Ex. 11. Put the verbs in brackets into the correct tenses.

1. If I had a typewriter I (type) it myself. 2. I shouldn’t drink that wine if I (be) you. 3. More tourists would come to this country if it (have) a better climate. 4. If you (not sneeze) he wouldn’t have known that we were there. 5. The hens (not get) into the house if you shut the door. 6. Rome (be captured) by her enemies if the geese hadn’t cackled.

Ex. 12. The best example of the subjunctive mood is the song "If I were a rich man" from the musical "Fiddler on the roof"http://www.learnenglish.de/grammar/moodsubjunctive.html. See on-line the abstract and read subtitles.

Ex. 13. TEST YOURSELF. Which of the following sentences need verbs in the subjunctive mood? Why?

1. If I was Sam, I would hire an assistant now before the hiring freeze takes effect.

2. The committee suggested that Dr. Jones is chosen as the next chief of staff.

3. As August approaches, every school child wishes that his or her vacation was longer.

4. It is critical that every potential donor gives blood during this shortage.

Ex. 14. A) Read the article ‘If One Were to Use the Subjunctive Mood Properly’.

Ex. 11. Put the verbs in brackets into the correct tenses. - student2.ru

Flickr/Zombieite

The New York Times' After Deadline blog contains a fantastic letter to the paper's editor from March of 1924 that reminds us that the more things change, the more they stay the same, copy-wise and otherwise. In that still-relevant letter, a woman named Ida M. Mason asked ominously, "How many 100 per cent. Americans are alive to another sinister and subtle danger that is threatening a vital prop of the nation, viz., the frequent disregard of the subjunctive mood from the pens of those who should know better?" She continued, "In these parlous times what comfort is there to take refuge in a book only to be jarred by 'If I was thus and so, I would do this and that,' again and again by English and American writers of note? Is everything topsy-turvy these days? Even oil on the troubled waters produces storm instead of calm—and one by one time-honored institutions and conventions go by the board, but if the subjunctive mood goes, then all is lost." Mason then requests that a Congressional investigation be undertaken "to discover what sinister propaganda is at the bottom of this new peril." Alas, the particulars of her plea were not carried out, but it's nearly 90 years later and we're still talking about the subjunctive. So it's not dead... yet.

There's something to be said for the consistency reflected in the way that we bemoan copy editing and linguistic mistakes as if it were our job, whether we're in 1924 or 2012—and whether those mistakes are problems related to the subjunctive or something else entirely. For evidence of the long life of this general nitpicking, read James Thurber's essay on "subjunctive fights" among married couples. Maybe there's a kind of comfort that regardless of these modern Internetty times we continue to be upset by typographical mistakes, grammatical gaffes, and assumed misuses of words (as with Biden's recent literally dropping). All is not lost yet! We at least notice,or, well, some of us do. The photo above, for instance, comes from a Flickr user who appreciates the message of the graffiti but can't help pointing out, "Before you start writing your movie, you might want to work on contractions, possessives, and the subjunctive mood." A fair point.

Philip B. Corbett picks up Mason's argument in his Times piece today, explaining what it is yet again (he's been on this bandwagon for a while) and why we should care. The thing is, proper use of the subjunctive—once you learn it and get over that difficult-sounding word, subjunctive, which has absolutely nothing to do with pinkeye—is one of the most easily deployed copy editing techniques that will put you in good stead with word nerds. Essentially, you're altering a verb to reflect what is or is not fact. In the image above, for example, while our graffiti artist uses was, life is not and never will be, actually, a movie. So he or she should have used were. Similarly, the song "If I Were a Carpenter," should be read to be about someone who is not, and is never planning to become, a carpenter, nor the object of his affection a lady or one who will be one, and so on. The use of were instead of was (the indicative) is an indication that what follows is not true or is, at the very least, in doubt, "a wishful notion or a proposition contrary to fact." It can, of course, get more complicated than that, what with tenses and other variances—Corbett includes some further examples to drive home the point and show possible pitfalls of use—but those are the basics. Easy, no? Wasfor truth; were for wishful or doubtfully true.

If Ida Mason were reading over your shoulder right now, we'd like to imagine she would be proud, at least, for a moment. Before she realized that the graffiti shown in the photo above uses an Ninstead of an andand the wrong your completely. Congress should do something about that.

B) Do you want to add to this story? Let know in comments or send an email to the author at [email protected]. You can share ideas for stories on the Open Wire (http://www.theatlanticwire.com/open-wire/).

Ex. 15. Listen to the song ‘What if’ onhttp://busyteacher.org/5413-what-if-by-coldplay-song-worksheet-.html, fill in the gaps with Second Conditional and read its words.

What if there _______________(be) no lie
Nothing wrong, nothing right
What if there _______________(be) no time
And no reason, or rhyme
What if you _______________ decide
That you don't want me there by your side
That you don't want me there in your life
What if I _______________(get) it wrong
And no poem or song
_______________ put right what I got wrong
Or make you feel I belong

What if you _______________ decide
That you don't want me there by your side
That you don't want me there in your life

Ooh ooh-ooh, that's right
Let's take a breath, jump over the side
Ooh ooh-ooh, that's right
How _______________ you know it, if you don't even try
Ooh ooh-ooh, that's right

Every step that you take
_______________ be your biggest mistake
It _______________ bend or it could break
That's the risk that you take

What if you _______________ decide
That you don't want me there in your life
That you don't want me there by your side

Ooh ooh-ooh, that's right
Let's take a breath, jump over the side
Ooh ooh-ooh, that's right
How _______________ you know when you don't even try
Ooh ooh-ooh, that's right

Oh - Ooh ooh-ooh, that's right,
Let's take a breath, jump over the side.
Ooh ooh-ooh, that's right,
You know that darkness always turns into light.
Ooh-ooh, that's right

Unit 14

Theme: City-building – conglomerates

Grammar: Subjunctive Mood III

Objectives: Introduction of new lexical material on theme “City-building - conglomerates” and fixing active vocabulary in speech exercises, development of skills of oral and writing speech.

Discussion: State of conglomerates in Kazakhstan. The Message of the President to People in 2012 (plans about city-building).

Introduction of new grammar theme “Subjunctive Mood III” and fulfilling grammar exercises.

Ex. 1. Find in dictionary the deffinition of word ‘conglomerate’. What is the difference between conglomerates and monocities? Debate in groups about their (dis)advantages.

Ex. 2. Discuss the Message of the President to People in 2012 (plans about city-building in Kazakhstan: conglomerates and monocities).

Ex. 3. Architecture vocabulary. Brainstorm at least two pieces of vocabulary into each of the categories below:

People associated with buildings

Materials associated with buildings

Equipment that architects use

Parts of a room

Parts of a house or flat

Parts of a building

Types of house

Types of other buildings

Things architects do and produce

Ex. 4. Match the groups of words below to the categories above.