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XXVI. Underline all the relative clauses in the following article.

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  1. A) Read the following voice mail messages and complete each message using one of the three verbs In the box.
  2. B). Open the brackets. c). Put questions to the underlined words.
  3. Compare the advantages and disadvantages of three of the following as media for communicating information. State which you consider to be the most effective.
  4. Complete these sentences with words from the article.
  5. Deal with these problems. Brownstock washing following an oxygen delignification
  6. Ex 11 Change the following sentences using the words in bold type.
  7. Ex 14 Change the following sentences into Indirect Speech following the examples. Notice the changes in the pronouns.

 

Poetry and the war

 

One of the most extraordinary things about the First World War was the enthusiasm with which the majority of soldiers went off to fight for their country. Those young, patriotic men, who rushed to the enlistment centres, had no idea what lay ahead of them. They did not know that they had dug in the mud. They did not know what it would be like to watch a friend who had been horribly injured die a painful death. And so they were excited, even thrilled, about the prospect of going to war.

This was the first war in which the image-makers made an impact. There were posters which asked women to encourage their men to go to war: ‘If he does not think that you and your country are worth fighting for – do you think he is WORTHY of you?’

The mood which seized the country was one of patriotic and heroic struggle. At the same time, it was generally believed that it would all be over in a few months.

The war fever which gripped the nation stripped up the emotions of everyone and there was a huge growth in the writing of poetry. At first the poems were proud and optimistic: ‚Now in thy splendor go before us Spirit of England’, but as the war dragged on, the writers of poetry became angry at the myths they had been told. They wanted people to know about the horrible reality of war, which brutalized the people who took part.

One writer who put these feelings into words very effectively was Wilfrid Owen, who, in the poem Anthem for Doomed Youth, wrote ‘What passing bells for these who die as cattle?’ The poetry of Wilfrid Owen, Siegfried Sassoon, Robert Graves and others, which described the horrific reality of war, also questioned its morality. Many of the poets were wealthy, privileged men who had not at first been anti-war, but whose attitudes were changed by what they saw.

 

XXVII. In your notebook, rewrite each pair of sentences as one sentence, using a relative clause with when, where or why.

 

1. The early morning is the time. I work best then.

The early morning is (the time) when I work best.

2. His mid-teens were the time. He first became interested in politics then.

3. His dishonesty is the reason. That’s why I left him.

4. Edinburgh is the city. I’d most like to live there.

5. The outdoor swimming pool has now been closed down. We often went there as children.

6. This is a picture of the place. We’re going there for our holidays.

7. His refusal to tell her the truth is the reason. That’s why she is so angry with him.

8. This is the place. I fell off my bike here.

9. The people I work with are the reason. That’s why I stay in the job.

10. That terrible night in December changed my life forever. I found out then what had been going on.

 


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Читайте в этой же книге: КИБЕРНЕТИЧЕСКИЙ ПОДХОД К ОПИСАНИЮ СИСТЕМ | Система, как отношение на абстрактных множествах | ВЫБОР НАИЛУЧШЕГО РЕШЕНИЯ МЕТОДОМ ЭКСПЕРТНЫХ ОЦЕНОК | ИЕРАРХИЧЕСКИЕ СИСТЕМЫ | III. Put the verbs in brackets into the appropriate form. | IV. Put the verbs in brackets into the appropriate form. | Infinitive. | XIII. Complete the sentences with the infinitive or the gerund. | XIX. Underline the adverbial clauses and complete them with an appropriate conjunction. In some sentences, more than one conjunction is possible. | XXII. Underline the ten defining relative clauses in the dialogue. Then circle the relative pronoun in each one and indicate whether it is a subject (S) or object (O) pronoun. |
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XXIV. In your notebook, rewrite the sentences making the second sentence into a non-defining relative clause and putting it into the correct place.| К ЧИТАТЕЛЮ

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