ,2 3 1
146
227
2 2 3 ff
M amm al: .......... .... 11, 180
Nitrogen: ........... .... 2 3 7 ,2 4 5
Nursery: .......... .... 162
P o lle n :................. .... 148
Pruning: .............. .... 1 2 1 ,2 6 3
Shoot: ................. .... 152
Slope: ................. .... 15, 4 4 ff, 92ff
Temperature: .... ... 15
Virus: ................. .... 1 1 ,6 2
Water: ................. .... 62
9 9 f f means ‘page 9 9 and the pages that follow it’.
Vocabulary 2: Agriculture
Study the text and the picture. Decide on the right word for each label.
fu rro w , h o e , p lo u g h , rid g e, sp ad e, w h eelb a rro w , m ou n d
T h e re are several w ays o f cu ltiv atin g th e g roun d . T h e m o st tra d itio n a l m eth o d is to use a hoe.
A n o th e r w ay is to use a p lou g h w h ich m ay be p u lled by an o x o r a tra cto r. P lo u g h in g a field
leaves its su rfa ce w ith lo n g fu rro w s w h ere th e so il is lo w er an d ridges w h ere it is higher. F o r
so m e cro p s, th e so il is heap ed up in to m ounds. If necessary, soil ca n be m o v ed fro m o n e p la ce
to a n o th e r by u sing a spad e to fill a w heelbarrow '.
Read th is text, noting the w o rd s in colour, then carry out the m atching task.
Weeds deprive a crop of water and nutrients, so they should be removed, ceding, like cultivation,
can be done in a traditional manual way or in a modern mechanical way. A farmer can either
weed his crops by hand using a hoe or his bare hands, or he can spray them with a herbicide and
so kill the weeds.
Match the words in column A with their meanings in column B.
A
B
manually
mechanically
a herbicide
to spray
to weed
to apply liquid in the form of tiny drops
a weed-killing substance
using a machine
to remove unwanted plants
using one’s hands
Read this text, noting the words in colour.
Plants take up some of the food (nutrients) they need through their roots while the leaves absorb
more food from the air. Fertilisers can be used to enable the soil to feed plants better. Fertilisers
fall into two main categories: organic fertilisers and mineral fertilisers.
• Organic fertilisers come from living matter and are natural. They are substances of plant,
animal or human origin. A distinction is made between the following organic fertilisers:
- farmyard manure; a mixture of animal dung and bedding (dry grass or straw);
- compost; a mixture of vegetable waste heaped up and left to rot;
- green manures: plants grown to be buried in the soil and left to rot there;
- slurry (liquid manure) from animal urine.
• M ineral fertilisers come from inorganic (lifeless) substances. These fertilisers, often called
chemical fertilisers, can be natural or artificial. They are natural when found in nature, for
example, in mines and quarries They are artificial when manufacture* from other products
such as oil and air.
Copy and com plete this diagram w ith these w ords:
artificial, chemical, compost, green, lifeless, manure, organic, slurry.
*
Fertilisers
UNIT 11 • Seeds for the Future
Communication 1: Some patterns with verbs
T *m m *i*>
Read these paragraphs, which are based on the Reading text on p.144-145.
Look at the pattern that follows each word in italics.
The village chief w a n t e d everyone to attend a
meeting. He believed their discussion would
h e lp them to achieve better harvests in future
and e n a b l e them to earn more money. He
a s k e d them to describe their plans.
Everyone knew that M r Minimum Work
would a v o i d weeding his crops if possible,
because he didn’t e n jo y doing any kind of
work. It was lazy of him to try to avoid weeding
and f o o l i s h of him to be so lazy because he
r i s k e d losing his crops. N o one o f f e r e d to
weed his crop for him!
M rs Traditional Ways always m a n a g e d to
produce a good crop. She succeeded in doing
this by choosing her seeds carefully. She
h o p e d to obtain some drought-resistant seeds
from her neighbours. She never fa ile d to obtain
a good harvest.
M s Polly Hectares in t e n d e d to plant ten
hectares of locally produced seeds. She also
p l a n n e d to grow ten hectares of the high
yielding variety. She had d e c i d e d to grow
both kinds. It was w is e o f her to do this.
It was a m b it io u s of M r Hard Worker to
grow a high yielding variety of maize without
irrigation and c le v e r of him to achieve a good
result. It was s e n s i b l e of him to weed his
crops regularly.
Copy the table below and write each word in italics from
For verbs, write the base form.
in one of the columns.
Patterns
1
2
3
4
o ffe r to weed
enjoy doing
w an t ev ery o n e to ...
lazy of him to ...
Study this table.
O ther words that take these patterns:
1 Verb + to +
infinitive
2 Verb + verb ending
in -ing
3 Verb + noun /
pronoun + to +
infinitive
afford
agree
appear
arrange
attempt
dare
forget
learn (how)
pretend
promise
refuse
seem
tend
threaten
want
would like
admit
consider
delay
deny
fancy
finish
imagine
involve
keep
like
(not) mind
miss
postpone
regret
stop
succeed in
suggest
advise
allow
expect
instruct
invite
order
persuade
show (how)
teach (how)
tell
warn
4 Adjective + of +
noun /pronoun +
to + infinitive
brave
careful
careless
considerate
cowardly
far-sighted
good
helpful
intelligent
kind
nice
optimistic
prudent
rash
stupid
thoughtful
unreasonable
unwise
wise
• The following verbs may take either pattern 1 or 2:
begin, continue, intend, start
• Help may take pattern 1 or 3, and to can be omitted from both patterns.
•
Try has different meanings, depending which pattern is used:
1
I tried to open the door means I attempted to open the door.
I tried lifting the door means This was the method I actually used in my attempt
(to open the door).
UNI T 11 ‘ S eeds for the Future
•
^ ei cmberhas different meanings, depending which pattern is used:
1 I remembered to lockthe door means I did not forget to lock it.
2
I remember lockingthe door means I can remember (now) that I locked the door.
Make up and practise saying one short conversation for each of these situations:
1 - First speaker mentions what someone else (C) plans / hopes /
antsto do.
- Second speaker comments on C ’s plan: ambitious / kind / foolish/ wiseetc. of C to ...
- First speaker says what he asked / warned / advised / toldC to do.
2 - First speaker says what C promised/
hulphim to do something else.
to do for him which would allow / enable/
- Second speaker asks if something went wrong.
- First speaker says C "orgot / failec to keep his promise or couldn’t afford to spare the
time or money.
- Second speaker says it was foolisT / unwise / optim isticof the first speaker to expectC
to ...
3 - First speaker says it was very kmd ,
- Second speaker says C ikes/
of C to iielphim to do something.
ljovs helping others.
- First speaker says he o ffere to do something for C in return, but C refu sed to accept
anything / °u d not allow him to do anything.
Speech: Pronunciation of h i, h v l as in ro d I road
Listen, dictate, discuss:
fo n d
phoned
cost
coast
s to c k
ro d
ro a d
pop
pope
hop
hope
shone
s to k e
bossed
boast
sock
soak
w ant
w o n 't
cock
coke
show n
got
goat
In pairs: one person says either sentence a) orb); the other replies withe) ord) as
appropriate. Take it in turns to start.
1 a) She doesn’t like the coast,
2
c) I expect it’s too humid for her.
b) She doesn’t like the cost.
d) It’s far too high, isn’t it?
a) D on’t forget your clock,
c) Thanks. I would be very cold without it.
b) D on’t forget your cloak.
d) Thanks. I need it to wake me up in the morning.
3 a) H ere’s a cock for you.
c) M y favourite drink, thanks!
b) H ere’s a C o k e for you.
d) Thank you. We will roast it tonight.
4 a) I hope to get around now.
c) Yes, there are lots of places to see.
b) I hop to get around now.
d) It might be better to use crutches.
Communication 2: Comparing things idiomatically
Note the expressions in colour in these conversations:
1 Farmer A
2
I think my maize has the edge over yours. (= is slightly better)
Farmer B
Yes. But there’s absolutely no comparison between your cow and mine. (Mine
is greatly superior).
D iner A
The Sahara Restaurant is marginally cheaper than this one. (slightly)
D iner B
Yes, but the food in the Sahara isn’t a patch on the food here. (= isn’t nearly as
good as)
3 T ravel: er A This road isn’t quite up to the standard of the road to the capital.
T raveller B
It’s not nearly as good. I don’t see how you can talk about them in the same
breath. (They are very different)
T raveller A
But compared to most other roads, this one’s in reasonable condition.
Use the expressions in colour in the above conversations to make up and practise a
short conversation for each of these situations:
1 Two people compare the speed, com fort and appearance of two cars.
2 Two customers compare the quality, freshness, taste, size, price, etc., of vegetables and fruit
in a market.
3
Two people compare the towns they live in.
U N I T 11
S eeds for the Future
Listening
Listen twice to the radio discuss'
questions:
1
harm done by bush fi es. Then answer these
W h o starts
bush fires?
2 Why are they
started?
3
Sum m arise the
different kinds
o f dam age
they do.
Composition: A formal letter
Write a letter to an agricultural adviser, asking him or her to visit your school and
give a talk to your 'Young Farmers Club' on how to run a successful school garden.
Follow these guidelines.
I
Guidelines
O pening
Dear M r / M rs / M s / D r ...
1st paragraph
Say how you heard o f this person.
Ask him, politely, to come and speak to your club, mentioning the
topic.
2 n d p aragraph
Give more details: date, place and time o f meeting, length o f talk,
time for questions at the end of it, any social aspects, such as a meal,
a drink and informal chat with members.
3rd paragraph
Describe the club. M ention some of its recent and future activities
Concluding
p aragraph
Mention any reason why this speaker would be particularly welcome at
your school.
Ending
Yours sincerely ^followed by your first name and surname.
Consolidation
t
exercises
Vocabulary 1: Phrasal verbs with get
Where alternative words are printed, choose the correct one.
A lain
Ali
Alain
Ali
Alain
Ali
Alain
Ali
Alain
A li
You and Ibrahim ... Weil, you aren’t exactly the best o f friends.
What are you getting (1 on ! ou t I a t I aw ay )}
Well, you don’t really get (2 on I a t I aw ay /across ) very well together, do you?
It really isn’t important. As I’ve said before, personal differences don’t matter in our
business. I seem to have difficulty getting it (3 ou t I on I at I across) to you that we
mustn’t let them stand in our way. We must simply get (4 across I on I ou t /away)
with the job of selling more books and forget our differences. At the moment business
is brisk and the shop is getting (5 ou t /across /aw ay /along) well.
D o you mind if I take the afternoon off?
Are you trying to get (6 out o f I aw ay with / on w ith / o v er a b o v e ) working at the
shop’s busiest time?
N o. I just don’t want to be here when you find out what Ibrahim’s done.
Well, out with it, man. W hat has he done?
H e’s sold your own personal collection of valuable books.
W hat! He can’t get (7 aw ay with / out with / out o f / on w ith) that!
Communication 1: Some patterns with verbs
Choose the right form of each verb in brackets, adding to or of -where necessary.
Place any pronoun in the right position.
Adou
Essis
Adou
E ssis
Adou
Essis
J oseph
Essis
J oseph
Essis
J oseph
I lent Joseph CFA1000. He said he wanted (1 buy) something special. But he refused
(2 say) what it was.
You didn’t ask (3 him , tell) you?
I tried (4 him , get) to tell me, but I couldn’t persuade (5 him , give) me an answer.
You should have kept (6 ask) him until he told you. It was foolish (7 you, give) him
the money before you knew what it was for.
He promised (8 pay) me back in a m onth’s time.
How will he manage (9 d o) that? H e’ll never succeed in (10 find) the money so
quickly. I think it would be wise (11 us, m a k e ) him tell us. Let’s call him. Joseph!
We would like (12 you , explain ) something to us immediately.
Y ou seem (13 be) very worried. W hat’s the matter?
You must tell Adou what you wanted the money for. You can’t continue to avoid
(14 tell) him. It’s unreasonable (IS you, expect) (16 him, give) you the money without
saying what you plan (17 d o) with it.
All right. I have decided (18 buy) a magic ring. It says in the advertisement it will
enable (19 m e, pass) examinations and will bring me money.
You believe all that nonsense! It’s crazy (20 you, w aste) money like that. You risk
(21 lose) it entirely. It’s time you stopped (22 believ e) everything you read.
Oh dear! I think I had better tell you the truth. I wanted (23 buy) a present for
Adou and keep it a secret. I can repay the money when I receive my wages in a
m onth’s time. Tell me, who are the people who believe everything they are told?
You can’t deny (24 believ e) my story!
OMI T 11 » Seeds for the Future
Communication 2: Comparing things idiomatically
Choose one of these w o rd s fo r each gap:
breath, compared, comparison, don’t, edge, marginally, patch, standard.
Fa r m e r
Welcome to our village! I hope you’ll enjoy village life. We think it has the
( 1 ------ ) over town life.
O f f ic e w o r k e r
Thank you for your welcome, and I’m glad to be here, but I honestly ( 2 ------ )
see how you can talk about village and town life in the same ( 3 ------ ■). Village
life has so little to offer ( 4 ------ ) to town life. You have few shops, no cinemas,
no restaurants, no stadium.
Fa r m e r
People in towns often don’t know their neighbours well. We know ours
and enjoy talking about each other. I don’t think town gossip is a ( 5 ------ -) on
village gossip.
O f f ic e w o r k e r
I’m happy to accept that village gossip may be ( 6 ------ ■) more interesting than
town gossip. But better quality forms of entertainment in villages are not up
to the ( 7 ------ ) o f what is available in towns.
Fa r m e r
Take another aspect of life: the quality of food. There’s absolutely no ( 8 ------ )
between village and town food: ours is so much fresher and tastier.
O f f ic e w o r k e r
As your guest, I must allow you to win this particular argument!
Vocabulary 2: Agriculture
Choose th e correct w ord fo r each gap from th is list:
fertilisers, channels, chemical, organic, manually, com post, hand, sprinkler, label, manure,
herbicides, crops, yielding, weeds, harvest.
Miss B o r i d j a
Your crops are wonderfully free of ( 1 ------ ■) , M r Kone. Do you remove them
( 2 ------ ■) or use a ( 3 ------ ) substance of some kind?
M r K o ne
N o, no. I was trying to explain to you earlier: I use no ( 4 ------ j or other
chemicals.
M is s B o r i d j a
And your maize looks excellent. This looks like a high ( 5 ------ ) variety to me.
W hat a big ( 6 ------ ) you’re going to have! Surely you use some manufactured
( 7 ------ j to get such splendid results?
M r K one
N o, no. I believe in doing everything in a natural way. I only use ( 8 ------ )
fertilisers for my crops: no potassium or nitrates, just animal ( 9 ------ ) and
M is s B o r i d j a
I am truly impressed. O f course, you do irrigate your ( 1 1 ---- ■), don’t you?
M r K o ne
Yes. You can see a system of irrigation ( 1 2 ------ ■) over there, and what looks
like rain here is actually a big ( 1 3 ------ ) in action.
M is s B o r i d j a
W hat’s this container on the ground here?
M r K o n e
Oh! I think my workers use it to bring their refreshments to the fields.
M is s B o r i d j a
It has a ( 1 4 ------ ) on it. Let me see. ‘G ram oxone’. T h at’s a very poisonous
chemical weedkiller! M r Kone, you don’t remove your weeds by ( 1 5 ------ ■).
You’ve been deceiving me!
(1 0
—
j.
Fashion
-
•/>- >
.v -
,•>
W hat clothes and styles are fashionable today? Give examples o f styles that have just
‘gone out o f fashion’. Discuss fashions in other things like popular music and hobbies and
pastimes. W hy and how do fashions change?
Picture interpretation1
1
2
3
4
5
6
Is the man wearing formal European clothes? Give reasons for your answer.
W hat features of his clothes suggest a uniform?
W hat features of his clothes suggest casual wear?
W hat features of the wom an’s dress are x\frican? W hat features are European?
Is this a dress for everyday wear? Give your reasons.
Look at the way the man and the woman are standing. W hat does this suggest to
you? W hat’s happening?
UNI T I S
• Fashion
Reading
As you read Text A,, consider th e d iffe re n ce b e tw e e n elegance and fashion, is one
permanent? is o n e a quality o f a p erso n ra th e r th a n o f clo th e s?
In t e r v ie w e r
Pa c o
R a b a n n e
L o r is A z z a r o
W hat is elegance? Does it have universal features which are valid at all
times and in all places?
It’s obviously a matter of convention. For me, this is the best definition:
‘True elegance does not come from any particular item of clothing: it
comes from a person’s bearing’ Another point about elegance is that one
day it goes out o f fashion, since it is of the nature o f fashion to do this.
Women who seemed elegant in 1950 seem absurd to us today.
I don’t entirely agree with this last point. O f course, it is true to say that
elegance is to do with bearing - that is, a way of walking, o f sitting down,
of getting out of a car, but in that case it cannot become unfashionable.
Dress one woman in a potato sack and she will still be elegant, while another
will still be awkward even in the most fashionable dress. A great actress once
said: ‘M y legs aren’t all that beautiful, but I know how to use them.’
Now answer these questions.
1 W hat two points does Paco Rabanne make?
2 How does Loris Azzaro define bearing?
3 Why, according to Loris Azzaro, does elegance
not become unfashionable?
4 W hat point is illustrated by the potato sack and
the actress’s legs?
Now read texts B, C and D and answer
the questions below them.
$ ‘Naomi
sashayed down the catwalk
looking a million dollars.’
Vivienne Westwood,
the British designer,
who aims to rekindle
the age o f elegance,
showed her clothes at
the Paris ready-to-wear
collections on Tuesday
night.
But it was elegance at
a price.
Westwood expected
her models to go on to
the catwalk in platforms
that no self-respecting
person would be seen
dead in. Even Naomi
Campbell, super-model,
found it rather too much,
falling on her back in the
middle of the show.
5
W h a t d o you th in k p la tfo rm s are?
6
W h a t are co lle ctio n s ?
7
W h a t sen ten ce suggests th a t the
8
W h a t w as th e p rice o f eleg an ce ?
D o you th in k it w as w o rth it?
9
D e m o n s tra te s a s h a y in g .
d esigner w as u n rea so n a b le ?
In Bamako, the capital o f Mali, you can see the
dark blue of a traditional Tuareg toga. Blink, and that
changes to the bright and bold dye o f a swaying
boubou and headtie in burnt orange, pea green or
blood red.
Move to Nigeria and a group o f Alhajis in a sea of
shimmering white brocade agbadas, throwing metres
of cloth over their shoulder in their customary way.
Their finely embroidered hats complete the perfect
picture.
Walk down any street in Abidjan,
Yaounde, Dakar, Niamey, Lagos,
Kinshasa or Cairo and you can
feast your eyes on the colour and
the creativity of African design.
Boubous, worn by men and wom en in a variety of
shapes and colours, have become very popular in
West Africa and are now an essential part o f any
wardrobe. In Mali and Senegal, the majestic flow ing
boubou has always been the height o f elegance. Its
popularity has now spread outside the continent. It is
immensely fashionable especially am ong African
Americans w ho are hungry fo r African culture.
10
L ist th e d iffere n t item s o f c lo th in g referred to in th e te x t.
11
W h a t d ev elo p m en t in fa sh io n is m en tio n ed ?
12
W h a t tw o verbs are used to d escrib e th e w ay a b o u b o u m ov es?
M ost o f th e p e o p le o f th e an cien t w orld w o re
san d als w ith so le s o f le ath e r o r w o o d . T h e y
hav e b e e n fo u n d in th e to m b s o f th e an cien t
Egyptians, w h o so m etim es painted the portraits
o r n a m es o f th eir en e m ie s o n th e so le s o f their
san d als, th e id ea b e in g that th e y trod th em
u n d e rfo o t w h e n th e y w alk ed . T h e G ree k s, on
th e o th e r h an d , h ad p ictu re s o f th e p e o p le
th e y lo v ed o n th eir so le s, so as to le a v e an
im p ressio n o f th e m w h ere v er they w en t.
13
W h a t did th e a n c ie n t E g y p tia n s use th e
so les o f th e ir sh o es for?
14
W h a t did th e a n cie n t G ree k s use the soles
o f th e ir sh o es fo r?
15
W h o se p o rtra it w ou ld you p ain t under the
so le o f y o u r sh o e? W h y ?
UNIT 12 • fashion
Vocabulary: Fashion
R e a d t h i s t e x t a n d n o t e t h e w o r d s in c o lo u r :
A weekend in the life of Britain’s catwalk
queen. Naomi Campbell has the fashion world
at her feet. We accompanied the supermodel
to Paris for a hectic weekend. First she
attended a fitting for Versace’s show. Then
we rushed o ff to Guy Laroche where a
swarm of s e a m s tre s s e s buzzed around
Naomi with tap e m easu res round their
b
necks and pins at the ready. The fitters grum­
bled that she had lost weight. There was only
a day before the show and everything had to
be taken in by several centimetres. ‘I faxed
them my new m easurem ents', Naomi said,
‘but they didn’t believe them .’ Into the first
outfit and out into the studio for the approval
of designer Angelo Tarlazzi.
C h o o s e la b e ls f r o m t h is lis t f o r t h e s e p ic t u r e s :
a fitte r ta k in g m easu rem en ts
a fashion designer
j
an o u tfit
a su p erm o d el on th e ca tw a lk
a seam stress
(
pins
; a ta p e m easu re
Communication 1: Reporting
S t u d y t h e d ir e c t s p e e c h o n t h e le f t a n d t h e r e p o r t o f it o n t h e r ig h t .
R eport
D irect speech
1
2
L. A z z a r o
I try to create dresses w hich
1 L. A zzaro said th at he tried
m ake w om en beautiful and
to create dresses th at m ade
attractive. N o thin g else
interests me.
w om en beautiful and attractive.
Paco Rabanne C lothes th a t are fash ion able
N o th in g else interested him .
2
Paco R a b a n n e observed th at clothes that
now will go o u t o f fashion.
w ere fash io n ab le then w ould go out
B u t they w ill becom e
fash io n able again in
o f fashion. B u t he predicted they would
2 5 years’ tim e.
years’ tim e.
3 M.V1E T orrentk-M ett Before the war there
becom e fash io n ab le again in 2 5
3
M m e T o rre n te -M ett said th a t before
w ere m any w om en designers.
the w ar there had b een m an y w om en
But w hen I joined in 1 9 7 2 ,
designers. B u t w hen she jo in ed in 1 9 7 2 ,
haute cou tu re w as dom inated
haute cou tu re w as d om in ated by m en.
by m en. N o w they have m ade
N o w they had m ade it their business
it their business, just like
ju st like co o k in g and p olitics.
co o k in g and politics.
N otes
E a ch o f th ese re p o rts is in tro d u ced b y a v erb in a p a st ten se (said, o b serv ed , said).
T h e r e is n o need to re p eat th is in tro d u c to ry v erb as th e re p o rt continues, but o th e r re p o rtin g
verbs lik e c o m m e n te d , ad d e d , e tc ., ca n b e used w h ere a p p ro p ria te .
W h ere English distinguishes betw een present and p ast, w ill goes w ith the present (like
can and m a y ); vould goes with the p a st (lik e co u ld an d m ig h t).
C o p y a n d c o m p le t e
liw '™ vKll'vA'T
#9
T able 1: W hen t h e v erb o f r epo r tin g is past (e x : S A ID )
R ule
D irect speech
Reported speech
Present verb form s
Past verb form s
try
make
interests
are
will
have made
R ule
tried
(----- ■
)
(—
(—
(—
Past sim ple form s
were joined
was dominated
■;
(—
■;
■;
Past sim ple
or past perfect
-►
-►
had been joined
(—
UNI T 12 • Fashion
b _| S t u d y t h e d ir e c t s p e e c h o n t h e l e f t a n d t h e r e p o r t o f it o n t h e r ig h t .
D irect sp eech
1
L . Azzaro
R ep o rt
I try to create dresses w hich
L. A zzaro says th a t he tries
m ak e w om en beautiful and
to create dresses w h ich m ake
attractive. N othin g else interests
w om en beautiful and attractive.
N o th in g else interests him .
me.
2 M m e T orrente-M ett Before the war there
were many women designers.
But when I joined in 1972,
haute couture was dominated
by men.
M m e T o rre n te -M ett says th at
before the w ar there w ere m any
w o m en designers. B u t w hen she joined
in 1 9 7 2 , haute cou tu re w as dom inated
by m en.
C o p y a n d c o m p le t e T a b le 2 .
\
T able 2: W hen the verb of reporting is present (
D irect speech
R ule
R ule
Present verb form s
e
x
:
SAYS)
Reported speech
stay in
the tense o f the direct speech
tries (present sim ple)
try (present sim ple)
make (present simple)
interests (present sim ple)
---------- ►
stays
stays
Past verb form s
stay in
the tense o f the direct speech
stays
stays
stays
(— -) (past simple)
(— -) (past sim ple)
(— -) (past sim ple)
were (past simple)
joined (past simple)
was dominated (past simple)
(----- -) (present sim ple)
(— -) (present sim ple)
T w o y e a r s a g o y o u w e r e a t a c o n f e r e n c e d u r in g w h ic h M r C r u m m a y g a v e t h is
le c t u r e a b o u t T a c t e l.
M r C rummay
T acte l is a new man-made fibre. It has alread y been a success an d I am certain
th a t it w ill be widely used in the future.
It’s a bit like nylon In the past, fashion designers have avoided nylon, bu t n o w
they are very interested in T actel. T actel can be m ixed w ith o th er fib res an d it
gives them softness and strength. It has an incred ibly lu xu rio u s feel, ra th er like
silk, bu t it’s m u ch cheaper.
So far, T actel has been m ainly used in the hosiery industry. It is used in a b o u t
2 0 % o f all tights an d sto ck in g s in E u ro p e . I am sure th a t in th e fu tu re m a n ­
m ad e fib res w ill beco m e m u ch m o re im p o rta n t.
Y o u n o w m e e t M r C r u m m a y a n d h a v e t h i s c o n v e r s a t i o n . W r i t e in y o u r e x e r c i s e b o o k
a n a p p r o p r ia t e v e r b f o r e a c h g a p . L o o k a t M r C r u m m a y 's le c t u r e t o f in d e a c h v e r b , b u t
u s e t h e r u le s t o d e c id e o n t h e r ig h t t e n s e .
You
H e llo , M r C ru m m ay . I rem em b e r a ta lk y ou gave a b o u t T a c te l a co u p le o f
y ears ag o . Y o u to ld us th en th a t it ( 1 ------- ■) a n ew m a n -m a d e fib re . Y o u said
y o u ( 2 ------- ) c e rta in it ( 3 ------- ) w id ely used in th e fu tu re.
M r C rummay
I h ad fo rg o tte n . So I w as righ t a b o u t th e su ccess o f T a c te l.
You
Y es, you ex p la in e d th a t it ( 4 ------- ■) a b it like n y lo n . Y o u said that in the past
fash io n designers ( 5 ------- ) n ylon , b u t th a t they ( 6 ------- ) very interested in
T acte l w hen it arriv ed on th e scen e.
M r CRUMMAY
D id I m e n tio n th a t T a c te l ( 7 ------- ) be m ixed w ith o th e r fib res?
You
Yes. You said this ( 8 ------- ) th em softness and strength. You stressed th a t Tactel
( 9 ------- j an in cred ib ly lu x u rio u s feel an d ( 1 0 ------- j a b it lik e silk , but m uch
cheaper.
M r C rummay
A nd w h a t did I say a b o u t its use?
Y OU
Y ou said th a t up till th en it ( 1 1 ------ ) m ainly in th e h o siery industry. You told
us th a t it ( 1 2 ------- ) in a b o u t 2 0 % o f all tigh ts an d sto ck in g s in E u ro p e. You
( 1 3 ------- ) sure th at m an-m ade fibres (14 — —) m uch m ore im p o rtan t in future.
There is an exception to the rule in Table 1 on p. 160. Study this conversation:
A nne
C hantal
A nne
C hantal
or
H o w o ld a re you ?
I'm sev enteen.
W h a t did you say?
I said I’m sev enteen.
I said I was sev enteen.
It is p o s s ib le f o r C h a n t a l t o u s e t h e s im p le p r e s e n t T n a f t e r t h e p a s t t e n s e s a id
b ecau se
sh e still is se v e n te e n a n d
h er
o r ig in a l
sta te m e n t
'I'm
se v e n te e n '
w a s s p o k e n o n ly a m o m e n t b e fo r e .
In g r o u p s o f t h r e e , u s e t h e s e n t e n c e s in lis t s 1 a n d 2 lik e t h i s , c h o o s in g s u i t a b l e
v e r b s f r o m t h e b o x o n p a g e 1 6 3 . T h e s e c o n d s p e a k e r ( B r ig it t e , in t h e e x a m p le ) c a n
u s e a n y q u e s t io n fr o m
Awa
lis t 2 .
I ’m tired .
Brigitte (speaking to C arole)
W h a t did
she say?
C arole
or
She said she w as tired .
She said sh e ’s tired .
Usr 1
List 2
Someone's borrowed my mirror.
I'm tired.
W e'll win the match. I've lost my torch.
Anne's got the job.
It's going to rain.
1took a taxi.
1enjoyed the film.
I've finished!
Abdoul arrived early.
I'm right.
The flight was really exciting.
M y father's pleased.
W hat did she / he say?
I didn't hear that.
Can you tell me what she / he said?
Did she / he say something?
W hat was that?
I didn't catch what she / he said.
Did you hear what she / he said?
I couldn't quite hear that.
UNI T i e
Fashion
A d d y o u r o w n id e a s .
V erbs
o f
r e p o r t in g
th at m a y
be
fo llo w ed
b y th at
add
complain
gather
note
reveal
admit
confirm
guess
observe
say
agree
consider
hope
predict
state
announce
deny
imagine
promise
suggest
answer
doubt
inform
realise
suppose
argue
dream
insist
reflect
swear
assure
expect
know
remark
threaten
believe
explain
maintain
repeat
understand
claim
fear
mean
reply
warn
comment
feel
mention
report
wish
Speech: Intonation and stress for exclamations
The voice falls on the stressed syllable. If two words are important in the exclamation,
t h e y a r e b o t h stressed and have a f a llin g to n e .
P r a c t is e t h e s e c o n v e r s a t io n s in p a ir s o r t h r e e s .
X
1 A dama
X
W hat a ^eautiful fl°wer!
M rs Gambo Yes. It suddenly appeared in my garden.
2
X
.
A dama
H ow amazing!
Bouba
Why don’t we all go and visit M ax?
K adjo
W hat a wonderful idea!
M rs M bah
I’m afraid I can’t come.
Bouba
W hat a PMy!
A l ic e
They forgot to bring any money.
G er a ld
W hat 'diots!
A l ic e
So they missed all the fun.
G er a ld
How sadj
X
,
X
X
3
X
6
Communication 2: Exclamations, wishes, offers
S t u d y t h e c o n v e r s a t io n b e lo w , t h e n c h o o s e o n e o f t h e s e
w o rd s
f o r e a c h g a p in t h e t a b l e s b e l o w it:
get, had, has, how, looks, idea, try, smoothly, what.
Aliou
Is that your bicycle?
Ibrahim Yes.
Aliou
H ow modern it looks! And
w hat unusual wheels it has! I
wish I had a bicycle like that. Is
it fast?
Ibrahim Very. Try it out, if you like.
A liou
Really? W hat a great idea! Now?
Ibrahim Yes. Get on it.
Aliou
H ow smoothly it goes! It’s great.
E x c l a m a t io n s
Pa t t e r n 1
H ow
Ex:
+ a d je c t iv e / a d v e r b
+ s u b je c t
H ow
m odern
it
(1 --------
( 2 -------- )
.( 3 -------- )
it
g o es!
Pa t t e r n 2
W hat
+ noun p h ra se
(+ n o u n p h r a s e )
(+ v e r b )
Ex:
W hat
u n u su al w h e e ls
it
( 4 -------- )\
( 5 -------- )
a g re a t
( 6 -------- Ji
W is h e s
Pa t t e r n
s u b je c t + w ish + s u b je c t + p a s t te n s e v e r b
Ex:
1
w ish
O ffers
Pa t t e r n
im p e r a t iv e v e r b
Ex:
( 8 -------- ) it o u t .
( 9 -------- j o n it!
1
( 7 -------- ^ a b i c y c l e l i k e t h a t !
+ v e rb
IIN [ ( I E
Speaking
• Fashion
u s e t h e id e a s in t h is t a b le t o h a v e c o n v e r s a t io n s w it h e x c la m a t io n s , w is h e s a n d
o f f e r s lik e t h e o n e a b o v e .
1
OBJECT O R
W H A T Y O U A D M IR E
ACTIVITY
(e x c l a m a t i o n )
a n e v e n i n g 's
s k ilfu l d a n c e r s
e n t e r t a in m e n t
2
a p la y
a c t e d w e ll
W ISH
to s e e t h e m
c o m e a g a in
a g a in
to m o rro w
(1) c o u l d a c t
lik e th a t
3
a ra ce
it w a s fa s t
W IS H
G R A N T ED
c o m e fo r a
E X C L A M A T IO N
a g r e a t id e a
k in d o f y o u
re h e a rsa l
(1) c o u l d r u n
c o m e fo r a
lik e t h a t
t r a in in g
c r a z y id e a
s e s s io n
Listening and study skill
M a k e a s e t o f n o t e s o n t h e t a lk y o u w ill h e a r a b o u t r e v is io n t e c h n iq u e s s o t h a t y o u
c a n p a s s o n it s m a in p o in t s t o a f r ie n d w h o m is s e d it.
Iff Guidelines
* When you make notes, you should identify the m ain points and make them the headings
in your notes. Place details which come under a main point below the appropriate heading
and a little to the right.
a) You are going to hear a talk about revision techniques. Your friend, who is going to miss the
talk, has asked you to pass on your notes. Listen to the first part of the talk, jotting down
words and phrases that will remind you of the mam points. Listen out for the following words
and phrases which signal a new main point:
the first rule, the second thing, now I come to, next, another way, my last point.
b)
Copy into your exercise book the outline notes based on the first part o f the talk. Listen and
complete the notes. How many of the words and phrases you jotted down are included?
c) Listen to the second part o f the talk and make your own notes on its main points.
8 Composition: An informal letter of invitation
fpjjgratibn a ) R e a d t h is le t t e r in v it in g a f r ie n d w h o liv e s in a n e a r b y t o w n t o a p a rty .
4 0 5 CUicUiri \4rfefe4,
204k f febnM
"1
Pfe^r -Akin,
Oorru I k^Wfenf wrAffen 4o rjou ^or so lonf^ bwl lW bfefeu revising, k^rd for lW| fex^lus
just k^Vfen4 jound 4kfe 4ihAfe. Iha sure Vjou know wLA 4s like!
-AntjtMtj, Ikfe ksA fex^lw is nexf f rickij so wfeVfe ktfving, a •jMrkj ^44U& -Afb&rj- Lulkuli
^jfelwdrU(' IpAI on Otflurd^ 4o celfebnAfe 4kfe fend of 4kfe course., Oou luuxl colvife. All
be rfe^lAj g,rfe^| if vjou ca \a . -A ck^nce 4o kxfefel uf> wrIU soKAfe of tjour old friends ^ in .
^elMfelMber J e w ?
I
enclose a ivMf? showing kow 4o g,e4 4o 4kfe Iplll frotw 4Ue bus slot?. 4s «Losl '
fifteen HunuW w4k u-f a Vfertj sfeej? kill, so don4 bring, 4oo kwij 4king,s wAk t^ou.
$ul do brine whoever wu need for 4Ue niekf. Iku sure Akfe tMrlu will eo on
u n lil^ ll.
1
1
1
befell I imusI g,feAb«ck4o lW| reusion.fle^se gjve \w^ besl wiskesAo tjour fwenls.
Ijc^e 4o see Vjou on vS<Aurdtftj.
Oours ever,
fierre
b)
F i n d a n e x a m p l e o f e a c h o f t h e s e f e a t u r e s o f informal style i n t h e l e t t e r a n d
w r i t e t h e m a ll d o w n :
1 a short, simple sentence
* 2 a colloquial expression
3 a sentence with an exclam ation mark
4 a sentence with at least two personal pronouns
5 a contracted verb form
6 a sentence with a word or words left out.
Note the connections (the words in colourin the letter) which help make the
letter fluent.
UNI T 12 • Fa sh io n
Vritina Wr'te a letter inviting a friend who lives in a nearby town to a party. Use the
9 content guidelines if you wish. Otherwise use your own ideas.
Guidelines
P aragraph 1 * Ask if your friend is well.
* Apologise for not writing before.
* Say why (ex: working hard for your family or an employer).
P aragraph 2 * M ention an important event that is happening soon (ex: someone
moving into a new house, leaving the area, starting a new job, getting
a qualification, getting married).
* Say you are having a party to celebrate. Say where.
* Say you hope your friend (and perhaps some of his/her friends) can come.
* Say anything else you like to encourage your friend (ex: m ention the
kind o f music or dancing).
P aragraph 3 * Say you enclose a map.
* Give some guidance about what to bring.
* M ention any other practical point.
P aragraph 4 * Ask about your friend’s family and their health.
* Say you hope to see your friend.
Co solidation Exercises
Vocabulary: Fashion
C h o o se o n e o f th e se w o rd s fo r ea ch g ap :
clie n t, d esig n ers, d ress, fa sh io n , fittin g , m o d el, o u tfits , p la tfo rm , stu d io , w'ear, w earin g
1
T h e fa sh io n ( 1 ----------- ) m ak e th ese w o n d erfu l ( 2 ----------- ) %b u t w h o w ea rs th e m a p a rt fro m
th e ( 3 ----------- j and a few privileged , w ea lth y w o m en ?
2
T o d ay there is a revival o f the ( 4 -----------j o f the 1 9 7 0 s . It’s in the w o rst possible taste: big,
blow n-up w igs, tight-fitting tops, flared trousers and ( 5 ---------- ) shoes. T h ese are the dreadful
things young peop le w ill be ( 6 ----------- j tom orrow .
3
H ere is a little story. O n e day a fam ous industrialist arrived a t m y ( 7 ---------- ) accom p an ied by
a beau tifu l you ng w o m an . H e w an ted a m etallic ( 8 ---------- ) fo r her. W e h ad a ( 9 ----------- ).
T h e re w ere som e alterations to m ake. I asked my (1 0 ---------- ) w h ether he w an ted it in one or
tw o d ay s’ tim e. ‘N o ,’ he said. ‘It’s fo r h er to (1 1 -----------) this ev en in g .’
Communication 1: Reported speech
T h e i n t e r v i e w in c o lu m n 1 is r e p o r t e d in c o lu m n 2 . C o p y a n d c o m p l e t e t h e r e p o r t ,
c h o o s in g t h e c o r r e c t f o r m f o r e a c h v e r b in c o lo u r in t h e
C olum n 1. Interview
R eporter
Fanta, are you careful about what
you eat ?
Fanta
Yes. For the last few years I have
watched what I eat •I have tried to
avoid food with a lot of fat in it.
Where possible I choose food that
has not been fried. I assure you
that I always eat fresh fruit every
day.
R eporter
Turning to you, Ahmed. Do you
watch your diet?
A hmed
O f course I do. For the last five
years I have been avoiding soft
drinks because o f their high
sugar content. I am very happy to
drink water or fresh fruit juice.
I have found that regular exercise
has improved my health more than
anything else.
in t e r v ie w .
Colum n 2. R eport
We asked Fanta if she was careful
about what she ( 1 --------- ■). She told
us that for the last few years she
( 2 --------- j what she ( 3 --------- -).
She ( 4 --------- ■) to avoid food with
a lot of fat in it. Where possible she
( 5 --------- ) food that ( 6 -------- j.
She assured us that she always
( 7 --------- ) fresh fruit every day.
When we asked Ahmed if he
( 8 --------- ) his diet, he replied that
o f course he ( 9 --------- ■). For the last
five years he (1 0 --------- ) soft drinks
because of their high sugar content.
H e (1 1 --------- ) very happy to drink
water or fresh fruit juice. He added
that he (1 2 --------- ) that regular
exercise (1 3 --------- j his health more
than anything else.
Communication 2: Exclamations
%
C o p y t h is c o n v e r s a t io n , c o m p le t in g e a c h g a p w it h
how, what o r what a,
SlTA
Look at these fireworks! ( 1 --------- ) magnificent display!
Salihou
( 2 --------- ) wonderful fireworks they are! ( 3 --------- J colourful!
Sita
-J terrible bang! The little children don’t like those loud bangs.
Salihou
But the bigger boys just love them. They are jumping up and down. (S they are!
-) excited
Sita
I like the ‘whoosh’ as the rockets go up. (6 --------- ) thrilling they are! Look at that
one exploding, spreading green light right across the sky. ( 7 --------- ) brilliant it is!
( 8 --------- ) beautiful shower of stars appears from each rocket! ( 9 --------- j clever
people are to make such things! (1 0 ------- -) pity I haven’t got a camera!
Salihou
But (1 1 --------- ) a lot of money they cost!
Sita
Yes, but (1 2 ------ —■) happy memories for the people who see them today!
L iterature
The Rain Came
Grace Ogot
The chief was still far from the gate when his daughter Oganda saw him. She ran to meet
him. Breathlessly she asked her father, ‘W hat is. the news, great Chief? Everyone in the
village is anxiously waiting to hear when it will rain.’ Labong’o held out his hands for his
daughter but he did not say a word. Puzzled by her father’s cold attitude Oganda ran
back to the village to warn the others that the chief was back.
The atmosphere in the village was tense and confused. Everyone moved aimlessly
and fussed in the yard without actually doing any work. A young woman whispered to
her co-wife, ‘If they have not solved this rain business today, the chief will crack.’ They
had watched him getting thinner and thinner as the people kept on pestering him. ‘Our
cattle lie dying in the fields,’ they reported. ‘Soon it will be our children and then our­
selves. Tell us what to do to save our lives, oh great Chief.’ So the chief had daily
prayed with the Almighty through the ancestors to deliver them from their distress.
Instead of calling the family together and giving them the news immediately, Labong’o
went to his own hut, a sign that he was not to be disturbed. Having replaced the shutter,
he sat in the dimly-lit hut to contemplate.
It was no longer a question of being the chief o f hunger-stricken people that weighed
Labong’o ’s heart. It was the life of his only daughter that was at stake. At the time when
Oganda came to meet him, he saw the glittering chain shining around her waist. The pro­
phecy was complete. ‘It is Oganda, Oganda, my only daughter, who must die so young.’
Labong’o burst into tears before finishing the sentence. The chief must not weep. Society
had declared him the bravest of men. But Labong’o did not care any more. He assumed
the position of a simple father and wept bitterly. He loved his people, the Luo, but what
were the Luo for him without Oganda? Her life had brought a new life in Labong’o ’s
world and he ruled better than he could remember. How would the spirit o f the village
survive his beautiful daughter? ‘There are so many homes and so many parents who have
daughters. Why choose this one? She is all I have.’ Labong’o spoke as if the ancestors were
there in the hut and he could see them face to face. Perhaps they were there, warning him
to remember his promise on the day he was enthroned when he said aloud, before the elders,
‘I will lay down life, if necessary, and the life of my household, to save this tribe from the
hands of the enemy.’ Deny! Deny!’ he could hear the voice of his forefathers mocking him.
When Labong’o was consecrated chief he was only a young man. Unlike his father, he
ruled for many years with only one wife. But people rebuked him because his only wife did
not bear him a daughter. He married a second, a third, and a fourth wife but they all gave
birth to male children. When Labong’o married a fifth wife she bore him a daughter. They
called her Oganda, meaning ‘beans’, because her skin was very fair. Out of Labong’o ’s
twenty children, Oganda was the only girl. Though she was the chief’s favourite, her mother’s
co-wives swallowed their jealous feelings and showered her with love. After all, they said,
Oganda was a female child whose days in the royal family were numbered. She would soon
marry at a tender age and leave the enviable position to someone else.
169
Never in his life had he been faced with such an impossible decision. Refusing to yield to the
rainmaker’s request would mean sacrificing the whole tribe, putting the interests of the individual
above those of the society. More than that. It would mean disobeying the ancestors, and most
probably wiping the Luo people from the surface o f the earth. On the other hand, to let
Oganda die as a ransom for the people would permanently cripple Labong’o spiritually. He
knew he would never be the same chief again.
The words o f Ndithi, the medicine man, still echoed in his ears. ‘Podho, the ancestor of
the Luo, appeared to me in a dream last night, and he asked me to speak to the chief and
the people, ’Ndithi had said to the gathering of tribesmen. ‘A young woman who had not
known a man must die so that the country may have rain. While Podho was still talking to
me, I saw a young woman standing at the lakeside, her hands raised above her head. Her
skin was as fair as the skin o f young deer in the wilderness. Her tall slender figure stood like
a lonely reed at the river bank. Her sleepy eyes wore a sad look like that of a bereaved mother.
She wore a gold ring on her left ear, and a glittering brass chain around her waist. As I still
marvelled at the beauty of this young woman, Podho told me, “Out of all the women in this
land, we have chosen this one. Let her offer herself as a sacrifice to the lake monster! And on
that day, the rain will come down in torrents. Let everyone stay at home on that day, lest he
be carried away by the floods”.’
Outside there was a strange stillness, except for the thirsty birds that sang lazily on the dying
trees. The blinding mid-day heat had forced the people to retire to their huts. N ot far away
from the chief’s hut, two guards were snoring away quietly. Labong’o removed his crown and
the large eagle-head that hung loosely on his shoulders. He left the hut, and instead of asking
Nyabog’o the messenger to beat the drum, he went straight and beat it himself. In no time the
whole household had assembled under the siala tree where he usually addressed them. He told
Oganda to wait a while in her grandmother’s hut.
When Labong’o stood to address his household, his voice was hoarse and the tears choked
him. He started to speak, but words refused to leave his lips. His wives and sons knew there
was great danger. Perhaps their enemies had declared war on them. Labong’o’s eyes were
red, and they could see he had been weeping. At last he told them, ‘One whom we love and
treasure must be taken away from us. Oganda is to die.’ Labong’o ’s voice was so faint, that
he could not hear it himself. But he continued, ‘The ancestors have chosen her to be offered
as a sacrifice to the lake monster in order that we may have rain.’
They were completely stunned. As a confused murmur broke out, Oganda’s mother
fainted and was carried off to her own hut. But the other people rejoiced. They danced
around singing and chanting, ‘Oganda is the lucky one to die for the people. If it is to save
the people, let Oganda go.’
In her grandmother’s hut Oganda wondered what the whole family were discussing about
her that she could not hear. Her grandmother’s hut was well away from the chief’s court and,
much as she strained her ears, she could not hear what was said. ‘It must be marriage,’ she
concluded. It was an accepted custom for the family to discuss their daughter’s future m ar­
riage behind her back. A faint smile played on Oganda’s lips as she thought o f the several
young men who swallowed saliva at the mere mention o f her name.
There was Kech, the son of a neighbouring clan elder. Kech was very handsome. He had
sweet, meek eyes and a roaring laughter. He would make a wonderful father, Oganda
thought. But they would not be a good match. Kech was a bit too short to be her husband.
It would humiliate her to have to look down at Kech each time she spoke to him. Then she
thought of Dimo, the tall young man who had already distinguished himself as a brave warrior
and an outstanding wrestler. Dimo adored Oganda, but Oganda thought he would make a cruel
husband, always quarrelling and ready to fight. No, she did not like him. Oganda fingered the
LITE RflJURE
glittering chain on her waist as she thought o f Osinda. A long time ago when she was quite
young Osinda had given her that chain, and instead o f wearing it around her neck several
times, she wore it round her waist where it could stay permananently. She heard her heart
pounding so loudly as she thought of him. She whispered, ‘Let it be you they are discussing,
Osinda, the lovely one. Come now and take me away...’
The lean figure in the doorway startled Oganda, who was rapt in thought about the man
she loved. ‘You have frightened me, Grandma,’ said Oganda laughing. ‘Tell me, is it my
marriage you are discussing? You can take it from me that I w on’t marry any o f them .’ A
smile played on her lips again. She was coaxing the old lady to tell her quickly, to tell her
they were pleased with Osinda.
In the open space outside the excited relatives were dancing and singing. They were coming
to the hut now, each carrying a gift to put at Oganda’s feet. As their singing got nearer
Oganda was able to hear what they were saying: ‘If it is to save the people, if it is to give us
rain, let Oganda go. Let Oganda die for her people, and for her ancestors.’ Was she mad to
think that they were singing about her? How could she die? She found the lean figure of her
grandmother barring the door. She could not get out. The look on her grandmother’s face
warned her that there was danger around the corner. ‘Mother, it is not marriage then?’
Oganda asked urgently. She suddenly felt panicky like a mouse cornered by a hungry cat.
Forgetting that there was only one door in the hut Oganda fought desperately to find another
exit. She must fight for her life. But there was none.
She closed her eyes, leapt like a wild tiger through the door, knocking her grandmother
flat to the ground. There outside in mourning garments Labong’o stood motionless, his
hands folded at the back. He held his daughter’s hand and led her away from the excited
crowd to the little red-painted hut where her mother was resting. Here he broke the news
officially to his daughter.
For a long time the three souls who loved one another dearly sat in darkness. It was no
good speaking. And even if they tried, the words could not have come out. In the past they
had been like three cooking stones, sharing their burdens. Taking Oganda away from them
would leave two useless stones which would not hold a cooking pot.
News that the beautiful daughter o f the chief was to be sacrificed to give the people rain
spread across the country like wind. At sunset the chief’s village was full of relatives and friends
who had come to congratulate Oganda. Many more were on their way coming, carrying their
gifts. They would dance till morning to keep her company. And in the morning they would
prepare her a big farewell feast. All these relatives thought it a great honour to be selected by
the spirits to die, in order that the society may live. ‘Oganda’s name will always remain a living
name among us,’ they boasted.
But was it maternal love that prevented Minya from rejoicing with the other women? Was
it the memory of thie agony and pain of child-birth that made her feel so sorrowful? Or was
it the deep warmth and understanding that passes between a suckling babe and her mother
that made Oganda part o f her life, her flesh? O f course it was an honour, a great honour,
for her daughter to be chosen to die for the country. But what should she gain once her
daughter was blown away by the wind? There were so many other women in the land, why
choose her daughter, her only child! Had human life any meaning at all - other women had
houses full o f children while she, M inya, had to lose her only child!
In the cloudless sky the moon shone brightly, and the numerous stars glittered with a be­
witching beauty. The dancers of all age-groups assembled to dance before Oganda, who sat
close to her mother, sobbing quietly. All these years she had been with her people she
thought she understood them. But now she discovered that she was a stranger among them.
If they loved her as they had always professed why were they not making any attempt to
171
save her? Did her people really understand what it felt like to die young? Unable to restrain
her emotions any longer, she sobbed loudly as her age-group got up to dance. They were
young and beautiful and very soon they would marry and have their own children. They
would have husbands to love and little huts for themselves. They would have reached ma­
turity. Oganda touched the chain around her waist as she thought of Osinda. She wished
Osinda was there, too, among her friends. ‘Perhaps he is ill,’ she thought gravely. The chain
comforted Oganda - she would die with it around her waist and wear it in the underground
world.
In the morning a big feast was prepared for Oganda. The women prepared many different
tasty dishes so that she could pick and choose. ‘People don’t eat after death,’ they said. Deli­
cious though the food looked, Oganda touched none of it. Let the happy people eat. She
contented herself with sips of water from a little calabash.
The time for her departure was drawing near, and each minute was precious. It was a
day’s journey to the lake. She was to walk all night, passing through the great forest. But
nothing could touch her, not even the denizens of the forest. She was already anointed with
sacred oil. From the time Oganda received the sad news she had expected Osinda to appear
any moment. But he was not there. A relative told her that Osinda was away on a private
visit. Oganda realized that she would never see her beloved again.
In the afternoon the whole village stood at the gate to say good-bye and to see her for the
last time. Her mother wept on her neck for a long time. The great chief in a mourning skin
came to the gate bare-footed, and mingled with the people - a simple father in grief. He
took off his wrist bracelet and put it on his daughter’s wrist saying, ‘You will always live
among us. The spirit of our forefathers is with you.’
Tongue-tied and unbelieving Oganda stood there before the people. She had nothing to
say. She looked at her home once more. She could hear her heart beating so painfully within
her. All her childhood plans were coming to an end. She felt like a flower nipped in the bud
never to enjoy the morning dew again. She looked at her weeping mother, and whispered,
‘Whenever you want to see me, always look at the sunset, I will be there.’
Oganda turned southwards to start her trek to the lake. Her parents, relatives, friends and
admirers stood at the gate and watched her go.
Her beautiful slender figure grew smaller and smaller till she mingled with the thin dry
trees in the forest. As Oganda walked the lonely path that wound its way in the wilderness,
she sang a song, and her own voice kept her company.
The ancestors have said Oganda must die
The daughter o f the chief must be sacrificed,
When the lake monster feeds on my flesh.
The people will have rain.
Yes, the rain will come down in torrents.
And the floods will wash away the sandy beaches
W hen the daughter of the chief dies in the lake.
M y age-group has consented
M y parents have consented
So have my friends and relatives.
Let Oganda die to give us rain.
M y age-group are young and ripe,
Ripe for womanhood and motherhood
But Oganda must die young,
Oganda must sleep with the ancestors.
Yes, rain will come down in torrents.
LITERATURE
The red rays o f the setting sun embraced Oganda, and she looked like a burning candle
in the wilderness.
The people who came to hear her sad song were touched by her beauty. But they all said
the same thing: ‘If it is to save the people, if it is to give us rain, then be not afraid. Your
name will forever live among us.’
At midnight Oganda was tired and weary. She could walk no more. She sat under a big tree,
and having sipped water from her calabash, she rested her head on the tree trunk and slept.
When Oganda woke up in the morning the sun was high in the sky. After walking for
many hours, she reached the ton g’, a strip of land that separated the inhabited part of the
country from the sacred place (kar lam o). No layman could enter this place and come out
alive - only those who had direct contact with the spirits and the Almighty were allowed to
enter this holy of holies. But Oganda had to pass through this sacred land on her way to the
lake, which she had to reach at sunset.
A large crowd gathered to see her for the last time. Her voice was now hoarse and pain­
ful, but there was no need to worry any more. Soon she would not have to sing. The crowd
looked at Oganda sympathetically, mumbling words she could not hear. But none of them
pleaded for life. As Oganda opened the gate, a child, a young child, broke loose from the
crowd, and ran towards her. The child took a small earring from her sweaty hands and
gave it to Oganda saying, ‘When you reach the world of the dead, give this earring to my
sister. She died last week. She forgot this ring.’ Oganda, taken aback by the strange request,
took the little ring, and handed her precious water and food to the child. She did not need
them now. Oganda did not know whether to laugh or cry. She had heard mourners sending
their love to their sweethearts, long dead, but this idea of sending gifts was new to her.
Oganda held her breath as she crossed the barrier to enter the sacred land. She looked
appealingly at the crowd, but there was no response. Their minds were too preoccupied with
their own survival. Rain was the precious medicine they were longing for, and the sooner
Oganda could get to her destination the better.
A strange feeling possessed Oganda as she picked her way in the sacred land. There were
strange noises that often startled her, and her first reaction was to take to her heels. But she
remembered that she had to fulfil the wish of her people. She was exhausted, but the path
was still winding. Then suddenly the path ended on sandy land. The water had retreated
miles away from the shore leaving a wide stretch of land. Beyond this was the vast expanse
of water.
Oganda felt afraid. She wanted to picture the size and shape of the monster, but fear
would not let her. The society did not talk about it, nor did the crying children who were
silenced by the mention of its name. The sun was still up, but it was no longer hot. For a
long time Oganda walked ankle-deep in the sand. She was exhausted and longed desper­
ately for her calabash of water. As she moved on, she had a strange feeling that something was
following her. Was it the monster? Her hair stood erect, and a cold paralysing feeling ran
along her spine. She looked behind, sideways and in front, but there was nothing, except a
cloud o f dust.
Oganda pulled up and hurried but the feeling did not leave her, and her whole body became
saturated with perspiration.
The sun was going down fast and the lake shore seemed to move along with it.
Oganda started to run. She must be at the lake before sunset. As she ran she heard a noise
from behind. She looked back sharply, and something resembling a moving bush was
frantically running after her. It was about to catch up with her.
Oganda ran with all her strength. She was now determined to throw herself into the
water even before sunset. She did not look back, but the creature was upon her. She made
an effort to cry out, as in a nightmare, but she could not hear her own voice. The creature
caught up with Oganda. In the utter confusion, as Oganda came face to face with the un­
identified creature, a strong hand grabbed her. But she fell flat on the sand and fainted.
W hen the lake breeze brought her back to consciousness, a man was bending over her.
‘.............. !’ Oganda opened her mouth to speak, but she had lost her voice. She swallowed
a mouthful o f water poured into her mouth by the stranger.
‘Osinda, Osinda! Please let me die. Let me run, the sun is going down. Let me die, let
them have rain.’ Osinda fondled the glittering chain around Oganda’s waist and wiped the
tears from her face.
‘We must escape quickly to the unknown land,’ Osinda said urgently. ‘We must run away
from the wrath o f the ancestors and the retaliation of the monster.’
‘But the curse is upon me, Osinda, I am no good to you any more. And moreover the eyes
o f the ancestors will follow us everywhere and bad luck will befall us. N or can we escape
from the monster.’
Oganda broke loose, afraid to escape, but Osinda grabbed her hands again.
‘Listen to me, Oganda! Listen! Here are two co ats!’ He then covered the whole of
Oganda’s body, except her eyes, with a leafy attire made from the twigs o f B w om bw e.
‘These will protect us from the eyes of the ancestors and the wrath o f the monster. N ow let
us run out o f here.’ He held Oganda’s hand and they ran from the sacred land, avoiding the
path that Oganda had followed.
The bush was thick, and the long grass entangled their feet as they ran. Halfway through
the sacred land they stopped and looked back. The sun was almost touching the surface of
the water. They were frightened. They continued to run, now faster, to avoid the sinking sun.
‘Have faith, Oganda - that thing will not reach us.’
W hen they reached the barrier and looked behind them trembling, only a tip o f the sun
could be seen above the water’s surface.
‘It is gone! It is gone!’ Oganda wept, hiding her face in her hands.
‘Weep not, daughter of the chief. Let us run, let us escape.’
There was a bright lightning. They looked up, frightened. Above them black furious
clouds started to gather. They began to run. Then the thunder roared, and the rain came
down in torrents.
^ Read the story.
1
M a tc h th e n a m e o f e a c h p e rso n w ith w h o th e p e rso n is a n d th e ir ro le in th e s to ry :
L a b o n g ’o , O g a n d a , P o d h o , N d ith i, K e ch , O sin d a , M in y a .
W h o t h e p e r s o n is
R o l e in
a L u o ancestor
to advise the medicine m an
the young m an O ganda loved m ost
to add to the idea th at O ganda has m any adm irers
a young m an w ho admired Oganda
the chief
to show great sorrow a t O gan d a’s fate
to rescue the ch ief’s daughter
O gan d a’s m other
the m edicine m an
to die for the people
to advise the chief
the ch ief’s daughter
to end the drought
th e sto ry
2
W h a t new s w ere th e villag ers e x p e ctin g fro m L a b o n g ’o?
3
W h y w as the a tm o sp h ere in th e v illage tense?
174
LITERATURE
4
G ive tw o re aso n s w hy L a b o n g ’o w as sad.
5
S ta te th e re a so n s w hy it w as im p o rta n t to a cc e p t th e ra in m a k e r’s req u est.
Read the story again,
1
D o y ou th in k O g a n d a w as rig h t in h er la st d ecisio n ?
2
D o th e L u o see any lin k b etw een life an d d ea th , b etw een th e livin g an d th e dead?
3
D o e s th e sto ry end sa tisfa cto rily ? Ju s tify y o u r answ er.
The art o f story-telling.
1
H o w is suspense created at th e beginning o f th e story ? W h a t d oes suspense co n trib u te to a
story ?
2
A t th e b eg in n in g o f th e story, w h ich p e rso n d oes th e w rite r w a n t us to feel p ity fo r? H o w
is o u r pity aro u sed ?
3
4
a
W h a t did all the p eop le feel on h ea rin g th e c h ie f’s re p o rt?
b
W h a t w ere th e n e x t feeling s o f m o s t o f th e peop le? H o w d o w e k n o w ?
D ram atic irony is w hen a character is ignorant o f som ething w hich the reader o r listener know s.
W here does the w riter use this device in the story? W h a t does it contribute to the story?
5
W h a t p a rt d oes th e song play in th is story ? B e a r in m ind th a t th ese are listen ers.
6
H o w is a sense o f h o rro r create d as O g a n d a w a lk s th ro u g h th e sa cred lan d ?
7
W h a t d o th e fo llo w in g im ages sy m b o lise: a v irgin , a deer, su n set, th e ea g le-h ea d ?
Shooting an ElephantI*
George Orwell
In Moulmein, in Lower Burma, I was hated by large numbers o f people - the only time in my
life that I have been important enough for this to happen to me. I was subdivisional police officer
of the town, and in an aimless, petty kind of way anti-European feeling was very bitter. As a
police officer I was an obvious target and was baited whenever it seemed safe to do so. In the
end the sneering yellow faces of young men that met me everywhere, the insults hooted after me
when I was at a safe distance, got badly on my nerves.
All this was perplexing and upsetting. For at that time I had already made up my mind
that imperialism was an evil thing and the sooner I chucked up my job and got out of it the
better. Theoretically - and secretly, of course - 1 was all for the Burmese and all against the
oppressors, the British. As for the job I was doing, I hated it more bitterly than I can perhaps
make clear. In a job like that you see the dirty work of Empire at close quarters. The wretched
prisoners huddling in the stinking cages o f the lockups, the grey, cowed faces of the long­
term convicts, the scarred buttocks o f the men who had been flogged with bam boos - all
these oppressed me with an intolerable sense of guilt. But I could get nothing into perspective.
I was young and ill-educated and I had had to think out my problems in the utter silence that is
imposed on every Englishman in the East. I did not even know that the British Empire is
dying, still less did I know that it is a great deal better than the younger empires that are going
to supplant it. All I knew was that I was stuck between my hatred of the empire I served and my
rage against the evil-spirited little beasts who tried to make my job impossible. W ith one
part o f my mind I thought o f the British Raj as an unbreakable tyrany, as something
clamped down, in saecula saeculorum, upon the will of prostrate peoples; with another part
I thought that the greatest joy in the world would be to drive a bayonet into a Buddhist
priest’s guts. Feelings like these are the normal by-products of imperialism; ask any AngloIndian official, if you can catch him o ff duty.
One day something happened which in a roundabout way was enlightening. It was a tiny
incident in itself, but it gave me a better glimpse than I had had before of the real nature of
imperialism - the real motives for which despotic governments act. Early one morning the
subinspector at a police station the other end of town rang me up on the phone and said that
an elephant was ravaging the bazaar. Would I please come and do something about it? I did
not know what I could do, but I wanted to see what was happening and I got on to a pony
and started out. I took my rifle, an old .44 Winchester and much too small to kill an elephant,
but I thought the noise might be useful in terrorem . Various Burmans stopped me on the
way and told me about the elephant’s doings. It was not, of course, a wild elephant, but a
tame one which had gone ‘must’. It had been chained up, as tame elephants always are when
their attack of ‘must’ is due, but on the previous night it had broken its chain and escaped.
Its mahout, the only person who could manage it when it was in that state, had set out in
pursuit, but had taken the wrong direction and was now twelve hours’ journey away, and in
the morning the elephant had suddenly reappeared in the town. The Burmese population had
no weapons and were quite helpless against it. It had already destroyed somebody’s bamboo
hut, killed a cow and raided some fruit stalls and devoured the stock; also it met the municipal
rubbish van and, when the driver jumped out and took to his heels, had turned the van over and
inflicted violences upon it.
The Burmese subinspector and some Indian constables were waiting for me in the quarter
where the elephant had been seen. We began questioning the people as to where the elephant
had gone and, as usual, failed to get any definite inform ation. I had alm ost made up my
mind that the whole story was a pack o f lies, when we heard yells a little distance away.
There was a loud, scandalized cry o f ‘Go away, child! Go away this instant!’ and an old
woman with a switch in her hand came round the corner of a hut, violently shooing away a
crowd of naked children. Some more women followed, clicking their tongues and exclaiming:
evidently there was something that the children ought not to have seen. I rounded the hut and
saw a m an’s dead body sprawling in the mud. He was an Indian, a black Dravidian coolie,
almost naked, and he could not have been dead many minutes. The people said that the elephant
had come suddenly upon him round the corner of the hut, caught him with its trunk, put its
foot on his back and ground him into the earth. This was the rainy season and the ground
was soft, and his face had scored a trench a foot deep and a couple of yards long. He was lying
on his belly with arms crucified and head sharply twisted to one side. His face was coated with
mud, the eyes wide open, the teeth bared and grinning with an expression o f unendurable
agony. (Never tell me, by the way, that the dead look peaceful. M ost of the corpses I have
seen looked devilish.) The friction of the great beast’s foot had stripped the skin from his
back as neatly as one skins a rabbit. As soon as I saw the dead man I sent an orderly to a
friend’s house nearby to borrow an elephant rifle. I had already sent back the pony, not wanting
it to go mad with fright and throw me if it smelled the elephant.
The orderly came back in a few minutes with a rifle and five cartridges, and meanwhile some
Burmans had arrived and told us that the elephant was in the paddy fields below, only a few
hundred yards away. As I started forward practically the whole population of the quarter
flocked out of the houses and followed me. They had seen the rifle and were all shouting excitedly
that I was going to shoot the elephant. They had not shown much interest in the elephant when
he was merely ravaging their homes, but it was different now that he was going to be shot. It
LITERATURE *
was a bit of fun to them, as it would be to an English crowd; besides they wanted the meat.
It made me vaguely uneasy. I had no intention of shooting the elephant - 1 had merely sent for
the rifle to defend myself if necessary - and it is always unnerving to have a crowd following
you. I marched down the hill, looking and feeling a fool, with the rifle over my shoulder and
an ever-growing army of people jostling at my heels.
I
had halted on the road. As soon as I saw the elephant I knew with perfect certainty that I
ought not to shoot him. It is a serious matter to shoot a working elephant - it is comparable
to destroying a huge and costly piece of machinery - and obviously one ought not to do it
if it can possibly be avoided. And at that distance, peacefully eating, the elephant looked
no more dangerous than a cow. I thought then and I think now that his attack o f ‘must’
was already passing off; in which case he would merely wander harmlessly about until the
mahout came back and caught him. Moreover, I did not in the least want to shoot him. I
decided that I would watch him for a little while to make sure that he did not turn savage
again, and then go home.
But at that moment, I glanced round at the crowd that had followed me. It was an im­
mense crowd, two thousand at the least and growing every minute. It blocked the road for
a long distance on either side. I looked at the sea of yellow faces above the garish clothes faces all happy and excited over this bit o f fun, all certain that the elephant was going to be
shot. They were watching me as they would watch a conjuror about to perform a trick. They
did not like me, but with the magical rifle in my hands I was momentarily worth watching.
And suddenly I realized that I should have to shoot the elephant after all. The people expected
it o f me and I had got to do it; I could feel their two thousand wills pressing me forward,
irresistibly. And it was at this moment, as I stood there with the rifle in my hands, that I
first grasped the hollowness, the futility of the white man’s dominion in the East. Here was
I, the white man with his gun, standing in front of the unarmed native crowd - seemingly
the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by
the will of those yellow faces behind. I perceived in this moment that when the white man turns
tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the
conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life
in trying to impress the ‘natives’, and so in every crisis he has got to do what the ‘natives’
expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant.
I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib;
he has got to appear resolute, to know his own mind and do definite things. To come all that
way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly
away, having done nothing - no, that was impossible. The crowd would laugh at me. And my
whole life, every white man’s life in the East, was one long struggle not to be laughed at.
But I did not want to shoot the elephant. I watched him beating his bunch of grass against
his knees, with that preoccupied grandmotherly air that elephants have. It seemed to me that
it would be murder to shoot him. At that age I was not squeamish about killing animals,
but I had never shot an elephant and never wanted to. (Somehow it always seems worse to
kill a large animal.) Besides, there was the beast’s owner to be considered. Alive, the elephant
was worth at least a hundred pounds; dead, he would only be worth the value o f his tusks,
five pounds, possibly. But I had got to act quickly.
It was perfectly clear to me what I ought to do. I ought to walk up to within, say,
twenty-five yards of the elephant and test his behaviour. If he charged, I could shoot; if he
took no notice of me, it would be safe to leave him until the mahout came back. But also
I knew that I was going to do no such thing. I was a poor shot with a rifle and the
ground was soft mud into which one would sink at every step. If the elephant charged and
I missed him, I should have about as much chance as a toad under a steamroller. But even
then I was not thinking particularly of my own skin, only of the watchful yellow faces behind.
For at that moment, with the crowd watching me, I was not afraid in the ordinary sense, as
I would have been if I had been alone. A white man mustn’t be frightened in front of ‘natives’;
and so, in general, he isn’t frightened. The sole thought in my mind was that if anything went
wrong those two thousand Burmans would see me pursued, caught, trampled on, and reduced
to a grinning corpse like that Indian up the hill. And if that happened it was quite probable that
some of them would laugh. That would never do. There was only one alternative. I shoved the
cartridges into the magazine and lay down on the road to get a better aim.
The crowd grew very still, and a deep, low, happy sigh, as o f people who see the theatre
curtain go up at last, breathed from innumerable throats. They were going to have their bit of
fun after all. The rifle was a beautiful German thing with cross-hair sights. I did not then know
that in shooting an elephant one would shoot to cut an imaginary bar running from ear-hole to
ear-hole. I ought, therefore, as the elephant was sideways on, to have aimed straight at his earhole; actually I aimed several inches in front of this, thinking the brain would be further forward.
When I pulled the trigger I did not hear the bang or feel the kick - one never does when a
shot goes home - but I heard the devilish roar of glee that went up from the crowd. In that
instant, in too short a time, one would have thought, even for the bullet to get there, a mys­
terious, terrible change had come over the elephant. He neither stirred nor fell, but every line
o f his body had altered. He looked suddenly stricken, shrunken, immensely old, as though
the frightful impact o f the bullet had paralyzed him without knocking him down. At last,
after what seemed a long time - it might have been five seconds, I dare say - he sagged flab­
bily to his knees. His mouth slobbered. An enormous senility seemed to have settled upon
him. One could have imagined him thousands of years old. I fired again into the same spot.
At the second shot he did not collapse but climbed with desperate slowness to his feet and
stood weakly upright, with legs sagging and head drooping. I fired a third time. That was the
shot that did for him. You could see the agony of it jolt his whole body and knock the last
remnant of strength from his legs. But in falling he seemed for a moment to rise, for as his
hind legs collapsed beneath him he seemed to tower upward like a huge rock toppling, his
trunk reaching skywards like a tree. He trumpeted, for the first and only time. And then down
he came, his belly towards me, with a crash that seemed to shake the ground even where I lay.
It seemed dreadful to see the great beast lying there, powerless to move and yet powerless to
die, and not even to be able to finish him. I sent back for my small rifle and poured shot after
shot into his heart and down his throat. They seemed to make no impression. The tortured
gasps continued as steadily as the ticking of a clock.
In the end I could not stand it any longer and went away. I heard later that it took him
half an hour to die. Burmans were bringing dahs and baskets even before I left, and I was
told they had stripped his body almost to the bones by the afternoon.
Afterwards, o f course, there were endless discussions about the shooting o f the elephant.
The owner was furious, but he was only an Indian and could do nothing. Besides, legally,
I had done the right thing, for a mad elephant has to be killed, like a mad dog, if its owner
fails to control it. Among the Europeans opinion was divided. The older men said I was
right, the younger men said it was a damn shame to shoot an elephant for killing a coolie,
because the elephant was worth more than any damn Coringhee coolie. And afterwards I
was very glad that the coolie had been killed; it put me legally in the right and it gave me
sufficient pretext for shooting the elephant. I often wondered whether any o f the others
grasped that I had done it solely to avoid looking a fool.
M
o
is* Raj : British imperial government in India
in saecula saeculorum (Latin) : for ever
in terrorem (Latin) : to frighten it
m a h o u t : elephant keeper
UTERRTUHE
Read the story.
%
%
1
2
3
4
Is the author Burmese or European ? Give evidence for your answer.
W hat is the irony in paragraph 2?
W hat was the problem in the story? W hat was the role of the author in solving it?
How did the author become a prisoner of the crowd?
* Read the story again.
1 W hat compelling reason did the author have for killing the elephant? How did this reveal
him as a pathetic figure?
2 Orwell said he was happy that the Coolie had been killed. Was he cruel in saying that?
Justify your answer.
3 Is the author sincere in what he says about himself and about British imperial government?
Support your answer with evidence from the text.
First, They Said
Alice Walker
First, they said we were savages.
But we knew how well we had treated them
and knew we were not savages.
Then, they said we were immoral.
But we knew minimal clothing
did not equal immoral.
Next, they said our race was inferior.
But we knew our mothers
and we knew that our race
was not inferior.
After that, they said we were
a backward people.
But we knew our fathers
and knew we were not backward.
So, then they said we were
obstructing Progress.
But we knew the rhythm of our days
and knew that we were not obstructing Progress.
Eventually, they said the truth is that you eat
too much and your villages take up too much
of the land. But we knew we and our children
were starving and our villages were burned
to the ground. So we knew we were not eating
too much or taking up too much of the land.
Finally, they had to agree with us.
They said: You are right. It is not your savagery
or your immorality or your racial inferiority or
your people’s backwardness or your obstructing of
Progress or your appetite or your infestation of
[the land
that is at fault. No. What is at fault
is your existence itself.
Here is money, they said. Raise an army
among your people, and exterminate
yourselves.
In our inferior backwardness
we took the money. Raised an army
among our people.
And now, the people protected, we wait
for the next insulting words
coming out of that mouth.
Listen to the poem.
1 W ho a r e ‘we’ a n d ‘they’?
2 Where do you think the events happened?
3 When do you think the events occurred?
$
$
Read the poem and answer the following questions:
1
2
3
4
Use two adjectives to describe the attitude of ‘they’.
Do you think the ‘we’ made any mistakes in accepting the ‘theys’?
What, in your opinion, was the real motive behind the insults (?) of the ‘theys’?
Whose is ‘that mouth’ in the poem?
Read the poem again.
1 W hat does this poem mean to you in terms o f human relationships?
2 Are ‘we’ going to do what ‘they’ want now?
In pairs.
Copy out the 6th, 7th and 8th stanzas, putting in quotation marks.
Q
Come, Brother
Jorge Rebelo
Come, brother and tell me your life
come, show me the marks of revolt
which the enemy left on your body
Come, say to me ‘Here
my hands have been crushed
because they defended
the land which they own
‘Here my body was tortured
because it refused to bend
to invaders
‘Here my mouth was wounded
because it dared to sing
my people’s freedom’
Come brother and tell me your life,
come relate me the dreams of revolt
which you and your fathers and forefathers
dreamed
in silence
through shadowless nights made for love
Come tell me these dreams become
war
the birth of heroes,
land reconquered,
mothers who, fearless,
send their sons to fight.
Come, tell me all this, my brother.
And later I will forge simple words
which even the children can understand
words which will enter every house
like the wind
and fall like hot embers
on our people’s souls.
In our land
Bullets are beginning to flower
LITERATURE
Listen to the poem. Is it
$
a
a poem o f sadness?
b
a poem o f pride and fulfilm ent?
c
a poem against w ar?
Read the poem.
2
a
L ist the physical scars th a t the citizens received as a result o f th eir struggle,
b
State the cause o f each scar.
a
H o w long had the rebellion been planned?
b
W h o did the people rebel against?
3
W h o w ere the heroines o f the struggle?
4
W h a t w ill the speaker’s co n tribu tio n to the struggle be?
5
E xp lain:
‘In o u r land
Bullets are beginning to flow er.’
6
W h y does the speaker see him self as a blacksm ith?
In pairs.
What lines are repeated in the poem? What purpose does this achieve?
The Price of War
Alex Cole
If you should happen to chance upon
M y grave, and shed a tear,
The epitaph on it should read,
A naive man died here.’
The prospect seemed a good one,
The thought struck my empty head.
It struck again in a mud-filled trench,
And then it struck me dead.
‘Come along, help Britain w in!’
The bright war posters cry.
‘You’ll be a hero overnight,’
That dirty, dreadful lie.
If being a hero tempts you,
D on’t let it take hold.
War is going to cost you dear;
It’s fatal, being bold.
Listen to the poem.
1
Is the speaker alive o r dead? W here is he?
2
W h a t advice does he give the listener?
W Read the poem.
1
W h a t, to the speaker, is the ‘lie’ ?
2
W here is the ‘lie’ found?
3
4
W h a t ‘th o u gh t’ struck the speaker?
W h y does the speaker think he w as ‘em pty-headed’ ?
5
D escribe the circum stances th at led to the death o f the speaker.
6
W h a t is the price o f W ar?
Discussion.
1
H o w is the attitude o f the speaker in this poem different from th a t o f the speaker in ‘C om e,
2
D o you think the speaker is unp atriotic? Should people like him be encouraged?
3
E stablish the sequence o f events in this poem and justify it.
4
L ist the nouns in the p oem . Is there a co n tra st betw een som e o f them ? L ist the adjectives.
B ro th e r’?
Is there a sim ilar con trast? W h a t does this tell you a b o u t the them e o f the poem ?
Casualty
Miroslav Holub
They bring us crushed fingers,
mend it, doctor.
They bring burnt-out eyes,
hounded owls of hearts.
They bring a hundred white bodies,
a hundred red bodies,
and a hundred black bodies,
mend it, doctor,
on the dishes of ambulances they bring
the madness of blood,
the scream of flesh,
Listen to the poem.
1
W h o is the speaker?
2
W h a t is the speaker protesting against?
Read the poem.
1
a
W h o are ‘they’ in the poem ?
b
W h o are ‘us’ and ‘w e’ ?
the silence of charring,
mend it, doctor.
And while we are suturing
inch after inch,
night after night,
nerve to nerve,
muscle to muscle,
eyes to sight,
they bring in
even longer daggers,
even more thunderous bombs,
even more glorious victories,
idiots.
L I T E R fl TU H E
2
C an ‘they ’, ‘us’ and ‘w e’ represent m ore th an those you have identified in an sw er to the
qu estion above?
3
W h ich w ords in the p oem suggest pain and suffering?
4
W h ich lines suggest the frustration o f the speaker?
5
W h a t causes his frustration?
6
D o you th in k the sp eaker’s protest is justified?
7
W h o are the ‘id iots’ in the poem ?
8
W h a t is it the d o cto r has t o ‘m end’ ?
Discussion.
1
H o w is this poem sim ilar to ‘T h e Price o f W ar’?
2
H o w is it d ifferent from ‘C om e, B ro th er’ ?
W h y is the speaker in one poem proud and in the other sad?
Dear God
Dennis Brutus
Dear God
get me out of here:
let me go somewhere else
where I can fight the evil
which surrounds me here
and which I am forbidden to fight
- but do not take from me my anger
my indignation at injustice
so that I may continue to burn
to right it or destroy.
Listen to the poem.
What is the speaker asking for?
Look at the poem.
W h a t type o f te x t does it lo o k like?
A an advertisem ent
B
a letter
C a prayer
D a letter and a prayer
Ju stify your answer.
Oh I know
I have asked for this before
in other predicaments
and found myself most wildly involved
But if it be possible
and conformable to your will
dear God,
get me out of here.
f
Read the poem.
W h o is the speaker? W here is he? W h y does he w a n t to go som ew here else? W h y does he
feel helpless?
2
3
L ist the things the speaker w ants G od to do for him .
W h ich line (apart from Line 1) is repeated in the poem ? W hy?
4
5
W h ich w ords are repeated m o st in the poem ? Wrhy?
Study the w ords th a t refer to evil and the verbs o f action . Is there a link betw een them ?
6
W hy does the speaker see him self as a fire?
Discussion.
1
2
W h a t evil do you think surrounds the speaker? Is it universal?
W ould there be any change if other people had the sam e attitude as the speaker? Justify'
y ou r answer.
3
N am e things th a t people pray to G od for.
4
Is it realistic to exp ect G od to solve ou r practical problem s?
If We Must Die
Claude McKay
If we must die - let it not be like hogs
Hunted and penned in an inglorious spot,
While round us bark the mad and hungry dogs,
Making their mock at our accursed lot.
If we must die - oh, let us nobly die,
So that our precious blood may not be shed
In vain; then even the monsters we defy
Shall be constrained to honor us though dead!
Oh, Kinsmen! We must meet the common foe;
Though far outnumbered, let us show us brave,
And for their thousand blows deal one death-blow!
W hat though before us lies the open grave?
Like men we’ll face the murderous, cowardly pack,
Press to the wall, dying, but fighting back!
€
G iv e e x a m p le s o f r a c is m , d is c r im in a t io n a n d o p p r e s s io n .
^
Read the first four lines.
Before you read.
1 W h a t anim als does the speaker m ention? W h o do they represent?
2
W h a t type o f death does the speaker n o t w ant?
LITEHHTURE
Read the next four lines.
1
W h a t type o f death w ould the speaker prefer?
2
W h a t w ords or line(s) support your view?
3
In the opinion o f the speaker, w hat sort o f beings are his peop le’s oppressors?
Read the last six lines.
$
1
W h a t is the speaker appealing for in these lines?
2
W h o is t h e ‘co m m o n fo e ’ ?
3
W h ich w ords / lines portray the determ ination o f the speaker?
4
L ist adjectives you w ould use to describe the speaker and ju stify each o f them .
5
N am e a) the sim ilarities and b) the differences betw een ‘D ea r G o d ’ and this poem .
Discussion.
1
G ive on e w ord fo r the feeling o f the w riter th at m ade him w rite this poem .
2
Is the speaker black or w hite? W h a t cou n try is he in? G ive reasons fo r you r answer.
3
W h a t is y ou r attitud e tow ard s the speaker and his people? W hy?
4
Is the speaker o p tim istic th at he and his people can w in the fight? Support you r answ er
w ith evidence from the poem .
5
Suggest other titles fo r the poem . W h y do you th in k your title is m ore suitable?
The Washerwoman's Prayer
Oswald Mbuyisemi Mishali
to my mother-in-law
Look at her hands
Raw, knobbly and calloused.
Look at her face
Like a bean skin soaked in brine.
For countless years she has toiled
To wash her master’s clothes
Soiled by a lord’s luxuries.
In frost-freckled mornings,
In sun-scorched afternoons,
She has drudged murmurless.
One day she fell and fainted
With weariness.
Her mouth a foaming spout
Gushing a gibberish.
‘Good Lord! Dear Lord!’ she shouted
‘Why am I so tormented?
How long have I lamented?
Tell me Lord, tell me O Lord.’
‘M y child! Dear child,’ she heard
‘Suffer for those who live in gilded sin,
Toil for those who swim in a bowl of pink gin,’
‘Thank you Lord! Thank you Lord.
Never again will I ask
Why must I carry this task.’
Listen to the poem.
T h e w o m an is overw orked. Is she also
A happy?
B resigned to accep t this ? C rebellious?
In pairs, listen to the poem again.
1 List the words and expressions that indicate the nature of the washerwoman’s work.
2 W hat are the physical signs that the woman is overworked?
Discussion.
1 Are you happy with the Lord’s response? Explain your answer.
2 Do you know of any men or women in a position similar to the washerwoman’s?
Read the poem aloud.
Notice sounds that are repeated.
Requiem for a rainforest
Cecil Rajendra
i wrestle with a rhinoceros
but no words will come
i hear tall trees crashing
wild birds screeching
the buffalo stampeding
but no words will come
$
i hear the rain pounding
into desolate spaces
the widowed wind howling
but no words will come
i hear sawmills buzzing
cash registers clicking
entrepreneurs chuckling
but no words will come
the rhino is boxed and crated
merbok and meranti are gone
above, no monkeys swing
from no overhead branches
below, a pangolin stumbles
around amputated trunks
an orphaned butterfly
surveys the wounded jungle
i hear of press conferences
of petitions, of signatures
of campaigns and lobbying
but no words will come
yes, no words can fill
this gash of malevolence
but a terrrible anger squats
hugging its knees in silence.
Before you listen.
v-r■-;rsi:7: l i f e i cl© pftU think the poem will
Listen to the poem.
Is fr Fr?,d or happy? Vt/hv?
LITERRTURE
Read the poem.
1
2
3
4
W hat strange occurrences does the speaker mention?
The speaker evokes scenes o f busy activities. Where do these take place?
List the victims in the poem. What are they victims of?
List instances of personification in the poem. Why does the speaker use them?
The soldiers came
John A gard
The soldiers came
and dropped their bombs.
The soldiers didn’t take long
to bring the forest down.
With the forest gone
the birds are gone.
With the birds gone
who will sing their song?
Now the children
are planting seedlings
to help the forest grow again.
They eat a simple meal of soft rice
wrapped in banana leaf.
And the land welcomes their smiling
like a shower of rain.
But the soldiers forgot
to take the forest
out of the people’s hearts.
The soldiers forgot
to take the birds
out of the people’s dreams.
And in the people’s dreams
the birds still sing their song.
Listen to the poem.
Make a note of any things that surprise you in it.
$
Read the poem.
1 W hy did the soldiers drop bombs on the forest?
2 W hat do the children do that gives hope for the future?
3 Are there any similarities between this poem and ‘Requiem for a rainforest?’ Is there an
important difference?
Discussion.
1 The poem expresses a conflict. Who are the groups involved? Why will one of them win?
2 Is the poet hopeful or despairing? Justify your answer.
G rammar S ummary
Les noms
1 A Certains noms sont denombrables et indenombrables (10.5).
N oms
D enombrables (telle chose)
Indenombrables (generalite, action)
life
along life/lon g lives
Life can be hard.
recording
a good recording / good recordings
Recording is best done in a studio.
war
a short war / short wars
War is a terrible thing.
criticism
a serious criticism / serious criticisms
He usually accepts criticism readily.
E x : I hope this will be a short war because war brings so much suffering.
1 B Un nom denombrable peut se rapporter a une partie d’un nom indenombrable.
E x : We need two kilos (countable) of flour (uncountable).
Les pronoms (3.4).
2 A
s
i
N
G
U
L
I
E
R
P
L
U
R
I
E
L
Pronoms
Adjectifs
Pronoms
possesses
possesses
Pronoms
reflEchis
me
my
mine
myself
you
you
your
yours
yourself
he
him
his
his
himself
she
her
her
hers
herself
it
it
its
its
itself
one another/
l repersonne
we
us
our
ours
ourselves
each other
2epersonne
you
you
your
yours
yourselves
3' personne
they
them
their
theirs
themselves
Pronoms
SUJETS
complements
l repersonne
I
2' personne
3epersonne
d’objet
Pronoms
RECIPROQUES
E x : My sister has gone to town on her bicycle. She wants to buy herself a new stereo
radio cassette recorder.
■EEi
GR R n MB n SUmi HRV
2
B
Les pronoms relatifs
P r o n o m s r e l a t if s
P r o n o m s r e l a t if s
P r o n o m s r e l a t if s
P r o n o m s r e l a t if s
su jets
C O M P L E M E N T S D ’O BJET
p o s s e s s if s
UTTLISfiS A P R E S
U N E P R E P O S IT IO N
Si l’antecedent
est une personne
who / that
who (m) / that
whose
whom
Si Pantecedent
est une chose
which / that
which / that
of which / whose
which
E x:
Are you the person whose car I damaged?
N otes
• On peut utiliser that a la place de who ou de which (qu’ils soient sujets ou complements
d’objet). M ais, le plus souvent, on emploie that lorsque I’antecedent n’est pas un etre
humain. On utilise that uniquement dans les propositions relatives determinatives (ou
restrictives, c ’est-a-dire essentielles au sens de la phrase) :
E x:
The car that / which I damaged was an old one. Do you know the boy that / who
broke the pot ?
M ais The taxi, which was new, was very fast.
• Dans une proposition relative determinative, le pronom relatif who, which ou that peut etre
omis lorsqu’il est complement d’objet, mais non quand il est sujet. On appelle ce type de
proposition relative une ‘contact clause’.
Ex:
I couldn’t see the woman I was speaking to. (= the woman to whom I was speaking)
• What signifie ‘the thing(s) that’.
E x:
2
I told them what I had heard.
C Les pronoms indefinis•
anybody
everybody
nobody
somebody
anyone
everyone
no one
someone
anything
everything
nothing
something
N otes
• Apres un pronom indefini, le verbe est toujours au singulier.
E x:
Everybody likes chocolate.
• Les pronoms commen^ant par any sont notamment utilises dans les questions et les
phrases negatives.
E x:
Has anyone seen my glasses?
I haven’t had anything to eat all day.
3 Les verbes
3
A Le passe (9.5)
T emps
Forme Active
Passe
I, you, he, she, it,
we, they
Passe
compose
I, you, we, they
He, she, it
Forme Passive
have
has
| took
I, he, she, it
You, we, they
was
were
taken
j taken
I, you, we, they
He, she, it
have
has
been taken
Passe
I, he, she, it
progressif You, we, they
was
| taking
were
I, he, she, it
You, we, they
was
were
being taken
Plus-que- I, you, he, she, it,
parfait
we, they
had
I, you, he, she, it,
we, they
had
been taken
Passe
I, you, we, they
compose
He, she, it
progressif
have
has
J been taking
Plus-queI, you, he, she, it,
parfait
we, they
progressif
had
been taking
E x:
taken
Traveller 1
Has the last bus already left?'
Passer-by
The last bus left three months ago!
Traveller
What! Do you mean to say this route has not been used for three months?
Passer-by
That’s right. The buses have been using a different route for a long time
now.
I wish I had been told.
Traveller
3 B Actions habituelles du passe (2.5)
F orme
P ositive
F orme
N egative
would
used to
p asse
would never
never used to
used not to
p asse (form e negative)
E x:
M y grandfather used to make jokes all the time.
He often laughed at himself, but he would never say anything unkind about someone else.
3 C Le futur
Futur simple
F orme acttve
F orme passive
I/w e
will/shall |
You, he, she, it, they
J
E x:
You
I/w e
will/shall 1 ,
You, he, she, it, they will
J
with my brother.
to my village where you
F utur progressif
I /we
You, he, she, it, they
E x:
will / shall
they / will
be taking
l tjbY'i be U:x. : y, at six o’clock.
Futur anterieur (6.8)
Forme aciwe
Forme passive
I /we
will / shall ] ,
You, he, she, it, they will
J
I/we
will / shall 1 ,
,
f have been taken
You, he, she, it, they will
J
E x:
Unfortunately, I wron’t see the match. I have to w ork until 6.00 p.m. By then, it will
have imsheaand the champions
e bee-r giver: the trophy.
F utur anterieur progressif (6.8)
I / we
You, he, she, it, they
E x:
will / shall 1 ,
j have been taking
In a few minutes we will have ht*.-. ww.
for four hours.
A utres manieres d ’exprimer le futur
going to
Where
you
next year?
P resen t sim ple
We
at 5 .0 0 a.m. tom orrow morning.
P resen t p ro g ressif
M y uncle
a new shop in M arch.
3 D Les auxiiiaires d o , h a v e , b e
F orme negative
F orme affirmative
Do
forme complete
forme contractee
Present
do
does
do not
does not
don’t
doesn’t
Passe
did
did not
didn’t
On utilise do pour construire certaines questions, ainsi que les formes negatives et emphatiques
du present et du preterit simples.
E x:
Do you eat caterpillars? Did you see that film?
I don’t understand. I didn't see the film.
I do like chocolate. Do hurry!
H ave
Forme affirmative
Forme negative
aux. contracte
not contracte
have not
’ve not
haven’t
’s
has not
’snot
hasn’t
’d
had not
’dnot
hadn’t
forme complete
forme contractee forme complete
Forme de base
have
’ve
Forme en -s
has
Passe
had
Forme en -ing
having
not having
On utilise have comme auxiliaire du passe compose, du plus-que-parfait, du futur anterieur
et du conditionnel passe.
E x:
I h aven’t finished the w ork yet.
He had left when I arrived.
They w ill have finished by tomorrow.
It would have been a long journey by bicycle.
* irregulier
GRAMMAR SUMMARV
Be sert a former les temps progressifs et, suivi d’un participe passe, a construixe la voie passive.
Ex: We re enjoying the party.
Elephants haven’t been seen here recently.
" Aren’t est employe pour les reprises interrogatives.
Ex: I’m the captain, aren’t I?
3 E Les auxiliaires de modalite
Forme .affirmative
Forme negative
forme complete et auxiliaire contracte
not contracte (n’t)
can
could
cannot /can not
could not
can’t
couldn’t
may
might
may not
might not
mayn’t"'
mightn’t
will / ’A
would /’d
will not
would not
shall
should
shaA not
should not
shan’t
shouldn’t
must
must not
mustn’t
ought to
ought not to
oughn’t to
used to
used not to
usedn’t to
need
need not
needn’t
dare
dare not
daren’t
have / has to
have / has got to
’ve /’s got to
will have to
’ll have to
had to
do /does not have to
have / has not got to
’ve /’s not got to
wiA not have to
’ll not have to
did not have to
don’t / doesn’t have to
have / hasn’t got to
’ll not
’d not
won’t
wouldn’t
won’t have to
didn’t have to
'rarement employe
3 F Les verbes composes
1 verbe + adverbe
2 verbe + preposition
3 verbe + adverbe + preposition
Ex: I woke up early.
Ex: We broke into a run.
Ex: They put up with the cold weather cheerfully.
Si le verbe compose est constitue d’un verbe intransitif suivi d’une preposition, le comple­
ment d’objet devra etre place apres celle-ci.
Ex: Will you look after my dog, please?
I came across him yesterday.
Si le verbe compose est transitifet si le complement d’objet est court, il pourra etre place soit entre
les deux mots, soit apres eux. Mais si le complement d’objet est long, il devra etre place apres.
Ex: Can you help me sort out this problem?
ou : Can you help me sort this problem out?
mais : Can you help me sort out which of these books are mine and which are yours?
3 G Rapporter un discours (12.4)
R apporter les PAROLES EXACTES (style direct)
Utiliser le discours indirect (style indirect)
‘I enjoy detective stories,’ Jean said.
Jean said (that) he enjoyed detective stories.
V e r b e in t r o d u is a n t
L E D ISC O U R S R A P P O R T E
Present
Ex: says
Passe
Ex: said
S t y l e d ir e c t
S t y l e in d ir e c t '
n’importe quel temps
present ou passe
---- ►
Present
— ►
Ex: make, makes
Passe
le meme temps que celui
du style direct
Passe
Ex: made
— ►
Ex: made
Passe
E x: made
ou plus-que-parfait
Ex: ad made
Present progressif
Ex: am / is 7 are making
---- ►
Passe progressif
Ex: was / were making
— ►
Passe compose
— ►
Ex: have / has made
Plus-que-parfait
— ►
n’importe quel temps + Wl1 — ►
Style direct
‘1 en)°y long bus journeys. 1 hke
talking to my fellow passengers. One
day I w’h write a book. You see,
I want to retell all the amusing
stories I have heard/
E x:
Style direct
‘T h is1S a delicious meal.’
Plus-que-parfait progressif
Ex: had been making
Plus-que-parfait
le meme temps + w
Ex: would make
will have made
E x:
Plus-que-parfait
Ex: had made
Ex: will make
can, may
Passe progressif
as / were making
ou plus-que-parfait progressif
Ex: 1 been making
Ex:
E x: had made
Passe compose progressif — ►
^ ..h av e /h as been making
Ex: had made
Passe progressif
Ex: vas / were making
would have made
___^
could, might
Style indirect
M y friend said she enjoyed long
bus journeys. She hked talking to
her fellow passengers. One day she
would write a book. She explained
that she "'anted to retell all the
amusing stories she had heard.
EXCEPTION A la rEgle : Quand le verbe introduisant le discours rapporte est au passe {ex: said)?
on utilise le present dans la proposition au style indirect si l’information qu’elle conrient est toujours vraie au moment ou elle est rapportee.
‘N ot all snakes arc poisonous.’
Discours rapporte l’instant d’aprEs
He said (that) th is's a delicious meal.
Present de vEritE gEn Erale (que la parole
rapportee ait ete prononcee recemment ou
longtemps auparavant)
He said (that) not all snakes are poisonous.
li li fi IIN (i I| SUMMRRY
3 H Les verbes introduisant le discours rapporte
1 Quand ils introduisent un discours rapporte avec
mention de Pinterlocuteur.
iat, certains verbes necessitent la
Verbe
INTERLOOJTEUR
Discours rapporte
Jean told
me
that he enjoyed detective stories.
They assured
us
that they knew the way.
D ’autre verbes suivent le modele de tell et assure «
2
convince
notify
reassure
inform
persuade
remind
Certains verbes necessitent la mention de Pinterlocuteur quand ils introduisent une
proposition infinitive construite avec to.
E x:
I invited him to drive my car.
D ’autres verbes suivent le modele de invite *
3
advise
forbid
persuade
tell
beg
instruct
remind
urge
command
order
teach
warn
Apres certains verbes, la mention de Pinterlocuteur est facultative quand le discours
rapporte est introduit avec that.
ask
4
promise
teach
warn
Avec de nombreux verbes introduisant un discours rapporte, to permet d’introduire la
mention de Pinterlocuteur.
E x:
I explained to her that we had to hurry.
D ’autres verbes suivent le modele de explain •
5
admit
confess
mention
reveal
swear
announce
declare
murmur
say-
whisper
boast
hint
propose
shout
complain
insist
report
suggest
Quand le verbe introduisant le discours rapporte evoque une prise de parole energique, on
utilise at a la place de to pour introduce la mention de Pinterlocuteur.
E x:
I shouted at them to stand clear.
‘I don’t like any o f this food’, he roared at the waiter.
3 I Les reprises interrogatives (10.7)
P r o p o s it io n p o s it iv e
r e p r is e in t e r r o g a t iv e
P r o p o s it io n n e g a t iv e — ►
N E G A T IV E
r e p r is e in t e r r o g a t iv e
p o s it iv e
Avec
auxiliaire
cold,
We’vewon, haven’t we?
They oughtto hurry, oughtn’t
they?
Avec
auxiliaire
Itisn cold, sit?
We haven’t won, have we?
They oughtn’tto hurry^pught
they?
Pas
d’auxiliaire
You likehim, don’t you?
It rains a lot here, doesn’t it?
She enjoyed the food,
Avec
auxiliaire
You
him, b you?
It doesn’t raina lot here, does it?
She didn’t enjoythe food, did she?
Utilisation
de l’auxiliaire
a but
d’expressivite
She does talk fast, doesn
friends do eat snails,
don’t they?
tbu did congratulate him,
didn’t you?
Utilisation
She doesn’t '■talkfast, does she?
de Pauxiliaire Your friends don’teat snails,
a but
do they?
d’expressivite You didn’t congratulatehim, did
you?
stressed
Formes
irregulieres
the captain,
We’ll winnext time, won’t we?
Everyone enjoyedthe party,
didn’t they?
my bicycle,
n notthe captain, am I?
/e won’t winnext time, will we?
Nobody enjoyedthe party, did they?
akentny bicycle, have
they?
haven’t they?
R eponses aux questions avec reprises interrogatives (10.7)
3 J
1" partie
de la proposition
Question
Reponse positive
Reponse negative
Positive
Negative
is our bus,
This isn our bus, is it?
Yes (, it is.).
Yes, it is.
N o (, it isn’t.).
N o, it isn’t.
Constructions verbales (11.6)
C onstruction
1
E x:
2
E x:
C onstruction
C onstruction
3
E x:
C onstruction
4
E x:
VERBE + fo+ INFINITIF
He agreed to pa] for my ticket.
None of us wanted to leavethe party.
VERBE + VERBE EN -in G
now!
The man
jed puttii
water in the petrol tank.
VERBE + NOM OU PRONOM + JO + INFINITIF
They oersuaded me to w o r k on Sunday.
She
to e
to the party.
VERBE
It
It
+ ADJECTIF +
+ NOM OU PRONOM + T O + INFINITIF
a torch.
an umbrella for me.
111 HRS SLI MMR HV
3 K Propositions introduites par
: nom +
+ proposition (8.4)
Sujet
The report that the road is blocked is untrue.
Complement d’objet
I can hardly believe the news that we have won the match.
3 L Les phrases au conditionnel
Proposition subordonnee
(exprimant la condition)
T ype
Proposition principale
(EXPRIMANT LA CONSEQUENCE)
‘O’
PRESENT SIMPLE
If people eat unripe mangoes’
PRESENT SIMPLE
they get a stomach ache.
1
PRESENT SIMPLE
If you
these unripe mangoes,
FUTUR
you will get a stomach ache.
2
PASSE
If you ate these unripe mangoes,
CONDITIONNEL
you would get a stomach ache.
3
PLUS-QUE-PARFAIT
If you
eate any unripe mangoes,
CONDITIONNEL PASSE
you "
a stomach ache.
Expression de la negation dans des phrases au conditionnel (3.7)
Proposition exprimant
Proposition exprimant
LA CONSEQUENCE
la condition
not
unless
otherwise
If he does
give me back my shirt,
ss he gives me back my shirt,
I will take his shoes!
I will take his shoes!
He must give me back my shirt.
ise, I will take his shoes!
Omission de If dans des phrases au conditionnel (3.7, 5.7)
Proposition exprimant
LA CONDmON
should
were
had
houk you see Jean,
this bridge to collapse,
i I realised how hungry he was,
Proposition exprimant
LA CONSEQUENCE
tell him I have some money for him.
there would be no way into the village.
I would have given him more food.
L'ordre des adjectifs
Adjectifs
generaux
exprimant
la taille
et la forme
exprimant
I’age
strong
N om
de
couleur
participes
passes
exprimant
la
provenance
young
tiny
Algerian
boxer
forest
insect
green
large
de
matiere
oil
tanker
gold
bracelet
wrecked
valuable
modem
La position des adverbes
5 A Adverbes exprimant la frequence (4.8)
Locution
adverbiale de
2 mots ou plus
Sujet
Every Saturday
I
Auxiliaire
Adverbe
(1 mot)
Verbe
principal
Autres mots
write
to Paul.
He
doesn’t
usually
run.
My brothers
have
never
travelled
by air.
generally
visit
me
My friends
Locution
adverbiale de
2 mots ou plus
twice a week-
5 B Autres adverbes (4.8) : adverbes de temps, de maniere, etc.
ADV.DE
TEMPS
SUJET
On Friday
I
played
She
We
VERBE COMPLEMENT ADV.DE
PRINCIPAL
D’OBJET
DEGRE
ADV.DE
MANIERE
ADV.DE
UEU
tennis
really
badly
at the club.
spoke
completely
confidently
at the ceremony
last night.
waited
very
patiently
at the bus station
yesterday-
5 C En regie generate, on ne place pas les adverbes :
1 entre le verbe et le complement d’objet:
E x:
We’ll leave this room soon.
2 entre le verbe et sa particule :
E x:
M ary turned up early.
ADV.DE
TEMPS
Functions
1 Les differents degres d'obligation (1.4,6.5)
Present
Passe
obligation
imperative
had to
F rn m
have / has to
must
will have to
forme negative : must not
obligation
moins forte
+ participe
passe
n eg . :
n eg .:
absence
d’obligation
« Ce n’est pas
necessaire de »
E x:
should have
]
should not have >
ought to have
]
ught not to have J
neg -:
n eg.:
did not have to
need not have +
should
should not
ought to
ought not to
do / does not have to
need not
will not have to
participe passe
I had ta work all day on Saturday and Sunday. They only paid me at the weekday rate.
They should have given me more!
Presenter des opinions contrastees (1.7,1.9)
CONCEDER
M ettre des idees en balance
although conjonctions de
subordination
even if
but
yet
nevertheless adverbes,
however
locution
all the same adverbiale
on the one hand
on the other hand
instead
despite
|prepositions
in spite of
instead of + preposition
E x:
conjonctions de
coordination
CONTREDIRE
in fact
locutions
on the contrary adverbiales
locutions
adverbiales,
adverbe
Although it seems like a good idea, the new road to the city will be an expensive mistake.
It will not reduce traffic congestion. On the contrary, it will attract more vehicles.
La comparaison : expressions idiomatiques (11.8)
3
A X est legerement mieux que Y :
X has the edge over Y.
X is marginally better than Y.
3
B X et Y sont tres differents :
There’s (absolutely) no comparison between X and Y.
Y isn’t a patch on X .
I don’t see how you can talk about them in the same breath.
3 C Expressions que 1’on peut employer quelle que soit la difference entre X et Y :
Compared to X , Y . . .
Y isn’t quite 1
,
up to the standard of A.
nearly J
E x : T eacher A I think M oussa’s poem has the edge over Ahmadou’s
TEACHER B
Q
Really? I think it’s far better. There’s absolutely no comparison between them.
Ordonner, demanded demander la permission
4
A Dire a quelqu’un de faire quelque chose (donner un ordre) (7.5)
F orme
Fermement
Would you come, please?
Come here
Do come here.
Will you come now?
You will come at once.
You are to come at once.
You come here at once.
Won’t you come now?
Don’t come now.
You are not to come now.
positive
Forme
NEGATIVE
E x:
4
Do hurry up or we will miss the bus.
You are not to use my camera without asking me.
B Demander quelque chose (7.9)
T res poliment
Could you . . . , please?
E x:
4
VlGOUREUSEMENT
POUMENT
Plus directement
Can you . . .?
A Could you lend me your dictionary, please?
B No, I’m very sorry.
A Couldn’t you let me have it just for this afternoon?
C Demander la permission de faire quelque chose (7.9)
TRfeS poliment
Could I / we . . ., please?
E x:
M ay I go now?
Plus directement
Can I / w e . . .?
M ay I / we . . .?
Avec insistance
C an’t you . . .?
Couldn’t you . . .?
FUNCTIONS
S'exdamer (12.6)
Construction
Ex:
Construction
Ex:
Construction
Ex:
How + adjectif
How smart
+ groupe nominal
+ verbe
he
looks!
How + adverbe
How quickly
How skilfully
+ groupe nominal
your sister
the fishermen
+ verbe (+ autres mots)
works! y
throw their nets on to the water!
What + groupe nominal
What a splendid meal
What long legs
+ groupe nominal + verbe (+ autres mots)
this
is!
these insects
have!
What + adj. / groupe nominal + nom
What an interesting
story!
What enormous
buildings!
Construction
Ex:
Exprimer un souhait (12.6)
C onstructions
E xemples
+
passe
ou would
I wish I had a bicycle.
I wish you would keep your room tidy.
+
passe
ou would
If only I had a bicycle.
If only you would keep your room tidy.
present
ou futur
I (do) hope it rains soon.
Let’s hope he will remember to bring the key.
(do) hope l
Let’s hope J
Proposer quelque chose, offrir une aide (12 6)
Proposer
Accepter
Refuser
Would you like
Yes, please.
No, thank you.
. That’s very kind of you.
I’m all right, thanks.
Yes, I’d really like / love to.
No, I’ve got / had plenty, thanks.
Will you have
Have (imperatif)
Do have
Why not have
some
’ more
soup(?)
That would be very nice, thank you.
Why don’t you have.
Let me help you lift it
Is there anything I can do to help?
Shall I...?
I’ll... if you like.
M ay!...?
If you’re sure
’ it’s no trouble.
That’s very kind of you, but...
you can spare time.
No, I can manage, thank you.
there’s enough, (etc.)
No, there’s no need, thank you.
*
D e maniere plus familiere
Want a hand?
Great!
No. It’s OK, thanks.
Need some help?
Terrific!
No, don’t worry.
Can I give you a hand?
Just the job!
Thanks a lot, but...
Exprimer ses preferences ( 8. 7)
E xemples
C onstructions
would / ’d rather + infinitif (sans to)
W e’d rather go by taxi
would / ’d prefer + to + infinitif
We’ } prefer to go by taxi
would / ’d prefer + groupe nominal
We’d prefer a taxi.
would / ’d rather + groupe nominal + passe
I’d rather you came.
Marquer son accord ou son disaccord (2.8)
N iveau
DELANGUE
Approuver
D esapprouver
Familier
Absolutely.
Exactly.
Too true.
I couldn’t agree more.
Well that’s it, isn’t it?
No way!
Come off it!
You don’t mean that, do you?
I don’t / can’t go along with that.
Standard
I agree with you on that.
I entirely agree.
That’s what I think, too.
That’s right.
True enough.
Do you really think. ..?
That’s not the \Vay I see it.
That’s not right, surely.
(I’m afraid) I can’t / don’t agree with you on that.
I (strongly) disagree with you on that.
R echerchE
Ex 1 :
Ex 2 :
I think that’s quite correct.
I can’t accept. . .
I can’t say that I share your view.
I wouldn’t disagree with that.
That’s my view / opinion exactly. I see things / it rather differently.
I take a rather different view.
H eadteacher
Farming is the most rewarding work.
STUDENT
pigg afraid J tare a va.'x i:r different view.
E lder brother
Y ounger brother
Why not stay here and work on the farm with me?
m a a.
FUNCTIONS
S'excuser (9.8)
10 A S’excuser familierement
S’excuser
R epondre A des excuses
I’m (very) sorry.
That’s quite all right.
No harm done.
Not to worry.
It really doesn’t matter.
Excuse me, please.
V
10 B S’excuser de maniere plus ceremonieuse
R epondre A des excuses
Presenter ses excuses
I (do) apologise (for . . . ing).
That’s perfectly all right.
I (do) beg your pardon.
There’s no need to apologise.
Please forgive me (for . . . ing).
That’s all right. There’s no need
to say any more about it.
I was quite / completely wrong.
It’s really not a matter of great
importance.
Ex:
STUDENT I do apologise for taking your hat by mistake.
TEACHER T h at’s all right. There’s no need to apologise.
Insister (5.5)
A
B
C
It is / was
Element mis en valeur
(personne, chose...)
Information
It was
It is
my grandmother
a. new tennis court
who caught the thief,
that we need most.
filMENT MIS ENVALEUR
IS/ WAS
INFORMATION
My grandmother
A new tennis court
was
is
the person who caught the thief.
what we need most.
information
IS / WAS
ELEMENT MIS ENVALEUR
The person who caught the thief
What we need most
was
is
my grandmother.
a new tennis court.
W O RDLIST
* L = Listening text in Teacher’s Book
□
U/EXERCISE
abduction
to accompany
(in) advance
agbada
air-conditioning
anguished
antenna
anvil
applicant
/sb'dAklsn/
/s'kAmpani/
to apply
to appoint
assembly line
asset
awkward
/s'plai/
/a'pamt/
/a'sembli lam/
/'reset/
/'o:kwad/
/ad'vams/
teg Txiida/
/'eakan'dijanig/
/sg gwijt/
/sn'lena/
/'anvil/
/'aplikanl/
El
U/E
bald
ballot
/bo:ld/
/'bifilat/
barbaric
barefoot
bearded
bearing
bellows
belt
bias
bobble
bodywork
to bother
braid (n.)
to brandish
brass
bridle
brocade
brooch
bruise
buckle
bulldozer
burglar
to bypass
/bo:'bank/
/‘besfut/
/'biadid/
/'beang/
/'belsuz/
/belt/
/’baiss/
/bnbl/
E
1.1 [b] enlevement, rapt
4.1 accompagner
6.9L* en avance
12.2 agbada
6.10 climatisation
10.3 angoisse
5.2 antenne
10.4 enclume
1.7 candidat (a un
emploi)
11.5 postuler
1.7 nommer
5.5 chaine de montage
3.2 biens, capital
12.2 gauche, disgracieux
/'bodiwsik/
I'boisl
/breid/
/'brsndij/
/bra:s/
/'bratdl/
/bra'keid/
/'brsutj/
/bru:z/
lU kV
/'buldaozo/
/ba:g Is/
/'baipa:s/
M
caption
caring
to cast (metal)
caster
catwalk
5.6 chauve
9.4 scrutin (ballot box =
urne)
3.8L barbare
1.2 aux pieds nus
4.4 barbu
12.2 port, allure
10.4 soufflet
1.6 ceinture
8.1 parti pris
4.1 pompon
5.6 carrosserie
7.7 inquieter
4.1 galon
4.1 brandir
10.4 cuivre
4.1 bride
4.1 brocart
8C broche
9A bleu, ecchymose
1.6 boucle
6.2 bulldozer
3.3 cambrioleur
3.2 laisser de cote
U/E
/'kspjon/
/'keorig/
/karst/
/ku:sts/
/'kretwoik/
8.3
3.8L
10.4
10.4
12.2
legende
compatissant
fondre
fondeur
podium de defile de
mode
to catch (a train)
challenge (n.)
channel n. (TV)
charge n.
(cavalry)
charter
to choke
circuit board
clashing
cloak
clumsy
column (in
a newspaper)
compost
confident
contradict
convention
coolly
correspondent
to cough up
council of war
to cradle
crane n.
to crashland
crazy
to crow
cummerbund
cursor
customary
cymbal
/katj/
/'tjselmdy
/'tjanl/
ll\a:dy
5.7
2.3
8.7L
4.1
/'s3:kit bard/
1.1
3C
5.8
/‘klsjig/
/kbuk/
/'klAmzi/
/'kolam/
10.3
11.7
9.6
8.3
/'tja:ta/
/ttauk/
/'kDmpost/
11.5
6.9L
3.4
/kon'venjon/
9.2
/ku:l-lt/
6.5
/^Dres'pondant/
8.3
/kof Ap/
3C
/'kaunssl av wy.l 4.1
/'kreidl/
1.2
/krein/
6.2
/kriej'liend/
5.7
/’kreizi/
11B
/krou/
8.2
/'kAmabAnd/
4.1
/'ka :rss/
2.4
/'kAStaman/
12.2
/'simbl/
4.1
/'konfidsnt/
/jkontro'dikt/
attraper (un train)
defi, gageure
chaine (Television)
charge, attaque
(cavalerie)
charte
etouffer
plaquette, carte de
circuits
discordant
manteau, cape
maladroit
colonne, rubrique
compost
assure, sur
contredire
convention
calmement
correspondant
cracher
conseil de guerre
serrer dans ses bras
grue
arterrir brutalement
fou
chanter
large ceinture
curseur
habituel
cymbale
I
decibel
decorated
delete
deliberately
to deny
detergent
to dilute
dire (adj)
discrimination
dish n.
disjointed
distant
distinction
distorted
dolphin
door-to-door
dose n.
to drain
dreadful
/'desrbel/
/'deksreitid/
/di'Iirt/
/di'libarstli/
/di'nai/
/di't3:d3am/
/dai'lurt/
/dais/
/disknmi'neijsn/
/dij/
/dis'dpintid/
/'distant/
/di'stigkjan/
/di'startid/
/'dolfin/
/da: ta da:/
/daus/
/drcm/
Idredfal/
8.2
4.1
6.4
8.2
11.6
1.7
7.2
5.2
1.1
1.7
10.3
5.1
1.1
10.3
2.6
6.3
7.2
7.2
3.7
decibel
decore
effacer, rayer
d e c re m e n t
nier
detergent
diluer
extreme, urgent
discrimination
plat
disjoint
eloigne, lointain
distinction
deforme
dauphin
porte-a-porte
dose
assecher, drainer
epouvantable
dressmaker
drill
Aires, meiks/
/dril/
drudgery
/'drxdssri/
o
U/E
to economise
/ii'konamaiz/
editorial
/edi'tornal/
electorate
/I'leklarst/
eligibjg (to b e .. ) /'elid33bl/
to emerge
/i'm3:d3/
to engage in
/in'g eid^
enthralled
enthusiast
to eradicate
excavator
exhaust
exhausted
exhausting
to exploit
exploitation
extent
extravagantly
10.3 couturiere
4.1 exercice, mancsuvres
(militaires)
1.2 corvee, travail
penible et ingrat
/m'0ro:ld/
/m'Bjuizisst/
/iVaedikeit/
/'ekskaveits/
/ig 'zo:st/
/ig 'zoistld/
Ag ‘zoistiiy
/ik'spbit/
/, ekspbi'teijn/
/ik'stent/
/tk'stravagantlt/
□
2.7
8.3
9.9L
6.4
4.1
6.3
4.1
3.2
7.2
6.2
9B
9.6
5.5
1.1
1.1
5.1
4.1
economiser
editorial
les electeurs
avoir droit (a)
emerger, sortir
s'adonner a,
s’engager dans
captive
enthousiaste
eradiquer
excavateur
pot d'echappement
epuise
epuisant
exploiter
exploitation
etendue
d'une fagon
extravagante
U/E
fashionable
fashion­
conscious
fax (machine)
feat
at one’s
fingertips
firework
first and
foremost
firsthand
fist
to fit
flag
flared (trousers)
/'fWnabl/
/'fasjn ta ja s /
floating voter
flow chart
forceful
forge
foundations
furious
furrow
fussing
futile
/'fbutin 'vauta/
/'fteks/
/in /
Ist WAtlZ
'fin9 3 , ^
/'fai3W3:k/
/'fsist and
Toimaust/
/’faist hand/
/fist/
/fit/
/fiasg/
/(lead/
/'flau tja:t/
/’fo:sfal/
Ifd'A^I
/faun'deijnz/
/'fjuanas/
/'fArau/
AfASig/
/fjunail/
12.1 a la mode
12.1 qui suit de pres la
mode
5.4 telecopieur
4.1 exploit
1.6 sur le bout des
doigts
12C feu d’artifice
3.2 surtout et avant tout
10.3
2B
6.8
4.1
12C
de premiere main
poing
poser
drapeau
evase, a pattes
d'elephant
9.4 electeur indecis
9.3 organigramme
10.3 puissant
10.4 forge
6.2 fondation
2B furieux
11.5 sillon
6.2 agitation
3.8L futile, vain
El
U/E
get (something)
across
get along
get at
get away with
get down to
get on well with
get out of
/getsAm0ir| a'kros 11.1 communiquer
/get at/
/get awei wi6/
/get daun tsi
/get on wel wi5/
/getautav/
11.1
11.1
11.1
11.1
11.1
11.1
ginger
glance
/'djtndja/
/gla:ns/
2.10
4A
glove
gorgeously
/gixv/
/goidysll/
4.1
4.1
gossip
/gnstp/
11C
gown
granary
grant
grid
to grip
to grow up
to grumble
/gaun/
/graeran/
/graint/
/gnck
/gnp/
/grau Ap/
/grAmbl/
4.1
11.4
6.2
6.2
6.2
1.6
12.3
to guarantee
/gffiran'ti:/
3.2
/get slog/
□
se debrouiiler
en venir a
s'en tirer avec
se mettre a
bien s'entendre avec
se faire exempter de
(faire quelque chose)
gingembre
lancer un coup d'oeil
jeter un regard
gant
magnifiquement,
somptueusement
commerage,
bavardage
robe
entrepot de grain
subvention
grille
saisir
grandir
se plaindre,
grommeler
garantir
U/E
to hack
/h;ek/
to halt
hardship
headquarters
/holt/
/!ha:djip/
/, hed'kwaitaz/
head up (adj)
(display)
homesick
horsemanship
Ahed zp/
humanity
(quality)
human
resources
humiliating
/hju:'m$niti/
/'haumsik/
/'haismanjip/
2.3 faire du piratage
informatique
7.2 arreter
6.2 dure epreuve
1.2 poste de
commandement
5.9 (affichage) en
hauteur
1.9 qui a le mal du pays
4.1 fart de monter a
cheval, equitation
6.2 humanite
/‘hju:msn n'satstz/ 6.10 ressources humaines
/hju:'milieitig/
n
1.2 humiiiant
U/E
immune
impoverished
infant (mortality)
inorganic
to interfere
/t'mjinn/
/im'pDvanjt/
/'infant/
/, rnai'g aentk/
/, mta'fia/
interviewer
/, ints'vjuia/
7.4
1.2
1.1
11.5
1.1
immunise
appauvri
(mortalite) infantile
inorganique
entraver, deranger,
se meler de
6.9L interviewer
EM M H
journal
(periodical)
U/E
/'djsinl/
□
Imu.dl
/mo:'taeliti/
/msuld/
/maund/
/'mauntid/
humeur
mortalite
10.4 moule
11.5 tertre, monticule
4.1 chevauchant
1 .6
1.1
U/E
keen
knee-boots
/ki:n/
/'ni: bu:ts/
D
9.9 passionne, ardent
4.1 bottes qui montent
jusqu’aux genoux
o
to neglect
network
neurosurgeon
U/E
/rn'g lekt/
/netwaik/
/'njuareu'ssidjn/
1.1 negliger
2.3 reseau
1 .6 neurochirurgien
U/E
lathe-turning
launch n.
lavish
lavishly
leader (in a
newspaper)
leather
lentil
life expectancy
lifeless
lively (adj.)
loan shark
loom
luxury
m
5.2 revue
mood
mortality
mould
mound
mounted (on a
horse)
m
/’lei5 'tamrj/
/b:ntj/
/'ltevij/
/’laevijli/
Hilda/
4.1 cuir
1 .2 lentille
/laif tk'spektensi/
1 .2 esperance de vie
/'laifbs/
11.5 sans vie
/■laivli/
4.1 fringant
/bun Ja:k/
3.2 usurier
/lu:m/
1 .2 metier a tisser
/'lAkJsn/
5.7 luxe
r\m \i
□
U/E
to offend
to omit
oncoming
/a'fend/
/su'mit/
/Dn, kAmig?
to operate
operator
opinion poll
orbit
outbreak
(outbreaks
of fire)
outfit
outrageous
/'opareit/
/'opsreits/
/s'pmjan psu!/
/dibit/
/autbreik/
/autfit/
/’aut'reidjas/
9.8 offenser, blesser
6.4 omettre
2B venant en sens
inverse
6 .2 manceuvrer
6 .2 operateur
9.9L sondage d'opinion
5.2 orbite
11.9L commencement
(des incendies
commencent)
4.1 ensemble
2 .8 choquant,
scandaleux
U/E
/'meidn neim/
/'memstrkm/
/’memtansns/
/mem/
/, msn'kamd/
/ t e n meid/
/'maenjual/
/'ma:d3in3li/
/'msritl/
/mast/
Imss 'miidis/
/’memsrabl/
/Ynemsraiz/
/merit!/
mental
to merge
fm -r.& s 1
to minimise
/'mmimaiz/
mirror (in a car) /'mire/
misleading
/mis'liidir)/
misquote
/mis'kwaut/
to miss (a train) /mis/
mobile
/'msubail/
mock (adj)
(battles)
modem
to monitor
monorail
fabrication au tour
lancement
copieux
copieusement
Particle principal
/■lefts/
m
maiden name
mainstream
maintenance
mane
mankind
man-made
manual
marginally
marital (status)
massed
mass media
memorable
to memorise
3.2
5.2
7.2
4.1
8.3
/mok/
/'maudem/
/mnnito/
/'monaureil/
6.4 nom de jeune fille
3.2 courant principal
6 .1 0 entretien
4.1 criniere
1 .6 I’humanite
12.4 synthetique
11.5 manuel
1 1 .8 legerement
6.4 situation de familie
4.1 masse
8.1 les medias
6 .2 memorable
10.8L apprendre par coeur,
memoriser
1.1 mental
6.3 fusionner
2.7 minimiser
4A retroviseur
8 .2 trompeur
9.8 citer incorrectement
5.7 manquer (un train)
5.4 transportable,
portable
4.1 simulacres de
bataille
2.3 modem
7.2 controler, surveiller
5.9 monorail
□
U/E
pager
/■petd33/
papaya
parade
parade ground
password
patchy
peppered
to permit
personal
particulars
pest
physical
piano-tuning
to pivot
placard
plaited
platform (shoes)
/pa'para/
/pa'reid/
/ps'reid g raund/
plug
plume
pointer
pointless
/plAg/
/plu:m/
/'points/
/■pDintbs/
Ppa: sm:dJ
/'pstfi/
/'pepsdl
/pD'mit1
/p3:s3nl
pD'tikjubz/
/pest/
/'fizikl/
/pi'aenau 'tjuinir)/
/'pivot/
/'plskaid/
/'plEtid/
/'plstfoim/
5.4 bip (avertisseur/
recepteur de poche)
1 .2 papaye
4.1 exercice
4.1 place d'armes
2.3 mot de passe
7.2 Inegal, incomplet
2 .1 0 poivre
1.3 permettre
6.4 renseignements
personnels
5.1 animal nuisible
1.1 physique
3.2 accorder piano
4.1 pivoter, toumer
9.1 affiche, ecriteau
4.1 tresse
12.3 (chaussures) a
semelles
compensees
5.8 prise (de courant)
4.1 aigrette, panache
2.4 pointeur
1 .2 inutile, qui ne
serf a rien
to poise
policy
polling station
pony
postpone
/pDIz/
/'polisi/
/'psulig 'sleijn/
/'psuni/
/psus'psun/
/pres/
the press
primary
/'praimari/
(election)
printer (machine) /'prints/
profit
/'profit/
prominent
/'prominsnt/
proprietor
/prs'praists/
/pra'vokstiv/
provocative
/pru:n/
to prune
to publicise
/'pAbhsaiz/
El
quarry
show
Siamese twins
side-saddle
(to ride)
smoothly
/Jsu/
/'saramiiz twmz/
/'said ssdl/
2.4
3.2
10.3
8.3
2.8
11.4
2C
solar panel
solemnly
spade
split
spouse
sprinkler
to stand down
to stand by
someone
to stand by
I'sioh 'pEEnl/
/'sotamlt/
/speid/
/split/
/spauz/
/’spngkb/
/'stand 'daun/
/'stand 'bai/
to stand for
not to stand for
/'st*nd fs/
/'stand fa/
to stand for
to stand in for
to stand out
/'stsnd f 3/
/'staend 'in fsi
/' stsnd aol/
to stand up
/'stsend '-Apt
to stand up to
steering wheel
stubborn
stuck
to struggle
to subscribe to
to subsidise
substance
to swing
/'stEEFid Ap t3/
/’stiarig will/
/'stAbsn/
/stAk/
/stTA gl/
/sab'skraib/
/V.bsidaiz/
/'sAbstans/
/swig/
tenir en equilibre
politique
bureau de vote
poney
ajourner, renvoyer a
plus tard
6.3 la presse
9.2 (election) primaire
imprimante
benefice
important, en vue
proprietaire
provocant, aguichant
tailler, elaguer
faire connaitre (qqch)
au public
/smu:81i/
/'kwori/
11.5 carriere
U/E
/'reidiam/
/'raetlir)/
/'resit/
/, rralai'zeijn/
/, nbrei'nd^
/, refa'ri:/
5.5
5.6
4.8
10.3
9.6
6.10
/, ri:g m:pt
/rem/
/rii'kindl/
/ri'msut/
/ri'psita/
/n'saitja/
/ri’zistant/
/rid y
/'raid/
4.1 regrouper
4.1 rene
12.2 ranimer
7.2 eloigne, lointain
8.3 journaliste
7.10 chercheur
7.2 resistant
11.5 crete (de labour)
1.2 fusil
4.1 vetu d’une robe
5.2 fusee
1.7 impoli
8.4 rumeur
/reubd/
/'rokit/
/ru:d/
/'ruims/
y
radium
cliquetis
rarement
(prise de) conscience
rearranger
reference
U/E
to sashay
/'saejei/
screen
sculptor
seamstress
see to
seldom
shimmering
shorthand
shoulder blade
/skriin/
/' skAlpta/
/'siimstras/
/si: la/
/'seldam/
/'jtmartri/
/'Joithaend/
/'Isuldsbleid/
12.2 marcher avec une
nonchalance affectee
7.2 ecran
10.1 sculpteur
12.3 couturiers
9B s’occuper de
4.7 rarement
12.2 miroitant
3.2 stenographic
3C omoplate
12.3 defile de mode
1.6 freres siamois
4.1 en amazone
(monter)
2.9L sans problemes,
faciiement
5.4 panneau solaire
4.1 solennellement
5B beche
10.3 division
6.4 epoux (epouse)
11.4 arroseur
9.7 se retirer
9.7 soufenir, defendre
(qqn)
/'st$nd 'bai/
U/E
111
radium
rattling
rarely
realisation
to rearrange
referee (for
a job)
regroup
rein
to rekindle
remote
reporter
researcher
resistant
ridge
rifle
robed
rocket
rude
rumour
4.1
9.2
9.4
4.1
11.6
u
9.7 se tenir la (sans
intervenir)
9.7 signifier, vouloir dire
9.7 ne pas supporter,
ne pas tolerer
9.7 se presenter
9.7 remplacer
9.7 ressortir, etre
clairement vu,
remarque
9.7 planter la, poser un
lapin
9.7 tenir tete a
4A volant
7.2 obstine, tetu
3C coince
3.2 avoir du mal a
5.2 s'abonner a
2.7 subventionner
11.5 substance
1.6 osciller
U/E
terrace
theft
thrilling
fteras/
/0eft/
/Snlig/
tight-fitting
tightly
tongs
tooled (leather)
tormented
to be in touch
with
transform
treatable
trench
trumpet
tunic
turbaned
turmoil
/'tait fitig/
/'taitli/
/tngz/
/tu:ld/
/tai'mentid/
/bi intAtj wi5/
/trans'faimI
/'triitabl/
/trent1/
/'trAmpit/
/'tjuinik/
/‘t3:band/
/'taimDil/
11.4 terrasse
3.3 vol
10B passionnant,
sensationnel
12A moulant
4.1 de fagon blen serree
10.4 pinces, tenailles
4.1 (cuir) repousse
10.3 tourmente
2.8 etre en rapport avec
3.2
7.2
6.2
4.1
4.1
4.1
10.3
transformer
qui peut etre soigne
tranches
trompette
tunique
qui porte un turban
tumulte, agitation
EM M
U /E
umbrella
/Am'brcta/
4.1
undereducated
/, Anda'edjukemd/
3.2 sous-eduque
parapluie
unem ploym ent
/, Anim'pbimsnt/
6.2 chom age
uneven
/An'i:vn/
9.6 inegal, accidente
unfashionable
/, An'fe.fsnabl/
12.2 dem ode
uninhibited
/, Anin'lubitid/
10.3 sans inhibitions
unrealistic
/, Anns'lisdk/
2C
unsettling
/, Ansetluy
10.3 troublant
irrealiste
untidy
/AiVtaidi/
1.7 desordonne
to uphold
/Ap'hsuld/
6.2 soutenir
up-to-date
/Ap ts deit/
5.2 tres recent
to urbanise
/'3:b3naiz/
2.7
D
^
U/E
/'veikansi/
/’valid/
/'vaibrant/
/vig arasll/
/'vaioleit/
/'vnbtail/
vacancy
valid
vibrant
vigorously
to violate
volatile
urbaniser
6.10 poste vacant
6.2 valide
10.3 vibrant
4.1
vigoureusem ent
1.2 vio ler, enfreindre
1.6 versatile
U/E
wardrobe
/'watdraub/
12.2 garde-robe
war-drum
/'woidrAm/
4.1
tam bour de guerre
w a r horse
4.1
cheval de guerre
warlord
/’w3:ho:s/
/'waibid/
to warm
fw o:m l
3.4 chauffer
weather
/’weba ,lb:ka:sUiy
5.1
1.2 chef m ilitaire
previsions
m eteo rologiqu es
forecasting
wheelbarrow
/'will bserau/
11.5 brouette
to wipe out
fwaip aut/
7.2 elim iner
woollen
/’wubn/
4.1
wrenching
/rentjirj/
10.3 dechirant
o
en laine
U/E
yield (n)
/ji:ld /
11.2
rendem ent
yield (v)
/ji.ld /
11.2
rapporter, produire
Imprime en Italie par G. Canale & C . S.p.A.
Depot legal 30670 - 02/2003 Collection 64. - Edition 07
59/4627/2
GO FOR ENGLISH 1 e reprend I'approche vivante qui a fait
le succes de cette collection au premier et au deuxieme cycle.
GO FOR ENGLISH 1re aborde les themes conformes aux
programmes (science, litterature, art, technologie) au trovers de douze unites
qui com portent:
• des textes varies (extraits d'oeuvres, interviews, etc.) repondant aux
centres d'interet des eleves de cet age ;
• de nombreuses activites de groupe qui privilegient I'expression orale ;
• des exercices qui, tout en favorisant I'enrichissement du vocabulaire et
I'acquisition d'une methode de travail, entrainent les eleves a la lecture
autonome, a la comprehension et au perfectionnement de I'ecriture.
GO FOR ENGLISH l - propose egalem ent:
• des exercices de consolidation a la fin de chaque unite, qui permettent
de controler le savoir acquis ;
• un test d'evaluation (dans le livre du professeur) ;
• un dossier litterature ;
• un precis grammatical ;
• des tableaux recapitulatifs ;
• un lexique.
Un livre du professeur, tres complet, accompagne ce manuel.