What types of music are there in britain use the word box

Задание №14278.
Чтение. ОГЭ по английскому

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The film “Mary Poppins” never received any rewards.
1) True
2) False
3) Not stated

Решение:
The film “Mary Poppins” never received any rewards. — Фильм “Мэри Поппинс” так и не получил никаких наград.

Данное утверждение не соответствует содержанию текста — false.

«… Disney tries to please her with bright ideas, images and merry tunes that later will gain the Oscar prize.»

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Источник: ОГЭ 2020. Английский язык. Тренировочные варианты. К. А. Громова, О. В. Вострикова и др.

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ОГЭ Английский язык задание №9 Демонстрационный вариант 2018 Про­чи­тай­те тек­сты и уста­но­ви­те со­от­вет­ствие между тек­ста­ми А–G и за­го­лов­ка­ми 1–8. В ответ за­пи­ши­те цифры, в по­ряд­ке, со­от­вет­ству­ю­щем бук­вам. Ис­поль­зуй­те каж­дую цифру толь­ко один раз. В за­да­нии есть один лиш­ний за­го­ло­вок.

1. The scientific explanation
5. Places without rainbows
2. The real shape
6. A personal vision
3. A lucky sign
7. A bridge between worlds
4. Some tips
8. Impossible to catch

A. Two people never see the same rainbow. Each person sees a different one. It
happens because the raindrops are constantly moving so the rainbow is always
changing too. Each time you see a rainbow it is unique and it will never be the
same! In addition, everyone sees colours differently according to the light and
how their eyes interpret it.
B. A rainbow is an optical phenomenon that is seen in the atmosphere. It appears
in the sky when the sun’s light is reflected by the raindrops. A rainbow always
appears during or immediately after showers when the sun is shining and the
air contains raindrops. As a result, a spectrum of colours is seen in the sky. It
takes the shape of a multicoloured arc.
C. Many cultures see the rainbow as a road, a connection between earth and
heaven (the place where God lives). Legends say that it goes below the earth at
the horizon and then comes back up again. In this way it makes a permanent
link between what is above and below, between life and death. In some myths
the rainbow is compared to a staircase connecting earth to heaven.
D. We all believe that the rainbow is arch-shaped. The funny thing is that it’s
actually a circle. The reason we don’t see the other half of the rainbow is
because we cannot see below the horizon. However, the higher we are above
the ground, the more of the rainbow’s circle we can see. That is why, from an
airplane in flight, a rainbow will appear as a complete circle with the shadow of
the airplane in the centre.
E. In many cultures there is a belief that seeing a rainbow is good. Legends say
that if you dig at the end of a rainbow, you’ll find a pot of gold. Rainbows are
also seen after a storm, showing that the weather is getting better, and there is
hope after the storm. This is why they are associated with rescue and good
fortune. If people happen to get married on such a day, it is said that they will
enjoy a very happy life together.

F. You can never reach the end of a rainbow. A rainbow is all light and water. It is
always in front of you while your back is to the sun. As you move, the rainbow
that your eye sees moves as well and it will always ‘move away’ at the same
speed that you are moving. No matter how hard you try, a rainbow will always
be as far away from you as it was before you started to move towards it.
G. To see a rainbow you have to remember some points. First, you should be
standing with the sun behind you. Secondly, the rain should be in front of you.
The most impressive rainbows appear when half of the sky is still dark with
clouds and the other half is clear. The best time to see a rainbow is on a warm
day in the early morning after sunrise or late afternoon before sunset. Rainbows
are often seen near waterfalls and fountains.
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ОГЭ Английский язык задание №9 Демонстрационный вариант 2017

1. Traditional delivery         2. Loss of popularity          3. Money above privacy
4. The best-known newspapers         5. Focus on different readers         6. The successful competitor
7. Size makes a difference        8. Weekend reading

A. As in many other European countries, Britain’s main newspapers are losing their readers. Fewer and fewer people are buying broadsheets and tabloids at the newsagent’s. In the last quarter of the twentieth century people became richer and now they can choose other forms of leisure activity. Also, there is the Internet which is a convenient and inexpensive alternative source of news.

B. The ‘Sunday papers’ are so called because that is the only day on which they are published. Sunday papers are usually thicker than the dailies and many of them have six or more sections. Some of them are ‘sisters’ of the daily newspapers. It means they are published by the same company but not on week days.

C. Another proof of the importance of ‘the papers’ is the morning ‘paper round’. Most newsagents organise these. It has become common that more than half of the country’s readers get their morning paper brought to their door by a teenager. The boy or girl usually gets up at around 5:30 a.m. every day including Sunday to earn a bit of pocket money.

D. The quality papers or broadsheets are for the better educated readers. They devote much space to politics and other ‘serious’ news. The popular papers, or tabloids, sell to a much larger readership. They contain less text and a lot more pictures. They use bigger headlines and write in a simpler style of English. They concentrate on ‘human interest stories’ which often means scandal.

E. Not so long ago in Britain if you saw someone reading a newspaper you could tell what kind it was without even checking the name. It was because the quality papers were printed on very large pages called ‘broadsheet’. You had to have expert turning skills to be able to read more than one page. The tabloids were printed on much smaller pages which were much easier to turn.

F. The desire to attract more readers has meant that in the twentieth century sometimes even the broadsheets in Britain look rather ‘popular’. They give a lot of coverage to scandal and details of people’s private lives. The reason is simple. What matters most for all newspaper publishers is making a profit. They would do anything to sell more copies.

G. If you go into any newsagent’s shop in Britain you will not find only newspapers. You will also see rows and rows of magazines for almost every imaginable taste. There are specialist magazines for many popular pastimes. There are around 3,000 of them published in the country and they are widely read, especially by women. Magazines usually list all the TV and radio programmes for the coming week and many British readers prefer them to newspapers.

1.Living through ages 2. Influenced by fashion 3. Young and energetic
4. Old and beautiful 5. Still a mystery 6. A lot to see and to do
7. Welcome to students 8. Fine scenery

A. Ireland is situated on the western edge of Europe. It is an island of great beauty with rugged mountains, blue lakes, ancient castles, long sandy beaches and picturesque harbors. The climate is mild and temperate throughout the year. Ireland enjoys one of the cleanest environments in Europe. Its unspoilt countryside provides such leisure ac¬tivities as hiking, cycling, golfing and horse-riding.
B. Over the past two decades, Ireland has become one of the top destinations for En¬glish language learning — more than 100,000 visitors come to Ireland every year to study English. One quarter of Ireland’s population is under 25 years of age and Dublin acts as a magnet for young people looking for quality education. The Irish are relaxed, friendly, spontaneous, hospitable people and have a great love of conversation. So, there is no better way of learning a language than to learn it in the country where it is spoken.
C. Dublin sits in a vast natural harbor. Such a protected harbor appealed to the first settlers 5,000 years ago and traces of their culture have been found around Dublin and its coast. But it was not until the Vikings came sailing down the coast in the middle 9th cen¬tury that Dublin became an important town. Next to arrive were the Anglo-Norman ad¬venturers. This was the beginning of the long process of colonization that dictated Ire¬land’s development over the next seven hundred years.
D. Now Dublin is changing fast and partly it ’s thanks to its youthful population over 50 percent are under the age of twenty-five and that makes the city come alive. To¬day Dublin is a city full of charm with a dynamic cultural life, small enough to be friend¬ly, yet cosmopolitan in outlook. This is the culture where the heritage of ancient days brings past and present together.
E. In general, cultural life of Dublin is very rich and you can enjoy visiting different museums, art galleries and exhibitions. But for those looking for peace and quiet there are two public parks in the centre of the city: St. Stephen’s Green and Merrion Square.
The city centre has several great shopping areas depending on your budget as well as nu¬merous parks and green areas for relaxing in. Dublin is also a sports-m ad city and wheth¬er you are playing or watching, it has everything for the sports enthusiast.
F. Step dances are the creation of Irish dancing m asters of the late 18th century.
Dancing m asters would often travel from town to town, teaching basic dancing steps to those interested and able to pay for them . Their appearance was motivated by a desire to learn the ‘fashionable’ dance styles which were coming from France. The dance m asters often changed these dances to fit the traditional music and, in doing so, laid the basis for much of today’s traditional Irish dance — ceili, step, and set.
G. St Patrick is known as the patron saint of Ireland. True, he was not a born Irish.
But he has become an integral part of the Irish heritage, mostly through his service across Ireland of the 5th century. Patrick was born in the second half of the 4th century AD. There are different views about the exact year and place of his birth . According to one school of opinion, he was born about 390 A.D., while the other school says it is about 373 AD. Again, his birth place is said to be in either Scotland or Roman England. So, though Patricius was his Romanicized name, he became later known as Patrick.
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Источник: ОГЭ 2017 АНГЛИЙСКИЙ ЯЗЫК Л.М.Гудкова О.В.Терентьева

1.Thanks to new technology 2. A custom for a sweet-tooth 3. The upside down world
4. Nice for people in love 5. Happy next year 6. Not allowed for some time
7. Watch out or give the money 8. Christmas is coming

A. Houses are decorated with colored paper ribbons and chains. Holly with red ber¬ries is put on the walls and looks very colorful. A piece of mistletoe (a plant) is hung from the ceiling. It is said to be lucky to kiss under the mistletoe hanging from the ceil¬ing. As you can understand, a lot of people who may not usually kiss each other take the chance given by a piece of mistletoe!
B. One of the delicacies the British have enjoyed for almost 900 years is the mince pie.
This is a sort of small cake with a delicious mixture of spices and fruit. It was the Cru¬saders who introduced it when they brought back new aromatic spices from the Holy Land. In the 17th century Oliver Cromwell tried to ban the eating of mince pies (as well as singing of carols) — but people continued to eat (and sing) in secret.
C. Christmas Day is a family day when families try to be together. In past years, the Queen has broadcast a radio message from her study at Sandringham House. Since 1959 she has been recording her message every year some weeks before Christmas, so it could be broadcast on Christmas Day by radio in all parts of the British Commonwealth.
D. In the USA many towns have a public tree place in some square or park or outside the town hall. This custom began first in America when an illuminated tree was set up in 1909 in Pasadena, California. Now we can observe the ceremony of putting up the Christmas tree in Rockefeller Center in the heart of New York City, as well as in the main square of every town in the country. The nation’s main Christmas tree is set up in Washington, D.C. on the parade ground near the White House. A few days before Christ¬mas the President of the United States presses a button to light the tree. This is the sig¬nal for lighting trees across the land.
E. The custom of breaking a wishbone (of a chicken or turkey) comes from the Ro¬mans who used them for fortune telling. They examined the bones of sacrificed birds, which they thought were messengers from their gods. Looking for signs of future events, they broke the wishbone and the person with the longest piece could make a wish which may bring him luck or good fortune.
F. Christmas in Australia is not like anywhere else since December is one of the hot¬test months of the year. But the Australians have a great time anyway. Those who live near the coast go to the beach on Christmas day. They have a swim, play cricket or vol¬leyball, surf or just sit around with family and friends enjoying Christmas dinner. Santa Claus arrives on a surfboard — quite a change from sliding down a chimney!
G. Christmas caroling is particularly popular in Wales where it is often accompanied by a harp. In some rural areas a villager is chosen to be the Mari Lawyed. This person travels around the town dressed in white and carrying a horse’s skull on a long pole. Anyone given the ‘bite’ by the horse’s jaws must pay a fine.

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Источник: ОГЭ 2017 АНГЛИЙСКИЙ ЯЗЫК Л.М.Гудкова О.В.Терентьева

1.A two-language melting pot 2. Born of hardships 3. Enough land for both
4. Failures and successes 5. Native tribes 6. Difficult life
7. Back to the roots 8. The birth of the new nation

A. Long before Europeans first came to America, many groups of Indians lived there.
They hunted forest animals for food and clothing. They gathered berries and nuts in the forests. Many groups fished in the rivers and streams that flowed through the forests.
Most anthropologists agree that the North American Indians migrated over the Bering Sea from Siberia, 10,000 to 30,000 years ago.
B. Later, in 1534 the French king sent Jacques C artier to find a water route to the Far East. C artier made several voyages to the new World, and he tried to establish a colony on the banks of the St. Lawrence River (where Montreal is located today) but he failed.
In 1608, Samuel de Champlain built the first perm anent French settlement in Canada.
He named it Quebec.
C. Both nations began to expand in the New World. English colonists began to settle along the Atlantic Coast. The French began to explore and build forts in the region south of the Great Lakes in the valleys of the Ohio and Mississippi Rivers.
D. So Great Britain and France were fighting for control of Canada until 1763. As a result, France signed a treaty giving up all its claims to land on the continent of North America. The French who were living in Canada did not return to France. They continued to follow the customs and religion of their native land. They became ‘French Canadians’.КНТ 3
19
E. Since that time, millions of immigrants from the United States, Scotland, Ireland, England, Germany, Russia, Poland, Scandinavia, and other countries of the world have moved to Canada. Today about one third of the Canadians speak French and about two thirds speak English. English and French are both official languages of Canada.
F. Since the 1950s, there has been a remarkable rebirth of Indian culture. Native lan¬guage, culture and history programmes have been instituted in schools. Cultural centres are flourishing, and traditional practices and beliefs are increasingly being used to com¬bat alcoholism and drug problems. Indian elders are once again playing a vital role and linking generations.
G. Canadian sport is indebted to Indian culture for the toboggan, snowshoe, lacrosse stick and canoe. Many Indian games had utilitarian purposes related to survival, e.g. wrestling, archery, spear throw ing, foot and canoe racing. Some of them initially were meant to prepare youngsters for cooperative existence in a cruel environment

Источник: ОГЭ 2017 АНГЛИЙСКИЙ ЯЗЫК Л.М.Гудкова О.В.Терентьева

1. The history of a popular drink 2. Healthy drink 3. They want it quick and easy
4. Not a drink 5. Some changes in British diet 6. Some changes in British tastes
7. Making tea process 8. Helpful hint

A. British attitude to what they eat daily has changed a lot over the past twenty years. In the 1990s each person ate about 352 gram s of ‘red ’ meat each week, but now it’s less than 250 gram s. People prefer chicken and fresh fish. And more people are interest¬ed in healthy eating these days. In 1988 the national average was 905 gram s of fruit and fruit juices each week, but now i t ’s nearly 2,000 gram s.
B. Twenty years ago, British people usually ate at home. They only went out for a meal at special times, like for somebody’s birthday. Today when both parents are work¬ing, they cannot cook large meals in the evenings. ‘Ready-made’ meals from supermar¬kets and Marks and Spencer and ‘take-aw ay’ meals from fast food restaurants are very popular. If you are feeling tired or lazy, you can even phone a local restaurant. They will bring the food to your house.
C. In the past, traditional steakhouses were very popular places, but now more and more people prefer foreign food. Every British town has Indian and Chinese restaurants, and large towns have restaurants from many other countries too.
D. The British population drinks a lot of tea. Tea — mostly green tea from China — came to Britain in the late 1500s. But it was only for the very rich. It became cheap¬er about three hundred years later, when it was planted in India and later in Ceylon (Sri Lanka). People from all classes started drinking it. But some people thought that too much tea was bad for their health. So they started putting milk in it to make it healthier!
E. Afternoon tea is a small meal. Now most ordinary British families do not have time for afternoon tea at home, but in the past it was a tradition. It became popular when rich ladies invited their friends to their houses for an afternoon cup of tea. They started of¬fering their visitors sandwiches and cakes too. Soon everybody was enjoying this excit¬ing new meal.
F. If someone in England asks you ‘Would you like a cup?’ they are asking if you would like a cup of tea. If someone says, ‘Let me be m other’ or ‘Shall I be m other?’ they are offering to pour out the tea from the teapot.
G. Most people today use teabags to make tea, but some serious drinkers make tea in the traditional way. First the water is boiled. Then some of the boiled water is used to warm the teapot. Then the tealeaves are put in the teapot. Then the boiling water is add¬ed. Then the pot is left for five minutes under a ‘teacosy’. Finally, the tea is served in delicate cups with saucers.

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Источник: ОГЭ 2017 АНГЛИЙСКИЙ ЯЗЫК Л.М.Гудкова О.В.Терентьева

1.Absolute honesty 2.The cost of education 3. Just choosing 4. Inform al teaching
5. Another application 6. Optional teaching 7. Needed move 8. Uncertain parents

A. At the beginning of your last year at school you receive an application form . On this form you choose up to five universities that you would like to go to. The form is sent to those universities with information from your school about you and your academic results. If the universities are interested in your application, they will ask you to attend an interview and will offer you a place. Any offer, however, is only conditional at this stage.
B. А-level examinations are the exams taken at the end of your time at school. So, when a university makes an offer, it will tell you the minimum grades that you must get on your а-level exam. If you don’t get those grades, then you will not be accepted and you will have to apply again to another university.
C. Like all British universities, Oxford is a state university not a private one.
Students are selected on the basis of their results in the national examination or the special Oxford entrance examination. There are many applicants and nobody can get a place by paying. Successful candidates are admitted to a special college of the university: that will be their home for the next three years and for a longer period if they would like to go on studying for a postgraduate degree.
D. An undergraduate will spend an hour a week with his or her ‘tutor’; perhaps in the company of one other student. Each of them will have written an essay for the tutor, which serves as the basis for discussion, arguments, the exposition of ideas and academic methods. At the end of the hour the students go away with a new essay and a list of books that might be helpful in preparing for the essay.
E. Lectures and seminars are other kinds of teaching; popular lecturers can attract audience from several faculties, while others may find themselves speaking to two or three loyal students or maybe to no-one at all. In practice, most students at Oxford are enthusiastic about academic life and many of them work for days on each essay, sometimes sitting up through the night with a wet towel round their heads.
F. Most 18 and 19 year-olds in Britain are rather independent people, and when the time comes to pick a college, choose one as far away from home as possible. So, many students in northern and Scottish universities come from England and vice versa. It’s very unusual for students to live at home. Although parents may be a little sad to see this happen, they usually have to approve of this step and see it as a necessary part of becoming an adult.
G. Students all over the world have to work for their education. A college education in the USA is expensive. The costs are so high that most families begin to save for their children’s education when their children are the babies. Even so, many young people cannot afford to pay the expenses of full-time college work. They do not have enough money to pay for school costs. Tuition for attending the university, books for classes, and dormitory costs are high. There are other expenses such as chemistry and biology laboratories fees and special student activity fees.

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Источник: ОГЭ 2017 АНГЛИЙСКИЙ ЯЗЫК Л.М.Гудкова О.В.Терентьева

1. Ëåêñèêà. Ìóçûêàëüíàÿ êàðòà Áðèòàíèè ïîêàçûâàåò, êàêèå òèïû ìóçûêè ìîãóò áûòü óñëûøàíû â ñòðàíå.

1) Êàêèå âèäû ìóçûêè åñòü â Áðèòàíèè? Èñïîëüçóé Áëîê ñî Ñëîâàìè, ÷òîáû óçíàòü çíà÷åíèå ïîä÷¸ðêíóòûõ ñëîâ.

Áðèòàíèÿ èçâåñòíà íå òîëüêî çà ñâîè ðîê ãðóïïû è ðîê ïåâöîâ, íî òàêæå è çà ñâîè äàâíèå è ñèëüíûå òðàäèöèè ôîëüêëîðà è êëàññè÷åñêîé ìóçûêè. À òàêæå âìåñòå ñ ýòèì, òû ìîæåøü ïîñëóøàòü ìóçûêó êàíòðè, äæàç èëè ñïèðè÷óàë, êîòîðûå ïðèøëè èç Àìåðèêè.

Ïîñìîòðè íà ìóçûêàëüíóþ êàðòó Áðèòàíèè.  Øîòëàíäèè, ýòî íà ñåâåðå Áðèòàíèè, íàöèîíàëüíûì èíñòðóìåíòîì ÿâëÿåòñÿ âîëûíêà, âîñõèòèòåëüíàÿ äëÿ øîòëàíäöåâ, õîòÿ íåêîòîðûå ëþäè çà ïðåäåëàìè Áðèòàíèè ñ÷èòàþò, ÷òî îíà íåìåëîäè÷íàÿ. Íî âåêàìè, âïëîòü äî Ïåðâîé Ìèðîâîé Âîéíû, Øîòëàíäñêèå âîëûíêè âäîõíîâëÿëè ñâîèõ ñîëäàò ìóçûêîé íà ïîëÿõ áèòâû. Âîò Ýäèíáóðã, ñòîëèöà Øîòëàíäèè. Ýäèíáóðãñêèé ôåñòèâàëü ÿâëÿåòñÿ åæåãîäíûìè ôåñòèâàëåì ìóçûêè è äðàìû, îí ïðîõîäèò êàæäîå ëåòî.

Óýëüñêèå ðîìàíòè÷åñêèå è ñåíòèìåíòàëüíûå áàðäû áûëè èçâåñòíû äàæå äðåâíåìó ìèðó. Îíè äî ñèõ ïîð âñòðå÷àþòñÿ êàæäûé ãîä íà Åæåãîäíûé ôåñòèâàëü âàëëèéñêèõ áàðäîâ. È â Óýëå òû ìîæåøü íàéòè ëó÷øèå õîðà è ëó÷øóþ õîðîâóþ ìóçûêó.

Ñåâåð Àíãëèè èíîãäà íàçûâàåòñÿ «çåìëÿ äóõîâîãî îðêåñòðà«. Ìíîãèå ëþäè, êîòîðûå íå ïîíèìàþò ñëîæíîé ìóçûêè íàñëàæäàþòñÿ èõ öåïëÿþùèìè ìåëîäèÿìè.

Àëäåáóðã — ýòî ìàëåíüêèé ãîðîäîê íà þãå Àíãëèè, ãäå çíàìåíèòûé áðèòàíñêèé êîìïîçèòîð, äèðèæåð è ïèàíèñò Áåíäæàìèí Áðèòòåí æèë.

Ëîíäîí èçâåñòåí ñâîèìè îïåðíûìè äîìàìè è êîíöåðòíûìè çàëàìè, ãäå çíàìåíèòûå ìóçûêàíòû äèðèæèðóþò ëó÷øèå ñèìôîíè÷åñêèå îðêåñòðû.  Ëîíäîíå Ãåíðè Ïåðñåëë, âåëèêèé áðèòàíñêèé êîìïîçèòîð, æèë. Åãî îïåðà Äèäî è Ýíåé ñ÷èòàåòñÿ ïåðâîé áðèòàíñêîé êëàññè÷åñêîé îïåðîé. Ðîê îïåðû èëè ìþçèêëû Ýíäðþ Ëëîéäà Âåáåðà ñòàâÿòñÿ ïî âñåìó ìèðó; îíè âñåãäà èãðàþòñÿ äî àíøëàãà. Ïåðâûå íî÷è åãî çíàìåíèòûõ ðîê îïåð âñåãäà ïðîõîäÿò â Ëîíäîíñêèõ òåàòðàõ, ãäå êàæäîå ìåñòî îáû÷íî çàíÿòî.

Áëîê ñî ñëîâàìè

tuneless — íåìåëîäè÷íûé

annual — åæåãîäíûé

a brass band — äóõîâîé îðêåñòð

complicated — ñëîæíûé

catchy — ëåãêî çàïîìèíàþùèéñÿ

a tune — ìåëîäèÿ, ìîòèâ

to stage — ñòàâèòü (ïüåñó è ò. ï.)

an opera house — òåàòð îïåðû è áàëåòà

à full house — àíøëàã

à first night — ïðåìüåðà

to take place — èìåòü ìåñòî

à seat — ìåñòî (â òåàòðå, íà ñòàäèîíå è m. ï.)

Ñëîâà äëÿ óãàäûâàíèÿ

conduct — äèðèæèðîâàòü conductor n —?

jazz n —?

instrument n —?

romantic à —?

sentimental à —?

choral à —?

composer n —?

pianist n —?

symphony n —?

2) Ê êàêèì âèäàì ìóçûêè ïðèíàäëåæàò ìóçûêàëüíûå îòðûâêè?

3) Ñðàâíè êàðòó è èñòîðèþ î ìóçûêàëüíîé Áðèòàíèè. Îòâåòü íà âîïðîñû.

Ðåøåíèå #

• What music is England/Scotland/Wales famous for? (Çà êàêóþ ìóçûêó èçâåñòíà(åí) Àíãëèÿ/Øîòëàíäèÿ/Óýëüñ?)

Britain is famous not only for its rock groups and rock singers but also for its long and strong traditions of folk and classical music. As well as this you can listen to country music, jazz or spirituals that came from America. (Áðèòàíèÿ èçâåñòíà íå òîëüêî çà ñâîè ðîê ãðóïïû è ðîê ïåâöîâ, íî òàêæå è çà ñâîè äàâíèå è ñèëüíûå òðàäèöèè ôîëüêëîðà è êëàññè÷åñêîé ìóçûêè. À òàêæå âìåñòå ñ ýòèì, òû ìîæåøü ïîñëóøàòü ìóçûêó êàíòðè, äæàç èëè ñïèðè÷óàë, êîòîðûå ïðèøëè èç Àìåðèêè.)

• What annual festivals are held in Britain? Where do they take place? (Êàêèå åæåãîäíûå ôåñòèâàëè ïðîõîäÿò â Áðèòàíèè? Ãäå îíè ïðîõîäÿò?)

The Edinburgh festival is an annual festival of music and drama, it is held every summer. (Ýäèíáóðãñêèé ôåñòèâàëü — ýòî åæåãîäíûé ôåñòèâàëü ìóçûêè èëè äðàìû, îí ïðîõîäèò êàæäîå ëåòî)

• Where you can find the best orchestras, theatres and opera houses? (Ãäå òû ìîæåøü íàéòè ëó÷øèå îðêåñòðû, òåàòðû è îïåðíûå äîìà?)

London is famous for its opera houses and concert halls where famous musicians conduct the best symphony orchestras. The first nights of Andrew Lloyd Webber’s famous rock operas often take place in London theatres where every seat is usually taken. (Ëîíäîí èçâåñòåí ñâîèìè îïåðíûìè äîìàìè è êîíöåðòíûìè çàëàìè, ãäå çíàìåíèòûå ìóçûêàíòû äèðèæèðóþò ëó÷øèå ñèìôîíè÷åñêèå îðêåñòðû.  Ëîíäîíå Ãåíðè Ïåðñåëë, âåëèêèé áðèòàíñêèé êîìïîçèòîð, æèë. Åãî îïåðà Äèäî è Ýíåé ñ÷èòàåòñÿ ïåðâîé áðèòàíñêîé êëàññè÷åñêîé îïåðîé. Ðîê îïåðû èëè ìþçèêëû Ýíäðþ Ëëîéäà Âåáåðà ñòàâÿòñÿ ïî âñåìó ìèðó; îíè âñåãäà èãðàþòñÿ äî àíøëàãà. Ïåðâûå íî÷è åãî çíàìåíèòûõ ðîê îïåð âñåãäà ïðîõîäÿò â Ëîíäîíñêèõ òåàòðàõ, ãäå êàæäîå ìåñòî îáû÷íî çàíÿòî)

• Whose music is always played to full houses? (×üþ ìóçûêó âñåãäà èãðàþò äî àíøëàãà?)

Andrew Lloyd Webber’s. (Ýíäðþ Ëëîéäà Âåááåðà)

• What composers/conductors is Britain associated with? (Ñ êàêèìè êîìïîçèòîðàìè/äèðèæ¸ðàìè Áðèòàíèÿ àññîöèèðóåòñÿ?)

The Beatles, Benjamin Britten, Andrew Lloyd Webber, Henry Purcell. (Áèòëç, Áåíäæàìèí Áðèòòåí, Ýíäðþ Ëëîéä Âåááåð, Ãåíðè Ïåðñåëë)

• What music do many people like/dislike? (Êàêóþ ìóçûêó ìíîãèå ëþäè ëþáÿò/íå ëþáÿò?)

Like rock/dislike instrumental. (Ëþáÿò ðîê/íå ëþáÿò èíñòðóìåíòàëüíóþ ìóçûêó)

• What can one see at famous London theatres? (×òî êàæäûé ìîæåò óâèäåòü â Ëîíäîíñêîì òåàòðå?)

Famous rock operas by Andrew Lloyd Webber. (Çíàìåíèòûå ðîê îïåðû Ýíäðþ Ëëîéäà Âåááåðà)

• What is Liverpool famous for? (Çà ÷òî èçâåñòåí Ëèâåðïóëü?)

It is Beatles’ home town. (Ýòî ðîäíîé ãîðîä Áèòëç)

4)  òåêñòå íàéäè ïðåäëîæåíèÿ, êîòîðûå îçíà÷àþò ñëåäóþùèå èäåè:

— Áðèòàíèÿ èçâåñòíà çà ìíîãèå ðàçëè÷íûå âèäû ìóçûêè.

— Íåêîòîðûå ëþäè äóìàþò, ÷òî âîëûíêà íå ïðèÿòíà äëÿ ñëóõà.

— Ôåñòèâàëü â ñòîëèöå Øîòëàíäèè ïðîõîäèò êàæäûé ãîä.

— Óýëüñêèå ïîýòû, êîòîðûå ïèñàëè î ëþáâè, áûëè èçâåñòíû äàæå â ñòàðûå âðåìåíà.

— Ìíîãèå ëþäè ïðåäïî÷èòàþò ìóçûêó, êîòîðóþ ëåãêî çàïîìíèòü.

—  Ëîíäîíå îïåðíûå äîìà è êîíöåðòíûå çàëû, ëó÷øèå äèðèæ¸ðû âûñòóïàþò ñ ëó÷øèìè êëàññè÷åñêèìè ìóçûêàëüíûìè îðêåñòðàìè.

— Ðîê îïåðû, íàïèñàííûå Ýíäðþ Ëëîéäîì Âåááåðîì âñåãäà óñïåøíû âî ìíîãèõ ìèðîâûõ òåàòðàõ.

— Áîëüøèíñòâî ðîê îïåð Ýíäðþ Ëëîéäà Âåááåðà ïåðâûé ðàç èãðàþòñÿ â Ëîíäîíå.

Ðåøåíèå #

— Britain is famous not only for its rock groups and rock singers but also for its long and strong traditions of folk and classical music. As well as this you can listen to country music, jazz or spirituals that came from America. (Áðèòàíèÿ èçâåñòíà íå òîëüêî çà ñâîè ðîê ãðóïïû è ðîê ïåâöîâ, íî òàêæå è çà ñâîè äàâíèå è ñèëüíûå òðàäèöèè ôîëüêëîðà è êëàññè÷åñêîé ìóçûêè. À òàêæå âìåñòå ñ ýòèì, òû ìîæåøü ïîñëóøàòü ìóçûêó êàíòðè, äæàç èëè ñïèðè÷óàë, êîòîðûå ïðèøëè èç Àìåðèêè)

— In Scotland that is in the north of Britain the national instrument is the bagpipe which is the most exciting to the Scots though some people outside Britain think it is tuneless. ( Øîòëàíäèè, ýòî íà ñåâåðå Áðèòàíèè, íàöèîíàëüíûì èíñòðóìåíòîì ÿâëÿåòñÿ âîëûíêà, âîñõèòèòåëüíàÿ äëÿ øîòëàíäöåâ, õîòÿ íåêîòîðûå ëþäè çà ïðåäåëàìè Áðèòàíèè ñ÷èòàþò, ÷òî îíà íåìåëîäè÷íàÿ.)

— The Edinburgh festival is an annual festival of music and drama, it is held every summer. (Ýäèíáóðãñêèé ôåñòèâàëü ÿâëÿåòñÿ åæåãîäíûìè ôåñòèâàëåì ìóçûêè è äðàìû, îí ïðîõîäèò êàæäîå ëåòî)

— Welsh romantic and sentimental bards were known even to the ancient world. (Óýëüñêèå ðîìàíòè÷åñêèå è ñåíòèìåíòàëüíûå áàðäû áûëè èçâåñòíû äàæå äðåâíåìó ìèðó.)

— Many people who don’t understand complicated music like their catchy tunes. (Ìíîãèå ëþäè, êîòîðûå íå ïîíèìàþò ñëîæíîé ìóçûêè íàñëàæäàþòñÿ èõ öåïëÿþùèìè ìåëîäèÿìè)

— London is famous for its opera houses and concert halls where famous musicians conduct the best symphony orchestras. (Ëîíäîí èçâåñòåí ñâîèìè îïåðíûìè äîìàìè è êîíöåðòíûìè çàëàìè, ãäå çíàìåíèòûå ìóçûêàíòû äèðèæèðóþò ëó÷øèå ñèìôîíè÷åñêèå îðêåñòðû)

— Andrew Lloyd Webber’s rock operas or musicals are staged all over the world; they are always played to full houses. (Ðîê îïåðû èëè ìþçèêëû Ýíäðþ Ëëîéäà Âåáåðà ñòàâÿòñÿ ïî âñåìó ìèðó; îíè âñåãäà èãðàþòñÿ äî àíøëàãà)

— The first nights of Andrew Lloyd Webber’s famous rock operas often take place in Loridon theatres where every seat is usually taken. (Ïåðâûå íî÷è åãî çíàìåíèòûõ ðîê îïåð âñåãäà ïðîõîäÿò â Ëîíäîíñêèõ òåàòðàõ, ãäå êàæäîå ìåñòî îáû÷íî çàíÿòî)

5)  òåêñòå íàéäè ïðåäëîæåíèÿ ñ ñóùåñòâèòåëüíûìè, ÷üÿ õàðàêòåðíàÿ äåòàëü âûðàæåíà ëè÷íûìè èëè ãåîãðàôè÷åñêèìè èìåíàìè. Ñîåäèíè èõ ñ ïðàâèëîì.

Ïðèâåäåì âûäåðæêó èç çàäàíèÿ èç ó÷åáíèêà Êóçîâëåâ 9 êëàññ, Ïðîñâåùåíèå:

1. Vocabulary. A musical map of Britain shows what types of music can be heard in the country.

1) What types of music are there in Britain? Use the Word Box to learn the meaning of the highlighted words.

Britain is famous not only for its rock groups and rock singers but also for its long and strong traditions of folk and classical music. As well as this, you can listen to country music, jazz or spirituals that came from America.

Look at the musical map of Britain. In Scotland that is in the north of Britain the national instrument is the bagpipe which is the most exciting to the Scots though some people outside Britain think it is tuneless. But for centuries, up to the First World War, Scottish pipers encouraged their soldiers by playing their music at battles. Here is Edinburgh, the capital of Scotland. The Edinburgh festival is an annual festival of music and drama, it is held every summer.

Welsh romantic and sentimental bards were known even to the ancient world. They still meet every year at the Eisteddfod. And in Wales you can find the best choirs and the best choral music.

The north of England is sometimes called “the land of the brass bands”. Many people who don’t understand complicated music like their catchy tunes.

Aldeburgh is a small town in the south of England where the famous British composer, conductor and pianist Benjamin Britten lived.

London is famous for its opera houses and concert halls where famous musicians conduct the best symphony orchestras. In London Henry Purcell, a great British composer, lived. His opera Dido and Aeneas is considered the first British classical opera. Andrew Lloyd Webber’s rock operas or musicals are staged all over the world; they are always played to full houses. The first nights of his famous rock operas often take place in London theatres where every seat is usually taken.

Word Box

tuneless — íåìåëîäè÷íûé

annual — åæåãîäíûé

a brass band — äóõîâîé îðêåñòð

complicated — ñëîæíûé

catchy — ëåãêî çàïîìèíàþùèéñÿ

a tune — ìåëîäèÿ, ìîòèâ

to stage — ñòàâèòü (ïüåñó è ò. ï.)

an opera house — òåàòð îïåðû è áàëåòà

à full house — àíøëàã

à first night — ïðåìüåðà

to take place — èìåòü ìåñòî

à seat — ìåñòî (â òåàòðå, íà ñòàäèîíå è m. ï.)

Words to guess

conduct — äèðèæèðîâàòü conductor n —?

jazz n —?

instrument n —?

romantic à —?

sentimental à —?

choral à —?

composer n —?

pianist n —?

symphony n —?

îòâåò:

Rock; folk; classical music; country music; jazz; spirituals.

2) What types of music do the musical selections belong to?

3) Compare the map and the story about musical Britain. Answer the questions.

îòâåò

• What music is England/Scotland/Wales famous for?

Britain is famous not only for its rock groups and rock singers but also for its long and strong traditions of folk and classical music. As well as this you can listen to country music, jazz or spirituals that came from America.

• What annual festivals are held in Britain? Where do they take place?

The Edinburgh festival is an annual festival of music and drama, it is held every summer.

• Where you can find the best orchestras, theatres and opera houses?

London is famous for its opera houses and concert halls where famous musicians conduct the best symphony orchestras. The first nights of Andrew Lloyd Webber’s famous rock operas often take place in London theatres where every seat is usually taken.

• Whose music is always played to full houses?

Andrew Lloyd Webber’s.

• What composers/conductors is Britain associated with?

The Beatles, Benjamin Britten, Andrew Lloyd Webber, Henry Purcell.

• What music do many people like/dislike?

Like rock/dislike instrumental.

• What can one see at famous London theatres?

Famous rock operas by Andrew Lloyd Webber.

• What is Liverpool famous for?

It is Beatles’ home town.

4) In the text find the sentences that mean the following ideas:

— Britain is known for many different types of music.

— Some people think that bagpipe tunes are not pleasant to listen to.

— The festival at the Scottish capital is held every year.

— Welsh poets who wrote about love were known even in the old times.

— Many people prefer music which is easy to remember.

— In London opera houses and concert halls, the best conductors perform with the best classical music orchestras.

— Rock operas written by Andrew Lloyd Webber are always a great success in many world theatres.

— Most of Andrew Lloyd Webber’s rock operas are played for the first time in London.

îòâåò

— Britain is famous not only for its rock groups and rock singers but also for its long and strong traditions of folk and classical music. As well as this you can listen to country music, jazz or spirituals that came from America.

— In Scotland that is in the north of Britain the national instrument is the bagpipe which is the most exciting to the Scots though some people outside Britain think it is tuneless.

— The Edinburgh festival is an annual festival of music and drama, it is held every summer.

— Welsh romantic and sentimental bards were known even to the ancient world.

— Many people who don’t understand complicated music like their catchy tunes.

— London is famous for its opera houses and concert halls where famous musicians conduct the best symphony orchestras.

— Andrew Lloyd Webber’s rock operas or musicals are staged all over the world; they are always played to full houses.

— The first nights of Andrew Lloyd Webber’s famous rock operas often take place in Loridon theatres where every seat is usually taken.

5) In the text find the sentences with nouns, which attributes are expressed by personal or geographical names. Match them with the rule.

*Öèòèðèðîâàíèå ÷àñòè çàäàíèÿ ñî ññûëêîé íà ó÷åáíèê ïðîèçâîäèòñÿ èñêëþ÷èòåëüíî â ó÷åáíûõ öåëÿõ äëÿ ëó÷øåãî ïîíèìàíèÿ ðàçáîðà ðåøåíèÿ çàäàíèÿ.

Pamela Lyndon Travers (August 9 1899 – April 23 1996) was a British author, born Helen Lyndon Goff in Maryborough, Queensland, Australia, most famous as the creator of the «Mary Poppins» series of stories.

See also

Mary Poppins (1964 film)

Quotes[edit]

• Mary Poppins is both a joy and a curse to me as a writer … As a writer, you can feel awfully imprisoned, because people, having had so much of one thing, want you always to go on doing more of the same.
  • Quoted in Current Biography Yearbook 1996, p. 580.

• There are worlds beyond worlds and times beyond times, all of them true, all of them real, and all of them (as children know) penetrating each other.
  • From «Personal View,» by P. L. Travers, in the Sunday Times (London), issue 8575, December 11, 1988.

• When I was a child, love to me was what the sea is to a fish: something you swim in while you are going about the important affairs of life.
  • From «I Never Wrote for Children,» by P. L. Travers, in the New York Times Magazine, July 2, 1978.

• The silky hush of intimate things, fragrant with my fragrance, steal softly down, so loth to rob me of my last dear concealment.
  • From a poem (c. 1920) in the Australian publication The Triad, as quoted in Out of the Sky She Came: The Life of P.L. Travers, Creator of Mary Poppins (1999) by Valerie Lawson, ISBN 0733610722 [U.S. and U.K. title: Mary Poppins, She Wrote : The Life of P. L. Travers (2006) ISBN 0743298160]

• It is clear from Gurdjieff’s writings that hypnotism, mesmerism and various arcane methods of expanding consciousness must have played a large part in the studies of the Seekers of Truth. None of these processes, however, is to be thought of as having any bearing on what is called Black Magic, which, according to Gurdjieff, «has always one definite characteristic. It is the tendency to use people for some, even the best of aims, without their knowledge and understanding, either by producing in them faith and infatuation or by acting upon them through fear. There is, in fact, neither red, green nor yellow magic. There is «doing.» Only «doing» is magic.» Properly to realise the scale of what Gurdjieff meant by magic, one has to remember his continually repeated aphorism, «Only he who can be can do,» and its corollary that, lacking this fundamental verb, nothing is «done,» things simply «happen.»
  • «Gurdjieff» in Man, Myth and Magic : Encyclopedia of the Supernatural (1970)

• Could it be … that the hero is one who is willing to set out, take the first step, shoulder something? Perhaps the hero is one who puts his foot upon a path not knowing what he may expect from life but in some way feeling in his bones that life expects something of him.
  • «The World of the Hero» (1976)

• A writer is, after all, only half his book. The other half is the reader and from the reader the writer learns.
  • As quoted in The New York Times (2 July 1978)

• A great friend of mine at the beginning of our friendship (he was himself a poet) said to me very defiantly, «I have to tell you that I loathe children’s books.» And I said to him, «Well, won’t you just read this just for my sake?» And he said grumpily, «Oh, very well, send it to me.» I did, and I got a letter back saying: «Why didn’t you tell me? Mary Poppins with her cool green core of sex has me enthralled forever.»
  • Interview by Edwina Burness and Jerry Griswold, The Paris Review No. 86 (Winter 1982)

• “Myth, Symbol, and Tradition” was the phrase I originally wrote at the top of the page, for editors like large, cloudy titles. Then I looked at what I had written and, wordlessly, the words reproached me. I hope I had the grace to blush at my own presumption and their portentousness. How could I, if I lived for a thousand years, attempt to cover more than a hectare of that enormous landscape?
  So, I let out the air, in a manner of speaking, dwindled to my appropriate size, and gave myself over to that process which, for lack of a more erudite term, I have coined the phrase “Thinking is linking.” I thought of Kerenyi — “Mythology occupies a higher position in the bios, the Existence, of a people in which it is still alive than poetry, storytelling or any other art.” And of Malinowski — “Myth is not merely a story told, but a reality lived.” And, along with those, the word “Pollen,” the most pervasive substance in the world, kept knocking at my ear. Or rather, not knocking, but humming. What hums? What buzzes? What travels the world? Suddenly I found what I sought. “What the bee knows,” I told myself. “That is what I’m after.”
  But even as I patted my back, I found myself cursing, and not for the first time, the artful trickiness of words, their capriciousness, their lack of conscience. Betray them and they will betray you. Be true to them and, without compunction, they will also betray you, foxily turning all the tables, thumbing syntactical noses. For — note bene! — if you speak or write about What The Bee Knows, what the listener, or the reader, will get — indeed, cannot help but get — is Myth, Symbol, and Tradition! You see the paradox? The words, by their very perfidy — which is also their honorable intention — have brought us to where we need to be. For, to stand in the presence of paradox, to be spiked on the horns of dilemma, between what is small and what is great, microcosm and macrocosm, or, if you like, the two ends of the stick, is the only posture we can assume in front of this ancient knowledge — one could even say everlasting knowledge.
  • «What the Bee Knows» in Parabola : The Magazine of Myth and Tradition, Vol. VI, No. 1 (February 1981); later published in What the Bee Knows : Reflections on Myth, Symbol, and Story (1989)

• The Sphinx, the Pyramids, the stone temples are, all of them, ultimately, as flimsy as London Bridge; our cities but tents set up in the cosmos. We pass. But what the bee knows, the wisdom that sustains our passing life — however much we deny or ignore it — that for ever remains.
  • What the Bee Knows : Reflections on Myth, Symbol, and Story (1989)

• The Irish, as a race, have the oral tradition in their blood. A direct question to them is an anathema, but in other cases, a mere syllable of a hero’s name will elicit whole chapters of stories.
  • As quoted in No Word for Time: The Way of the Algonquin People (2001) by Evan T. Pritchard

• You do not chop off a section of your imaginative substance and make a book specifically for children, for — if you are honest — you have no idea where childhood ends and maturity begins. It is all endless and all one.
  • As quoted in Sticks and Stones : The Troublesome Success of Children’s Literature from Slovenly Peter to Harry Potter (2002) by Jack Zipes

• You can ask me anything you like about my work, but I’ll never talk about myself.
  • As quoted by Valerie Lawson, in an interview: «The Mystic Life of P.L. Travers» (7 May 2003)

• For me there are no answers, only questions, and I am grateful that the questions go on and on. I don’t look for an answer, because I don’t think there is one. I’m very glad to be the bearer of a question.
  • Quoted in «Hail, Mary!» in The Independent (19 September 2004) by Mark Bostridge

Mary Poppins (1934)[edit]

ISBN 0152017178

• If you want to find Cherry-Tree Lane all you have to do is ask the Policeman at the cross-roads. He will push his helmet slightly to one side, scratch his head thoughtfully, and then he will point his huge white-gloved finger and say: «First to your right, second to your left, sharp right again, and you’re there. Good-morning.»
  And sure enough, if you follow his directions exactly, you will be there — right in the middle of Cherry-Tree Lane, where the houses run down one side and the Park runs down the other and the cherry-trees go dancing right down the middle.
  If you are looking for Number Seventeen — and it is more than likely that you will be, for this book is all about that particular house — you will very soon find it.
  • Ch. 1 «East-Wind» (opening lines)

• Jane and Michael sat at the window watching for Mr. Banks to come home, and listening to the sound of the East Wind blowing through the naked branches of the cherry-trees in the Lane. The trees themselves, turning and bending in the half light, looked as though they had gone mad and were dancing their roots out of the ground.
  «There he is!» said Michael, pointing suddenly to a shape that banged heavily against the gate. Jane peered through the gathering darkness.
  «That’s not Daddy,» she said. «It’s somebody else.»
  Then the shape, tossed and bent under the wind, lifted the latch of the gate, and they could see that it belonged to a woman, who was holding her hat on with one hand and carrying a bag in the other. As they watched, Jane and Michael saw a curious thing happen. As soon as the shape was inside the gate the wind seemed to catch her up into the air and fling her at the house. It was as though it had flung her first at the gate, waited for her to open it, and then had lifted and thrown her, bag and all, at the front door. The watching children heard a terrific bang, and as she landed the whole house shook.
  «How funny! I’ve never seen that happen before,» said Michael.
  • Ch. 1 «East-Wind»

• Presently they saw their Mother coming out of the drawing-room with a visitor following her. Jane and Michael could see that the newcomer had shiny black hair — «Rather like a wooden Dutch doll,» whispered Jane. And that she was thin, with large feet and hands, and small, rather peering blue-eyes.
  «You’ll find that they are very nice children,» Mrs. Banks was saying.
  Michael’s elbow gave a sharp dig at Jane’s ribs.
  «And that they give no trouble at all,» continued Mrs. Banks uncertainly, as if she herself didn’t really believe what she was saying. They heard the visitor sniff as though she didn’t either.
  «Now, about reference —» Mrs. Banks went on.
  «Oh, I make it a rule never to give references,» said the other firmly.
  • Ch. 1 «East-Wind»

• Mrs. Banks did not notice what was happening behind her, but Jane and Michael, watching from the top landing, had an excellent view of the extraordinary thing the visitor now did.
  Certainly she followed Mrs. Banks upstairs, but not in the usual way. With her large bag in her hands she slid gracefully up the banisters, and arrived at the landing at the same time as Mrs. Banks. Such a thing, Jane and Michael knew, had never been done before. Down, of course, for they had often done it themselves. But up — never! They gazed curiously at the strange new visitor.
  • Ch. 1 «East-Wind»

• I always thought dancing improper; but it can’t be since I myself am dancing.
  • The Red Cow in Ch. 5 «The Dancing Cow»

• What I want to know is this: Are the stars gold paper or is the gold paper stars?
  • Jane in Ch. 8 «Mrs. Corry»

• Tonight the small are free from the great and the great protect the small.
  • Hamadryad, the King Cobra in Ch. 10 «Full-Moon»

• It may be that to eat and be eaten are the same thing in the end. My wisdom tells me that this is probably so. We are all made of the same stuff, remember, we of the Jungle, you of the City. The same substance composes us — the tree overhead, the stone beneath us, the bird, the beast, the star — we are all one, all moving to the same end. Remember that when you no longer remember me, my child.
  • Hamadryad, the King Cobra in Ch. 10 «Full-Moon»

• «Bird and beast and stone and star — we are all one, all one —» murmured the Hamadryad, softly folding his hood about him as he himself swayed between the children.
  «Child and serpent, star and stone — all one.»
  • Ch. 10 «Full-Moon»

Mary Poppins Opens the Door (1943)[edit]

ISBN 0152058222

• The Fifth of November is Guy Fawkes’ Day in England. In peacetime it is celebrated with bonfires on the greens, fireworks in the parks and the carrying of «guys» through the streets. «Guys» are stuffed, straw figures of unpopular persons; and after they have been shown to everybody they are burnt in the bonfires amid great acclamation. The children black their faces and put on comical clothes, and go about begging for a Penny for the Guy. Only the very meanest people refuse to give pennies and these are always visited by Extreme Bad Luck.
  The Original Guy Fawkes was one of the men who took part in the Gunpowder Plot. This was a conspiracy for blowing up King James I and the Houses of Parliament on November 5th, 1605. The plot was discovered, however, before any damage was done. The only result was that King James and his Parliament went on living but Guy Fawkes, poor man, did not. He was executed with the other conspirators. Nevertheless, it is Guy Fawkes who is remembered today and King James who is forgotten. For since that time, the Fifth of November in England, like the Fourth of July in America, has been devoted to Fireworks. From 1605 till 1939 every village green in the shires had a bonfire on Guy Fawkes’ Day.
  • NOTE (on Guy Fawkes’ Day)

• In the village where I live, in Sussex, we made our bonfire in the Vicarage paddock and every year, as soon as it was lit, the Vicar’s cow would begin to dance. She danced while the flames rose up to the sky, she danced till the ashes were black and cold. And the next morning — it was always the same — the Vicar would have no milk for his breakfast. It is strange to think of a simple cow rejoicing at the saving of Parliament so many years ago.
  • NOTE

• Since 1939, however, there have been no bonfires on the village greens. No fireworks gleam in the blackened parks and the streets are dark and silent. But this darkness will not last forever. There will some day come a Fifth of November — or another date, it doesn’t matter — when fires will burn in a chain of brightness from Land’s End to John O’ Groats. The children will dance and leap about them as they did in the times before. They will take each other by the hand and watch the rockets breaking, and afterwards they will go home singing to the houses full of light…
  • NOTE (on Guy Fawkes’ Day, during World War II)

• Mary Poppins herself had flown away, but the gifts she had brought would remain for always..
  • Ch. 8 «The Other Door»

• We’ll never forget you, Mary Poppins!
  • Ch. 8 «The Other Door»

The Paris Review interview (1982)[edit]

Interviewed by Edwina Burness and Jerry Griswold, in «P. L. Travers, The Art of Fiction No. 63» in The Paris Review No. 86 (Winter 1982)

• I’ve always been interested in the Mother Goddess. Not long ago, a young person, whom I don’t know very well, sent a message to a mutual friend that said: “I’m an addict of Mary Poppins, and I want you to ask P. L. Travers if Mary Poppins is not really the Mother Goddess.” So, I sent back a message: “Well, I’ve only recently come to see that. She is either the Mother Goddess or one of her creatures — that is, if we’re going to look for mythological or fairy-tale origins of Mary Poppins.”
  I’ve spent years thinking about it because the questions I’ve been asked, very perceptive questions by readers, have led me to examine what I wrote. The book was entirely spontaneous and not invented, not thought out. I never said, “Well, I’ll write a story about Mother Goddess and call it Mary Poppins.” It didn’t happen like that. I cannot summon up inspiration; I myself am summoned.
  Once, when I was in the United States, I went to see a psychologist. It was during the war when I was feeling very cut off. I thought, Well, these people in psychology always want to see the kinds of things you’ve done, so I took as many of my books as were then written. I went and met the man, and he gave me another appointment. And at the next appointment the books were handed back to me with the words: “You know, you don’t really need me. All you need to do is read your own books.”
  That was so interesting to me. I began to see, thinking about it, that people who write spontaneously as I do, not with invention, never really read their own books to learn from them. And I set myself to reading them. Every now and then I found myself saying, “But this is true. How did she know?” And then I realized that she is me. Now I can say much more about Mary Poppins because what was known to me in my blood and instincts has now come up to the surface in my head.

• It is only through the ordinary that the extraordinary can make itself perceived.

• I think if she comes from anywhere that has a name, it is out of myth. And myth has been my study and joy ever since — oh, the age, I would think . . . of three. I’ve studied it all my life. No culture can satisfactorily move along its forward course without its myths, which are its teachings, its fundamental dealing with the truth of things, and the one reality that underlies everything.

• She doesn’t hold back anything from them. When they beg her not to depart, she reminds them that nothing lasts forever. She’s as truthful as the nursery rhymes. Remember that all the King’s horses and all the King’s men couldn’t put Humpty-Dumpty together again. There’s such a tremendous truth in that. It goes into children in some part of them that they don’t know, and indeed perhaps we don’t know. But eventually they realize — and that’s the great truth.

• My Zen master, because I’ve studied Zen for a long time, told me that every one (and all the stories weren’t written then) of the Mary Poppins stories is in essence a Zen story. And someone else, who is a bit of a Don Juan, told me that every one of the stories is a moment of tremendous sexual passion, because it begins with such tension and then it is reconciled and resolved in a way that is gloriously sensual. … A great friend of mine at the beginning of our friendship (he was himself a poet) said to me very defiantly, “I have to tell you that I loathe children’s books.” And I said to him, “Well, won’t you just read this just for my sake?” And he said grumpily, “Oh, very well, send it to me.” I did, and I got a letter back saying: “Why didn’t you tell me? Mary Poppins with her cool green core of sex has me enthralled forever.”
• Friend Monkey is really my favorite of all my books because the Hindu myth on which it is based is my favorite — the myth of the Monkey Lord who loved so much that he created chaos wherever he went. … when you read the Ramayana you’ll come across the story of Hanuman on which I built my version of that very old myth.
  I love Friend Monkey. I love the story of Hanuman. For many years, it remained in my very blood because he’s someone who loves too much and can’t help it. I don’t know where I first heard of him, but the story remained with me and I knew it would come out of me somehow or other. But I didn’t know what shape it would take.

• I never wrote my books especially for children. … When I sat down to write Mary Poppins or any of the other books, I did not know children would read them. I’m sure there must be a field of “children’s literature” — I hear about it so often — but sometimes I wonder if it isn’t a label created by publishers and booksellers who also have the impossible presumption to put on books such notes as “from five to seven” or “from nine to twelve.” How can they know when a book will appeal to such and such an age?
  If you look at other so-called children’s authors, you’ll see they never wrote directly for children. Though Lewis Carroll dedicated his book to Alice, I feel it was an afterthought once the whole was already committed to paper. Beatrix Potter declared, “I write to please myself!” And I think the same can be said of Milne or Tolkien or Laura Ingalls Wilder.
  I certainly had no specific child in mind when I wrote Mary Poppins. How could I? If I were writing for the Japanese child who reads it in a land without staircases, how could I have written of a nanny who slides up the banister? If I were writing for the African child who reads the book in Swahili, how could I have written of umbrellas for a child who has never seen or used one?
  But I suppose if there is something in my books that appeals to children, it is the result of my not having to go back to my childhood; I can, as it were, turn aside and consult it (James Joyce once wrote, “My childhood bends beside me”). If we’re completely honest, not sentimental or nostalgic, we have no idea where childhood ends and maturity begins. It is one unending thread, not a life chopped up into sections out of touch with one another.
  Once, when Maurice Sendak was being interviewed on television a little after the success of Where the Wild Things Are , he was asked the usual questions: Do you have children? Do you like children? After a pause, he said with simple dignity: “I was a child.” That says it all.

• I make a point of writing, if only a little, every day, as a kind of discipline so that it is not a whim but a piece of work.

• I read myths and fairy tales and books about them a great deal now, but I very seldom read novels. I find modern novels bore me. I can read Tolstoy and the Russians, but mostly I read comparative mythology and comparative religion. I need matter to carry with me.

• When I write it’s more a process of listening. I don’t pretend that there is some spirit standing beside me that tells me things. More and more I’ve become convinced that the great treasure to possess is the unknown. I’m going to write, I hope, a lot about that. It’s with my unknowing that I come to the myths. If I came to them knowing, I would have nothing to learn. But I bring my unknowing, which is a tangible thing, a clear space, something that’s been made room for out of the muddle of ordinary psychic stuff, an empty space.

• You know C. S. Lewis, whom I greatly admire, said there’s no such thing as creative writing. I’ve always agreed with that and always refuse to teach it when given the opportunity. He said there is, in fact, only one Creator and we mix. That’s our function, to mix the elements He has given us. See how wonderfully anonymous that leaves us? You can’t say, “I did this; this gross matrix of flesh and blood and sinews and nerves did this.” What nonsense! I’m given these things to make a pattern out of. Something gave it to me.
  I’ve always loved the idea of the craftsman, the anonymous man. For instance, I’ve always wanted my books to be called the work of Anon, because Anon is my favorite literary character. If you look through an anthology of poems that go from the far past into the present time, you’ll see that all the poems signed “Anon” have a very specific flavor that is one flavor all the way through the centuries. I think, perhaps arrogantly, of myself as “Anon.” I would like to think that Mary Poppins and the other books could be called back to make that change. But I suppose it’s too late for that.

Myth, Symbol, and Meaning in Mary Poppins (2007)[edit]

Quotes of Travers from Myth, Symbol, and Meaning in Mary Poppins: The Governess as Provocateur (2007) by Giorgia Grilli

• These men — Yeats, James Stephens, and the rest — had aristocratic minds. For them, the world was not fragmented. An idea did not suddenly grow … all alone and separate. For them, all things had long family trees. They saw nothing shameful or silly in myths and fairy stories, nor did they shovel them out of sight and some cupboard marked «Only For Children.» They were always willing to concede that there was more things in heaven and earth than philosophy dreamed of. They allowed for the unknown. And, as you can imagine, I took great heart from this. It was Æ who showed me how to look and learn from one’s own writing. «Popkins» he said once — he always called her just plain Popkins, whether deliberately mistaking the name or not I never knew. His humor was always subtle — «Popkins had she lived in another age, in the old times to which she certainly belongs, she would undoubtedly have had long golden tresses, a wreath of flowers in one hand, and perhaps a spear in the other. Her eyes would have been like the sea, her nose comely, and on her feet winged sandals. But, this age being the Kali Yuga, as the Indus call it — in our terms, the Iron Age — she comes in habiliments suited to it.»
  • Ch. 2, p. 38

• The true fairytales … come straight out of myth; they are, as it were, minuscule reaffirmation of myths, or perhaps the myth made accessible to the local folky mind. One might say that fairytales are the myths falling into time and locality … is the same stuff, all the essentials are there, it is small, but perfect. Not minimized, not to be made digestible for children.
  • Ch. 2, p. 39

Quotes about Travers[edit]

• Mary Poppins arrives with the wind, and intervenes in the lives of ordinary humans, making magic, but never admitting that it has taken place. She understands the language of animals and birds, and between her visits to mortals returns to some secret source. Although the Poppins books have much in common with other works of children’s literature — all the way back to the early 19th century and ETA Hoffmann’s inspiration of making toys come alive — Travers was adamant that she didn’t write specifically for children, and that there was no such thing as children’s books. Poppins, she said, «had come up of the same well of nothingness as the poetry, myths and legends that had absorbed me all my writing life.» This was something else that connected Travers to Disney, who maintained that his films were not directed at children, but at the innocence within us all.
  • Mark Bostridge in «Hail, Mary!» in The Independent (19 September 2004)

• Throughout their children’s novels, Lewis and Travers bring together heterogeneous collections of characters from all orders of being — humanity, mythology (Greek, Norse, Christian), the animal world (both talking and nontalking beasts), and other fictional sources (for example, nursery rhyme and fairytale figures) — and have them mingle in festival-like gatherings reminiscent of medieval carnival celebrations. … the interaction among these disparate characters often results in the suspension of hierarchical barriers…
  • Catherine L. Elick in «Animal carnivals: a Bakhtinian reading of C. S. Lewis’s The Magician’s Nephew and P. L. Travers’s Mary Poppins» in Style Vol. 35, No. 3 (Fall 2001)

• Mary Poppins advocates the kind of family life that Walt Disney had spent his career both chronicling and helping to foster on a national level: father at work, mother at home, children flourishing. It is tempting to imagine that in Travers he found a like-minded person, someone who embodied the virtues of conformity and traditionalism. Nothing could be further from the truth. Travers was a woman who never married, wore trousers when she felt like it, had a transformative and emotionally charged relationship with an older married man, and entered into a long-term live-in relationship with another woman. As she approached forty, she decided that she wanted a child. After a bizarre incident in which she attempted to adopt the seventeen-year-old girl who cleaned her house, she travelled to Ireland and adopted an infant, one of a pair of twins, and raised him as a single mother Her reverence for the delights of family life was perhaps as intense as Disney’s, but her opinion about the shape such a life might assume was far more nuanced.
  Children’s authors are not known for their happy childhoods, and Helen Goff — the little girl who at twenty-one changed her name to Pamela Travers and never looked back — endured one that was almost archetypal in its sadness and its privations. She was born in Australia in 1899, the eldest daughter in a household of girls. Her father, Travers Goff, was a bank manager and a drinker, and he died when she was seven…. Her mother, Margaret, who was pretty and feckless, soldiered on for a few years, and then, when Helen was ten, she did what a mother is never supposed to do. She gave up.
  One night, in the middle of a thunderstorm, Margaret left Helen in charge of the two younger children, telling her that she was going to drown herself in a nearby creek. As an old woman, Travers wrote about the terrifying experience: «Large-eyed, the little ones looked at me — she and I called them the little ones, both of us aware that an eldest child, no matter how young, can never experience the heart’s ease that little ones enjoy.» Helen stirred the fire and then they all lay down on the hearth rug and she told them a story about a magical flying horse, with the small ones asking excited questions («Could he carry us to the shiny land, all three on his back?»). As she tried to distract her siblings, she worried about the future. … Margaret came back that night, having been unsuccessful in her suicide attempt, but Helen’s mind was made up. She no longer cleaved to her unreliable, dithering mother but, rather, to a formidable maiden great-aunt, Helen Morehead. Aunt Ellie, as she was called, bossed everyone around, but her fierceness disguised a kindness she would have been embarrassed to admit. … Obviously, Travers did not write her books to commemorate a happy childhood, but she did seem interested in rewriting her bad one. The Banks family is a reformed version of the Goffs, their charming features magnified and their failures burnished away. Father is a banker, although not a drunk; mother is a flibbertigibbet, although not a suicidal one. And Mary Poppins, like Aunt Ellie, is the great deflater, the enemy of any attempt at whimsy or sentiment.
  • Caitlin Flanagan in «Becoming Mary Poppins : P. L. Travers, Walt Disney, and the making of a myth» in The New Yorker (19 December 2005)

• Travers’s Mary Poppins was a natural phenomena, ancient as mountain ranges, on first-name terms with the primal powers of the universe, adored and respected by everything that saw the world as it was. And she was a mystery. … philosophically, I suspect now, the universe of Mary Poppins underpins all my writing …
  • Neil Gaiman, in his Foreword to Myth, Symbol, and Meaning in Mary Poppins: The Governess as Provocateur (2007) by Giorgia Grilli, p. xiii

• Since the dead can’t set the record straight, I hope you will excuse me for feeling a duty to honor Travers and her fierce honesty.
  The Travers given us in Saving Mr. Banks is a one-trick pony. Emma Thompson does a wonderful job in presenting a character who is peremptory, stiff, unkind, and unfriendly. On a plane trip across the Atlantic, she loudly objects to spending eleven hours in the company of a fussing baby. She complains about California’s endless sunshine. She is rude to Disney’s staff. She demands that tea be prepared properly. She is, in short, the Curmudgeon and over the course of the movie it will be the task of Walt and Co. to loosen up this English harridan with America’s folksy friendliness and, darn it, melt the Curmudgeon’s heart!
  Call Emma Thompson’s character anybody else, and I have no problem. But associate her with P.L. Travers — a generous and kind woman, albeit with the no-nonsense manner of a Zen master — and I have to cry foul.
  Travers, herself, was the most impressive woman I ever met. In her youth, she was part of the Celtic Twilight and good friends with William Butler Yeats and George Russell, the Irish poet and mystic known as “AE.” She lived with the Navahos during World War II. She was part of Gurdjieff’s inner circle, and she was the second Western woman to go to Japan to study Zen. She was wise and, when I knew her in New York, she was a teacher who took on students interested in the spiritual life.
  In a similar way, her book Mary Poppins is profound — though let me tell you from experience, it’s hard to persuade people to sample it because of the Disney movie, even though the two are as different as Jesus Christ Superstar and its source. Travers’ other writings are equally impressive, especially her novel Friend Monkey. A good introduction to her and her mythological way of thinking is What the Bee Knows, a collection of her essays that does Joseph Campbell one better and treats the path of women’s lives as seen in fairy tales, the deep meanings of “Humpty Dumpty,” the sacredness of names in aboriginal cultures, and new ways of understanding the story of the Prodigal Son.
  Saving Mr. Banks, then, is off the mark in two major ways. The first is the suggestion that Travers was little else than a difficult person and hard to please, but she finally came around and liked the Disney film. That’s just untrue. The film’s other misdirection comes in a series of flashbacks to Travers’ childhood in the outback of Australia and glimpses of her father Travers Goff (played by Colin Farrell) who drank himself to death. In a bit of penny-ante Freud, the great secret behind Mary Poppins, we’re told, was Travers’ troubled relationship with her father. As Mary Poppins herself might say, “Stuff and nonsense!”
  • Jerry Griswold, in «“Saving Mr. Banks” But Throwing P.L. Travers Under the Bus» (December 17, 2013)

• On September 6, 1995 La Stampa, Turin’s daily newspaper, titled at full page «Is Mary Poppins really Satan?». Many readers were, understandably, surprised but no reader was more astonished than the undersigned. In fact I learned from the article that I had accused Mary Poppins to have «clear links with the esoteric and satanic thought». I was credited for having discovered that «under the gentle mask of the extraordinary nanny a dangerous creature was hidden, with features no less than satanic». The same journalist, appropriately, interviewed an exorcist who complained that «Introvigne normally minimizes the presence of Satan in our life» (a reference to my book on Satanism, where I argue that the number of real Satanists is minimum compared to the number of those who promote Satanism scares). But this, for the exorcist, amounted to still more convincing evidence that Mary Poppins was really satanic: «If someone like Massimo Introvigne has written such a thing, this could only mean that the danger is really there». The problem was, however, that I had never written such a thing.
  • Massimo Introvigne in «Mary Poppins Goes to Hell. Pamela Travers, Gurdjieff, and the Rhetoric of Fundamentalism» (1996)

• In an interview which appeared in The Paris Review in 1982 the interviewers asked Travers whether «Mary Poppins’ teaching — if one can call it that — resemble that of Christ in his parables». Travers replied:
  «My Zen master, because I’ve studied Zen for a long time, told me that every one (and all the stories weren’t written then) of the Mary Poppins stories is in essence a Zen story. And someone else, who is a bit of a Don Juan, told me that every one of the stories is a moment of tremendous sexual passion, because it begins with such tension and then it is reconciled and resolved in a way that is gloriously sensual».
  The answer is clarified by the following question: «So people can read anything and everything into the stories?» «Indeed.»
  • Massimo Introvigne in «Mary Poppins Goes to Hell. Pamela Travers, Gurdjieff, and the Rhetoric of Fundamentalism» (1996)

• Mary Poppins seems the epitome of the punishing governess, the bullying woman who has an apt saying for every occasion, and who subdues children as they were subdued in the Victorian age, when they were seen and not heard. … She carefully hides her compassion. Almost sadistic at times, Mary is never really nasty but often very sharp. She is a controlling force, making order from disorder, making magic, and then never admitting magic took place. … Mary Poppins threatens to leave at a point of time which only she controls. She tells her charges she will be with them until the wind changes or until her necklace breaks. She never tells them where she has come from, where she intends to go or who she really is. But she leaves many clues. Like Francis of Assisi, she is close to animals and birds, with whom she can talk. Like Jesus she helps the poor and weak. She understands the universe and seems to take part in its creation and renewal. She is known as the Great Expectation, the Oddity, the Misfit.
  • Valerie Lawson, in Out of the Sky She Came: The Life of P.L. Travers, Creator of Mary Poppins (1999) by Valerie Lawson, ISBN 0733610722 [U.S. and U.K. title: Mary Poppins, She Wrote : The Life of P. L. Travers (2006) ISBN 0743298160]

• She felt very much alone. She did not make friends very easily, but I don’t want to make out that she was always miserable. When she was in middle age, she was quite a charming and lively person, because the actress in her would come out. She’d been an actor, as I said earlier on. It wasn’t until she became a guru herself after Gurdjieff died, that she became a rather self-important, morose kind of Pamela.
  • Valerie Lawson, in an ABC radio interview: «The Mystic Life of P.L. Travers» (7 May 2003)

• Pamela Travers appears and disappears as magically as the nanny she created. The New Yorker is the latest to discover the real Travers, the Australian who invented Mary Poppins 70 years ago. Travers told me in 1995, a year before her death, that she would talk of her work, but never of herself. In her lifetime, a biography was impossible, partly because she left so many false trails.
  Luckily, she also left a paper trail of truth at her London home and in a Sydney library.
  • Valerie Lawson, in a letter to The New Yorker (5 January 2006)

• I actually believe she liked the film a lot more than she let on publicly … You have to remember that she was, above all, a great storyteller. And in the long line of storytellers who have faith in an oral tradition, who believe that for a great book or books to survive, they have to be retold or reinvented for each generation
  • Brian Sibley in «Hail, Mary!» in The Independent (19 September 2004)

External links[edit]

• Brief profile at American Society of Authors and Writers
• Bibliography and links
• Bibliography at Fantastic Fiction
• P. L. Travers at IMDb
• «Becoming Mary Poppins : P. L. Travers, Walt Disney, and the making of a myth» by Caitlin Flanagan in The New Yorker (19 December 2005)
• «P L Travers : Why is her creation, Mary Poppins, still so popular?» BBC Interview (13 December 2004) (Realplayer audio)

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