sábado, 21 de agosto de 2021

One Summer Night - Ambrose Bierce

One Summer Night

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés de miedo, suspense, halloween

One Summer Night - Ambrose Bierce - Horror

The fact that Henry Armstrong was buried did not seem to him to prove that he was dead: he had always been a hard man to convince. That he really was buried, the testimony of his senses compelled him to admit. His posture -- flat upon his back, with his hands crossed upon his stomach and tied with something that he easily broke without profitably altering the situation -- the strict confinement of his entire person, the black darkness and profound silence, made a body of evidence impossible to controvert and he accepted it without cavil.

But dead -- no; he was only very, very ill. He had, withal, the invalid's apathy and did not greatly concern himself about the uncommon fate that had been allotted to him. No philosopher was he -- just a plain, commonplace person gifted, for the time being, with a pathological indifference: the organ that he feared consequences with was torpid. So, with no particular apprehension for his immediate future, he fell asleep and all was peace with Henry Armstrong.

But something was going on overhead. It was a dark summer night, shot through with infrequent shimmers of lightning silently firing a cloud lying low in the west and portending a storm. These brief, stammering illuminations brought out with ghastly distinctness the monuments and headstones of the cemetery and seemed to set them dancing. It was not a night in which any credible witness was likely to be straying about a cemetery, so the three men who were there, digging into the grave of Henry Armstrong, felt reasonably secure.

Two of them were young students from a medical college a few miles away; the third was a gigantic negro known as Jess. For many years Jess had been employed about the cemetery as a man-of-all-work and it was his favourite pleasantry that he knew 'every soul in the place.' From the nature of what he was now doing it was inferable that the place was not so populous as its register may have shown it to be.

Outside the wall, at the part of the grounds farthest from the public road, were a horse and a light wagon, waiting.
The work of excavation was not difficult: the earth with which the grave had been loosely filled a few hours before offered little resistance and was soon thrown out. Removal of the casket from its box was less easy, but it was taken out, for it was a perquisite of Jess, who carefully unscrewed the cover and laid it aside, exposing the body in black trousers and white shirt. At that instant the air sprang to flame, a cracking shock of thunder shook the stunned world and Henry Armstrong tranquilly sat up. With inarticulate cries the men fled in terror, each in a different direction. For nothing on earth could two of them have been persuaded to return. But Jess was of another breed.

In the grey of the morning the two students, pallid and haggard from anxiety and with the terror of their adventure still beating tumultuously in their blood, met at the medical college.

'You saw it?' cried one.

'God! yes -- what are we to do?'

They went around to the rear of the building, where they saw a horse, attached to a light wagon, hitched to a gatepost near the door of the dissecting-room. Mechanically they entered the room. On a bench in the obscurity sat the negro Jess. He rose, grinning, all eyes and teeth.

'I'm waiting for my pay,' he said.

Stretched naked on a long table lay the body of Henry Armstrong, the head defiled with blood and clay from a blow with a spade.

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Fear - Guy de Maupassant - Horror

Fear

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés de miedo, suspense, halloween

Fear - Guy de Maupassant - Horror

We went up on deck after dinner. Before us the Mediterranean lay without a ripple and shimmering in the moonlight. The great ship glided on, casting upward to the star-studded sky a long serpent of black smoke. Behind us the dazzling white water, stirred by the rapid progress of the heavy bark and beaten by the propeller, foamed, seemed to writhe, gave off so much brilliancy that one could have called it boiling moonlight.

There were six or eight of us silent with admiration and gazing toward far-away Africa whither we were going. The commandant, who was smoking a cigar with us, brusquely resumed the conversation begun at dinner.

"Yes, I was afraid then. My ship remained for six hours on that rock, beaten by the wind and with a great hole in the side. Luckily we were picked up toward evening by an English coaler which sighted us."

Then a tall man of sunburned face and grave demeanor, one of those men who have evidently traveled unknown and far-away lands, whose calm eye seems to preserve in its depths something of the foreign scenes it has observed, a man that you are sure is impregnated with courage, spoke for the first time.

"You say, commandant, that you were afraid. I beg to disagree with you. You are in error as to the meaning of the word and the nature of the sensation that you experienced. An energetic man is never afraid in the presence of urgent danger. He is excited, aroused, full of anxiety, but fear is something quite different."

The commandant laughed and answered: "Bah! I assure you that I was afraid."

Then the man of the tanned countenance addressed us deliberately as follows:

"Permit me to explain. Fear — and the boldest men may feel fear — is something horrible, an atrocious sensation, a sort of decomposition of the soul, a terrible spasm of brain and heart, the very memory of which brings a shudder of anguish, but when one is brave he feels it neither under fire nor in the presence of sure death nor in the face of any well-known danger. It springs up under certain abnormal conditions, under certain mysterious influences in the presence of vague peril. Real fear is a sort of reminiscence of fantastic terror of the past. A man who believes in ghosts and imagines he sees a specter in the darkness must feel fear in all its horror.
"As for me I was overwhelmed with fear in broad daylight about ten years ago and again one December night last winter.

"Nevertheless, I have gone through many dangers, many adventures which seemed to promise death. I have often been in battle. I have been left for dead by thieves. In America I was condemned as an insurgent to be hanged, and off the coast of China have been thrown into the sea from the deck of a ship. Each time I thought I was lost I at once decided upon my course of action without regret or weakness.

"That is not fear.

"I have felt it in Africa, and yet it is a child of the north. The sunlight banishes it like the mist. Consider this fact, gentlemen. Among the Orientals life has no value; resignation is natural. The nights are clear and empty of the somber spirit of unrest which haunts the brain in cooler lands. In the Orient panic is known, but not fear.

"Well, then! Here is the incident that befell me in Africa.

"I was crossing the great sands to the south of Onargla. It is one of the most curious districts in the world. You have seen the solid continuous sand of the endless ocean strands. Well, imagine the ocean itself turned to sand in the midst of a storm. Imagine a silent tempest with motionless billows of yellow dust. They are high as mountains, these uneven, varied surges, rising exactly like unchained billows, but still larger, and stratified like watered silk. On this wild, silent, and motionless sea, the consuming rays of the tropical sun are poured pitilessly and directly. You have to climb these streaks of red-hot ash, descend again on the other side, climb again, climb, climb without halt, without repose, without shade. The horses cough, sink to their knees and slide down the sides of these remarkable hills.

"We were a couple of friends followed by eight spahis and four camels with their drivers. We were no longer talking, overcome by heat, fatigue, and a thirst such as had produced this burning desert. Suddenly one of our men uttered a cry. We all halted, surprised by an unsolved phenomenon known only to travelers in these trackless wastes.
"Somewhere, near us, in an indeterminable direction, a drum was rolling, the mysterious drum of the sands. It was beating distinctly, now with greater resonance and again feebler, ceasing, then resuming its uncanny roll.

"The Arabs, terrified, stared at one another, and one said in his language: 'Death is upon us.' As he spoke, my companion, my friend, almost a brother, dropped from his horse, falling face downward on the sand, overcome by a sunstroke.

"And for two hours, while I tried in vain to save him, this weird drum filled my ears with its monotonous, intermittent and incomprehensible tone, and I felt lay hold of my bones fear, real fear, hideous fear, in the presence of this beloved corpse, in this hole scorched by the sun, surrounded by four mountains of sand, and two hundred leagues from any French settlement, while echo assailed our ears with this furious drum beat.

"On that day I realized what fear was, but since then I have had another, and still more vivid experience — "

The commandant interrupted the speaker:

"I beg your pardon, but what was the drum?"

The traveler replied:

"I cannot say. No one knows. Our officers are often surprised by this singular noise and attribute it generally to the echo produced by a hail of grains of sand blown by the wind against the dry and brittle leaves of weeds, for it has always been noticed that the phenomenon occurs in proximity to little plants burned by the sun and hard as parchment. This sound seems to have been magnified, multiplied, and swelled beyond measure in its progress through the valleys of sand, and the drum therefore might be considered a sort of sound mirage. Nothing more. But I did not know that until later.

"I shall proceed to my second instance.

"It was last winter, in a forest of the Northeast of France. The sky was so overcast that night came two hours earlier than usual. My guide was a peasant who walked beside me along the narrow road, under the vault of fir trees, through which the wind in its fury howled. Between the tree tops, I saw the fleeting clouds, which seemed to hasten as if to escape some object of terror. Sometimes in a fierce gust of wind the whole forest bowed in the same direction with a groan of pain, and a chill laid hold of me, despite my rapid pace and heavy clothing.
"We were to sup and sleep at an old gamekeeper's house not much farther on. I had come out for hunting.

"My guide sometimes raised his eyes and murmured: 'Ugly weather!' Then he told me about the people among whom we were to spend the night. The father had killed a poacher, two years before, and since then had been gloomy and behaved as though haunted by a memory. His two sons were married and lived with him.

"The darkness was profound. I could see nothing before me nor around me and the mass of overhanging interlacing trees rubbed together, filling the night with an incessant whispering. Finally I saw a light and soon my companion was knocking upon a door. Sharp women's voices answered us, then a man's voice, a choking voice, asked, 'Who goes there?' My guide gave his name. We entered and beheld a memorable picture.

"An old man with white hair, wild eyes, and a loaded gun in his hands, stood waiting for us in the middle of the kitchen, while two stalwart youths, armed with axes, guarded the door. In the somber corners I distinguished two women kneeling with faces to the wall.

"Matters were explained, and the old man stood his gun against the wall, at the same time ordering that a room be prepared for me. Then, as the women did not stir: 'Look you, monsieur,' said he, 'two years ago this night I killed a man, and last year he came back to haunt me. I expect him again to-night.'

"Then he added in a tone that made me smile:

"'And so we are somewhat excited.'

"I reassured him as best I could, happy to have arrived on that particular evening and to witness this superstitious terror. I told stories and almost succeeded in calming the whole household.

"Near the fireplace slept an old dog, mustached and almost blind, with his head between his paws, such a dog as reminds you of people you have known.
"Outside, the raging storm was beating against the little house, and suddenly through a small pane of glass, a sort of peep-window placed near the door, I saw in a brilliant flash of lightning a whole mass of trees thrashed by the wind.

"In spite of my efforts, I realized that terror was laying hold of these people, and each time that I ceased to speak, all ears listened for distant sounds. Annoyed at these foolish fears, I was about to retire to my bed, when the old gamekeeper suddenly leaped from his chair, seized his gun and stammered wildly: 'There he is, there he is! I hear him!' The two women again sank upon their knees in the corner and hid their faces, while the sons took up the axes. I was going to try to pacify them once more, when the sleeping dog awakened suddenly and, raising his head and stretching his neck, looked at the fire with his dim eyes and uttered one of those mournful howls which make travelers shudder in the darkness and solitude of the country. All eyes were focused upon him now as he rose on his front feet, as though haunted by a vision, and began to howl at something invisible, unknown, and doubtless horrible, for he was bristling all over. The gamekeeper with livid face cried: 'He scents him! He scents him! He was there when I killed him.' The two women, terrified, began to wail in concert with the dog.

"In spite of myself, cold chills ran down my spine. This vision of the animal at such a time and place, in the midst of these startled people, was something frightful to witness.

"Then for an hour the dog howled without stirring; he howled as though in the anguish of a nightmare; and fear, horrible fear came over me. Fear of what? How can I say? It was fear, and that is all I know.

"We remained motionless and pale, expecting something awful to happen. Our ears were strained and our hearts beat loudly while the slightest noise startled us. Then the beast began to walk around the room, sniffing at the walls and growling constantly. His maneuvers were driving us mad! Then the countryman, who had brought me thither, in a paroxysm of rage, seized the dog, and carrying him to a door, which opened into a small court, thrust him forth.
"The noise was suppressed and we were left plunged in a silence still more terrible. Then suddenly we all started. Some one was gliding along the outside wall toward the forest; then he seemed to be feeling of the door with a trembling hand; then for two minutes nothing was heard and we almost lost our minds. Then he returned, still feeling along the wall, and scratched lightly upon the door as a child might do with his finger nails. Suddenly a face appeared behind the glass of the peep-window, a white face with eyes shining like those of the cat tribe. A sound was heard, an indistinct plaintive murmur.

"Then there was a formidable burst of noise in the kitchen. The old gamekeeper had fired and the two sons at once rushed forward and barricaded the window with the great table, reinforcing it with the buffet.

"I swear to you that at the shock of the gun's discharge, which I did not expect, such an anguish laid hold of my heart, my soul, and my very body that I felt myself about to fall, about to die from fear.

"We remained there until dawn, unable to move, in short, seized by an indescribable numbness of the brain.

"No one dared to remove the barricade until a thin ray of sunlight appeared through a crack in the back room.

"At the base of the wall and under the window, we found the old dog lying dead, his skull shattered by a ball.

"He had escaped from the little court by digging a hole under a fence."

The dark-visaged man became silent, then he added:

"And yet on that night I incurred no danger, but I should rather again pass through all the hours in which I have confronted the most terrible perils than the one minute when that gun was discharged at the bearded head in the window."

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viernes, 20 de agosto de 2021

Describir acciones que están ocurriendo en el momento

Describir acciones presente en inglés

¿Cómo Describir en inglés acciones que están ocurriendo en el momento de hablar?

Forma afirmativa

I AM - Estoy

HE IS - Está                         SLEEPING = durmiendo

THEY ARE - Están


1.Read

Un periodista está transmitiendo en directo la llegada del presidente.

Good evening. It's half past six and I'm here at Kennedy Airport. The President and his wife are coming from Sidney. The plane is arriving now... well, we're waiting and watching... Ah, the door is opening. The President and his wife are coming out. The President's wife is wearing a pretty hat. We can see them now.

Some reporters are taking photographs of them. Others are asking them some questions.

2.Read and Repeat

The President and his wife are coming.

The plane is arriving.

We are waiting and watching.

Some reporters are taking photographs. Others are asking them some questions.

Forma negativa

I AM                                                                   estoy

HE IS                     NOT SLEEPING = No         está                      durmiendo

WE ARE                                                             están

**Fijate que para la forma negetiva se aflade not al auxiliar be.


  • Read and repeat

They are playing football.
They are not playing tennis.
(aren't)

He is smoking a cigarette.
He S not smoking a cigar.
(isn't)

The children are swimming in the swimming pool.
They are not swimming in the sea.
(aren't)

They are watching TV.
They are not playing.
(aren't)

He is washing his car.
He Is not washing his clothes.
(isn't)

Forma interrogativa

AM I                                                    ¿Estoy

IS HE                    SLEEPING =         ¿Está                     durmiendo?

ARE THEY                                          ¿Están


Read

Harry y Wendy están metidos en un caso de espionaje industrial. Wendy sigue a una sospechosa y llama a Harry pare informarle.

Wendy: Hello, Wendy Morgan speaking. Harry, can you hear me?

Harry: Yes, Wendy, Where are you? Are you phoning from a telephone-box?

Wendy: Oh, yes, I am. I'm In Turnpike Street, near the post-office.

Harry: Are you watching Gloria Morgan?

Wendy: Yes, I am. I can see her. She's sitting in a café opposite the telephone-box. She's having a coffee. Oh, hero is Randall Jones. He's going into the cafe. He's walking towards' Terry's table...

Harry: Wendy, are you there? What are they doing? Are they talking?

Wendy: No, They aren't. The waiter is bringing Randall a beer now. Randall is lighting' a cigarette and he's drinking his beer.

Harry: Is he looking at Gloria?

Wendy: No, no. He isn't. Wait a moment! Now he's standing up. he's paying the waiter and he's leaving.

Harry: Is Gloria leaving too?

Wendy: No. she isn't. She's still sitting. Oh, Harry, the lighter!' It's still on the table. Now Gloria is picking it up*: she's opening her handbag and she's putting it inside. Now, she's leaving. Harry, I'm sure there's a micro-chip' in the lighter. I'm leaving, Harry. I'm following' her. Bye...

Read and repeat

Are you phoning from a telephone-box? Yes. I am.
Are you watching Gloria Morgan? Yes. I am.
Are they talking? No. they aren't.
Is he looking at Gloria? No. he isn't.
Is Gloria leaving. too? No, she isn't.

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Dictates in English - Textos para dictados en Inglés - 07

Dictados en Inglés - Dictates in English

Recursos educativos en inglés. Textos en inglés, idóneos para dictados y traducciones. Ideal para aprender inglés, practicar vocabulario, pronunciación y mucho más, de una manera divertida.

The Crow and the Pitcher

A Crow, half-dead with thirst, came upon a Pitcher which had once been full of water; but when the Crow put its beak into the mouth of the Pitcher he found that only very little water was left in it, and that he could not reach far enough down to get at it. He tried, and he tried, but at last had to give up in despair. Then a thought came to him, and he took a pebble and dropped it into the Pitcher. Then he took another pebble and dropped it into the Pitcher. Then he took another pebble and dropped that into the Pitcher. Then he took another pebble and dropped that into the Pitcher. Then he took another pebble and dropped that into the Pitcher. Then he took another pebble and dropped that into the Pitcher. At last, at last, he saw the water mount up near him, and after casting in a few more pebbles he was able to quench his thirst and save his life.

Little by little does the trick.

The Man and the Satyr

A Man had lost his way in a wood one bitter winter’s night. As he was roaming about, a Satyr came up to him, and finding that he had lost his way, promised to give him a lodging for the night, and guide him out of the forest in the morning. As he went along to the Satyr’s cell, the Man raised both his hands to his mouth and kept on blowing at them. ‘What do you do that for?’ said the Satyr.‘My hands are numb with the cold,’ said the Man, ‘and my breath warms them.’

After this they arrived at the Satyr’s home, and soon the Satyr put a smoking dish of porridge before him. But when the Man raised his spoon to his mouth he began blowing upon it. ‘And what do you do that for?’ said the Satyr.

‘The porridge is too hot, and my breath will cool it.’

‘Out you go,’ said the Satyr.

‘I will have nought to do with a man who can blow hot and cold with the same breath.’

The Goose With the Golden Eggs

One day a countryman going to the nest of his Goose found there an egg all yellow and glittering. When he took it up it was as heavy as lead and he was going to throw it away, because he thought a trick had been played upon him. But he took it home on second thoughts, and soon found to his delight that it was an egg of pure gold. Every morning the same thing occurred, and he soon became rich by selling his eggs. As he grew rich he grew greedy; and thinking to get at once all the gold the Goose could give, he killed it and opened it only to find nothing.

Greed oft o’er reaches itself.

The Labourer and the Nightingale

A Labourer lay listening to a Nightingale’s song throughout the summer night. So pleased was he with it that the next night he set a trap for it and captured it. ‘Now that I have caught thee,’ he cried, ‘thou shalt always sing to me.’

‘We Nightingales never sing in a cage.’ said the bird.‘Then I’ll eat thee.’ said the Labourer. ‘I have always heard say that a nightingale on toast is dainty morsel.

'Nay, kill me not,’ said the Nightingale; ‘but let me free, and I’ll tell thee three things far better worth than my poor body.’ The Labourer let him loose, and he flew up to a branch of a tree and said: ‘Never believe a captive’s promise; that’s one thing. Then again: Keep what you have. And third piece of advice is: Sorrow not over what is lost forever.’ Then the song-bird flew away.

The Fox, the Cock, and the Dog

One moonlight night a Fox was prowling about a farmer’s hen-coop, and saw a Cock roosting high up beyond his reach. ‘Good news, good news!’ he cried.

‘Why, what is that?’ said the Cock.

‘King Lion has declared a universal truce. No beast may hurt a bird henceforth, but all shall dwell together in brotherly friendship.’

‘Why, that is good news,’ said the Cock; ‘and there I see some one coming, with whom we can share the good tidings.’ And so saying he craned his neck forward and looked afar off.

‘What is it you see?’ said the Fox.

‘It is only my master’s Dog that is coming towards us.

What, going so soon?’ he continued, as the Fox began to turn away as soon as he had heard the news. ‘Will you not stop and congratulate the Dog on the reign of universal peace?’

‘I would gladly do so,’ said the Fox, ‘but I fear he may not have heard of King Lion’s decree.’

Cunning often outwits itself.

The Wind and the Sun

The Wind and the Sun were disputing which was the stronger. Suddenly they saw a traveller coming down the road, and the Sun said: ‘I see a way to decide our dispute.

Whichever of us can cause that traveller to take off his cloak shall be regarded as the stronger. You begin.’

So the Sun retired behind a cloud, and the Wind began to blow as hard as it could upon the traveller. But the harder he blew the more closely did the traveller wrap his cloak round him, till at last the Wind had to give up in despair.

Then the Sun came out and shone in all his glory upon the traveller, who soon found it too hot to walk with his cloak on.

Kindness effects more than severity.

Hercules and the Waggoner

A Waggoner was once driving a heavy load along a very muddy way. At last he came to a part of the road where the wheels sank half-way into the mire, and the more the horses pulled, the deeper sank the wheels. So the Waggoner threw down his whip, and knelt down and
prayed to Hercules the Strong.

‘O Hercules, help me in this my hour of distress,’ quoth he. But Hercules appeared to him, and said:

‘Tut, man, don’t sprawl there. Get up and put your shoulder to the wheel.’

The gods help them that help themselves.

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jueves, 19 de agosto de 2021

Construir frases simples - To build a simple sentence

Construir frases simples en inglés

Reglas básicas para dominar fácilmente la gramática inglesa

Para hablar un idioma, se necesita saber cómo hacer una simple frase. En la construcción de frases, cambia si es la forma afirmativa, negativa o interrogativa. Así que vamos a ver esto en orden. Si ya lo dominas, puedes saltarte la parte de la forma afirmativa e ir directamente a las formas interrogativa y negativa. Es importante leer los dos últimos puntos, porque se trata de auxiliares, que se utilizan TODO el tiempo en inglés.

Forma afirmativa - La estructura de las oraciones en inglés es:

Sujeto - verbo - complemento

Ejemplo: I have lost my glasses = He perdido mis gafas

Así que obviamente no siempre es tan simple, pero digamos que es verdad en el 80% de los casos. ¡Lo que ya es importante para hablar inglés!

Forma interrogativa - ¿Cómo hacer una pregunta en inglés?

Utilizamos un auxiliar y lo colocamos antes del sujeto:

Auxiliar + Sujeto + Verbo

Por ejemplo: Do you like this sandwich? - ¿Te gusta este sándwich?

Do = auxiliar; You = sujeto; like = verbo. (y este sándwich = complemento)

La dificultad estriba en saber qué auxiliar utilizar para formular la pregunta, pero por lo demás, es sencillo. El auxiliar más común es Do, como en este ejemplo, pero hay otros (Have, Be, o modales, que actúan como auxiliares)

Cómo formar una frase negativa en inglés

Es muy simple: tienes que añadir "no" después del verbo.

Ejemplo: I am a teacher -> I am not a teacher

A menudo, el "no" que indica negación cambia un poco:

Cuando el verbo se contrae, el "no" se pega a ciertos verbos y pierde su "o":

  • He is not -> he isn’t
  • We have not -> we don’t have
  • I do not -> I don’t

"no" no puede pegarse a todos los verbos, hay que añadir lo que se llama un auxiliar como DO o DID.

He drives too fast - Conduce demasiado rápido.

Se convierte en: He does not drive too fast - No conduce demasiado rápido.

You walked slowly - Caminaste lentamente.

Se convierte en: You did not walk slowly.

Lo que cambia en inglés es el lugar de otras palabras en la frase como adverbios, indicaciones de tiempo o lugar.

Ejemplo: Yesterday I wrote a letter = ayer escribí una carta

En esta frase, " Yesterday" indica cuándo tuvo lugar el evento, se coloca al principio de la frase en inglés.

He often wakes up early in the morning = Se despierta a menudo temprano en la mañana

"often" se coloca justo después del sujeto.

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 The basic rules for mastering English grammar easily

To build a simple sentence

To speak a language, you already need to know how to make a simple sentence.

Structure of sentences in English:

Subject - verb - complement

Example: I have lost my glasses

So obviously it's not always that simple, but let's say it's true in 80% of cases. Which is already huge for speaking English!

To form a negative sentence

It's quite simple: you have to add "not" after the verb.

Example: I am a teacher -> I am not a teacher

Often, the "not" that indicates negation changes a little:

when the verb is contracted, "not" sticks to certain verbs and loses its "o":

He is not -> he isn't

We have not -> we don't have

I do not -> I don't

"not" cannot stick to all verbs, you have to add what is called an auxiliary such as DO or DID

He drives too fast

becomes: He does not drive too fast

You walked slowly

becomes: You did not walk slowly

What changes in English is the place of other words in the sentence such as adverbs, time or place indications.

Example: Yesterday I wrote a letter

In this sentence "yesterday" indicates when the event took place, it is placed at the beginning of the sentence in English.

He often wakes up early in the morning.

"often" is placed just after the subject.

🔆 También te puede interesar:

  • Cómo preguntar y expresar la posesión en inglés
  • Cómo usar May y might - Verbos modales
  • Conditionals in English - El condicional en Inglés
  • Adjetivos y pronombres demostrativos en Inglés
  • Pronombres Posesivos en inglés - Possessive Pronouns
  • Adjetivos Posesivos en Inglés - Possessive adjectives
  • ¿Cómo aprender inglés fácil y desde casa?
  • Plural de los sustantivos en inglés
  • Many more, a lot more y Much more. Usos en inglés
  • ¿Qué son los phrasal verbs en inglés? Los más usados
  • Cómo expresar opiniones en inglés
  • Uso de whose en inglés - Pronombres relativos
  • Who, which y that - Pronombres Relativos en inglés
  • Was going to - El futuro en el pasado
  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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House and family - Usos del lenguaje, Gramática y Léxico

house family usos

Iniciación al inglés – Repaso de conceptos para conversaciones básicas

Presentaciones

  • Presentación informal:

Hello! My name’s (nombre). This is (nombre) and this is (nombre).

  • Presentación formal:

How do you do! (Encantado/a)

How do you do! (Mucho gusto!

Saludos

  • No confundir el saludo:

How are you? ¿Cómo estás? / ¿Cómo está usted?

  • Al que se responde:

Fine, thanks or very well, thank you.

  • Con la presentación:

How do you do!

A la que se responde con la misma frase. (How do you do!).

Despedidas

  • Diferentes formas de decir adiós.

Good-bye / Bye for now / See you son!

En la calle

  • Cuando se interrumpe a alguien o se pide ayuda a un desconocido, se usa:

Excuse me! (¡Perdone! ¡Oiga!

Al teléfono

Cuando hablamos por teléfono, usamos THIS para identificarnos a nosotros mismos y THAT para preguntar quién es la otra persona. Para indicar que somos la persona con la que se desea hablar, empleamos: SPEAKING.

Mr., Mrs., Miss

Mr.: El señor… (Seguido del nombre y apellido, o sólo apellido).

Mrs.: La señora de… (Seguido de nombre y apellido, o sólo apellido).

Miss: Señorita, o la señorita… (Seguido de nombre y apellido, o sólo apellido).

Ms.: Forma abreviada de “señora” (Mrs.) o “señorita” (Miss) (En lenguaje escrito).

Mr., Mrs., Miss… no llevan artículo.

La gente, las personas

“People” tiene ambos significados, pero se usa siempre con el verbo en plural y sin artículo, cuando se habla en forma general.

Una persona – one person.
Dos personas – two people.

La ciudad

  • Town y city.

La palabra city significa en su sentido más estricto “ciudad con catedral”, pero se usa normalmente al hablar de grandes ciudades. Town se usa al hablar de ciudades más pequeñas o pueblos grandes.

Formación del plural

  • Regla general: se añade una (s) al singular. Ejemplo: flat / flats; book / books.

Cuando las palabras terminan en sh, ch, ss, se le añade (es). Glass / glasses.

Las palabras terminadas en consonante + y, pierden la (y) y añaden (ies). Country / countries.

Las palabras terminadas en (fe), cambian la (f) por (v) y añaden (es). Housewife / housewives.

En inglés no se usa el masculino plural de un nombre para indicar los dos sexos. Hay una palabra especial o se menciona los dos.

Ejemplos:

Parents: Father and mother.
Schoolchildren: Schoolboy and schoolgirl.
Brothers (sólo hombres) and sisters (sólo mujeres): Hermanos en general.
Mr. And Mrs. White: Los señores White (el señor y la señora).

Artículos

El artículo indeterminado, THE, a veces se omite en inglés, aunque se use en español. Por ejemplo cuando se habla en general:

Los perros y los gatos no son amigos. Dogs and cats aren’t friends.

Adjetivos

  • Calificativos

Cuando dos adjetivos acompañan al nombre no van unidos por la conjunción AND, sino que se colocan uno a continuación del otro. Sin embargo, los colores cuando funcionan como adjetivos sí que llevan la conjunción AND, aunque vayan junto al nombre:

Ese vestido rojo y negro es muy bonito. That red black dress is very pretty.

Concuerdan siempre con el poseedor.

I – my
You – your
He – his
She – her
It – its
We – our
They – their

Para formar decenas y unidades, entre el 21 y el 99, no se usa la conjunción (and), sino que se unen con un guión: (29) twenty-nine.

Para indicar los cientos, basta poner el número y la palabra (hundred), que es invariable. (100) a hundred / one hundred. (200) two hundred.

Los cientos se unen a las decenas con la conjunción AND. (135) a hundred and thirty-five.

  • Demostrativos

Se usan también como pronombres.
Plural de this – THESE – éstos, éstas.
Plural de that – THOSE – ésos, ésas; aquéllos, aquéllas.

  • Indefinidos

Indican una cantidad de la que no sabemos número, peso o medida exactos.
ANY – algunos, algunas, ninguno. Se usa en negaciones y también en preguntas. Su significado varía y a veces no tiene traducción.
Are there any dogs in the Street? No, there aren’t any.

Preposiciones

La preposición (en) tiene tres formas en inglés:

  • In: en, dentro de. Se usa para hablar de una ciudad o país y, en general, cuando hablamos de cosas que tienen tres dimensiones: In Madrid; in the kitchen.
  • On: en, sobre. Generalmente se usa con superficies (playa, montaña) on the beach, y además, para situar y localizar: On the right; on the left.
  • At: en, posición en un punto determinado. At the party; at home.

La preposición (de), tiene dos formas:

  • Of: de (indica posesión). Se usa especialmente cuando se trata de cosas. The garden of the house – El jardín de la casa. The capital of Spain – La capital de España.
  • From: de,desde (indica origen, procedencia…) Where are you from? ¿De dónde eres? (la preposición va al fianl). It´s a hundred metres from here – Está a cien metros de aquí.

Adverbios

Como en español, acompañan al verbo, a un adjetivo o a otro adverbio y son invariables:

Near: cerca, cerca de… No lleva preposición.
Far: lejos. Cuando acompaña a un nombre, lleva la preposición (De) far from – lejos de. No suele usarse en frases afirmativas.

Verbos

  • Presente de BE.

Este verbo tiene distintos significados en español, entre ellos HABER (impersonal), cuyo sujeto en inglés, es THERE. Tiene dos formas:

There is – hay, para el singular. Indica una sola persona, animal o cosa.
There are – hay, para el plural. Indica más de una persona, animal o cosa.

Para formar preguntas: verbo + sujeto+ complemento + ?
Para formar negaciones: se añade (not) al verbo.

Las respuestas breves tienen el mismo sujeto: Yes, there ies / No, there isn’t.

  • Presente de HAVE GOT

El verbo have got (tener), tiene en presente dos formas distintas: have y has.

Pertenece también a los llamados verbos especiales.

Las negaciones se forman añadiendo not al verbo.
Las preguntas se forman invirtiendo el orden normal de la frase: Verbo + sujeto + complementos + ?

En la conversación se usa siempre la forma contraída. No es fácil confundirlo con el verbo BE porque generalmente va acompañado del GOT. En caso de duda, hay que guiarse por el sentido de la frase.

La respuesta breve se forma con YES o NO, el sujeto (siempre en forma de pronombre) y el verbo sin (got). La respuesta breve afirmativa no se puede contraer; la negativa, sí.

Yes, I have / No, I haven’t
Yes, he has / No, he hasn’t

🔆 También te puede interesar:

  • Cómo preguntar y expresar la posesión en inglés
  • Cómo usar May y might - Verbos modales
  • Conditionals in English - El condicional en Inglés
  • Adjetivos y pronombres demostrativos en Inglés
  • Pronombres Posesivos en inglés - Possessive Pronouns
  • Adjetivos Posesivos en Inglés - Possessive adjectives
  • ¿Cómo aprender inglés fácil y desde casa?
  • Plural de los sustantivos en inglés
  • Many more, a lot more y Much more. Usos en inglés
  • ¿Qué son los phrasal verbs en inglés? Los más usados
  • Cómo expresar opiniones en inglés
  • Uso de whose en inglés - Pronombres relativos
  • Who, which y that - Pronombres Relativos en inglés
  • Was going to - El futuro en el pasado
  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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martes, 29 de junio de 2021

Ana Bárbara batalla con el inglés | El Universal - El Universal - Ingles

“Star” o “estar”. Ana Bárbara hizo reír a muchos de sus seguidores al compartir un video en donde se encuentra practicando algunas frases en inglés, pero al querer pronunciar, star (estrella) anteponía una “e” y por más que lo practicaba no le salía. Como apoyo, los fans le dijeron que lo pronunciara como “spray”, pero decía “espray”; el momento también lo tomó con humor la cantante, quien bromeó durante su pequeña lección de idioma


@anabarbaraoficial

Aprendiendo inglés con #LaBandida #ingles #aprendiendoingles #anabarbara #cursodeingles #comedia #chistoso #starpower

original sound - Ana Bárbara

Fonsi y Bisbal se quedan lejos de “Despacito”

Aunque fue presentada como el hit del verano, la canción en la que hacen dueto Luis Fonsi y David Bisbal, “Dos veces”, no ha resultado lo viral que quería su disquera. La intención era que este nuevo tema emulara lo que sucedió con “Despacito”, cuyos récords de vistas y descargas son todavía un reto difícil de superar. Pero a una semana del lanzamiento de “Dos veces”, el impacto ha sido de 2 millones de vistas en Youtube, que es un buen número pero está muy lejos de ser el fenómeno que fue “Despacito”; esto a pesar de que el dueto de Fonsi y Bisbal tiene el mismo matiz urbano. 


 

Yuya y el remates de delineadores 

Los delineadores de Yuya suelen ser un producto al que pocos tienen acceso porque su precio compite con el de los delineadores más profesionales. Sin embargo, en estos días ocurrió un fenómeno peculiar  ya que comenzaron a ser rematados con descuentos del 80% en su tienda oficial en línea. Las ofertas coinciden, por cierto, con la etapa de mamá de Yuya, ya que hace dos semana anunció que está embarazada.

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