Exercise

Text 1
No one who had ever seen Catherine Morland in her infancy would have supposed her born to be an
heroine. Her situation in life, the character of her father and mother, her own person and disposition,
were all equally against her. Her father was a clergyman, without being neglected, or poor, and a
very respectable man, though his name was Richard -- and he had never been handsome. He had a
considerable independence besides two good livings -- and he was not in the least addicted to
locking up his daughters. Her mother was a woman of useful plain sense, with a good temper, and,
what is more remarkable, with a good constitution. She had three sons before Catherine was born;
and instead of dying in bringing the latter into the world, as anybody might expect, she still lived on -lived to have six children more -- to see them growing up around her, and to enjoy excellent health
herself. A family of ten children will be always called a fine family, where there are heads and arms
and legs enough for the number; but the Morlands had little other right to the word, for they were in
general very plain, and Catherine, for many years of her life, as plain as any. She had a thin
awkward figure, a sallow skin without colour, dark lank hair, and strong features -- so much for her
person; and not less unpropitious for heroism seemed her mind. She was fond of all boy's plays, and
greatly preferred cricket not merely to dolls, but to the more heroic enjoyments of infancy, nursing a
dormouse, feeding a canary-bird, or watering a rose-bush. Indeed she had no taste for a garden;
and if she gathered flowers at all, it was chiefly for the pleasure of mischief -- at least so it was
conjectured from her always preferring those which she was forbidden to take. Such were her
propensities -- her abilities were quite as extraordinary. She never could learn or understand
anything before she was taught; and sometimes not even then, for she was often inattentive, and
occasionally stupid. Her mother was three months in teaching her only to repeat the "Beggar's
Petition"; and after all, her next sister, Sally, could say it better than she did. Not that Catherine was
always stupid -- by no means; she learnt the fable of "The Hare and Many Friends" as quickly as any
girl in England. Her mother wished her to learn music; and Catherine was sure she should like it, for
she was very fond of tinkling the keys of the old forlorn spinner; so, at eight years old she began.
She learnt a year, and could not bear it; and Mrs. Morland, who did not insist on her daughters being
accomplished in spite of incapacity or distaste, allowed her to leave off. The day which dismissed the
music-master was one of the happiest of Catherine's life. Her taste for drawing was not superior;
though whenever she could obtain the outside of a letter from her mother or seize upon any other
odd piece of paper, she did what she could in that way, by drawing houses and trees, hens and
chickens, all very much like one another. Writing and accounts she was taught by her father; French
by her mother: her proficiency in either was not remarkable, and she shirked her lessons in both
whenever she could. What a strange, unaccountable character! -- for with all these symptoms of
profligacy at ten years old, she had neither a bad heart nor a bad temper, was seldom stubborn,
scarcely ever quarrelsome, and very kind to the little ones, with few interruptions of tyranny; she was
moreover noisy and wild, hated confinement and cleanliness, and loved nothing so well in the world
as rolling down the green slope at the back of the house.

Text 2
COSTATA alla PIZZAIOLA

SERVES 4
1.5 lb (750 g) thinly sliced sirloin or rump steak or veal or chicken breasts, skinned
6 tablespoons olive oil
3 cloves garlic, peeled and crushed
1.5 lb (750 g) canned tomatoes, sieved
2 tablespoons chopped parsley
3 tablespoons chopped basil salt and pepper
Trim any gristle and fat off the meat, flatten it as much as possible with a meat mallet and set it to
one side. Heat the oil in a frying-pan wide enough to take all the meat in a single layer, add the garlic
and fry gently for about 3 minutes. Add the tomatoes, parsley and basil, stir and bring to the boil. Slip
the meat into the tomato sauce, cook very quickly for about 5 minutes, sprinkle with salt and plenty
of pepper and serve at once.

Text 3
DESCALING INSTRUCTIONS

IN HARD WATER AREAS REGULAR DESCALING IS ESSENTIAL TO KEEP YOUR KETTLE

IN GOOD WORKING ORDER.

If your kettle switches off before it has boiled it indicates your kettle needs descaling.

Descale your kettle using

o either a proprietary kettle descaler suitable for PLASTIC kettles. Follow manufacturer's
instructions,
o or white vinegar
1. Fill the kettle with l of 8 white vinegar.
2. Leave to soak for 1 hour without boiling.
3. Empty your kettle and rinse it two or three times with clear water.
o or citric acid

1. Boil 0.5 l of water.

2. Add 25 g of citric acid.
3. Leave to soak for 15 minutes.
4. Discard this mixture.
5. Rinse the kettle with clear water two or three times.

Repeat process if needed.

Descaling agents for metal kettles, coffee makers or steam irons are unsuitable and will
damage your Tefal kettle. Never use metal abrasives to clean the interior.

When using powder descaler or citric acid, always add water. Never use in an empty kettle.

Always follow the directions for use on the descaler carefully. Rinse the inside well after using
a descaler.

Text 4

O2
Mr A Gillett
School of Combined Studies
University of Hertfordshire
Ref. 000055/4/50
Mobile Phone No: 07934297360
August 2003
Dear Mr Gillett,
A change to your O2 tariff
We're writing to let you know in advance about a price change we are making to your O 2 50 tariff.
From October your O2 50 monthly subscription will change from 18 to l 9 per month (inc VAT).
This new rate will appear on the first bill you receive after 1st October and will apply to your next full
monthly subscription charged after 1st October 2003. We regret having to make this increase and
would like to reassure you that all call charges and other terms and conditions for O 2 50 remain the

same.
With O2 50 you can still enjoy:

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25 inclusive text messages per month

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Send Texts from 4p.

Did you know you can send texts from as little as 4p to anyone in the UK* with O2 Message Bolt
Ons?
If you'd like to review your tariff, or add a Bolt On to your account, contact your Customer Service
team on 0870 111 7202.
Yours sincerely,
Deborah Cordless
Consumer Marketing Manager
O2 (UK) Limited Rgistered in England no. 1743099 Registered Office 260 Bath Road Slough SL1 4DX

Text 5

Introduction to Pitch
2/1 Pitch names and notation
Playing any note on a piano produces a fixed sound. The sound gradually fades away, but it does
not go up or down. Music is made up from fixed sounds such as this.
Many instruments (including all the stringed instruments and the trombone) are capable of producing
an infinite number of fixed sounds between any two notes on a keyboard, with only minute
differences between them. It is the same with the human voice. But in practice all instruments, and
singing voices too, normally use only the particular notes of the keyboard. When a player such as a
violinist 'tunes' his instrument, he is trying to find exactly the one fixed sound he wants. All the other
notes in the music will be placed in relation to this one note.
If one note is played on the keyboard and then another note is played anywhere to the right of it, the
sound of the second note is said to be higher than that of the first. A note to the left of it would
produce a lower sound. In the same way men's voices are said to be lower than those of women or
young boys. The technical word referring to the height or depth of sound is pitch.
On the keyboard, groups of two black notes alternate with groups of three black notes. This makes it
easy to distinguish between the white notes, which are given the letter names from A to G. A is
always between the second and third of the group of three black notes. After G comes A again.

Text 6
Juliet Hist! Romeo, hist! O for a falconer's voice
To lure this tassel-gentle back again!
Bondage is hoarse and may not speak aloud;
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine
With repetition of my Romeo's name.
Romeo!
Romeo It is my soul that calls upon my name.
How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!
Juliet Romeo!
Romeo My dear?
Juliet At what o'clock to-morrow
Shall I send to thee?
Romeo By the hour of nine.
Juliet I will not fail. 'Tis twenty years till then.
I have forgot why I did call thee back.
Romeo Let me stand here till thou remember it.
Juliet I shall forget, to have thee still stand there,
Rememb'ring how I love thy company.
Romeo And I'll still stay, to have thee still forget,
Forgetting any other home but this.
Juliet 'Tis almost morning. I would have thee gone-

And yet no farther than a wanton's bird,

That lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
Romeo I would I were thy bird.
Juliet Sweet, so would I.
Yet I should kill thee with much cherishing.
Good night, good night! Parting is such sweet sorrow,
That I shall say good night till it be morrow.

Text 7
This paper examines interaction in written text through the interplay between the notions of text
averral and attribution (Sinclair, 1988). Text averral is evidenced in the unmarked parts of the text,
where the utterances are assumed to be attributed to the author. Attribution, the counterpart of text
averral, is the marked case where the sources of authority are clearly signalled.
It is hoped that this study will add to our knowledge about the characteristics of different types of text,
and illuminate the way for students who find themselves lost amidst the echoes of the multiple voices
they hear within the same text.
Text averral and attribution are basic notions for the organization of interaction in written text. The
assumption is made that the author of a non-fictional artefact (Sinclair, 1986) avers every statement
in his or her text so long as he/she does not attribute these statements to another source - whether
that source is other or self. Averral is manifested in various ways in the text - negatively, through
absence of attribution, and positively, through commenting, evaluating or metastructuring of the
discourse. Attribution, on the other hand, is signalled in the text by a number of devices of which
reporting is an obvious one.

Text 8
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,

And every fair from fair sometime declines,

By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wand'rest in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

Text 9

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Text 10

Puzzle for Nigel as tortoise does a runner

RETIRED policeman
Nigel Folds is trying to
solve the mystery of
the disappearing
tortoise. For the
leopard tortoise from
South Africa vanished

female tortoise, which

is between 15 and 18
inches long, has been
taken from his garden
by children. He said:
"We have a six-foot
panel fence around

10 days before it
disappeared and
Nigel is worried that it
will not survive without
special care once the
nights become cooler.

many others which

can still be brought
into the country from
other parts of the
world. We have
successfully bred the
Mediterranean variety

from his garden in

Maltings Drive,
Wheathampstead,
between 2pm and
5pm on Friday, August
15. Nigel, who has a
collection of more
than a dozen tortoises
of different types, is
certain the

the garden to keep

them all in. We live
next to a playground
and I feel some
youngsters simply
couldn't resist the
temptation." The
missing tortoise is one
of a breeding pair
which he had bought
for 500 each just

Bred
Nigel began his
collection of tortoises
around nine years
ago. He said:
"Although it is now
illegal to import the
Mediterranean variety,
there are

in the past but this

year our mature
female has not laid
any eggs." Anyone
with information
should call Nigel on
01582 833355 or the
police on 01707
638102.

Text 11
N.W.3. s/c c.h. lux. furn. flt. fridge ph. 26 423 7283
Hampstead Mod. cen. ht. flt. 3 rooms k. and b. tel. col. T.V. 32 inc. elec. gas 482 1266
Nr. Traf. Sq. s/c lux. furn. flt. 1st fl. 1 double bed. 1 recep. kit/diner bthrm. hall. tel. 225
6126 after 2 p.m.
N.W.2. luxury gr. fl. gdn. flt. s.c. 2 b. rec. c.h.w. & c.h. mod. bthrm. lab. sav. k. 1 min. shpg.
cntre. 26 inc. 456 1387
N.W.2. Nr. tube Furn. flt. 3rd floor suit 2 sgl. sh. 924 456 2793 N.10. cul-de-sac 4r. k & b
28 754 3871
Putney. Mod. 1st fl. flt. s/c. 2 beds lnge. k. b/w.c. c.h. lift gge. no sharing 30 p.w. 894
6336
N.W.1. furn. bse. flt. Ir. bdrm. own k. sh. bth. c.h. suit prof. pers. 7429139
S. Kensington 2 min. tube & shops pleas. furn. s/c. flt. bdrm. rec. mod k and b. sep. w.c.
suit one man or m/c only min. 6 mths. refs. essent. 28 p.w. 566 2784.,
W.2. Bedsit. own ckg. facs. sh. bthrm. lge. snny. rm. 14 877 7521
Text 12
PO Box 1452
Almeira
Spain
14th April 2003
Dear John,
How are you? Everything here's fine. I'm very happy at the moment because my football team won
last week. I went to the match with my brother Fernando, and we both enjoyed it very much. The

score was 6 - 1.
Well, that's a little bit of recent news from Almeira. Now, here's the most important thing in this letter:
What are you doing in September? I'm on holiday then, and I'd like to invite you to come to Almeira
for a month. The weather is usually very good in September (it's not too hot!). We could go
swimming and I could show you something of Spain.
I hope you can come. My family and I think it's a great idea, and we all want to meet you.
That's all for now.
Best wishes to you and your family.

Some suggestions:
Text 1 is the introduction from a novel. Some features are: past tense narrative,
introduction to characters
Text 2 is a recipe from a recipe book. Some features are: list of ingredients, instructions
using imperative verbs "Trim, Add, Heat".
Text 3 is a list of instructions from a manual for an electric kettle. Some features are: list,
bullet pints, instructions using imperative verbs "Fill, Leave, Empty"
Text 4 is a business letter. Some features are layout "address, Dear Mr, Yours sincerely"
Text 5 is the beginning of a chapter from a textbook. Some features are: chapter headings,
clear descriptions, definitions.
Text 6 is part of a play. Some features are: dialogue with speakers named, conversational
language.
Text 7 is the introduction from an academic article. Some features are: objective
impersonal language "This paper examines, It is hoped", citations "Sinclair, 1988",
nominalisation (nouns, not verbs) "interaction, attribution".
Text 8 is a poem. Some features are: layout - short lines, rhyme "day, May"
Text 9 is an advertisement. Some features are: layout, picture, price, positive adjectives
"beautiful, great"

Text 10 is an article from a local newspaper. Some features are: layout "columns",
headings.
Text 11 is a classified accommodation advertisement. Some features are: layout,
abbreviations.
Text 12 is an informal letter. Some feature are: personal language "I, you, we", questions,
use of punctuation.