The improvement of work on the rhythm in the classes of english on the materials of limericks — страница 2

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fifth lines are rhymed, in accordance with third and fourth. Here prevails the size of an anapest, and a quantity of the syllables in the first, second and fifth lines are longer for three syllables, than in the third and fourth [5]. Limericks are considered to be the splendid material for the production of correct phonetic organization of the English speech and especially of its rhythm. So, English scientist John Norrish writes about it: “…. English is a stress-timed language…. Similarly, it is difficult for the speaker of the ‘syllable-timed’ language to understand normal English pronunciation… Way of overcoming this problem of teaching stress patterns is by using the ‘limerick’, the comic verse from which relies for much its effect on the strongly marked

rhythm. Teachers could demonstrate and encourage students to read aloud some of these verses: There `was a young `lady of `Niger, Who `smiled when she `rode on a `tiger. They re`turned from the `ride With the `lady in`side – And the `smile on the `face of the `tiger. As can be seen, the rhythmic pattern involves the stressed syllables each in the first and second lines, two in the next two lines and three once again in the final, fifth line. When recited, it is important that the stresses come at regular intervals… As we have seen, the stress timing of the limerick is also a characteristic of English speech. This is what makes it a useful teaching tool… such a teaching technique can be used as successfully for initial teaching of stress as for remedial teaching to eradicate

errors” [6]. Thus, the structure of the limericks is the same, which very helps the students to read them easy and with the intonation. For instance, the variant created the humorous effect on the first line can correspond with the intonation of Low Rise, the intonation of the second with Low Fall. Further, the intonation sample repeats Low Rise in the third line, Low Fall in the fourth. In the last line there is the final lowering tone of the Low Fall. Gradually falling and slipping melodic scale has emotional-neutral character. Not infrequently before the last line, which has an outcome, we may sustain a long pause. The given variant of an oral implementation characterizes rapid tempo of the pronunciation [7]. During the auditorium lectures the limericks are read aloud by

keeping their rhythmical form and by underlining the strong parts in each line. For the clear rhythm production I recommend to use a metronome, the strike speed of which can be changed in accordance with the given tempo – from the fast to the slow (lento, lentissimo > allegro, allegrissimo). We can pronounce the limerick by ourselves, then whisper, and at last, aloud, accompanying the pronunciation with the knocking on the stressed syllables of the lines. On the final stage of the working on limericks the students are offered to learn by heart and recite them, to put to the music and sing, to dramatize. The interesting type of the work is translating the limericks. The secret of translating is consisted in saving the rhyme, poetical size of the limerick, and not to lose

their funny essence. Frequently, to keep the poetical form and the pan, the translators have to change proper names and ‘geography’ of the limerick. Given examples of translation by O. Astafyeva clearly shows an interpretation of the limericks in Russian. Original [8]: There was an old person of Dean, Who dined on one pea and one bean; For he said, ‘More than that Would make me too fat’, That cautious old man of Dean. (Edward Lear). Translation by O. Astafyeva: Одинокий старик из Туниса На обед съедал зернышко риса. «Больше есть я не смею, А не то растолстею», – Объяснял он друзьям из Туниса. Here we can see that the translator had to change the name of spot

‘Dean’ into ‘Tunisia’, as well as the peas and beans transformed into the rice. It is common case, when the translators change the proper names to keep the main sense of the comic verse. Also, there is another example which was made by two translators and shows the strict and unchangeable frames of the limerick rhyme. Original: As a beauty I’m not a great star, There are others more handsome by far, But my face, I don’t mind it, Because I’m behind it – ‘Tis the folks in the front that I jar. (Antony Euwer). The translation close to the original (unknown author): По красоте я вообще не звезда, Есть люди симпатичнее меня. Но не против лица я – Ведь не вижу себя я, Плохо лишь