LOUIS ARMSTRONG
The black man with the wonderful smile (finish singing), (raise) the trumpet to his lips, and (play). The music was jazz. It (be) exciting and happy music, and soon everyone (smile) and feeling good, clapping and swaying to the rhythm. He (finish playing) and the crowd (roar) and (applaud).
That was Louis Armstrong, one of the most famous and best-loved jazz musicians of all time. Armstrong (do) a great deal to popularize this type of music'. Jazz (bring about) by black Americans from African drumbeats, work songs, blues, spirituals, and especially the lively marching band tunes so popular right after the Civil War.
The birthplace of jazz was New Orleans. Louis (born) there on July 4, 1900. His family (be) very poor. He (love) music since he was a little boy and he used to follow street bands at parades, and even funerals just to hear the music.
On New Year's Eve, when he (be) twelve, he and his friends (have) fun with shooting a small gun. Louis (buy) his own gun and (shoot) it off. It (make) such a noise that it (frighten) everybody and suddenly Louis (find) himself in the arms of a tall policeman. He (send) to the Coloured Waifs Home, a place for black children who (get) into trouble. One of the teachers that Louis (like) a lot (be) a music teacher named Mr Davis, who (form) a band in the school. Louis (behave) himself very well and soon (ask) to join the band. Mr Davis (give) him bugle* and cornet* lessons and the boy (never be) happier. He (learn) quickly and soon (make) the leader.
After Louis (stay) at the Home a year and a half, he (leave) it and (go) to live with his father. Because his family (be) so poor, he (have) to go right out and earn some money, doing all sorts of jobs. He (save) a little for quite a time to buy a cornet. He (manage) to save enough money to buy a battered old cornet. He (begin) to practise and listen to music every chance he (get). Louis (get) his first job playing when he (be) sixteen, working for whatever money the customers (throw) him.
When Louis (begin) to play with the band of Fate Marble, he (learn) to read music well and also (get) a chance to play jazz for many who (never hear) it before. Louis (become) known as the best player around New Orleans.
Since 1924 Louis (have) his own band, and some of his best music (record) during this period.
On his seventieth birthday a great tribute (pay) to Louis. Many famous singers and musicians (соте) to mark the great date. Everybody (agree) Louis (be) truly the "King of Jazz".
Louis Armstrong (die) one year later, but the world (never forget) "Ambassador Satchmo" who (do) so much to make people happy and bring the people of the world together.
Ex 38 Rewrite (or retell) in narrative form the passage from the text.
From: "They turned the flashlight on us..." up to "That's what for".
The Article
with uncountable (abstract) nouns
Ex 39 Fill in the blanks with the words given in brackets with an appropriate article (where necessary).
1. (і) "One morning I woke up to find myself famous," Lord Byron said. Do you know what brought him —? (ii) I hope — hasn't spoiled him. (fame). 2. Romeo and Juliet's was — people like to speak about. (love). 3. (і) — and hate are bad qualities, (ii) This canvas is — of all her friends, (envy). 4. (і) You must learn to take — seriously at your age. (ii) "I hope you will be happy in — you have chosen," the headmaster said to the school-leavers, (life). 5. (і) There used to be — when I found books of adventure very exciting, (ii) — passes quickly if one is busy. (iii) Remember our skiing outings? Those were happy —! (time). 6. (і) Nobody took the trouble to tell us about — we were going to meet on our way. (ii) The nurse said the man was out of —. (danger). 7. (і) His face expressed only surprise, no — at the news. (ii) With him — comes first, (pleasure). 8. (і) He was making — not to show how angry he was. (ii) The work wasn't worth —. (iii) — brought good results, (effort). 9. (і) She never saw — of the situation, she has no sense of humour. (ii) The whole trip was —. (fun). 10. What you need is —, a lot of it. (exercise). 11. (і) I had — with him. (ii) The weather is a safe topic for —. (conversation).
Ex 40 Translate the following into English.
1. Конечно, есть определенная опасность, что он не сможет разработать этот план, но пусть попытается. 2. Жизнь — это движение. 3. — Вы дали им знать о своем приезде? — Нет, я хочу, чтобы для них это было сюрпризом. 4. Мы долгое время не виделись, и нам обоим эта встреча доставила истинное удовольствие. 5. — Не хотели бы вы пойти со мной сегодня в театр? У меня есть два билета. — С удовольствием. 6. Она с удивлением посмотрела на вошедшего. 7. Он сделал над собой усилие и спокойно ответил на все вопросы экзаменатора. 8. Писатель прожил долгую и интересную жизнь.
READING
Ex 41 Read the story, and do the assignments coming after it.
ARRANGEMENT IN BLACK AND WHITE
By Dorothy Parker
The woman with the pink velvet poppies turned round, crossed the room, and took hold of the lean arm of her host.
"Now I got you!" she said. "Now you can't get away!"
"Why, hello," said her host. "Well. How are you?"
"Oh, I'm finely," she said. "Listen. I want you to do me the most terrible favor. I want to meet Walter Williams. Honestly, I'm just crazy about that man. Oh, when he sings! When he sings those spirituals! I'd really love to meet him. Will you be an angel and introduce me to him?"
"Why, certainly," said her host. "I thought you'd met him. The party's for him. Where is he anyway?"
"He's over there by the bookcase," she said. "Let's wait till those people get through talking to him. Well, I think you're simply marvelous, giving this perfectly marvelous party for him and having him meet all these white people, and all. Isn't he terribly grateful?"
"I hope not," said her host.
"I think it's really terribly nice," she said. "I do. I don't see why on earth it isn't perfectly all right to meet colored people. I haven't any feeling at all about it — not one single bit. Burton — oh, he's just the other way. Well, you know, he comes from Virginia, and you know how they are."
"Did he come tonight?" said her host.
"No, he couldn't," she said. "He was just so tired out, he couldn't move. Isn't it a shame?"
"Ah," said her host.
"Wait till I tell him I met Walter Williams!" she said. "He'll just about die. Oh, we have more arguments about colored people. I talk to him like I don't know what, I get so excited. But I must say for Burton, he's lots broader-minded thin most of these Southerners. He's really awfully fond of colored people. Well, he says himself, he wouldn't have white servants. All he says is, he says he hasn't got a word to say against colored people as long as they keep their place. He's always doing things for them — giving them clothes and I don't know what all. The only thing he says, he says he wouldn't sit down at the table with one for a million dollars. 'Oh,' I say to him, 'you make me sick, talking like that.' I'm just terrible to him. Aren't I terrible?"
"Oh, no, no, no," said her lost. "No, no."
"Now this Walter Williams," she said. "I think a man like that's a real artist. I do. Goodness, I'm so crazy about music or anything. I don't care what color he is. I honestly think if a person's an artist, nobody ought to have any feeling at all about meeting them. That's absolutely what I say to Burton. Don't you think I'm right?"
"Yes," said her host. "Oh, yes."
"Why, I'd really be glad to have a man like Walter Williams come to my house and sing for us, some time," she said. "Of course, I couldn't ask him because of Burton, but 1 wouldn't have any feeling about it at all. Oh, can't he sing! Come on, let's go on over and talk to him. Listen, what shall I do when I'm introduced? Ought I to shake hands? Or what?"
"Why, do whatever you want," said her host.
They reached the tall young Negro, standing by the bookcase. The host performed introductions; the Negro bowed.
"How do you do?" he said.
The woman with the pink velvet poppies put out her hand at the length of her arm and held it for all the world to see, until the Negro took it, shook it, and gave it back to her.
"Oh, how do you do, Mr Williams," she said. "Well, how do you do. I've just been saying, I've enjoyed your singing so awfully much. I've been to your concerts, and we have you on the phonograph and everything. Oh, I just enjoy it."
She spoke with great distinctness, moving her lips carefully, as if talking to a deaf person.
"I'm so glad," he said.
"I'm just simply crazy about that 'Water Boy' thing you sing," she said. "Tell me, where on earth do you ever get all those songs of yours? How do you ever get hold of them?"
"Why," he said, "there are so many different — "
"I should think you'd love singing them," she said. "It must be more fun. All those darling old spirituals — oh, I just love them! Well, what are you doing, now? Are you still keeping up your singing? Why don't you have another concert, some time?"
"I'm having one the sixteenth of this month," he said.
"Well, I'll be there," she said. "I'll be there, if I possibly can. You can count on me. Goodness, here comes a whole crowd of people to talk to you. You're just a regular guest of honor! Now, don't forget, Mr Williams, I'm going to be at that concert if I possibly can. And if I can't come, I'm going to tell everybody I know to go, anyway. Don't you forget!"
"I don't," he said. "Thank you so much." The host took her arm and piloted her into the next room. "I liked him," she said. "I haven't any feeling at all because he's a colored man. I felt just as natural as I would with anybody. Talked to him just as naturally, and everything. But honestly, I could hardly keep a straight face. I kept thinking of Burton. Oh, wait till 1 tell Bur-ton I called him 'Mister'!"
(Adapted)
Assignments
(a) In writing a short story, an author has a specific purpose in mind. It may be the portrayal of character, the creation of a particular mood, or atmosphere, or the presentation of a serious theme or idea. Say which of the purposes mentioned above you believe the author had in mind writing this particular story. Give your reasons.
(b) Discuss the story from the point of view of structure and composition. Give definite answers to each of the following questions.
1. What is the dominant effect of the story on you? What effect did the author intend to have? 2. What is the essential conflict in the story? 3. What does the author emphasize most in the story: plot, characterization, setting, incident, motive or theme? 4. What point of view on life or human behaviour does the author want the reader to get from the story? 5. Is this story true to life, or is it exaggerated or fantastic? Are the characters real and convincing? 6. What makes the story believable? 7. Why does the story hold (or fail to hold) your attention?
(c) Pick out from the story all the facts about: (a) the woman with the pink velvet poppies; (b) the host; (c) Walter Williams.
(d) The main character in the story is known as 'the woman with the pink velvet poppies'. Explain why the author did not give her a name, and believed it enough just to mention the pink velvet poppies, saying no more of her dress.
(e) There is a character in the story who remains behind the scenes. Give his name, say what kind of person he is, describe his role in the story.
(f) Character shows itself through the way a person talks. Discuss each of the characters on the basis of: (a) what he or she says, and (b) how he or she says it (making special mention of the basic characteristics of the woman's speech, explaining why the host expressed himself in monosyllables, etc).
(g) Say whether, in your opinion, the woman with the pink velvet poppies:
1. behaved naturally as she said she did; 2. she had really heard Walter Williams sing; 3. she would really be coming to Walter Williams's concert, and telling people they should go to hear him sing; 4. she was truthful saying she wanted to meet Walter Williams because she greatly admired his talent.
(h) Discuss the author's attitude to the problem raised in the story.
(i) Retell the story in narrative form.
(j) Write a summary of the story.
Ex 42 Read the text, consulting the dictionary, if necessary. Write five questions covering the main points, answer each question in one complete sentence in your own words as far as possible; then, using your answers as guides, write a summary of the text.
THE NATIONAL QUESTION IN THE USSR
Assimilation, the obliteration of national differences and blending of several nations into one is an objective process. The more industrialized a multinational country becomes and the more varied and firmer are the economic relations within it, the more noticeable is this process. The state, society and political parties can either accelerate or slow it down by applying conscious efforts, but, as history has proven, it cannot be averted or stopped.
The stand taken by Lenin and the Communist Party, which he founded, was that the inevitable drawing together of the nations and nationalities of Russia should be neither accelerated nor slowed down artificially, that no nation should be given preference and that each one be ensured equal opportunities for full, all-round development and, on that basis, for a mutual drawing together and enrichment. The concept of full, all-round development presupposes not only cultural and economic progress, but the development of statehood. The result of this policy was that the nations and nationalities acquired their own forms of statehood and autonomy (15 Union and 20 Autonomous Republics, 8 Autonomous Regions and 10 Autonomous Areas).
The Soviet people are not a new nation. Comprising this people are full-blooded nations and nationalities. At the same time it is not just a simple sum total of nations living within a single state. Soviet people, irrespective of nationality, have many common features which unite them into a monolithic whole. The multinational Soviet people, as a new historical community, are not the result of an "absorption of nations"; rather, they have reached a certain degree of unity which is conditioned by their common ideology, common conditions of socio-economic life, and their basic interests and goals.
When we speak of a new historical community of people, we do not mean that our national differences are disappearing or that the nations have emerged. All the nations and nationalities retain their specific national character, language and their best traditions. They all have the opportunity to further develop national culture.
Of course, we cannot say that all the questions of national relations have already been settled. Such questions inevitably arise in such a large, dynamically developing multinational state as ours. The Party's policy on national relations is aimed at the all-round development and drawing closer together of nations and nationalities, and we are equally against tendencies aimed at an artificial obliteration of national identities or at their artificial inflation.
SPEECH AND COMPOSITION
Ex 43 Answer the following questions, using the vocabulary of the lesson. Sum up your answers (orally, or in writing).
GETTING ABOUT TOWN IN A TAXI
1. When do people usually take a taxi? 2. Is it always easy to catch one? 3. Can you order a taxi by telephone? 4. How do you stop a taxi in the street? 5. Does the driver have to bring the taxi to the curb to take on a passenger or is he allowed to stop in the middle of the street? 6. In what way does a taxi look different from other cars? 7. What are its identification marks? (chessboard line).
WALKING ABOUT THE CITY AT NIGHT
1. Have you ever taken a walk in (about) the city at night? in the early hours of the morning? 2. When was it? 3. How does a city look by night? 4. What lights up the streets at night? 5. How do the houses look against the dark sky? 6. What makes the city look beautiful? 7. Why is the traffic less heavy at night than in the day? 8. Why is the air cleaner at night? 9. Why are the streets no longer noisy? 10. When are all the lights in the city put out?
YOU CAN NEVER BE TOO CAREFUL
1. Why must you be attentive when in the street? 2. Why must you be careful to cross the streets in definite places only? 3. Why aren't children allowed to cross the street by themselves? 4. Why must children and blind people be helped to cross the road? 5. Do you have to look first to the right or to the left when crossing the street? 6. Why do Englishmen have to look first to the right and then to the left? 7. What are underground passages for? 8. In what way have they made the work of drivers much easier?
Ex 44 Read and retell the following. Discuss the problem of race discrimination in the USA.
PLEDGER'S WAY HOME
Pledger gave part of his pay for a ticket to Chicago. Through the long night he lay half asleep, with his head against the arm of his seat, thinking how it would be when he stepped down from the train and Sarah came towards him along the platform. The cold of the winter night came through the windows. Pledger wrapped himself up in his khaki coat.
Towards morning the train stopped in an Indiana town. He woke up and got down to the platform, where he began to walk up and down. He felt cold. He walked fast across the street from the station for a cup of coffee. A few people were in the restaurant eating breakfast and Pledger felt the American smell of coffee and toast and bacon. Smiling with pleasure, he sat down at the counter and took the menu.
The counterman was standing over him, young, white and self-important. "What do you want in here, fellow?"
"Coffee and fried eggs," Pledger said calmly.
"We don't serve no coloured in here."
Pledger stared at the other attentively for a moment before he understood. He caught his breath. Getting up from the chair, Pledger lifted his brown hands in the air. Then he let them fall. He was making an effort to control himself. He saw the other people in the restaurant watching him with expressionless faces. The door closed behind him. He was no longer hungry and now he did not even feel angry. He crossed the street and walked down to the end of the train.
He felt empty and bitter and humiliated because of what had been done to him. For a moment he remembered that a Marshal of France had pinned to the flag of his regiment the Croix de Guerre;* he remembered the French girls who had kissed the Negro soldiers and cried over them, and the Mayor of New York standing with his hat in his hands. But now he was waking up; it seemed that the people who had been his friends had gone. He found himself alone in the winter daylight, staring across the snow-covered fields.
He got on the train and took his seat. He sat through the long hours as the train ran towards Chicago.
(After "The Great Midland" by A. Saxton)
Ex 45 Read the following, answer the questions and retell the passage in English.
РАСИЗМ КАК ОН ЕСТЬ
Я сел в поезд Вашингтон — Нью-Йорк. Мои соседи оживленно разговаривали о какой-то выставке. Один из них, по имени Фрэнк, ехал по делам в Нью-Йорк откуда-то с юга. Говорил он с ярко выраженным южным акцентом.
— Хороший художник, этот негр — продолжал Фрэнк, — и родом из нашего города. Мы пошли к президенту клуба Бейкеру и говорим: надо устроить выставку этого негра в нашем клубе. Бейкер отказался. В нашем клубе выставка чернокожего? Никогда! Мы говорим: времена переменились. Нет, говорит Бейкер, у меня есть принципы, которым я собираюсь оставаться верным до конца жизни. И вдруг, представьте, проходит неделя, и Бейкер говорит, что он много передумал за эти дни и что он был неправ. И вот с тем, чтобы показать, что мы не расисты, он решил устроить выставку этого негра. Весь город был удивлен поведением Бейкера. А он держится спокойно, всем говорит: приходите, картины хорошие.
Гости начали съезжаться к шести часам. У дверей Майк, такой высокий, седой негр. Набралось уже много народу. Тут подъезжает машина, и из нее выходит негр. Я-то сразу его узнал — художник. А Майк сделал шаг навстречу: «Вам куда, мистер?» Тот отвечает: «На выставку. Я художник, это моя выставка. Вот приглашение». Майк даже не посмотрел. «Прошу выйти, — говорит, — сюда цветных не пускают».
— Так и не пустили? — поразился его сосед.
— Ну, не знаете вы Бейкера. Как раз в этот момент он появляется и спрашивает: «Что тут у вас происходит?» Майк отвечает: «Простите, сэр, сейчас все будет в порядке», и начинает толкать художника к двери. «Постой, Майк, кто это?» спрашивает Бейкер. «Не знаю, сэр, говорит, что художник...» «Художник?! Так пропусти его, Майк, он же автор картин сегодняшней выставки».
Художник молча повернулся и ушел.
Как я потом узнал. Майку в тот день приказали особо — ни одного цветного не пускать.
Questions
1. Where was the author travelling? 2. What were his fellow passengers talking about? 3. Who did most of the talking? 4. How did the author know that Frank was a southerner? 5. What story was Frank telling his neighbour? 6. Why did the club members decide that it was time to arrange a Negro artist's show at their club? 7. What reputation did the club have? 8. Why did Baker, the club's president, refuse to allow such a show at first? 9. What principles was he talking about? 10. How did Baker explain to the club members why he had changed his mind about the show? What dictated Baker's decision to hold a one-man show of the black artist's works? 11. Why did Baker's change of heart seem strange to most of the townspeople? 12. When did guests start arriving at the club? 13. When did the artist arrive? 14. What happened when the artist approached the doorman? 15. Why did the doorman say that the artist had no right to enter? 16. What did the doorman say when the artist showed him the invitation card and explained why he had come? 17. At what exact moment did Baker make his appearance? 18. Why did the doorman start pushing the artist toward the door? 19. Why didn't the artist stay for the opening of his own show? 20. What special orders had the doorman received on that day? 21. The whole thing had been prearranged, hadn't it?
Ex 46 Act as interpreter. Sum up the dialogue.
A: Not long ago a congress of coloured and black people was held in the United States in Miami. The delegates concentrated on race discrimination, unemployment, social injustice and violation of human rights. Do citizens of the USSR of different races and nationalities enjoy equal rights?
В: Граждане СССР всех рас и национальностей равны перед законом. Это право гарантируется Конституцией СССР.
A: In America freedom and justice are not for everyone. A black person earned in 1980 only 57 per cent of a white. What about the Soviet Union? Do all the people get equal pay for equal work?
В: Равноправие граждан СССР обеспечивается во всех областях экономической, политической и культурной жизни.
A: What rights do Socialist Republics of the USSR have?
В: Все 15 Социалистических Республик имеют свою Конституцию, законодательные органы власти, имеют право на экономическое, социальное и культурное развитие и другие права, которые обеспечиваются Конституцией СССР.
A: I read once that V. I. Lenin said that one cannot live in society and be free from society. How do you understand this?
В: Это значит, что человек, живя в обществе, не только пользуется правами, но что он имеет и обязанности перед обществом.
A: I see. It means that without discipline and respect for public order, democracy and individual freedom are unthinkable.
В: Именно так. И, с другой стороны, нельзя говорить о свободе личности, если не будут обеспечены ее экономические, социальные и культурные права.
Ех 47 Use the following words and phrases in situations of your own.
Driving a Car Is Not Easy
be eager to learn to drive (a car); a careful driver; enjoy (fast) driving; be good at one's job; take one's seat at the wheel; be filled with excitement; move along the street; feel perfectly splendid; be careful not to break the traffic regulations; stop at the traffic lights; see sb hurrying across the street; drive slowly; be always attentive; turn a corner; suddenly; catch one's breath; not lose one's head; stop the car in time; make an effort; behave calmly; continue on one's way; be full of danger (of the road).
