Present Perfect означает "настоящее совершенное", и, на первый взгляд, такое сочетание слов может показаться странным. Если что-то совершилось, значит, оно в прошлом. Почему же время называется "настоящее совершенное"? Как оно связывает действия, совершенные в прошлом, с настоящим?
Во-первых, если Вы используете Present Perfect, то Вам совсем не важно, что действие совершалось в прошлом (Вы об этом не говорите и этого не подчеркиваете) - Вам важно лишь то, что оно вообще совершилось, и это как-то повлияло на настоящее. А во-вторых, хоть действие уже и совершилось, но период времени, в котором оно произошло (сегодня, на этой неделе, в этом году, за всю жизнь) еще не закончен.
А теперь обо всем этом с примерами и подробнее.
Present Perfect используется, когда Вам важен сам факт того, что действие было совершено, а не то, когда и при каких обстоятельствах оно было совершено. В Present Perfect нельзя указывать точного времени, когда случилось описываемое Вами действие. Ведь если Вы укажете КОГДА, Вы намертво привяжете свое действие к прошлому:
I was in London in 2005.
Я был в Лондоне в 2005 году.
Все! Вы указали год - 2005, этот год безвозвратно ушел, и Ваше действие (бытие в Лондоне) ушло вместе с ним. Здесь возможно только прошедшее время. А для того, чтобы сказать о чем-то в Present Perfect, нужно прошлое связать с настоящим. Как это сделать? Да просто не говорить о прошлом ни слова - не указывать, когда и как происходило событие, а говорить о нем как бы вообще:
I have been to London.
Я бывал в Лондоне.
Вы там в принципе побывали, и Вам в данном случае важен только сам факт, что Вы там побывали. Вот если после этой фразы Вас попросят рассказать о Лондоне, Вам придется перейти на прошедшее время - рассказать, когда это было, где Вы жили, что видели, с кем познакомились и так далее. Но если потом у Вас спросят: а где Вы еще побывали? - или - а были ли Вы в Китае? - на это, как Вы понимаете, уже можно отвечать в Present Perfect. Потому что у Вас не спрашивают - как и когда. У Вас спрашивают - вообще.
Есть еще один секрет, помогающий увидеть, каким образом Present Perfect связывает прошлое с настоящим: хоть Вы и рассказываете о действии, которое было совершено в прошлом, период времени, в котором совершалось это действие, еще не закончился:
I have seen him today.
Я видел его сегодня. ("сегодня" еще не закончилось)
I've had a lot of free time this month.
В этом месяце у меня было много свободного времени. ("этот месяц" еще не закончился)
He has travelled a lot.
Он много путешествовал. (в своей жизни - и эта жизнь еще не закончилась)
И последний секрет, совсем простой. С Present Perfect можно часто встретить наречия yet (уже, еще - в вопросах и отрицаниях), already (уже - в утверждениях), just (только что), lately (недавно), recently (недавно), ever (когда-либо), never (никогда), always (всегда). Они обычно подсказывают, что Вы имеете дело с Present Perfect:
I haven't finished the book YET.
Я еще не закончил книгу.
I have ALREADY forgotten about it.
Я уже забыл об этом.
I have NEVER met such a sincere person.
Я никогда встречал такого искреннего человека.
Have you EVER been to your dream-country?
Вы когда-нибудь были в стране своей мечты?
I have RECENTLY found a wonderful musician.
Я недавно нашел чудесного музыканта.
Present Continuous (настоящее длительное время) называется так потому, что оно происходит в настоящем, и оно длится. Эту длительность и то, что действие сейчас как раз в процессе, Вы хотите подчеркнуть. То есть, Вы выбираете Present Continuous, если...
Действие, о котором Вы говорите, происходит сейчас, в момент речи:
Don't bother him, he is working.
Не мешай ему, он работает. (работает прямо сейчас, в момент речи)
What are you doing now? - Well, actually, I'm trying to sleep.
Чем ты сейчас занимаешься? - Ну, вообще-то, я пытаюсь поспать.
Причем это действие всегда временное, не постоянное:
I'm working at my new project now.
Я сейчас работаю над своим новым проектом. (временно - то есть в течение какого-то времени работаю, а потом перестану)
Есть еще 2 особых случая употребления Present Continuous.
Первый случай. Вы рассказываете о чьих-то привычках, которые вызывают у Вас сильные эмоции - раздражение, нетерпение, неодобрение, восхищение и т.п.
He's always snoring!
Он все время храпит!
She's constantly losing things!
Она постоянно все теряет!
В этом случае в предложении обязательно должно быть наречие always (всегда), или constantly (постоянно), или forever (вечно).
Второй случай. Вы рассказываете о своих планах, обычно на ближайшее будущее (особенно если уже решено время и место):
I'm having lunch with Clark tomorrow.
Я завтра обедаю с Кларком.
Are you coming to the dance tonight?
Ты пойдешь на танцы сегодня вечером?
Подробнее об этом случае употребления Present Continuous мы поговорим в главе, посвященной будущему.
Present Simple (настоящее простое время) называется так потому, что оно происходит в настоящем, и оно простое. Вы ничего не хотите подчеркнуть, Вам не важно, завершенное это действие или не завершенное, длительное или моментальное.
Вы просто сообщаете какой-то факт:
I live in Russia.
Я живу в России.
He likes cats.
Он любит кошек.
Или общеизвестную истину, закон природы:
The Earth goes around the Sun.
Земля вращается вокруг Солнца.
It snows in winter.
Зимой идет снег.
Рассказываете о привычных действиях:
They get up at 6 a.m.
Они встают в 6 утра.
On Sundays we usually stay at home.
По воскресеньям мы обычно остаетмся дома.
Или перечисляете целую цепочку действий:
So, I take a match, light it, put it into the glass and... oh, nothing happens!
Итак, я беру спичку, зажигаю ее, кладу в стакан и... о, ничего не происходит!
Как Вы уже заметили, время Present Simple строится несложно: достаточно просто взять любой глагол из словаря, например, read (читать), и поставить его после подлежащего: I read (я читаю), you read (вы читаете), we read (мы читаем), they read (они читают). В третьем лице едиснтвенного числа (he, she, it) к глаголу придется добавить окончание -s: he reads (он читает), she reads (она читает), it reads (оно читает). Таковы правила.
Для образования вопросов и отрицаний используется вспомогательный глагол do. Для третьего лица единственного числа (he, she, it) он принимает форму does:
Do you like coffee? - Вы любите кофе?
Does he like coffee? - Он любит кофе?
You don't understand. - Вы не понимаете.
She doesn't understand. - Она не понимает.
Вспомогательный глагол do/does может появиться и в утвердительной форме - в том случае, если Вам необходимо особенно что-то подчеркнуть. В этом случае на вспомогательный глагол обязательно ставится ударение:
Ask him again, he does know the truth.
Спроси его еще раз, он точно знает правду.
She does help me so much!
Она так сильно мне помогает!
Глагол to be (быть) в настоящем времени ведется себя по-своему. Ему не нужны вспомогательные глаголы, он меняется в зависимости от лица подлежащего:
I am - я есть
he is - он есть
she is - она есть
it is - оно есть
you are - вы есть
we are - мы есть
they are - они есть
Вопросы и отрицания c глаголом to be тоже строятся по особому, и тоже без do/does. Вместо них в вопросе глагол to be сам становится перед подлежащим, а в отрицании сам прибавляет частицу not:
He is a singer. - Он писатель.
Is he a singer? - Он писатель?
He isn't a singer. - Он не писатель.
Глагол to have в третьем лице единственного числа имеет форму has (формы haves не существует): he has, she has, it has.
He has a gift.
У него есть дар.
ГЛАГОЛЫ СОСТОЯНИЯ
В русском языке мы довольствуемся тремя временами - настоящим, прошедшим и будущим. Они нам просты и понятны. Настоящее - это то, что есть сейчас, прошедшее - то, что было в прошлом, а будущее - то, что будет в будущем. Поэтому, когда говорят, что в английском языке двенадцать времен, возникает непонимание - а откуда они все взялись? Где их место относительно привычным нам категориям настоящего, прошедшего и будущего? Не три, а двенадцать. Как это может быть?
Фокус в том, что этого не может быть. C англичанами все в порядке - они точно так же, как и мы, различают прошлое, настоящее и будущее. Но, в зависимости от того, какое действие они описывают (длительное, или мгновенное, или повторяющееся, или завершенное и т.п.), они ставят глагол в определенную форму. Таким образом, грамматическая форма глагола сама показывает нам характер описываемого действия. В русском же языке мы получаем эту информацию из контекста, лексически (то есть, говорим еще много лишних слов).
Времен, в которых может проистекать описываемое Вами действие, как и у нас, три: настоящее (present), прошедшее (past) и будущее (future). И это действие может быть четырех видов: простое (simple), длительное (continuous), совершенное (perfect) и совершенное длительное (perfect continuous). Трижды четыре - двенадцать.
Получается следующее: перед тем, как сказать предложение, в котором есть глагол, Вы определяетесь, когда произошло действие, которое этот глагол описывает (в настоящем, прошлом или будущем) и какое оно было (простое, длительное, совершенное или совершенное длительное).
Идеи настоящего, прошедшего и будущего нам привычны и понятны, а вот идеи простоты (simple), длительности (continuous), совершенности (perfect) и совершенной длительности (perfect continuous) нужно прояснить. Поэтому мы начнем с них, а затем разберем подробно каждое из двенадцати времен.
Времена группы Simple
Форма Simple называется простой потому, что глагол в ней лишен какой-либо специфической характеристики. Вы ставите глагол в "простые" формы, когда не хотите ничего особенно подчеркнуть (ни длительности, ни завершенности). Вы просто говорите о каком-то действии в самом общем смысле. Это может быть какая-то общеизвестная истина ("Солнце встает на востоке"), или многократно повторяющееся действие ("Я работаю каждый день"), или привычка ("Он всегда носил костюм"), или последовательность действий ("Он пришел домой, умылся, разделся, поужинал и лег спать"), или просто факт ("Завтра магазин закроется в 6"). Если действие, о котором Вы говорите, случилось в прошлом, то это будет время Past Simple (прошедшее простое), в настоящем - Present Simple (настоящее простое), в будущем - Future Simple (будущее простое).
I drink ten cups of tea a day. (Present Simple)
Я пью десять чашек чая в день. (привычка, постоянно повторяющееся действие)
He came, saw, and won. (Past Simple)
Он пришел, увидел и победил. (последовательность действий)
I will come to see you tomorrow. (Future Simple)
Я зайду к тебе завтра. (просто факт - ничего не длится и не завершается)
Большинство из того, что говорится на английском языке, говорится вот в таких "простых" временах. И только иногда, когда Вам особенно хочется что-то подчеркнуть (длительность действия, предшествование одного действия другому и т.п.), Вы прибегаете к помощи других временных форм, о которых речь пойдет ниже.
Времена группы Continuous
Раз Continuous означает "длительный", то он применяется в том случае, если Вы желаете подчеркнуть длительность какого-то действия. Если оно протекало в прошлом, то это будет время Past Continuous (прошедшее длительное), если в настоящем - Present Continuous (настоящее длительное), в будущем - Future Continuous (будущее длительное). Очень часто мы указываем точное время (или временные рамки), в которых такое действие проистекает. Вот, например, сейчас на часах 18.00. И прямо сейчас Вы есть читающий грамматику (you are reading grammar now), а вчера (предположим) в это же самое время Вы были поющий (you were singing yesterday at 6p.m.), а завтра в это самое время Вы будете ужинающий (you will be having dinner tomorrow at 6
Раз уж зашел разговор о глаголе have, невозможно оставить в стороне и форму have got. Но прежде, чем мы рассмотрим обе формы подробно, запомните, пожалуйста, главное - have got имеет намного более узкую сферу применения, а именно: используется ТОЛЬКО В НАСТОЯЩЕМ ВРЕМЕНИ и ТОЛЬКО В ЗНАЧЕНИИ "ИМЕТЬ" и "ДОЛЖЕН". Все остальное - другие времена, устойчивые словосочетания, формы continuous и perfect - возможно только для have.
Ну а теперь - детали.
1. И have, и have got можно встретить в настоящем времени в значении "иметь, обладать":
Do you have any brothers or sisters? - Yes, I do. I have a sister.
Have you got any brothers or sisters? - Yes, I have. I've got a sister.
Переводятся оба варианта одинаково:
У тебя есть братья или сестры? - Да. У меня есть сестра.
Разница заключается лишь в стилистике: have got - это чуть-чуть более разговорный вариант, он реже встречается в письменной речи. Используется have got в основном англичанами, американцы же предпочитают have.
2. И have to, и have got to взаимозаменяемы в значении "должен", но опять же, только в настоящем времени. В прошедшем времени есть только один способ сказать "был должен" - это had to, и в будущем времени есть только один способ сказать "буду должен" - will have to, а у have got to нет ни формы прошедшего, ни формы будущего времени, точно так же, как и у модального глагола must (должен).
Do you have to go now? - Yes, I do. I have to catch the train.
Have you got to go now? - Yes, I have. I've got to catch the train.
Оба эти варианта переводятся одинаково:
Ты уже должен идти? - Да. Я должен успеть на электричку (буквально - "поймать электричку").
Отличие вновь стилистическое: have got to присуще скорее разговорной речи. Встречается и еще более неформальный вариант, gotta. Его невозможно встретить в письменной речи, зато можно постоянно слышать в разговорах и песнях:
He's gotta be strong, and he's gotta be fast, and he's gotta be fresh from the fight.
Он должен быть сильным, и он должен быть быстрым, и он должен быть прямо с поля боя.
3. Во всех остальных временах используются только формы глагола have:
I had a dream last night.
Я видел сон прошлой ночью.
I've had this bike for two months only.
У меня этот велосипед всего два месяца.
I'll have a chocolate ice-cream, please.
Мне шоколадное мороженое, пожалуйста.
I'd like to have a dog.
Хотел бы я иметь собаку.
I had to do it.
Я должен был это сделать.
4. Именно формы глагола have (а не have got) встречаются во всевозможных устойчивых словосочетаниях:
have breakfast - завтракать
have fun - веселиться
have a bath - принимать ванну
have a good time - хорошо проводить время
have a word with smb. - поговорить с кем-л.
Разговор о грамматике мы начнем с глагола по двум причинам.
Во-первых, по степени важности мало какая часть речи может сравниться с глаголом. Глагол - это движущая сила речи, ее огонь и жизнь, действие в чистом виде. Само старое русское слово "глагол" имело когда-то значение "слово" (а "глаголить" означало "говорить"), так же и в английском языке слово verb (глагол) созвучно слову word (слово). Глагол - это основа предложения и основа основ.
Во-вторых, именно с глаголом возникает больше всего трудностей у изучающих английский язык, и именно в глагольных формах они более всего путаются. И их (изучающих английский язык) можно понять - ни одна другая часть речи в английском не имеет такого количества форм, морфологических категорий и связанных с нею грамматических тем. А раз с глаголом возникает столько проблем, именно с него и нужно начинать.
Итак, начнем.
Все глаголы английского языка можно разделить на три класса: вспомогательные глаголы, модальные глаголы и обычные, так называемые полные, глаголы. Вспомогательных глаголов всего три, модальных - около одиннадцати, а полными считаются все остальные глаголы английского языка.
ВСПОМОГАТЕЛЬНЫЕ ГЛАГОЛЫ
Для начала разрешите напомнить Вам, для чего они нужны. Вспомогательные глаголы помогают другим глаголам (именно поэтому они так называются). Их помощь необходима по ряду причин. Одна из них, например, кроется в том, что в английском языке вопросительное предложение часто произносится с той же интонацией, что и утвердительное. Как же тогда понять, задали Вам вопрос или просто что-то сказали? Англичане выходят из положения, как могут - меняют порядок слов. Поэтому в английском вопросе вспомогательный глагол ставится перед подлежащим, чтобы предупредить собеседника о том, что сейчас ему будут задавать вопрос.
Для того же, чтобы построить отрицание, нужно к вспомогательному глаголу добавить частицу not.
Рассмотрим каждый из вспомогательных глаголов поподробнее. Их, как уже упоминалось, три - do, be и have.
do
Вспомогательный глагол do встречается в настоящем простом времени - Present Simple (он принимает форму does для he, she, it и do для всех остальных лиц) и в прошедшем простом - Past Simple (did для всех лиц). Например:
Do you dance?
Вы танцуете? (Present Simple, вопрос)
She doesn't agree.
Она не согласна. (Present Simple, отрицание)
- Help you?
- Did you write this?
- Jane Eyre. That was Charlotte Bronte.
- Right. Well I'd like to speak to her then please.
- Oh... I'm afraid eh... I'm afraid she's no longer with us.
- Well I can't say I'm surprised. Did she leave some kind of forwarding address? Where can I get in touch with her?
- No, no. I mean "no longer with us" in the sense of "dead".
- Dead?
- Quite dead.
- Oh. I see. When did she die exactly?
- Um ... 1855 I think I'm right in saying.
- 18:55? Oh. Let me see, that's what... five minutes to seven, isn't it?
- No. "1855" in the sense of the year "1855". Was there some problem?
- Well you'll have to do I suppose, since you sold me the thing. I want my money back.
- Do you mind me asking why?
- I'll tell you why. Because it's balls, that's why. It is complete balls.
- I'm afraid I have to disagree with you there.
- Oh are you? Well just listen to this then ... Oh yes, yeah... "I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a Turk". It's just complete balls.
- Balls in what sense?
- Balls in the sense of balls. I mean what "window-seat"? This is the first page. She's never mentioned a window-seat before. And what Turk? Have you ever seen a Turk mount a window-seat? It's complete balls.
- Well I think you're supposed to imagine it.
- Ho? Oh really? All right, then, all right then how about this bit here, yes... um ... chapter thirty-eight ... "Reader, I married him." Mm? Now if that isn't balls, kindly fax me an explanation of what is. "Reader"? What reader? Or are you supposed to imagine this reader as well, are you?
- No, that's you. It's addressed to you, the reader of the book.
- OH BALLS. She couldn't know me, you just told me the stupid tart died in 1855.
- Well not you specifically, but whoever happens to read the book at the time. Jane Eyre is telling you that she married Mr Rochester.
- Jane Eyre is a made-up character! She doesn't exist.
- No but she writes the story. She is the "I" of the story.
- OH MAKE YOUR FRIGGING MIND UP. You just told me Charlotte Bronte wrote the blasted story.
- Well... yes she did ... but ...
- Well you're obviously as confused as I am. It's just balls from start to finish and now I want my money back. Give me something please to read that doesn't go on about window-seats I've never even heard of and doesn't have some dead bitch calling you "reader" all the time.
- What about this ... proving very popular.
- What is it?
- The Invalid by Myra Penworthy Fennerweave.
- Any good?
- Excellent.
- "Talbot entered the room in a feverish haste, bearing his precious cargo before him like a votive offering. Elizabeth lay back on her bed, her face pale and pinched. "Richard is that you?" she moaned". Oh it's just complete BALLS! Bally, bally, bally balls balls. Balls!
- It's not actually. That is true. Every single word of that happened.
- Oh double balls and bollocks!
- This woman is very upset. We think you should hear her story. Now, Sally...
- Sarah.
- Sarah. Damn! Sarah. Would you like to tell us what it is that's upset you like this?
- No.
- You're too upset?
- Yeah.
- Sarah's too upset even to talk about what it is that's upset her. That's how upset she is. Would it be all right if I told the viewers what it is that's upsetting you?
- No.
- Right. Well, you can see for yourselves that Sarah is immensely upset, so upset that she won't even let me tell you on her behalf what it is that's upsetting her. I think I can, however, give you the very barest details. Basic...
- No, you can't.
- Right. No, absolutely not. The thing is they're, um... They're probably all a bit curious to know what it is that's upsetting you now and, you know, if I... I'd be letting them down if I didn't tell them something.
- Oh, but you can't.
- Okay, okay. So, I... I can't even...
- No, no...
- What are you doing?
- Nothing.
- Were you telling them what's upset me?
- No.
- Good.
- Well, I mean, you told me not to, so obviously I wouldn't.
- Right.
- You bastard!
- What? I wasn't doing anything. I... I was...
- I trusted you.
- Well, good. I'm glad 'cause, you know, I trusted you.
- I don't want your trust.
- Right. Well, I think... I think she's gone upstairs, so... Basically, I can tell you that what happened was she was...
Hugh: Hello, father. Mother said you wanted to see me.
Stephen: Yes, yes, come in Timothy. I just wanted a word... I wonder if you could... oh...Damn this drawer, I just don't seem to be able to open it, would you mind?
Yes, yes. It's true. Every word is true. I tried to fight it, but I knew it was useless. It's true.
Hugh: (Puzzled) Father?
Stephen: Timothy, it's time you knew who you were.
Hugh: I know who I am, father.
Stephen: No, child, you do not.
Hugh: I'm Timothy Forrest.
Stephen: No. I wish it were so, but no. Sit. Sit down. Twenty-five years ago the doctors told your mother and me that it would be impossible for us ever to have children.
Hugh: Oh. Why not?
Stephen: I can't remember the exact reason. It was something to do with penises I think. So we decided to adopt a child.
Hugh: I see. And you chose me.
Stephen: After a great deal of shopping around, yes. From a new edge-of-town orphanage that had opened just outside Royston.
Hugh: Did they tell you who my real parents were?
Stephen: Please Timothy let me tell you this in my own way, in my own time, in my own clothes.
Hugh: I'm sorry father.
Stephen: On your seventh birthday a man called round to
this house. His name was Furlo Roth. He took out a small multi-bladed knife, and he placed it in this drawer, the drawer that you have just opened. He then closed the drawer and said that only the Chosen One would be able to open it. You, Timothy ... you are the Chosen One.
Hugh: I am?
Stephen: And this is Berwhale the Avenger, the weapon of the Chosen One. Tomorrow is your twenty-fifth birthday and you must leave us to go in search of Pewnack, the Destroyer, the Dark One, the Beast.
Hugh: Golly.
Stephen:When the fourth moon of Trollack rises above the Cylinder of Eyelass then Pewnack will strike. His kingdom shall be numberless and darkness will blight the land, all men will be slaves and the time of weeping will begin. Only the Chosen One can stop him. So it is written in the runes of Ollerman-Goth, so it must be. And only Berwhale the Avenger can pierce the armour of the beast.
Hugh: I knew it! It sounds funny, father, but in my heart I knew there was something. I realise now that I've been waiting for this moment all my life.
Stephen: Yes! Yes, it must be so.
Hugh: So where do I find this beast, this Pewnack the Destroyer?
Stephen: He lives far beyond, in Saffron Walden.
Hugh: Saffron Walden, right.
Stephen: You must go there. Surprise is the key. If he knew that you were after him he would set the minions of Threek on you. Become a part of the community. Get a job in a canning factory. Bide your time.
Hugh: Yes. How will I know this Beast?
Stephen: Only Teece, the Wise One, can tell you.
Hugh: Teece?
Stephen: Teece. After six months, when you have been accepted by the Saffron Walden community, then Furlo Roth will call on you and show you how you might find Teece and together set out on your quest to rid the world of Pewnack forever.
Hugh: Yes! Yes, it shall be done.
Stephen: Now take Berwhale the Avenger, go upstairs and wash your hands for lunch.
Hugh: Right.
Woman: Well?
Stephen: I think he swallowed it.
Woman: Thank God.
Stephen: It'll get that lazy little sod out of the house and earning his living.
I've just had a walk around this old little town of Ludlow, with its narrow twisting medieval roads and aged cottages. It's not a tourist sight and not much of a place, really, just an ordinary little town, not unlike many others near Hereford where I'm currently staying. But I love these ordinary touristless towns where real life goes on, and whenever I have free time I spare some for a good walk around one of them.
So, it's 5 o'clock now (time for a cuppa tea!), and my feet hurt, and so I decide to have a break at the foot of a hill near the river. I have neither food nor tea on me, and I'm too tired to take my notepad out and fix the experiences of the day. So I close my eyes. And see.
It all comes very slowly, gradually as my mind is calming down - I hear distant sounds of cars, people talking, a dog barking twice, and then - closer - the river rolling and the wind blowing in the top of the trees. And I do realise, in this particular moment, that this balmy wind which is now tenderly touching my face is the same wind which was passing through Sherwood Forest trees in Robin Hood times, and this very earth which is sharing its warmth with me still remembers ancient songs and celts and village witches, and this very sun that is gently caressing my eyelids and cheeks used to spark brightly off the swords of the Knights of the Round Table... stirred, I open my eyes, and look up, and all at once see a magnificent old castle, once grand and now in ruins, resting on the top of the hill, and I gasp and stare as my heart is filling up with joy of knowing: this is old England talking to me here and now, the old England from legends and fairy-tales, it is still here, alive and breathing, separated from the modern world by a wall no thicker than a shadow, and you can touch it and feel it anytime you want, cos once you become aware of it, it is always there for you.
[700x525]
Waitress: Are you ready to order?
Hugh: Did you say something?
Stephen: No.
Hugh: I thought I heard ...
Stephen: I rather think it may have been a member of the restaurant staff.
Hugh: Ah.
Waitress: Are you ready to order?
Hugh: Yes, we are ready to order, thank you. I shall have the melon, followed by the roast lamb.
Waitress Melon, lamb. And you, sir?
Stephen: I shall have soupe de poisson, I think followed by roast lamb also.
Waitress: Fish soup. Lamb.
Stephen: I'm so sorry.
Waitress: Yes?
Stephen: What did you just say?
Waitress: Fish soup, lamb.
Stephen: Mmm. Perhaps I didn't make myself absolutely clear. I would actually like the soupe de poisson.
Waitress: Soupe de poisson is fish soup.
Stephen: Oh dear.
Hugh: Oh deary me.
Stephen: Was I speaking too quickly for you?
Hugh: You seem to be a little confused.
Stephen: I asked for soupe de poisson.
Hugh: Soupe de poisson.
Waitress: Soupe de poisson is fish soup.
Stephen: No. No.
Hugh: No no no no.
Stephen: I obviously lost you. Soupe de poisson is soupe de poisson.
Hugh: D'you see?
Stephen: One thing cannot be another thing. All right? Now, as you have gone to the trouble of advertising soupe de poisson, and I have gone to the great length of ordering soupe de poisson, perhaps you would be kind enough to bring me some soupe de poisson. Thank you.
Hugh: And some mineral water.
Waitress: Mineral water.
Stephen: What a delightful restaurant.
Hugh: Absolutely delightful.
Waitress: Mineral water.
Stephen: Oh dear.
Hugh: Oh waitress?
Stephen: Waitress?
Hugh: Can you remember what it was that I asked for? I think I saw you write it down, did you write it down?
Waitress: Yes, Mineral water.
Hugh: Bravo.
Stephen: Excellent, well done.
Hugh: But you have brought a bottle of mineral water.
Stephen: Do you see? These are called bottles.
Hugh: We asked for mineral water.
Stephen: Mineral water. Just as you carefully wrote down on your small pad.
Waitress: How much mineral water?
Hugh: Some.
Stephen: Some mineral water I think we asked from you.
Hugh: Some.
Waitress: Some?
Stephen: But we can check precisely what it was we asked for. We do tape our conversations against just such a contingency.
Tape: "Get out the pair of you, you snotty wankers ..."
Stephen: No, no. That was the restaurant we were in yesterday.
Hugh: It was a delightful restaurant it was too.
Stephen: Quite delightful. Here we are.
Tape: "And some mineral water. - Mineral water."
Hugh: You see?
Stephen: Some mineral water.
Hugh: No mention of bottles.
Waitress: Shall I bring it in a jug?
Stephen: Yes, now, you see, young lady, my suggestion to you is that you should bring us mineral water in a jug when we ask for mineral water in a jug, till then, we'd be very grateful if you just brought us some mineral water. Thank you.
Hugh: All right?
Stephen: Thank you.
Hugh: What a delightful restaurant.
Stephen: Simply charming restaurant.
Hugh: Thank you.
Stephen: Delightful.
Hugh: I wonder, my dear, is there a gents' nearby. I'm rather desperate for a pee.
Waitress: Well ... there is one, but it was out of order
earlier on. I'll just check.
Stephen: Charming waitress, do you see?
Hugh: This is right. Do you understand?
Waitress enters with a small green pea, which she
places in front of Hugh.
Hugh: Um ...
Stephen: Er ...
Hugh: Yes, now, waitress, you must excuse my stupidity, but ...
Waitress takes tape recorder.
Waitress: You asked for it. Listen.
Tape: "I'm rather desperate for a pee ..."
Hugh: Ah...
Do you remember how in that beautiful story of Ray Bradbury's they made dandelion wine, so that in winter, when it's dark and cold, you could open a bottle of golden stuff, which was just like summer on the tongue? Dandelion wine. Summer catched and preserved. How I wish that I had a shelf of bottles in the cellar where I could keep my dearest memories, so that one day, when I need them, they were all there, just reach out and open the bottle and savour... It bothers me a lot, because I think that I'm starting to forget. That year 2005, it meant so much for me, it was so utterly important, every day, every miracle that it brought, but now, as I grow older, I feel the memories slipping through my fingers and fading away... And I don't want them to. They are so subtle, based on emotion, backed by no real evidence but an old and shabby notepad where I'd put an occasional note, and a few pictures, which could have been much better and much more numerous if only I had bothered to take pains... at that particalar time I was sure that taking a picture was the least decent thing you could do when come to face something extraordinary - why waste time on a camera when you have to take it all in through your eyes, ear, smell, taste, touch and soul? So that's all I can really rely on now - the memory of my eyes, ear, smell, taste and touch. The memory of my soul.
So this is, basically, what this diary is (or rather, is going to be) about: a shelf in the cellar, which I'd like to fill gradually up with bottles, one by one, till they are all there - my memories of Great Britain.
Kate Bush about this song:
This song is very much about two people who are in love, and how the power of love is almost too big for them. It leaves them very insecure and in fear of losing each other. And it's saying that if these two people could swap places - if the man could become the woman and the woman the man, that perhaps they could understand the feelings of that other person in a truer way, understanding them from that gender's point of view, and that perhaps there are very subtle differences between the sexes that can cause problems in a relationship, especially when people really do care about each other. (1985, Homeground)
We're wearing Hakama, which are the Japanese trousers. It was really fun working on that video, I've been working with Dyane Grey, a dance teacher who I found at the top of '83. We worked together, with Diane choreographing, and it was fantastic, it was just such a good experience. And I think what we were trying to do was, we felt that all the videos that are around that there's a lot of dance appearing in them, but it's not really serious dance. And no-one has yet tried to film just a nice serious piece of dance, properly, and that's what we were trying to achieve... (1985, Rockline)
LYRICS
"If I only could, I'd be running up that hill.
If I only could, I'd be running up that hill."
It doesn't hurt me.
Do you want to feel how it feels?
Do you want to know that it doesn't hurt me?
Do you want to hear about the deal that I'm making?
You, it's you and me.
And if I only could,
I'd make a deal with God,
And I'd get him to swap our places,
Be running up that road,
Be running up that hill,
Be running up that building.
If I only could, oh...
You don't want to hurt me,
But see how deep the bullet lies.
Unaware I'm tearing you asunder.
Ooh, there is thunder in our hearts.
Is there so much hate for the ones we love?
Tell me, we both matter, don't we?
You, it's you and me.
It's you and me won't be unhappy.
And if I only could,
I'd make a deal with God,
And I'd get him to swap our places,
Be running up that road,
Be running up that hill,
Be running up that building,
Say, if I only could, oh...
You,
It's you and me,
It's you and me won't be unhappy.
"C'mon, baby, c'mon darling,
Let me steal this moment from you now.
C'mon, angel, c'mon, c'mon, darling,
Let's exchange the experience, oh..."
And if I only could,
I'd make a deal with God,
And I'd get him to swap our places,
Be running up that road,
Be running up that hill,
With no problems.
And if I only could,
I'd make a deal with God,
And I'd get him to swap our places,
Be running up that road,
Be running up that hill,
With no problems.
And if I only could,
I'd make a deal with God,
And I'd get him to swap our places,
Be running up that road,
Be running up that hill,
With no problems.
If I only could
Be running up that hill
With no problems...
"If I only could, I'd be running up that hill.
If I only could, I'd be running up that hill."
Kate Bush about this song:
It tells of the relationship developed between a young girl and an older man. She sees this man as an all-consuming figure. He's wise, yet he retains a certain innocent quality. The song tells how his eyes give away his "inner light". He's a very real character to the girl, but nobody else knows whether he really exists. (1978, Music Talk)
The inspiration for "The Man With the Child in His Eyes" was really just a particular thing that happened when I went to the piano. The piano just started speaking to me. It was a theory that I had had for a while that I just observed in most of the men that I know: the fact that they just are little boys inside and how wonderful it is that they manage to retain this magic.
I, myself, am attracted to older men, I guess, but I think that's the same with every female. I think it's a very natural, basic instinct that you look continually for your father for the rest of your life, as do men continually look for their mother in the women that they meet. I don't think we're all aware of it, but I think it is basically true. You look for that security that the opposite sex in your parenthood gave you as a child. (1978, Self Portrait)
I was 16 when it was recorded and terrified working with a large orchestra for the first time. (C.1986, AVD)
Yes, that probably was the simplest video we've ever done. Again, the song dictated it, it was a very intimate song about a young girl almost voicing her inner thoughts, not really to anyone, but rather to herself. And it just started off where I sat down on the floor, crosslegged, and getting ready to work out some ideas to the routine with the music on. And my brother Jay came in and saw me sitting there and said, "why don't you just keep it like that?" (1981, Razzmatazz)
LYRICS
("He's here! He's here!
He's here! He's here!")
I hear him, before I go to sleep
And focus on the day that's been.
I realise he's there,
When I turn the light off and turn over.
Nobody knows about my man.
They think he's lost on some horizon.
And suddenly I find myself
Listening to a man I've never known before,
Telling me about the sea,
All his love, 'til eternity.
Ooh, he's here again,
The man with the child in his eyes.
Ooh, he's here again,
The man with the child in his eyes.
He's very understanding,
And he's so aware of all my situations.
And when I stay up late,
He's always waiting, but I feel him hesitate.
Oh, I'm so worried about my love.
They say, "No, no, it won't last forever."
And here I am again, my girl,
Wondering what on Earth I'm doing here.
Maybe he doesn't love me.
I just took a trip on my love for him.
Ooh, he's here again,
The man with the child in his eyes.
Ooh, he's here again,
The man with the child in his eyes.
Kate Bush about this song:
"Army dreamers'' is about a grieving mother who, through the death of her soldier boy, questions her motherhood. (1980, KBC 7)
The Irish accent was important because the treatment of the song is very traditional, and the Irish would always use their songs to tell stories, it's the traditional way. There's something about an Irish accent that's very vulnerable, very poetic, and so by singing it in an Irish accent it comes across in a different way. I'm not slagging off the Army, it's just so sad that there are kids who have no O-levels and nothing to do but become soldiers, and it's not really what they want. That's what frightens me. (1980, Zigzag)
LYRICS
"B.F.P.O."
Army dreamers.
"Mammy's hero."
"B.F.P.O."
"Mammy's hero."
Our little army boy
Is coming home from B.F.P.O.
I've a bunch of purple flowers
To decorate a mammy's hero.
Mourning in the aerodrome,
The weather warmer, he is colder.
Four men in uniform
To carry home my little soldier.
"What could he do?
Should have been a rock star."
But he didn't have the money for a guitar.
"What could he do?
Should have been a politician."
But he never had a proper education.
"What could he do?
Should have been a father."
But he never even made it to his twenties.
What a waste --
Army dreamers.
Ooh, what a waste of
Army dreamers.
Tears o'er a tin box.
Oh, Jesus Christ, he wasn't to know,
Like a chicken with a fox,
He couldn't win the war with ego.
Give the kid the pick of pips,
And give him all your stripes and ribbons.
Now he's sitting in his hole,
He might as well have buttons and bows.
"What could he do?
Should have been a rock star."
But he didn't have the money for a guitar.
"What could he do?
Should have been a politician."
But he never had a proper education.
"What could he do?
Should have been a father."
But he never even made it to his twenties.
What a waste --
Army dreamers.
Ooh, what a waste of
Army dreamers.
Ooh, what a waste of all that
Army dreamers,
Army dreamers,
Army dreamers, oh...
("B.F.P.O.")
Did-n-did-n-did-n-dum...
Army dreamers.
Did-n-did-n-did-n-dum...
("Mammy's hero.")
("B.F.P.O.")
Army Dreamers.
("Mammy's hero.")
("B.F.P.O.")
No harm heroes.
("Mammy's hero.")
("B.F.P.O.")
Army dreamers.
("Mammy's hero.")
("B.F.P.O.")
No harm heroes.
***
B.F.P.O. means "British Forces Posted Overseas".
Stephen: Wot'cha-got in there?
Hugh: Sorry?
Stephen: Wot'cha-got in there, I wonder?
Hugh: A cat.
Stephen: You got a mog in there, have you? You got a kitti-puss? Lovely. This is Clover, my daxie. I've always had daxies. I like smooth coated daxies best.
Hugh: Really? Is that right?
Stephen: So, what sort of mog-wog is your pussy-kit? Mm? It's a tabbles, a tom-tom or what?
Hugh: Burmese.
Stephen: Ah, Burmie! I love a Burmie. Is it boy or girl Burmie?
Hugh: Oh Christ... oh, it's a... he's male.
Stephen: (into basket) Hello, Mr Burmie. What's your name then?
Hugh: Yes he can't speak actually.
Stephen: Ah, but they can understand every word, can't they?
Hugh: Not much evidence for that.
Stephen: My first daxie, my first ever daxie was called Sculley. I named him after Hugh Sculley who presents the Antiques Roadshow. I love that programme, don't you?
Hugh: Pervertedly.
Stephen: Do you know what I do of a Sunday? Every day, after we've had our walk, as Clover and I always go walkums for a Sunday... well, you know just Clover and me and of course my little pooper-scooper, er, er, er, because that nasty Parkie man doesn't like to see poochie-poop on his best grass, does he? No,s o...
Hugh: Oh Christ ...
Stephen: And of course I don't like to see poochie-poop on my best carpet, and if I do, Clover knows he can expect a visit from a smack fairy.
Hugh: So we come back and I make myself a cheese and tommy-toe toastie.
Hugh: A what? A cheese and what?
Stephen: Tommy-toe. Tommy-toe. Tommy-toe.
Hugh: Tomato.
Stephen: Tommy-toe. Tommy-toe.
Hugh: Don't say it again.
Stephen: I make myself a cheese and tommy-toe toastie, sometimes two toasties, and an old muggles of tea and I just snudget down in front of the television and I watch the Roadshow. I love my Sunday afternoonies.
Hugh: Jesus Christ help me.
Stephen: And of course if it isn't the Roadshow, they might have the animal programme with Desmond.
Hugh: Desmond Morris.
Stephen: Ah yes, but we call him Desmond in our house, cos he's like a friend. He's like an old chum, this Desmond. Or we might watch Masterchef with Lloydie, or the Clothsies Show with Geoff Pantsy-wancy. We love our Sunday afties, don't we Clover?
Hugh: Mmmmmmmmmmmmmmmmmmm.
Stephen: So what's wrong with Mr Burmie?
Hugh: What?
Stephen: Mr Burmie. Why's he come to see Vettiloo? Has he got a poorly tums?
Hugh: Did you just say Vettiloo?
Stephen: Sore throatie? Mm? What's wrong with Mr Burmie?
Hugh: I've brought him in to be killed.
Stephen: Scusie?
Hugh: He's got cancer of the liver, so I've brought him in to be put to death.
Stephen: Cancer?
Hugh: Yes.
Stephen: Cancer of the liver?
Hugh: Yes.
Stephen: Cancey-wancey.
Hugh: Oh God...
Stephen: (to the cat) You've got cancey-diddlies then, have you, Mr Burmie? You're going to be put to deathies, are you? Is your little heart going to make a stoppy-wap-wap? Are they going to go killichum-chums? Are they going to put your coldy-woldy body-wod in a groundy-wand, are they? Eh?
Vet: Clover?
Dachsund: (looking up) Yeah?
Vet: What can I do for you?
Dachsund: (looking at Stephen) I'd like to have this man put down, please.
Hugh: So, let's talk instead about flexibility of language - linguistic elasticity if you like.
Stephen: Yes, I think I said earlier that our language, English -
Hugh: As spoken by us -
Stephen: As we speak it, yes certainly, defines us. We are defined by our language if you will.
Hugh: (To camera) Hullo! We're talking about language.
Stephen: Perhaps I can illustrate my point - let me at least try. Here's a question: er...
Hugh: What is it?
Stephen: Ah! Well, my question is this: is our language, English, capable, is English capable of sustaining demagoguery?
Hugh: Demagoguery?
Stephen: Demagoguery.
Hugh: And by demagoguery you mean ...?
Stephen: By demagoguery I mean demagoguery...
Hugh: I thought so.
Stephen: I mean.. erm... highly-charged oratory, persuasive whipping up rhetoric. Listen to me, listen to me, if Hitler had been British would we, under similar circumstances have been moved, charged up, fired up by his inflammatory speeches, or would we simply have laughed? Is English too ironic to sustain Hitlerian styles, would his language simply have rung false in our ears?
Hugh: (To camera) We're talking about things ringing false in our ears.
Stephen: Er... may I compartmentalise? I hate to, but may I? May I? Is our language a function of our British cynicism, tolerance, resistance to false emotion, humour and so on, or do those qualities come extrinsically -extrinsically, from the language itself? It's a chicken and egg problem.
Hugh: (To camera) We're talking about chickens, we're talking about eggs.
Stephen: Er... Let me start a leveret here: there's language - and there's speech; there's chess and there's a game of chess. Mark the difference for me, mark it please.
Hugh: (To camera) We've moved on to chess.
Stephen: Imagine a piano keyboard, eighty-eight keys, only eighty-eight and yet, and yet, hundreds of new
melodies, new tunes, new harmonies are being composed upon hundreds of different keyboards every day in Dorset alone. Our language, Tiger, our language, hundreds of thousands of available words, frillions of legitimate new ideas, mm? So that I can say the following sentence and be utterly sure that nobody has ever said it before in the history of human communication: "Hold the newsreader's nose squarely, waiter, or friendly milk will countermand my trousers." Perfectly ordinary words, but never before put in that precise order. A unique child delivered of a unique mother.
Hugh: Huh...
Stephen: And yet, oh and yet, we, all of us spend all our days saying to each other the same things, time after weary time: "I love you", "Don't go in there", "Get out", "You have no right to say that", "Stop it", "Why should I?", "That hurt", "Help", "Marjorie is dead". Mm? That surely is a thought to take out for a cream tea on a rainy Sunday afternoon.
Hugh: So to you language is more than just a means of communication?
Stephen: Er, of course it is, of course it is, of course it is. Language is my mother, my father, my husband, my brother, my sister, my whore, my mistress, my check-out girl, language is a complimentary moist lemon-scented cleansing square or handy freshen-up wipette. Language is the breath of God, language is the dew on a fresh apple, it's the soft rain of dust that falls into a shaft of morning light as you pluck from an old bookshelf a half-forgotten book of
erotic memoirs; language is the creak on a stair, it's a spluttering match held to a frosted pane, it's a half-remembered childhood birthday party, it's a warm wet, trusting touch of a leaking nappy, the hulk of a charred Panzer, the underside of a granite boulder, the first downy growth on the upper lip of a Mediterranean girl, cobwebs long since overrun by an old Wellington boot.
Hugh: Ner-night.
Kate Bush about this song:
It was interesting because the song had originally been written to visuals from the film called "She's Having a Baby", but the song has its own storyline as well, so then it was like making a film of the song. Obviously (in the movie) it's about a man waiting for wife having a baby. Now I didn't want to put myself in a situation where I have to be pregnant. It's all too complicated. So left it very ambiguous. And I think it looks like a little film in that it tells a story. So I guess rather than talking about it, it might be nice to let you see it. (1990, Option)
LYRICS
Pray God you can cope.
I stand outside this woman's work,
This woman's world.
Ooh, it's hard on the man,
Now his part is over.
Now starts the craft of the father.
I know you have a little life in you yet.
I know you have a lot of strength left.
I know you have a little life in you yet.
I know you have a lot of strength left.
I should be crying, but I just can't let it show.
I should be hoping, but I can't stop thinking
Of all the things I should've said,
That I never said.
All the things we should've done,
That we never did.
All the things I should've given,
But I didn't.
Oh, darling, make it go,
Make it go away.
Give me these moments back.
Give them back to me.
Give me that little kiss.
Give me your hand.
(I know you have a little life in you yet.
I know you have a lot of strength left.
I know you have a little life in you yet.
I know you have a lot of strength left.)
I should be crying, but I just can't let it show.
I should be hoping, but I can't stop thinking
Of all the things we should've said,
That were never said.
All the things we should've done,
That we never did.
All the things that you needed from me.
All the things that you wanted for me.
All the things that I should've given,
But I didn't.
Oh, darling, make it go away.
Just make it go away now.
Выходит моя "Английская грамматика с человеческим лицом" - первая часть, для начинающих (Elementary - Pre-Intermediate). Это рассказ о грамматике, в форме устного объяснения. Если точнее, то это скорее сборник рассказов - по рассказу на каждое грамматическое явление, и они появляются по мере нужности и сложности. То есть, чем необходимее явление ученику, тем первее оно появится в книге. Примерно так. А потом мой издатель придумал к ней рисунки, а художник воплотил их в жизнь. Когда я увидела эти рисунки в первый раз (нужно было одобрить макет перед печатью), я хохотала. В основном потому, что им неожиданно удалось снять мой извечный пафос... например, я там даю такой пример для наречий: I love you truly and deeply (я люблю тебя истинно и глубоко). А они нарисовали внизу блаженно зажмурившегося кота, перед которым лежит огромная рыбина. И внизу - I love you truly and deeply... Это было здорово.
Kate Bush about this song:
The song is about someone from a book who steps out from this very black and white world into the real world. The immediate impressions was the sensuality of this world - the fact that you can touch things, that is so sensual - you know... the colours of trees, the feel of the grass on the feet, the touch of this in the hand - the fact that it is such a sensual world. I think for me that's an incredibly important thing about this planet, that we are surrounded by such sensuality and yet we tend not to see it like that. But I'm sure for someone who had never experienced it before it would be quite a devastating thing. (1989, Roger Scott)
I've got a thing about the sound of bells. It's one of those fantastic sounds: sound of celebration. The're used to mark points in life - births, weddings, deaths - but they give this tremendous feeling of celebration. Sounds of celebration get fewer and fewer. We haven't many left. And yet people complain of the sound of bells in cities. (1989, NME)
Originally the lyrics of the song were taken from the book "Ulysses" by James Joyce, the words at the end of the book by Molly Bloom. It was just the most beautiful piece of writing I've ever read. It's like this never-ending sentence, this long train of thought, and the only thing that punctuates it is the word "yes" and it very gradually accelerates. I just thought it was just one of the most sensual pieces ever written. When I came to write this album, I just picked it up and all the words fitted perfectly to the music. I couldn't believe that the two things would just come together.
But when I applied for permission to use the words I was refused, so I was extremely disappointed. Then I had to rewrite the words trying to keep the same sense of sound, but obviously I'm not James Joyce, so it was a question of keeping the same shape and creating a new story. So it gradually turned into Molly Bloom stepping out of her speech in the book and into the real world. (1989, NME)
LYRICS
Mmh, yes,
Then I'd taken the kiss of seedcake back from his mouth
Going deep South, go down, mmh, yes,
Took six big wheels and rolled our bodies
Off of Howth Head and into the flesh, mmh, yes,
He said I was a flower of the mountain, yes,
But now I've powers o'er a woman's body, yes.
Stepping out of the page into the sensual world.
Stepping out...
To where the water and the earth caress
And the down of a peach says mmh, yes,
Do I look for those millionaires
Like a Machiavellian girl would
When I could wear a sunset? mmh, yes,
And how we'd wished to live in the sensual world
You don't need words--just one kiss, then another.
Stepping out of the page into the sensual world
Stepping out, off the page, into the sensual world.
And then our arrows of desire rewrite the speech, mmh, yes,
And then he whispered would I, mmh, yes,
Be safe, mmh, yes, from mountain flowers?
And at first with the charm around him, mmh, yes,
He loosened it so if it slipped between my breasts
He'd rescue it, mmh, yes,
And his spark took life in my hand and, mmh, yes,
I said, mmh, yes,
But not yet, mmh, yes,
Mmh, yes.