Культура речевого общения первого иностранного языка (английский язык)

МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ 
РОССИЙСКОЙ ФЕДЕРАЦИИ 
 
 
 
РОСТОВСКИЙ ГОСУДАРСТВЕННЫЙ 
ЭКОНОМИЧЕСКИЙ УНИВЕРСИТЕТ (РИНХ) 
 
 
 
Абраменко Е. В., Тарасова Ю. В. 
 
 
 
Культура речевого общения 
первого иностранного языка 
(английский язык) 
 
 
 
Учебное пособие для студентов 
направления 45.03.02 «Лингвистика», 
профиль 45.03.02.02 «Перевод и переводоведение» 
 
 
 
 
 
 
 
 
 
Ростов-на-Дону 
Издательско-полиграфический комплекс РГЭУ (РИНХ) 
2023 
 

УДК 811.111(075) 
ББК 81.2 
А 16 
 
Абраменко, Е. В. 
А 16 Культура речевого общения первого иностранного языка (английский 
язык) : учебное пособие для студентов направления 45.03.02 «Лингвистика», 
профиль 
45.03.02.02 
«Перевод 
и 
переводоведение» 
/ 
Е. В. Абраменко, Ю. В. Тарасова. — Ростов-на-Дону : Издательскополиграфический комплекс Рост. гос. экон. ун-та (РИНХ), 2023. — 98 с. 
ISBN 978-5-7972-3125-7 
 
В данном пособии представлены оригинальные тексты английских 
писателей и в соответствии с ними система упражнений, способствующая 
формированию практических умений использования различных моделей в 
речи, формирующая навыки чтения и пересказа художественных текстов. 
Пособие состоит из трех частей, в которых представлены тексты различной сложности. В первой части содержатся лексические комментарии 
для облегчения понимания рассказов при чтении, а также нумерация параграфов и ссылки к ним в системе упражнений. Рассказы второй и третей 
частей оснащены комментариями и упражнениями, нацеленными на развитие навыков говорения обучающихся. 
Настоящее учебное пособие предназначено для работы студентов 
1–3-х курсов направления 45.03.02 «Лингвистика» и рекомендуется в качестве вспомогательного материала как для самостоятельной работы студентов, так и для использования преподавателями вуза языковых профилей. 
УДК 811.111(075) 
ББК 81.2 
Рецензенты: 
Котельникова И. В., к. филол. н., доцент кафедры 
научно-технического перевода и профессиональной коммуникации ДГТУ; 
Гермашева Т. М., к. филол. н., доцент, зав. кафедрой иностранных языков 
для гуманитарных специальностей РГЭУ (РИНХ). 
 
Утверждено в качестве учебного пособия 
учебно-методическим советом РГЭУ (РИНХ). 
 
 
 
ISBN 978-5-7972-3125-7 
© Ростовский государственный 
экономический университет (РИНХ), 2023 
© Абраменко Е. В., Тарасова Ю. В., 2023 
 
 

ОГЛАВЛЕНИЕ 
 
 
PART I .................................................................................................. 4 
A DEAL OF PAINT. Elizabeth Ayrton .............................................. 4 
WORDS AND PHRASES .................................................................. 8 
NOTES ................................................................................................ 9 
EXERCISES ..................................................................................... 10 
SKIN. Ronald Dahl ............................................................................ 13 
WORDS AND PHRASES ................................................................ 22 
NOTES .............................................................................................. 25 
EXERCISES ..................................................................................... 26 
THE JUICE OF AN ORANGE. Pelham Grenville Wodehouse .... 29 
WORDS AND PHRASES ................................................................ 36 
NOTES .............................................................................................. 38 
EXERCISES ..................................................................................... 39 
PART II .............................................................................................. 42 
TEA. Hector Huge Munro ................................................................. 42 
DISCUSSION ................................................................................... 47 
LANGUAGE FOCUS ...................................................................... 47 
ACTIVITIES ..................................................................................... 48 
MRS BIXBY AND THE COLONEL’S COAT. Ronald Dahl....... 49 
DISCUSSION ................................................................................... 66 
LANGUAGE FOCUS ...................................................................... 66 
ACTIVITIES ..................................................................................... 66 
THEY GAVE HER A RISE. Frank Sargeson ................................ 67 
DISCUSSION ................................................................................... 71 
LANGUAGE FOCUS ...................................................................... 71 
ACTIVITIES ..................................................................................... 72 
PART III ............................................................................................. 73 
THE WAY UP TO HEAVEN. Ronald Dahl ................................... 73 
TASKS .............................................................................................. 85 
LAMB TO THE SLAUGHTER. Ronald Dahl ............................... 87 
TASKS .............................................................................................. 96 

PART I 
 
A DEAL OF PAINT 
 
Elizabeth Ayrton 
 
(1) I am a painter. I like painting more than anything else, except 
obvious things like food and drink, that all sensible people like. As a 
painter, I have quite a lot of talent — I’m not sure yet how much — 
and a fairly complete mastery of most of the technical requirements; 
that is, I am an instinctive colourist, and my composition is interesting. 
(2) I have my difficulties, but who does not? I get on fairly well 
with people, and I ought to be quite as successful as a dozen other 
painters — but I am not. I never have been since my very first oneman show, when I was discovered by the critics, taken up — and very 
quickly put down again — and sold out. 
(3) “Sold out” is the just phrase. I was twenty-two after that 
show. Apart from quite a lot of money, the way I understand it, I had 
one oil painting left, three drawings, and very little common sense, my 
most valuable remaining possession. The common sense prevented me 
from believing what the critics said and considering myself a genius, 
and not only a genius but a painter who would always be able 
to live by painting exactly what he wanted to paint when he wanted to 
paint it. 
I did, however, think that I could probably afford to marry Leila, 
rent my own studio, and stop being a student. 
(4) But I have never had another show which sold like that first 
one, although I am a better painter than I was then. My work is as contemporary as any; of course it is; how can anyone intelligent and honest paint behind his time, deliberately or by accident? But more and 
more critics support what is called Action Painting and Other Art, 
when a painter is trying to be as different from anyone else as he can. 
Anyway, it has been clear ever since that first sell-out show that I have 
an old way of seeing things and am really an academic. 
My second show went fairly well because Other Art had not then 
got very far. But ever since. Not that I don’t sell a certain amount pri

vately. I do. To the uneducated and even the half-educated my work 
seems to give a good deal of pleasure. 
However, in the last two years things have got very tight. 
We can’t pay the quarter’s rent and we can’t afford not to, so 
something had to be done. So my applying for a most unpleasant job 
which my uncle could give me. I got it. Start next Monday. 
(5) When I got back from the interview, Leila was sitting in the 
studio, which she seldom does, as it was a working-room entirely. She 
said, “Hi, Bill. You'll never guess what’s happened.” 
I thought it was something awful because she hadn’t even asked 
me about the job. I said, “What?” 
“Garrard came — just before lunch.” Garrard is my dealer, and 
I’d been trying to get him to come and look at my work and arrange 
for a show for the last year. Dealers! 
I sat down and asked Leila what he wanted. 
“He came because there’s a Mrs. Spencer Thompson who’s interested in having you paint a small portrait of her daughter. She's 
American and very rich and she wants you to paint it.” 
(6) “Very nice of her. She must have seen one of the early portraits. Did you make Garrard look at the work? Did he say anything 
about a show?” 
Leila went bright pink and opened her eyes much too wide as 
she does when she’s surprised. She said, “It's the most extraordinary 
thing. It’s really awfully funny, I suppose, but I think you’ll be furious. I was just cleaning up in here a bit as you were out.” 
(7) I said, “I wish you wouldn’t. The still life on the easel’s 
wet — it doesn't want a lot of dust sticking to the surface.” 
This is what I always say when Leila cleans the studio, and while 
I was saying it I looked round for the first time. The studio has a parquet floor, and to protect it I have a large piece of hardboard in front of 
my easel to catch the worst drips of paint. 
Now the piece was on the easel and my still life was leaning 
against the wall. 
I said, “Good God! What on earth? Leila!” and jumped up to take 
it off the easel and throw it on the floor again and make sure my Jars in 
a Window — which was coming along rather well — was all right. 
 

(8) Leila jumped up too and stood between me and the easel. 
“Bill, listen a minute. It’s Garrard. Not me. Of course I 
wouldn’t.” 
“Garrard? What do you mean?” 
“He was looking at the pictures explaining how the gallery was 
booked up for a year and how he couldn't really promise you a show 
till next year and saying, “Mm,” to each picture instead of “Ah,” like 
he does when he likes them, and suddenly he saw the hardboard leaning against the wall.” 
“What was it doing there?” 
“I told you, I was cleaning. I’d picked it up to sweep underneath 
it.” He said, “Ah,” at once, and then he stepped back and said, “Ah 
ha!” with his head on one side. 
(9) “And then he turned to me and said, “Leila, my dear, I'm 
very glad to have this opportunity to talk to you with Bill not here. I 
thought – I felt – that there must be something like this. Tell me — 
why is he holding out on us?” 
I saw it all, but I couldn’t really believe it. 
“He didn't really think it was an abstract?” 
“He did. He not only thought it was an abstract, he thought it 
was wonderful. He said he'd always known you had it in you, as soon 
as you caught up with contemporary thought. That was why he’d never worried you, and always tried to help us keep going. You can’t hurry genius. And he’d known you were that ever since he gave you your 
first show.” 
(10) We rocked with laughter. I moved to take the board off the 
easel again. 
Leila held my arm. “Listen, Bill. He wants to buy it.” 
“Buy it? Didn’t you tell him?” 
She opened her eyes again. “No, I didn’t. I couldn’t really. I 
suppose I should have, but it would have made him look too silly. 
He’d have hated us for ever after.” I just said I didn’t think you’d sell it.” 
“I sure won’t. It’s top absurd.” 
(11) She began to dance, quoting Garrard. “And now, Leila, my 
dear, show me the rest. Is there enough for a full show? When did this 
start?” 
 

“No!” 
“Yes, I tell you. So I said – I’m sorry, Bill, but I couldn’t think 
what to do –that you did not want to talk about them and had told me 
not to let anyone see them, but I'd tell you what he said.” 
He said, “I’ll ring him up this afternoon. Leila, my dear, I must 
go now, but I want you to know how splendid, how really splendid, 
this development is in your husband’s work, I’m sure you do know, 
because you're one of the intelligent wives. Tell me, how many paintings are there?” 
(12) “I said I didn’t know.” And he sighed and said, “Ah, well. 
He ought to be able to manage a show next spring at the latest. Tell 
him I’ll be ringing him, and tell him not to waste time with the portrait. It’s not worth his while. And this one –if he wants to part with it, 
I’ll buy it myself. That’ll show him what I think of the new work. 
That’s absolutely accurate word for word reporting, Bill. I’ve been sitting here going over it to make sure I wasn’t mad or anything.” 
(13) We were both quite silent and serious for a minute as we 
thought about it. I stood in front of the easel and looked at the board 
carefully. 
I remembered that I'd been reading something about Action 
Painting in America at breakfast yesterday and when I came in to the 
studio I was, I thought, in the necessary emotional condition, it was 
anger and a sort of despair. 
(14) So I threw a lump of crimson, the colour of anger, down on 
to the board. And then I threw down a lump of lemon chrome and 
stamped on it. 
And then I was ashamed of myself for being so childish, and anyway that is not the way one wastes good paint, which is expensive. 
So I went on with my Jars in a Window, feeling tired and sad. 
(15) But you see, it meant that the board on the floor wasn’t entirely an accident. Some kind of emotional purpose had gone into it. 
Which is what the action painters claim. And perhaps Garrard had felt 
it — perhaps it does communicate... 
Leila doesn’t know about this. 
So now what shall I do? What a thing to find lying in wait for 
you on your return from taking a white-collar job at eleven pounds a 
week. Because this board is big, forty inches by fifty. Even at my pre

sent prices, I shouldn’t sell for under three hundred, Garrard knows 
that. I could probably get four out of him. And I can’t paint him thirty 
more for an exhibition. 
I could, of course. I could paint six by this evening and show 
them to him tomorrow. 
And they might be very interesting and surprising if they conveyed the mixture of emotions I feel at this moment. 
 
WORDS AND PHRASES 
 
(1) obvious a очевидный; 
sensible a разумный; 
colourist ['kʌlərɪst] n художник-колорист; 
(2) get on fairly well (with) ладить с кем-либо довольно хорошо; 
dozen ['dʌz(ə)n] n дюжина; 
discover v обнаруживать; 
sold out распродан; 
(3) just a справедливый; 
apart from помимо; 
common sense здравый смысл; 
prevent (from) v мешать; 
genius ['dʒiːnɪəs] n гений; 
(can) afford v (быть в состоянии) позволить себе; 
rent v брать в аренду; 
(4) contemporarу a современный; 
honest a честный; 
deliberately adv умышленно; 
by accident случайно; 
support v поддерживать; 
academic n зд. художниктрадиционалист; 
a certain amount некоторое количество; 
uneducated a необразованный; 
quarter’s rent квартальная плата за квартиру; 
apply for a job v обращаться 
(за работой); 
(5) entirely adv полностью; 
guess v угадать; 
awful ['ɔːfʊl] а ужасный; 
dealer n посредник по продаже чего-либо; 
get him to come... заставить 
его прийти; 
(6) go pink покраснеть;  
extraordinary [ɪkˈstrɔːd(ə)n(ə)rɪ] 
a необычный; 
funny a забавный; 
furious 
['fjʊərɪəs] 
a 
взбешенный; 
(7) still life n натюрморт; 
easel ['iːz(ə)l] n мольберт; 
parquet ['pɑːkɪ] n паркет; 
hardboard n картон;  
drips of paint капли краски; 
lean against прислоняться; 

(8) instead of вместо; 
underneath adv внизу, под; 
(9) catch up (with) догнать; 
rocked 
with 
laughter 
покатились со смеху; 
pick up поднимать;  
sweep v подметать; 
(10) silly a глупый; 
hate v ненавидеть; 
absurd a нелепый; 
(11) quote v цитировать; 
splendid a великолепный; 
development n зд. прогресс; 
intelligent a умный; 
(12) manage a show зд. набрать 
достаточное количество картин для выставки; 
at the latest самое позднее; 
waste time терять время; 
part with v расстаться; 
accurate a точный; 
word 
for 
word 
reporting 
дословный пересказ; 
go over smth. зд. размышлять 
о чем-либо; 
mad a сумасшедший; 
(13) carefully adv вд. пристально; 
despair n отчаяние; 
(14) lump of crimson кусок 
темно-красной краски;  
stamp v зд. растоптать, растереть; 
be ashamed of стыдиться чего- 
либо; 
waste v портить, бесцельно 
растрачивать; 
(15) accident n случайность; 
claim v заявлять, утверждать; 
communicate v передавать(ся), 
сообщать(ся);  
convey v выражать, передавать; 
mixture of emotions зд. гамма 
чувств.
 
 
NOTES 
1. 
I have (...) a fairly complete mastery of most of the technical 
requirements. — I can paint quite well technically. 
2. 
One-man show — show of paintings by a single artist. 
3. 
I was (...) taken up and very quickly put down again. — I 
was first praised and then quickly forgotten. 
4. 
My most valuable remaining possession. — Русск.: единственное, что у меня осталось ценного. 
5. 
The common sense prevented me from believing... — The 
common sense didn’t allow me to believe... 

6. 
Action Painting a school of painting which tries to convey 
(передать) emotion; one of Abstract Painting trends; Other Art — 
here, a trend in abstract art. 
7. 
Sell-out show — a show after which all the paintings are sold. 
8. 
Things have got very tight. — Money has become very short. 
9. 
Hi, Bill [hai] — Hallo, col. greeting (cp. русск.: Привет!). 
10. A Mrs Spencer Thompson — ср. Русск.: некая миссис 
Спенсер Томпсон. 
11. She must have seen one of the early portraits. — Должно 
быть, она видела один из ранних портретов. 
12. I wish you wouldn’t... — Не нужно было... 
13. It doesn’t want a lot of dust sticking to the surface. — It 
shouldn’t get dusty (пыльный). 
14. What on earth... — an emphatic expression of surprise 
(русск.: Зачем же...). 
15. Which was coming along rather well — which was progressing very well. 
16. The gallery was booked up for a year — the gallery was reserved for other painters for a year. 
17. Why is he holding out on us? — Why isn’t he letting us see 
his pictures? 
18. You had it in you — you had the potential of a great painter. 
19. To help us keep going — to support us with money. 
20. I suppose I should have, but it would have made him look 
silly. He’d have hated us forever after. — Наверное, я должна была 
сказать ему, но это поставило бы его в глупое положение. Он ненавидел бы нас потом всю жизнь. 
21. It’s not worth his while. — Это недостойно его. 
22. Lying in wait for you — waiting for you. 
23. A white-collar job — an office job; a white-collar worker — 
an 
office 
worker; 
a 
blue-collar 
worker — 
a 
labourer, 
a factory worker. 
 
EXERCISES 
I. 
Give a summary of the facts of the story. The following 
phrases may be helpful.