The Latest Exhibition at Exhibition Hall

1. Has there been any exhibition held lately at Exhibition Hall?

2. When did it open? For how long was it open? 3. Have I any chance of seeing the exhibition? Is it still open? 4. What is on show? 5. Do you happen to remember any new names? 6. Whose pictures impressed you most? 7. Did anything in particular catch your attention?

Ex. 49. Read the following. Answer the questions, using the vocabulary of the lesson and retell the passage.

Picasso is perhaps the best known and most influential* of modern artists. Many people have made fun of his paintings; others have dis­liked them; but thousands believe him to be a great artist. What is cer­tain is that more people will admire Picasso as the years go by.

In 1960 a large and impressive exhibition of Picasso's paintings was held in the Tate Gallery in London. Several hundred of his canvases were exhibited and the public came in their thousands to see them. At last people could see his paintings properly in their true colours and they were certainly impressed by his great variety** of styles.

Picasso, who was born in Malaga in Spain in 1881, took up painting seriously in about 1895. During his long life he has always tried to find new ways of expressing himself in art. Most of his early pictures are easy to understand and like: gay scenes of Paris, and rather sad pictures of actors, players and poor people, for example. Then he became a cubist, painting people and objects*** as if they were made of cubes, squares and triangles. His later cubist pictures are very abstract and painted in browns and greys.

In the nineteen-thirties Picasso's art often expressed sorrow**** and anger with great power. His best known painting of the period is Guer­nica showing the horrors***** of war.

Picasso's art has always been restless, searching; symbolic, senti­mental, satirical, it has never been simply formal.

Questions

1. What part does Picasso play in modern art? 2. Why can there be no doubt that more people will admire Picasso as the years'go by? . What exhibition was held in the London Tate Gallery in I960? 4, What did the exhibition offer the public? 5. Why are Picasso's exhibitions always an important event?'6. What nationality was Picasso? 7. When did he take up painting seriously? 8. What had he been searching for all his life? 9. What are his early pictures like? 10. What are cubist pain­tings? 11. What is abstract art? 12. What sort of feelings can be discov­ered in many of his paintings of the nineteen-thirties? 13. What is his most famous painting of the period? 14. Why is Guernica of parti­cular interest? 15. Why is Guernica believed to have marked a turning point in modern art? 16. Why is the public usually greatly impressed by Picasso's works? '17. What can be said of Picasso's art?

* влиятельный

** разнообразие

*** предмет

**** печаль

***** ужасы

Ex. 50. Read the following, answer the questions, retell the text in English.

ДОБРЫЙ ДЕНЬ, ЧУДЕСНАЯ ВОДА СЕГОДНЯ

Двадцативосьмилетний англичанин Уильям Хонивилл возвра­щался домой из Австралии на борту теплохода. После непродолжи­тельной остановки теплоход покинул остров Гран-Канария. Была глубокая ночь. Хонивилл отправился к себе в каюту, но, дойдя до двери, передумал — его соседи по каюте продолжали шумно весе­литься и явно не собирались ложиться спать. В поисках тишины Хо­нивилл вновь поднялся на палубу и устроился с сигаретой на самой корме.

Он просидел так больше часа. Потом встал и бросил рассеянный взгляд на часы. Они показаывали 4.30 утра. Хонивилл шагнул...

Вот как он вспоминает о дальнейшем: ^

— Я не помню, как летел вниз с высоты двадцати метров. Первой мыслью после того, как я очутился в воде было — скорей догнать корабль. Но теплоход был уже далеко. Я продолжал плыть. Море было спокойно. Я стал обдумывать свое положение. Соседи по каюте вряд ли хватятся меня. Чтобы отвлечься от грустных мыслей, я стал думать о насущных делах — неоплаченных счетах, сделанных заказах.

К двум часам дня я начал ощущать усталость. Только тут я об­ратил внимание, что не снял с себя туфли. Подумав, я решил остать­ся в них — какой смысл раздеваться? Я заметно слабел.

Было около четырех часов, когда я увидел приближающийся ко мне теплоход, но подумал, что это игра воображения. На палубе не было ни одного человека: «Ну конечно, файф-о-клок» — с горечью подумал я.

В девять часов утра капитану доложили, что исчез пассажир. Капитан приказал развернуться и искать пассажира. Его нашли через шесть с половиной часов.

— Добрый день, чудесная вода сегодня! — с трудом произнес Уильям, когда его подняли на борт, и рухнул на палубу.

Questions

1. Where was William Horneville going? 2. How was he travelling? 3. For how long did the ship stop over at Grand Canary? 4. What made orneville change his mind about going to bed? 5. What was taking place in his cabin? 6. What sort of a party were his fellow-passengers having? 7. Why did he go to the stern? 8. How did he happen to fall overboard? 9. Why was there no hope of catching up with the ship? 10. What did he realize as he started thinking over his situation? 11. Why were his fellow-passengers unlikely to miss him? 12. Why were unpaid bills, orders and other business matters likely to keep his mind off sad­der thoughts? 13. What did he take the approaching ship for at first? 14. Why did he feel so bitter about the five o'clock tea-drinking ritual? 5. When was the disappearance of a passenger reported to the ship's master? 16. What were the captain's orders? 17. How much time had passed before the man on watch finally noticed Horneville? 18. What did Horneville say on finding himself on deck?

Ex. 51. Retell the following in English.

ВЕРЕЩАГИНСКАЯ КАРТИНА НАЙДЕНА!

В одно прекрасное утро... Да, для меня оно стало действительно прекрасным, счастливым. В это утро молодой москвич Эрик Ко-вальцик купил ноябрьский номер «Техника — молодежи» за 1966 год. Статья под заголовком «Загадка старой открытки», рассказы­вающая о картине «Наполеон I при реке Березине», заинтересовала его. Еще минута, и он понял, что вполне возможно, что речь идет о той картине, что находится у него дома! Она досталась ему от дедуш­ки.

На следующий же день Эрик связался по телефону с Государст­венным историческим музеем. Если это действительно полотно Вере­щагина, то он должен предложить его музею, где собраны и экспони­руются все произведения об Отечественной войне 1812 года.

В тот же день я зашел к Эрику Ковальцику. В глубоком волнении жду минуты встречи с картиной, поискам которой отдано столько лет. Вот она — передо мной! Нет ни малейшего сомнения в том, что она стоила всех затраченных мной усилий. Картина производит сильное впечатление. Суровое, даже гневное выражение лица Напо­леона. Его взгляд обращен в сторону Березины, где остатки фран­цузской армии с трудом переправляются на другой берег реки. Идет снег. Солдаты прижались друг к другу. Какая-то леденящая атмосфе­ра. Пейзаж усиливает это впечатление.

Я осматриваю каждую фигуру картины, внимательно изучаю де­тали. На обратной стороне картины читаю строчки: «Картина эта написана мужем моим Василием Васильевичем Верещагиным» и под­пись «Л. В. Верещагина. 4 декабря 1904 года». Именно в декабре 1904 года была организована выставка произведений замечательного баталиста. Картина наверняка выставлялась на этой выставке. В 1967 году отмечалось 125-летие со дня рождения художника, и я был счастлив, что мне удалось найти его последнее незавершенное полотно.

Более десяти лет я собираю все, что связано с Верещагиным. Шли годы, собрание мое росло. Летом прошлого года я передал коллекцию в дар городу Череповцу. В доме, где родился выдающийся художник-баталист, открывается музей.

Е. Успенский

"Science for Youth"; "The Mystery of the Old Picture Postcard";

"Napoleon I at the Berezina"; the State Historical museum; the Patrio­tic War of 1812; the remnants of; a landscape; a painter of battle pieces; Cherepovets.

Ex. 52. Read and retell the passage. Retell it in the person of Foinet, Philip's teacher. Speak on how difficult it is to give up some­thing you love.

Foinet's Advice

Philip knew that on the days Foinet came to the studio he lunched at a little restaurant in the Rue d'Odessa*, and he hurried his own meal so that he could go and wait outside till the painter came out. Philip walked up and down the crowded street and at last saw Monsieur Foinet walking towards him; Philip was very nervous, but he made him­self go up to him.

"I should like to speak to you for one moment," he began.

Foinet gave him a quick look, recognized him, but he did not smile a greeting.

"Speak," he said.

"I've been working at the studio nearly two years now under you. I want to ask you to tell me frankly if you think it worth while** for me to continue."

Philip's voice was shaking a little. Foinet walked on without look­ing up.

"I'm very poor," Philip continued. "If I have no talent I would rather do something else."

"Do you live near here?"

Philip told him where his studio was. Foinet turned round.

"Let us go there? You shall show me your work."

"Now?" cried Philip.

"Why not?"

Philip had nothing to say. He walked silently by the master's side. He felt terribly frightened. In his heart he hoped that Foinet would look at his pictures, would shake his hand and say: "Not bad. Go on, my boy. You have talent, real talent."

They arrived at the house. Philip suddenly felt that he did not want to know the truth; if he could he would have asked Foinet to go away.

In the room Foinet sat down; and Philip without a word placed before him two portraits, two or three landscapes, and a number of sketches.

"That's all," he said with a nervous laugh.

Foinet lit a cigarette. "You have very little money?" he asked at last.

•'Very little," answered Philip, with a sudden feeling of cold at his heart. "Not enough to live on."

"With hard work there is no reason why you should not become a painter. You would find hundreds who painted worse than you, hund­reds who painted as well. I see no talent in anything you have shown me. You will never be anything but mediocre."*

Philip made himself answer calmly. "I'm very thankful to you for having taken so much trouble, I can't thank you enough."

Foinet put his hand on Philip's shoulder.

"But if you were to ask me my advice, I should say: try your luck at something else. It sounds very hard but let me tell you this: I would give all I have in the world if someone had given me this advice when I was your age and I had taken it."

Philip looked up at him with surprise.

"It's cruel to discover one's mediocrity only when it is too late."

He gave a little laugh as he said the last words and quickly walked out of the room.

(from "Of Human Bondage" by W. S. Maugham)

* Odessa Street (in Paris)

** иметь смысл, стоить

Ex. 53. Use the following in situations.

On Board a Ship

to suggest; to go on a sea voyage; to talk smb into smth; to get in touch with smb/smth; to find out; to manage; to book the tickets; to sail on the Rossiya; a modern liner; to arrive at a port; to go on board; to see smb off; to wave good-bye; to wish a comfortable journey; impa­tiently; can't help doing smth; to raise the gangway (сходни, трап); o move slowly; on deck; to enjoy (doing) smth; to admire; to tear one­self away from; to call at some ports; to pick up and drop

passengers; inally; to reach the place; to get much pleasure out of smth.

2. Making a Telephone Call

to get in touch with smb; not to waste time; to go to the public tele­phone box; to be within a few minutes' walk; to drop a two kopeck coin into the slot (отверстие); to pick up the receiver; to dial the number (набрать номер); to be busy (about the telephone line); to be patient; inally; to be connected; to hear a faint voice; to say "Hello"; to sound unfamiliar; to be puzzled; to turn out; to get the wrong number; to apologize to smb for smth; to ring off.

Making an Introduction

to be invited to a party; to know few people; to be introduced to smb; to say "How do you do" or "Glad to meet you"; to hold out one's hand; to shake hands (with smb); to appear to be; a nice person; to talk about the weather; to be a safe subject; to turn out; to talk art (sport);

not to care for; to enjoy the conversation; to get to be real friendly.

Making an Apology

to go to one's work; to go by bus; the rush hour; to be packed; to manage; to get inside; to close the doors; accidentally; to step on smb's foot; to say "Excuse me" ("I beg your pardon"); to hear "It's all right".

Ex. 54. Tell the story of each picture, using the words and phrases given below.

It's the same fellow who did the walls in our flat!

Ex. 55 Subjects for oral and written composition.

1. Tell the story as if it were told by a) Lautisse; b) Gerston; c) Mrs. Gregg; d) a newspaper reporter; e) one of the businessmen who had arrived to buy the fence.

2. Give character-sketches of a) Mr. Gregg; b) Mrs. Gregg; c) Lautisse.

3. Explain how it happened that a plain garden fence was sold for a work of art.

4. Write up the story as it might have appeared in the newspapers under the headline: LAUTISSE PAINTS AGAIN.

5. Tell a story to illustrate the English saying "The game is worth the candle" (Игра стоит свеч).

6. A painting that has impressed me.

7. A visit to a one-man exhibition of painting.

8. The life story of a great painter.

9. The Russian school of painting.

10. Modern Soviet painting.

11. The dangers of "modernism" in art.

Lesson Four

Text: Conversation (from "My Family and Other Animals" by Gerald Durrel!¹)

Grammar: Subjunctive Mood (contd.)

The use of the subjunctive mood in "as if" clauses, in an object clause after the verb "wish", in a subject clause after "It's high time ..."

Conversation

As soon as we had settled down and started to enjoy the island,² Larry³ wrote to all his friends and asked them to come out and stay. The fact that the villa was only just big enough to house the family had not occurred to him.

"I've asked a few people out for a week or so," he said casually to Mother one morning.

"By all means, dear," said Mother unthinkingly.

"I thought it would do us good to have some intelligent and stimu­lating company⁴ around."

"I hope they're not too highbrow⁵, dear," said Mother.

"Good Lord, Mother, of course they're not; just extremely charming, ordinary people. I don't know why you've got this fear about people being highbrow."

"I don't like the highbrow ones," said Mother sadly. "I'm not high­brow, and I-can't talk about poetry and things. But they always seem to imagine, just because I'm your mother, that I should be able to dis­cuss literature with them. And they always come and ask me silly ques­tions just when I'm in the middle of cooking."

"I don't ask you to discuss art with them," said Larry, a little illtemperedly, "but I think you ought to try to hide your awful taste in literature. I fill the house with good books and I find your bedside table piled with cookery books, gardening books, and the most unpleasant-looking mystery stories. I can't think where you pick these things up."

"They're very good detective stories," said Mother. "I borrowed them from the doctor."

Larry gave a short, angry sigh and picked up his book again.

"You'd better let the Pension Suisse⁶ know when they're coming," Mother remarked.

"What for?" asked Larry surprised.

"So they can reserve the rooms," said Mother equally surprised.

"But I've invited them to stay here," Larry pointed out.

"Larry! You haven't! Really you are most thoughtless. How can they possibly stay here?"

"I really don't see what you're making such a fuss about," said Larry coldly.

"But where are we going to sleep?" said Mother, very much upset in her mind. "There's hardly enough room for us, as it is. You'll just have to write to those people and put them off."

"I can't put them off," said Larry, "they're on the way."

"Really, Larry, you are the most annoying person. Why on earth⁷ didn't you tell me before? You wait until they're nearly here, and then you tell me."

"I didn't know you were going to treat the arrival of a few guests as if it were a catastrophe," Larry explained.

"But, dear, it's so silly to invite people when you know there's no room in the villa."

"I do wish you'd stop fussing," said Larry; "there's quite a simple solution to the whole matter."

"What?" asked Mother suspiciously.

"Well, since the villa isn't big enough, let's move to one that is."

"Don't be ridiculous. Whoever heard of moving into a larger house because you've invited some friends to stay?"

"What's the matter with the idea? It seems a perfectly sensible solu­tion to me; after all, if you say there's no room here, the obvious thing to do is to move."

"The obvious thing to do is not to invite people," said Mother.

"I don't think it's good for us to live like hermits," said Larry. "I really invited them for you. They're a charming crowd. I thought you'd like to have them. Liven things up a bit for you."

"I'm quite lively enough, thank you," said Mother. "How many have you invited?"

"Oh, just a few... two or three... They won't all be coming at once. I expect they'll turn up one by one."

"I think at least you might be able to tell me how many you've invited," said Mother.

"Well, I can't remember now. Some of them didn't reply, but that doesn't mean anything ... they're probably on their way and thought it was hardly worth letting us know. Anyway, if you plan for seven or eight people I should think that would cover it."

"You mean, including ourselves?"

"No, no, I mean seven or eight people as well as the family."

"But it's absurd, Larry; we can't possibly fit thirteen people into this villa, with all the good will in the world."

"Well, let's move then. I've offered you a perfectly sensible solu­tion. I don't know what you're arguing about."

Larry gave her a hurt look, and picked up his books. There was a long silence, during which Larry calmly read his book.

"I wish you wouldn't just lie there," Mother said at last. "After all, they're your friends. It's up to you to do something."

Larry put down his book.

"I really don't know what you expect me to do, "he said. "Every sug­gestion I've made you've disagreed with."

"If you made sensible suggestions I wouldn't disagree."

"I don't see anything ridiculous in anything I suggested."

"But, Larry, dear, do be reasonable. We can't just rush to a new villa because some people are coming. I doubt whether we'd find one in time, anyway. We are not moving to another villa," said Mother firmly; "I've made up my mind about that."

She straightened her spectacles, gave Larry an angry look, and walked off towards the kitchen, expressing determination in every inch.

The new villa was enormous...

NOTES

1. Gerald Durrellwas born in Jamshedpur, India, in 1925. A well-known zoologist, director of the Jersey Zoological Park founded by him in 1958. He has written a number of books describing his animal-collect­ing expeditions to different parts of the world. His book "The Over­loaded Ark", "The Drunken Forest", "The Whispering Lad", "Three Tickets to Adventure" and others have been translated into many lan­guages, including Russian. "Conversation" is a chapter from "My Family and Other Animals" (1967) giving a humorous picture of the life of the Durrell family (mother, daughter and three sons) on the Greek island of Corfu (1934—1939).

2. the island of Corfu

3. Larry:Lawrence Durrell, Gerald's eldest brother, now a well-known English writer, the author of "Bitter Lemons", "Justine" and other books.

4. company: in the sense of "companionship" общество, компания (людей) it is uncountable, e.g. We're having company tonight. У нас сегодня гости. The Browns are excellent company. Брауны очень при­ятные люди (собеседники).

5. highbrow: persons with intellectual, literary and artistic tastes and interests superior to those of most people заумный

6. Pension Suisse (Fr.): the local hotel

7. on earth (coll.): in "Why (how, etc.) on earth...?" it is used to strengthen the interrogative words.

VOCABULARY

occur vi 1. случаться, происходить When did the accident occur? 2. приходить на ум (в голову) Such an idea never occurred to me. It occurred to me that I could phone him. Didn't it ever occur to you to talk to him about it?

intelligent a умный, разумный, смышленый, понятливый an in­telligent person (answer, look, etc.); intelligence n ум, интеллект; смышленость, быстрое понимание

charming а очаровательный, прелестный a charming girl (smile, house, place, etc.); charm n чары, обаяние, очарование

ordinary а обычный, заурядный, простой an ordinary person (day, job, dress, etc.)

fear n страх, боязнь, опасение Не had no fear of (about) anything or anybody. Phr. for fear of из боязни, боясь She never travels in a car for fear of an accident. He did not speak for fear of making a mis­take. fear vi/vt бояться; опасаться We feared for his health. They feared the worst. She feared that she might miss the train.

temper n 1. нрав, характер a good (sweet, bad, uncertain, etc.) tem­per; to be ill- (bad-, quick-, etc.) tempered быть раздражительным, вспыльчивым и т.п. 2. настроение, расположение духа to be in (a) good (bad) temper; Phr. lose (one's) temper выйти из себя; keep (con­trol) one's temper сдерживать себя

ought to (usage similar to "should") (модальный глагол, указываю­щий на долженствование, моральный долг, упрек) должен, следует I think I ought to help them. He ought not to have spoken to her like that.

pile n груда, куча; кипа a pile of books (paper, clothes, etc.); pile vt сваливать, складывать в кучу

borrow vt брать в долг, занимать to borrow books (money, etc.) from smb

equal а равный, одинаковый equal parts (sides; rights, etc.) He has no equal in chess, unequal а неравный; (in)equality n (не) равенство; equally adv равно, в равной степени to be equally good (clever; sur­prised, interested, etc.) He knows French and English equally well.

fuss n суета; суетливость (из-за пустяков) What is all this fuss about? Phr. make a fuss (about smth/of smb) суетиться, волноваться (из-за чего-л, вокруг кого-л); fuss vi суетиться, волноваться (по пус­тякам); fussy а суетливый, беспокойный (о человеке) to be fussy about one's health (children, clothes, food, etc.)

room n (lit. & fig.) место, пространство There is room enough for everybody here. There is no room for doubts. Phr. make room (for smb) потесниться, подвинуться, освободить место Не moved to make room tor two more people.

annoy vt раздражать, надоедать Не annoyed us with his silly ques­tions. She was annoyed with the child, annoyance n раздражение, до­сада, неприятность; annoying а раздражающий, докучающий an an­noying person (habit, etc.)

treat vt обращаться с (кем-л), относиться к (кому-л/чему-л) to treat smb well (badly, kindly, with attention, etc.); to treat smb as a child (friend, stranger, etc.); to treat smth lightly (seriously, etc.) He treated my words as a joke. treatment n обращение, обхождение

as if=as though conj как если бы Не looks (looked) as if he were ill.

suspect vt подозревать I suspect (that) they know all about our ar­rangement. Phr. suspect smb of smth (doing smth) подозревать кого-л в чем-л; suspicion n подозрение to be under (above) suspicion быть под подозрением (вне подозрения); suspicious а подозрительный, вызы­вающий подозрение a suspicious look (character, etc.); to be suspicious of smb относиться к кому-л с подозрением

since conj так как, поскольку Since he is absent we'd better put off the discussion.

sense n 1. чувство; ощущение The five senses are sight (зрение), hearing (слух), smell (обоняние), taste (вкус) and touch (осязание). Phr. a sense of duty (humour, proportion, etc.) чувство долга (юмора, меры и т.п.) 2. смысл, значение; благоразумие There is much (little, no, etc.) sense in his words (in what he says; in discussing the question now, etc.); What's the sense of doing that? Phr. common sense здравый смысл She showed a lot of common sense. Talk sense говорить по су­ществу дела You'd better listen to him, he is talking sense. The telegram did not make sense, sensible а (благо)разумный a sensible man (idea, suggestion, solution, etc.); sensible advice (words, etc.) senseless а не­благоразумный, бессмысленный

include vt включать; заключать, содержать в себе Не was includ­ed in the delegation. The price for the goods includes packing.

WORD COMBINATIONS

settle down in (at some place) поселиться (жить), обосноваться; устроиться

by all means обязательно, непременно

by no means ни в коем случае

I (you, he, etc.) had better (do smth) мне (тебе, ему и т.п.) бы луч­ше (сделать что-л)

as it is как есть

put smb off 1. отменить приглашение кому-л; 2. отпугнуть, отбить охоту к чему-л

after all тем не менее, все же, в конце концов

turn up (внезапно) появиться; подвернуться (о работе и т.п.)

(the) good will добрая воля

It's up to you (him, etc.) (to do smth)тебе (ему и т.п.) решать (как действовать)

one by one по одному, поодиночке

fit smb (smth) into smth (some place) размещать кого-л (где-л)

EXERCISES ON THE TEXT

Ex. I. Answer the following questions.

1. Why did Larry want all his friends "to come out and stay"? 2. Why didn't Mother like his highbrow friends? 3. Why did Larry think she ought to hide her "awful taste in literature"? 4. Why did Mother expect Larry to let the Pension Suisse know about his friends? 5. Why did Larry refuse to do so? 6. Why did Mother say that he was thoughtless? 7. Why did she tell Larry to write to his friends to put them off? 8. Why couldn't he do so? 9. What did Larry suggest as a "simple solution to the whole matter"? 10. What did he say that made his mother reply that she was quite lively enough? 11. Why didn't Larry tell her how many friends he had invited? 12. What made Mother say that Larry had been unreasonable in what he did? 13. What happened in the end?

Ex. 2. Find in the text the English for:

1. ему и в голову не пришло ...; 2. приносить пользу; 3. обыкно­венные, милые люди; 4. спорить об искусстве; 5. вкус в литературе; 6. книги по кулинарии и садоводству; 7. сердито вздохнуть; 8. забро­нировать номер в гостинице; 9. поднимать шум (из-за пустяков); 10. невыносимый человек; 11. простой выход из создавшегося поло­жения; 12. разумное решение; 13. очень славные люди; 14. приезжать по одному; 15. находиться в пути; 16. при всем желании; 17. размес­тить в доме тринадцать человек; 18. обиженно посмотреть; 19. спо­койно продолжать читать; 20. в конце концов

Ex. 3. Give the four forms of the verbs:

enjoy, stay, occur, hide, find, pile, borrow, let, sleep, upset, annoy, treat, fuss, turn, reply, fit, argue, hurt, lie, agree.

Ex. 4. Paraphrase the following sentences using "had better".

1. I advise you to get down to business at once if you want it done in time. 2. I don't advise you to sit long in the sun. 3. The one sensible thing for him to do is to tell them the whole truth. 4. I think you should take a warm coat with you to be on the safe side. 5. Tell her that it would be more useful for her to read the book in the original than in translation. 6. I think he should go away on a short visit some place, it would do him good. 7. The only sensible thing for you to do, I think, is to look through the report again before handing it in. 8. I shouldn't advise you to make a fuss about such a little thing. 9. If you want to get well, you should obey the doctor's orders. 10. Take my advice and don't put off till tomorrow what you can do today.

Ex. 5. Translate the following sentences using "had better".

1. Ничего особенного не произошло, и вам лучше бы не подни­мать шума из-за пустяков. 2. Вы плохо выглядите последнее время. Вам бы стоило подумать лучше о своем здоровье. 3. Она волнуется и ей трудно говорить. Ей бы лучше сначала успокоиться. 4. Нам бы сто­ило прислушаться к его словам. Он говорит по существу дела. 5. Вы не показывайте вида, что расстроены. Держитесь так, как будто ничего не случилось. 6. Зачем вам ехать на вокзал? Вы лучше зака­жите билеты по телефону. 7. Нам бы лучше поспешить, а то мы опозда­ем на концерт. 8. Мне бы, наверно, стоило перечитать книгу, прежде чем высказывать свою точку зрения.

Ex. 6. Translate thе following sentences using "as it is (was)".

1. Мне нужно идти. Я и так уже опаздываю. 2. Не стоит ста­вить в комнату еще один шкаф. Там и без того тесно (мало места). 3. Не надо ничего больше объяснять, и так все ясно. 4. Не меняй­те ничего в своем докладе, оставьте все в том виде как есть. 5. До­говоренность осталась прежняя. 6. Пальто без пояса все равно на ней сидит хорошо. 7. Обе стороны подписали контракт в том виде как он был, без каких-либо дополнений.