Exercise 118. Use the proper article.

I. I often went to look at collection of curiosities in Heidelberg Castle, and one day I surprised keeper of it with my German. 1 spoke entirely in that language. He was greatly interested; and after I had talked while he said my German was very rare, possibly "unique", and wanted to add it to his museum.

II. If he had known what it had cost me to acquire my art, he
would also have known that it would break any collector to buy it.
Harris and I had been hard at work on our German during several
weeks at that time, and although we had made good progress, it
had been accomplished under great difficulty and annoyance, for
three of our teachers had died in meantime.

III. Person who has not studied German can form no idea of
what perplexing language it is. One is thrown about it in most
helpless way and when at last he thinks he has captured rule which
offers firm ground to take rest on amid general rage and turmoil of
ten parts of speech, he turns over page and reads: "Let pupil make
careful note of following exceptions." He runs his eyes down and
finds that there are more exceptions to rule than instances of it.

Exercise 119. Use the proper article.

I. If you are interested in old things, in beautiful things, and in
history of England, there is one city which will exceed your expecta­
tion - York.

It is peaceful, astonishingly beautiful medieval town in North of country.

II. York is not conscious of its beauty, like so many ancient towns; it is too old and too wise and too proud to trick itself out for admiration of tourists. That is one of reasons why I love it and its little country-town streets and its country-town hotels, called after names of proprietor. Here are no "Majesties" or "Excelsior", but plain "Browns" and "Joneses" and "Robinsons".

III. From distance York Minster dominates city. Its exterior is magnificent; its interior is England's most triumphant anticlimax. No work of man could live up to grandeur of those twin towers above perfect west porch in which "Great Peter", biggest bell in England, takes hourly stock of Time.

IV. Glory of York Minster is glory of its glass. It is said to contain two-thirds of fourteenth century glass in England. Guide told us how many acres it would cover.

V. I lost him and Americans when I saw "Five Sisters" window.
This window is queen among windows, tall, slender, mellow poem in
glass for which I have no words. No words can describe it: it must
Be seen.

Exercise 120. Usethe proper article.

I. One of greatest discoveries made by Charles Dickens was name of Pickwick. It is well known that he annexed this name in Bath. There is village called Pickwick. I went there to see it. It is one-street hamlet on Bath-London road, and all houses in this hamlet are built of stone washed attractive khaki colour.

II. At entrance to village street stands big sign with name writ-

ten on it in tall green letters, so that every one who passes points suddenly and says: "Ooh! Look - just fancy-Pickwick!"

III. "Does family named Pickwick live here?" I asked native.
"No," he said.

"Does place take its name from family that used to live here?" "I don't know."

"Did Charles Dickens take name of Mr. Pickwick from this vil­lage or from man called Pickwick?"

"I don't know," replied my negative friend...

IV. So I set my shoulders to investigate origin of name, and I
discovered at length how Pickwick entered English literature.

When Dickens visited Bath White Hart Hotel was owned by man called Moses Pickwick. (What name!) That was beginning of immortalization of Pickwick!

V. But who was Moses Pickwick, and how did name originate?

There is curious story about him. He was, it is said, great-grand­son of foundling. Woman driving through village of Wick, near Bath, saw bundle lying on side of road which on investigation proved to contain first Pickwick. She took him home, cared for him, and christened him Eleazer Pickwick, otherwise Eleazer picked up at Wick!

VI. In course of time foundling founded family in Bath, which
grew rapidly prosperous. When Dickens arrived on scene great-grand­
son of Eleazer was man of wealth and position. Dickens provided
fame.

From this it was step to the Bath Directory. Here I found that there are five Pickwicks living in Bath today.

Exercise 121. Use the proper article.

I. After time book fell from his hand. He grew nervous, and
horrible fit of terror came over him. What if Alan Campbell should
be out of England? Days would elapse before he could come back.
Perhaps he might refuse to come. What could he do then? Every
moment was of vital importance.

II. They had been great friends once, five years before - almost
inseparable, indeed. Then intimacy had come suddenly to end. When
they met in society now, it was only Dorian Grey who smiled; Alan
Campbell never did.

III. He was extremely clever young man, though he had no real appreciation of the visible arts, and whatever little sense of beauty of poetry he possessed he had gained entirely from Dorian. His domi­nant intellectual passion was for science. At Cambridge he had spent great deal of his time working in Laboratory.

IV. Indeed, he was still devoted to study of chemistry, and had laboratory of his own, in which he used to shut himself up all day long, greatly to annoyance of his mother, who had set her heart on his standing for Parliament and had vague idea that chemist was

person who made up prescriptions. He was excellent musician, how­ever as well, and played both violin and piano better than most amateurs. In fact, it was music that had first brought him and Do­rian Grey together - music and that indefinable attraction that Dorian seemed to be able to exercise whenever he wished.

V. This was man Dorian Grey was waiting for. Every second he
kept glancing at clock. As minutes went by he became horribly agi­
tated. At last he got up, and began to pace up and down room,
looking like beautiful caged thing. He took long stealthy strides. His
hands were curiously cola.

Suspense became unbearable.

VI. At last door opened, and his servant entered. He turned
glazed eyes upon him.

"Mr. Campbell, sir," said man.

Sigh of relief broke from his parched lips, and colour came back to his cheeks.

"Ask him to come, in at once, Francis." He felt that he was himself again. His mood of cowardice had passed away.

Exercise 122. Use the proper article.

I. "They oughtn't to have called me Fleur," she mused, "if they didn't mean me to have my hour, and be happy while it lasts." Nothing real stood in way, like poverty, or disease - sentiment only, ghost from unhappy past! Jon was right. They wouldn't let you live, these old people! They made mistakes, committed crimes, and wanted their children to go on paying!... She got up, plucked piece of honeysuckle, and went in.

II. It was hot that night. Both she and her mother had put on thin, pale low frocks. Dinner flowers were pale. Fleur was struck with pale look of everything: her father's face, her mother's shoul­ders; pale panelled walls, pale grey velvety carpet, lamp-shade, even soup was pale. There was not one spot of colour in room, not even wine in pale glasses, for no one drank it. What was not pale was black-her father's clothes, butler's clothes, curtains black with cream pattern. Moth came in, and that was pale. And silent was that half-mourning dinner in heat.

III. Soames leaned back, image of pale patience, as, if resolved
on betrayal of no emotion.

"Listen!" he said. "You're putting feeling of two months - two months - against feelings of thirty-five years? What chance do you think you have? Two months - your very first love affair, matter of half dozen meetings, few talks and walks, few kisses - against what you can't imagine, what no one could who hasn't been through it. Come, be reasonable, Fleur! It's midsummer madness!"

IV. Fleur tore honeysuckle into little, slow bits.

"Madness is in letting past spoil it all. What do we care about past? It's our lives, not yours."

Soames raised his hand to his forehead, where suddenly she saw moisture shining.

"Whose child are you?" he said. "Whose child is he? Present is linked with past, future with both. There's no getting away from

that."

V. She had never heard philosophy pass those lips before. Im­pressed even in her agitation, she leaned her elbows on table, her chin on her hands.

"But, Father, consider it practically. We want each other. There's nothing whatever in way but sentiment. Let's bury past, Father."

His answer was sigh.

Exercise 123. Comment on the use of articles.

Thomas Gainsborough (1727-1788)

Gainsborough was born in Suffolk. He was the youngest of the nine children in the family. He went to school in his native town.

When a boy he was very good at drawing, and according to a story about him, he made such a good portrait from memory of a thief whom he had seen robbing a garden that the thief was caught.

Gainsborough painted portraits and landscapes and is often com­pared with Reynolds; his style is also influenced by the Dutch mas­ters and Van Dyck. Despite these influences he worked out his per­sonal style.

He succeeded as a portrait-painter. Among his most famous por­traits are the portrait of Mrs. Siddons, a famous actress in a blue dress, and the picture known as "Blue Boy" - a boy in a blue cos­tume. In his portrait of Mrs. Sheridan we see a woman in a light blue. A definite artificiality in Gainsborough's painting constitutes his

own style.

Gainsborough was fond of painting landscapes. Even in the por­trait painting he is an out-of-door painter. If you think of his finest portraits you will immediately remember that the backgrounds are well-observed country scenes. The famous "Blue Boy" is placed against an open sky and a background of brown and green land­scape. In Mrs. Sheridan's portrait the background is the wide sky and broad view into the valley.

He loved the country-side of his childhood and often said that the Suffolk country-side had made him a painter.

He lived in that period when landscape painting was not in fashion. Rich people did not spend money on landscapes. So, it's re­ally remarkable that there were more than 40 unsold landscapes in his studio at the time of his death.

The portraits are painted in clear tones. His colour is always tender and soft. Light tone scheme and use of light blues and yel­lows belongs essentially to his earlier period. Later, when he came into contact with the Van Dyck pictures he enriched his palette but he always tended to cool scheme and blues predominated in his paintings.

Exercise 124.
Comment on the use of articles. Щ

I. Here, beside the sea I suffered a "horrible experience" which I could not bring myself to describe. Let me now describe what happened. I sat looking at the sea when I saw a monster rising from the waves. Out of a perfectly calm empty sea, at a distance of perhaps a quarter of a mile, I saw an immense creature break the surface and arch itself upward. At first it looked like a black snake, then a long thickening body with a ridgy spiny back followed the elongated neck! I could not see the whole of the creature, but the remainder of its body, or perhaps a long tail, disturbed the water round the base of what had now risen from the sea to a height of twenty or thirty feet. The creature then coiled itself so that the long neck circled twice. I could see the sky through the coils. I could also see the head with remarkable clarity, a kind of crested snake's head, green-eyed, the mouth opening to show teeth and a pink inte­rior. Then in a moment the whole thing collapsed, the coils fell, and then there was nothing but a great foaming swirling pool where the creature had vanished.

П. There was no fog now. Twilight had just been overtaken by darkness, and a bright fierce little moon was shining, dimming the stars and pouring metallic brilliance onto the sea and animating the land with the ghostly intent presences of quiet rocks and trees. The sky was a clear blackish-blue, entertaining the abundant light of the moon but unillumined by it. The earth and its objects were a thick fuzzy brown. The shadows were strong, the silence was vast, differ­ent in quality from the foggy silence of the morning, punctured now and then by an owl's cry or the barking of a distant dog.

Ш. A bright satellite, a man-made star, very slowly and some­how carefully crossed the sky in a great arc, from one side to the other, a close arc, one knew it was not far away, a friendly satellite slowly going about its business round and round the globe. Later I opened my eyes with wonder and the sky had utterly changed again and was no longer dark but bright, golden... and now I was looking into the vast interior of the universe, as if the universe were quietly turning itself inside out The moon was gone, the sea had fallen dark, in submission to the stars.

Exercise 125. H

Use the proper article.

Clanging chatter of wheels as train started woke Bart out of un­easy doze. He got up and leaned on lowered window. Air pressed down upon him with soft, dusty weight. Little siding, faintly fit with glow of kerosene lamps, was oasis in night Faces of night officer and guard gleamed fitfully. Woman and two children got off train. He could sec smaller child staggering with weariness, rubbing his sleepy eyes, then man came up to them, emerging abruptly from darkness.

There was burst of welcoming voices, woman's laugh, and sound of it mingled with hanging of doors and shuddering of engine gath­ering speed.

Woman's laugh stayed in his mind. He wondered what Jan would think of this country. As far as he knew she's never^ been away from coast. He wondered how she would fit into tile at Nelungaloo. Frowning, he lit cigarette and leaned against door, watching lights of train stencilling pattern of light and shadow on

countryside.... \- "^;«_-

He had never thought of Jan meeting his people before, and even now he knew that he only played with thought. Mum and Dad were so old-fashioned, that if he took girl home, they would con­sider her visit as good as shouting engagement from house-tops. He grinned at thought. It would be just sort of thing to send Dad off handle. He thought of all times his father had lectured him on proper attitude to women.

INDEX

(Numbers refer to exercises)

Apposition; article with the noun in apposition; 31-34

Conceit: article with nouns denoting things or persons identified by the context: If.

16 Equivalent: article replaced by its equivalent; I Day and seasons article with nouns denoting parts of day and seasons; 27-29, 63-

64 Generic use: article used in a generic sense; 49-50 Individual nouns: article with the nouns "school", "bed", "hospital", "town", etc.;

40-41, 61 Intensifiers: articles modified by the intensifying words "such", "rather", "what",

"quite": 12-13 Limiting attribute: article with nouns having a limiting attribute: 7, 14 Manner: article with nouns in adverbial phrases of manner 38-39; 68 Meals: article with the names of meals: 24-26, 62 Mentioned objects; article with nouns denoting things or persons already

mentioned: 6 Nationalities: article with nouns denoting nationalities and nations: 91 Numerals: article with numerals: 90 Object: article with the noun object: 5 Omission: omission of the article in coordinative word groups: 83, omission of the

article in enumeration: 84 Predicative: article with the noun predicative: 4 Prepositional phrases: article in "in-phrases": 67, article in "like-phrases"; 66,

article in "of-phrases": 44-45, 69-73, article in "with-phrases": 65 Proper nouns: article with proper nouns; 21-23, 52 Revision; revision exercises: 53-60, 92-125 Season: see: day and season Set phrases: article in set phrases: 37, 85, 86 Subject: article with the noun subject: 2; 3

Substantives words: article with substantives parts of speech: 87-89 Summary: summary exercises: 19-20, 30, 35-36, 42-43, 46, 48, 51, 74, 80-82 Uncountable nouns: article with uncountable nouns; 8-9, 11, 47, 75, 77-79 Unique objects: article with nouns denoting unique or generally known objects: 17-

18 Weather: article with nouns denoting states of weather 10

CONTENTS

Предисловие.... 3

Part I. Elementary Knowledge of Articles.......................... 8

Revision Exercises................. 36

Pa r t II. Articles in Regular Use....................... 41

Revision Exercises........................................ —..................... 59

General revision..............................................................................63

Index................................................................................................80

 

 

f

УЧЕБНАЯ БИБЛИОТЕКА «СТЕЛЛЫ»

М.Я. БЛОХ, В.С. ДЕНИСОВА, Е.А. ИСТОМИНА, А.С СААКЯН

АНГЛИЙСКИЙ АРТИКЛЬ
(ПРАКТИКУМ) *'*

УЧЕБНОЕ ПОСОБИЕ Научный редактор М.Я. Блох

Москва «СТЕЛЛА» 1993

УДК 820-815.6

ПРЕДИСЛОВИЕ

 

Рецензенты:

кандидат филологических наук, доцент А.В. Куценко (Московский педагогический государственный университет)

кандидат филологических наук, доиент ИИ. Шустилова (Московский педагогический университет)

Пособие представляет собой сборник упражнений для студен­тов отделений английского языка университетов и педагогических вузов. Пособием может пользоваться также широкий круг лиц, изучающих английский язык самостоятельно. Целью пособия является привитие учащимся навыков правильного употребления артиклей в устном и письменном общении на английском языке.

ISBN 5 — 86881 — 006 — 6

Лицензия на издательскую деятельность ЛР № 062275 от 18.02.93. АО «СТЕЛЛА»

© Марк Яковлевич Блох, Валентина Серафимовна Денисова, Елена Анатольевна Истомина, Аида Суреновна Саакян, 1993

ФКМП ГИВЦ Госкомстата РФ Зак. 5742 Тир. 5000

Настоящий практикум по английскому артиклю представляет собой сборник упражнений, предназначенных для студентов университетов и педагогических ву­зов, изучающих английский язык в качестве основной специальности. Конечной целью практикума является привитие студентам прочных навыков правильного употребления артикля в общении на английском языке.

Сборник построен на оригинальных текстах, взятых по преимуществу из современных художественных произведений на английском языке. В книге широко использованы материалы пособия "Exercises in English Articles" 3.K. Долгополовой, МЛ. Блоха, АЛ. Лебедевой, B.C. Денисовой (Мос­ква, издательство «Международные отношения», 1969).

Сборник рассчитай на две ступени проработки, отраженные, соответственно, в первой (упражнения 1 - 60) и второй (упражнения 61 -125) частях книги. На первой ступени проработки усваиваются элементарные закономерности употреб­ления артиклей. На второй ступени усваивается общая система английского ар­тикля и проводится закрепление совокупных навыков употребления артиклей в речи различного прагматико-коммуникативного назначения.

При существующей программной сетке часов для отделений английского языка университетов и педагогических вузов первая часть книги прорабатывается на первом курсе, вторая часть - на втором.

В целях последовательной выработки навыков речевого использования артик­лей в текстах упражнений первой части позиции возможной вставки артиклей (соответственно требованиям правил) обозначены пропусками с многоточием (первые 47 упражнений); в последующих упражнениях дается сплошной текст с выпушенными артиклями, без обозначения позиций их возможной вставки.

Как известно, артикль представляет собой одну из главных трудностей при практическом изучении английского языка. Предлагаемая в книге учебная работа с артиклями направлена на оптимальное преодоление этой трудности на основе функционально-парадигматического принципа. Данный принцип ставит во главу угла учет собственной семантики артиклей в системном соотнесении друг с другом в рамках их категориально-контекстных сочетаний с с>тцествительными разных подклассов. Соответственно этому принципу отрабатывается употребле­ние артиклей в двух языковых планах: во-первых, в плане реализации синтакси­ческих функций существительных, детерминированных артиклями (предложение словосочетание); во-вторых, в плане типической контекстной репрезентации раз­ных семантико-грам магических групп существительных, детерминированных ар­тиклями. Первый план представлен употреблением артикля в разных членных позициях предложения, в позициях контекстуального отождествления, в позициях родового статуса имени, в позициях с ограничительным и описательным опреде­лениями, в позициях перечисления и соединения, в адвербиальных позициях раз­личного статуса. Второй план представлен употреблением артикля с именами счисляемыми и несчисляемыми. с именами уникальных предметов, с именами собственными, с субстантивированными именами, с обозначениями времени су­ток, погоды, принятий пищи, места деятельности и жизнедеятельное тм, нацио­нальностей и др. (см. указатель).

Ъ

В существующих практических описаниях английского артикля подробно разрабатываются многочисленные частные случаи его употребления, однако за этими частностями подчас затемняется общий семантико-синтаксический, т. с функционально-парадигматический. статус артикля, являющийся кардинальным фактором употребления артиклей в различных реальных контекстах языкового общения Имея это в виду, мы хотим обратить особое внимание пользующихся книгой на собственную функциональную семантику артикля, чтобы обеспечить его осмысленное я уверенное использование как результат учебной подготовки.

Артикль есть служебно-вспомогательное слово, употребляемое при сущест­вительном и уточняющее его контекстно-ситуативную характеристику, а именно, степень его контекстно-семантической обобщенности. Артикль произошел от оп­ределительных местоимений - указательного thai (определенный артикль the) и неопределенного one (я свою очередь, восходящего я числительному one - неоп­ределенный артикль a/an). Значения артиклей сохранили связь с этими место­имениями, так что артикли представляют собой, по существу, грамматизированные | морфологизированные) местоимения.

Артикль регулярно употребляется как продуктивное, активное средство вы­ражения с существительными нарицательными. Существительные собственные в обычном прямом значении либо артикля не принимают (имена собственные лич­ные), либо содержат в своем составе фиксированный определенный артикль (не­которые географические названия, социо-кулътурные реалии).

Исчисляемые и неисчисляемые существительные употребляются с артиклем по-разному. Значение артикля в наиболее полном и развернутом виде выступает в употреблении со счисляемыми сушествительными.

Определенный артикль употребляется для выделения и отождествления предмета в контексте. Иначе говоря, он осуществляет указание на предмет, но, в отличие от указательных местоимений (this, that), это указание не содержит обозначения относительной удаленности предмета от говорящего. Такое значение можно определить как нейтрально-указательное. Значит, определенный артикль the - это указательный артикль.

Неопределенный артикль употребляется для введения названия (обозначе­ния) предмета в высказывании При этом данное введение, в отличие от указа­тельного смысла определенного артикля, представляет предмет как один из ему подобных, т.е. относит предмет к некоторому предметному классу. Значит, не­определенный артикль а/аn - это вводящий артикль. Например:

I want the pen, please. (That pen, this pen; the pen lying over there)

I want a pen, please. (Some pen, any pen; an object which is called "pen")

Указательные, неопределенные и некоторые другие уточнительные место­имения (this, that, some, any, no; each, every; either, neither и некоторые дру­гие) тоже употребляются для уточнения контекстно-ситуативной характеристики предмета, обозначенного существительным. Такие служебные слова относятся к классу «определителей» или «детерминативов». Значение детерминативов более конкретно, более определенно, чем значение артикля. Ср: that - тот; this - этот; the - и тот и этот, безразлично. Some - какой-то. некий; any - любой, какой угод­но; а/ат - некоторый в общем смысле

Будучи более конкретными словами чем артикль, определительные место-имения как бы включают в себя и значение артикля, они заведомо предполагают его. Поэтому при одном и том же существительном в высказывании артикль со-

вместно с местоимением-детерминативом не употребляется; при сушествитель-ном в высказывании может быть употреблен лишь один служебный определи­тель.

Притяжательные местоимения, подобно указательным и неопределенным ме­стоимениям, также являются служебными определителямя существительного. Функцию уточнительного определителя выполняет и существительное собственное или

нарицательное в притяжательном падеже. Артикль при определяемом (детерминируемом) существительном совместно с этими определителями не употребляется (нарицательное существительное в притяжательном падеже, есте­ственно, имеет свой собственный артикль или определитель). Данная закономер­ность соответствует общему правилу использования определителей. Например:

Sophie is reading a letter,

Sophie is reading the letter.

Sophie is reading his letter.

Sophie is reading Bob's letter.

Sophie is reading her brother's letter.

Определенный артикль the употребляется как с существительными в един­ственном числе, так н с существительными во множественном числе. Например:

The French window was open. The French windows were open.

Неопределенный артикль a/an употребляется лишь с существительными в единственном числе Существительные во множественном числе при их контек­стном введении артикля не принимают. Например:

There is a yew-tree in front of the house. There are yew-trees in front of the house.

Употребление неопределенного артикля лишь с существительными в единст­венном числе связано с происхождением этого артикля от числительного one - «один». Значение «один» неопределенным артиклем не утеряно полностью: в этом значении он употребляется и в современном языке Например:

I want a day or two more to make a final decision.

Поскольку отсутствие артикля при контекстном введении существительного во множественном числе является значимым, соответствуя вводящему (неопреде­ленному) артиклю при существительном в единственном числе, постольку такое отсутствие артикля можно условно назвать «вводящим нулевым артиклем».

Названия предметов, которые являются уникальными либо для человечества в целом, либо для данного общества или же отдельной группы людей, употреб­ляются, как правило, с определенным артиклем. Это соответствует его собст­венному указатетьно-отождествительному значению.

К типичным уникальным именам наиболее общего (универсального) характе­ра относятся, the sun, the moon, the sky, the horizon, the world, the universe, the ground, the atmosphere, the cosmos и др.

К типичным именам, уникальным в ограниченном смысле (уникальным в пределах некоторого общества) относятся the President, the Vice-President, the Prime Minister, the Secretary of State, the King, the Queen, me country (страна проживания), the nation (данный народ), the language (язык данного народа) ■

др. 5

По своему значению и контекстным функциям уникальные имена близки к именам собственным. Такую близость, между прочим, подчеркивает и то обстоя­тельство, что целый ряд уникальных имен пишутся с заглавной буквы (см. вы­шеприведенный выборочный список).

Универсально-уникальные и ограниченно-уникальные имена могут принимать и неопределенный артикль. Они употребляются с неопределенным артиклем тог­да,.когда используются в качестве обычных нарицательных имен, Т.е. обычных названий окружающих предметов (переводятся в план нарицательного использо­вания). Например:

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