lunes, 27 de diciembre de 2021

Modal verbs - Verbos modales en inglés

¿Cuándo usamos Modal verbs - Verbos modales en inglés?

¿Qué son los verbos modales?

En inglés, los modales (plural de modal) no son palabras que deban interpretarse como si tuvieran un significado. Más que significar algo, los modales ingleses tienen una función.

Para hacer una comparación, tomemos la palabra -de-. por si sola no tiene ningún significado, porque es una palabra que tiene una función. En cambio, si digo "es la casa de Elena", entonces entendemos el significado de la palabra (la casa pertenece a Elena).

Lo mismo ocurre con los modales. Cada modalidad tiene una o varias funciones particulares.

Para entender los modales, primero haremos una lista de modales y explicaremos cómo se comportan en las frases: se comportan como auxiliares. Luego veremos qué funciones realizan.

Lista de verbos modales

Hay 9 modales:

  1. Can
  2. Could
  3. May
  4. Might
  5. Must
  6. Should
  7. Will
  8. Would
  9. Shall

Las tres peculiaridades de los modales 

Cuando construyas una frase con un modal, debes respetar estas tres reglas:

1) Son invariables. Sea cual sea el tiempo de la frase, el sujeto de la misma, los modales se escribirán siempre de la misma manera. Por ejemplo:

I Could
You Could
He Could
We Could
You Could
They Could

Esto no debe confundirse con los verbos "normales" que llevan una S en la tercera persona del singular en tiempo presente (por ejemplo: she reads). Con los modales, siempre es igual.

2) Van seguidos de una base verbal. Es decir, un verbo, en infinitivo, sin el TO delante. Por ejemplo:

I can call you the monday. Puedo llamarte el lunes.

No se utiliza "To call". Solo CALL.

Esta base verbal también es invariable. No cambia, sea cual sea el sujeto.

3) Se comportan como auxiliares (porque SON auxiliares) en oraciones negativas e interrogativas. Así que no necesitas los auxiliares DO, HAVE o BE.

Esto significa que nunca dirás "I don’t may". Dirás "I may not". Del mismo modo, al hacer una pregunta, nunca dirás "¿Do you will...?", sino que dirás "¿Will you...?".

Esta es la lista de formas negativas de los modales:

  1. May - may not
  2. Might - might not
  3. Can - can’t o cannot
  4. Could - couldn’t o could not
  5. Must - mustn’t o must not
  6. Should - shouldn’t o should not
  7. Will - won’t o will not
  8. Would - wouldn’t o would not

Para las formas interrogativas, simplemente se invierte el sujeto y el modal.

I will - will you…?
I might - might I…?
I can - can you…?

¿Qué funciones tiene cada modalidad?

Los modales pueden tener una o varias funciones según el contexto. Aquí tienes un resumen general.

May

Forma afirmativa: expresa la probabilidad 

Lo que puede ocurrir: It may snow again tomorrow. Puede que mañana vuelva a nevar.

Lo que puede ser cierto: What you’re saying may be true. Lo que dices puede ser cierto.

También puede expresar permiso: You may eat now. Ya puedes comer.

Forma negativa: May not

Lo que no puede ocurrir.

Lo que puede no ser cierto.

También puede expresar una prohibición categórica. You may not eat here. No se puede comer aquí.

Forma interrogativa: May I…?

En una pregunta, may se utiliza para pedir permiso, pero de una forma aún más educada que con can y could. - May I eat here?

Might

Forma afirmativa:

El modal Might es un sinónimo de may. What you’re saying might be true. Lo que dices puede ser cierto.

Forma negativa:

Might not.

Forma interrogativa:

Una petición aún más educada que con MAY (raramente se ve).

Can

Forma afirmativa:

Lo que uno es capaz de hacer: I can read this book. Puedo leer este libro (soy capaz).

Lo que está permitido: I can go out tomorrow. Puedo salir mañana (se me permite).

Forma negativa:

Cannot o can't.

Lo que no puedes hacer.
Lo que está prohibido.

Forma interrogativa:

Can I…?

Pedir permiso o hacer una petición. Dad, can I go to the theater tomorrow? - Papá, ¿puedo ir al teatro mañana?

Could

Forma afirmativa:

Lo que uno podría hacer: If I had a pool, I could swim. Si tuviera una piscina, podría nadar.

Qué podría pasar si...

Could también puede ser el tiempo pasado de - can -.I could see you. Te pude ver.

Forma negativa

Could not o couldn’t

Similar a la forma afirmativa. I couldn't see you. No pude verte.

Forma interrogativa:

Pedir un favor o un permiso de forma educada. Could you help me?

Must

Forma afirmativa:

 El modal Must transmite un deber, una obligación. Lo que debes hacer.- I must clean my house today. Hoy debo limpiar mi casa.

Must también puede expresar una certeza. It must be half past five. - Sin duda, deben ser las 5 y media.

Forma negativa:

Mustn't o must not.

Esta forma expresa una prohibición.

Should:

Forma afirmativa:

El modal should expresa un deber, como must, pero con menos fuerza. Se utiliza para expresar lo que se debe hacer. A menudo se utiliza para dar consejos. (ej.: You must read more - Debes leer más).

Forma negativa:

Should't o should not

El mismo significado que la forma afirmativa. You shouldn't go out today - No deberías salir hoy.

Forma interrogativa:

Should I…?

Will:

Forma afirmativa :

Expresión del tiempo futuro: Como ver en la lección sobre el tiempo futuro en inglés, el modal will se utiliza principalmente para expresar el futuro. (Como el tiempo futuro no existe como tiempo gramatical en inglés, se construye con el modal will).

Ejemplos: I will be 30 next month. El mes que viene cumpliré 30 años.

También se suele utilizar la forma contraída de will: "ll. - I'll be 30 next month.

Will también puede expresar la voluntad o la toma de decisiones.

Forma negativa:

Will not o won't.

Expresar el futuro.

Puede utilizarse para expresar una prohibición. Dad won't let me go out. Papá no me deja salir.

Forma interrogativa:

Para pedir un favor, por ejemplo. Will you help me?

Would

La función principal del modal sería expresar el condicional. 

Ejemplos: It would be cool to meet Italy. Sería genial conocer Italia.

I wouldn’t want to travel to Italy. No me gustaría viajar a Italia.

También se utiliza la forma contraída en 'D: It’d be cool to meet Italy.

Shall:

Ya casi no se utiliza. Sólo se utiliza para hacer sugerencias, normalmente en forma interrogativa:

Ejemplo: ¿Tomamos un taxi? ¿Tomamos un taxi?

En el inglés británico shall también puede usarse como el equivalente en tercera persona del singular de will, aunque esta forma se ve raramente hoy en día.

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El tiempo futuro en inglés

¿Cuándo usamos El tiempo futuro en inglés?

El tiempo futuro no es un tiempo gramatical en inglés. Este tiempo no existe como tal en la lengua inglesa, pero se construye con diferentes palabras. Por ejemplo con WILL, que es la forma más común de expresar el futuro. También hay que ir a por el futuro inmediato. A veces incluso utilizamos el tiempo presente para hablar del futuro. Por ejemplo: What are you doing tomorrow?

Will

Construcción:

La palabra will es un modal. Es la palabra más común para hablar en tiempo futuro. Una frase en tiempo futuro con will se construye de la siguiente manera:

Sujeto + WILL + Base Verbal.

I will cook for lunch. Voy a cocinar para el almuerzo.

Después de WILL, como después de todos los modales, los verbos son INVARIABLES, y nunca se poneTO.

Forma negativa :

I will not cook for lunch.

I won’t cook for lunch. (forma contraída).

Forma interrogativa:

La voluntad toma el papel de auxiliar, por lo que no son necesarios los auxiliares hacer, tener o ser.

Will you cook for lunch?

¿Cuándo se usa?

Will se utiliza para hablar de un futuro casi seguro (por ejemplo: I will be 30 next year).
También se utiliza para enfatizar la expresión de la voluntad. Implica que la decisión se acaba de tomar. (Si la decisión es anterior al momento de hablar, no se suele usar).

Ejemplo: I will have an ice coffe. Tomaré un café con hielo.

Be going to + Verbo

I am going to write. - Voy a escribir.

I am going to run soon. - Voy a correr pronto.

También se utiliza para hacer predicciones basadas en pistas presentes. Por ejemplo: Be careful, you’re going to burnt! - ¡Ten cuidado, te vas a quemar!

Por último, se utiliza cuando la decisión se ha tomado antes del momento de hablar (a diferencia de la voluntad, que se utiliza para expresar una decisión que se acaba de tomar). Por ejemplo: I am going to take a coffee cup.

Por último, be going to + verbo puede utilizarse cuando se da una orden, o se utiliza una forma de autoridad.

Now you’re going to get in the bus and leave this village as soon as you can. Ahora vas a subir al autobús y dejar este pueblo tan pronto como puedas.

Ten en cuenta que en el lenguaje coloquial, going to se dice a veces gonna. Por ejemplo: You’re gonna go - o - you gonna go.

Otras formas de hablar en el futuro:

A veces se utiliza el presente para hablar en futuro.

Ejemplo: The train arrives today at 5pm. El barco llega hoy a las 17 horas.

Hablar de una acción que realmente está a punto de ocurrir.

Hello? Good morning Cris, I was just about to call you! - Hola? Buenos días Cris, ¡estaba a punto de llamarte! 

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Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?

Since, For, Ago: ¿Cuáles son las diferencias?

¿Has confundido alguna vez For y Since, y no has sabido utilizar Ago? Aquí tienes una pequeña explicación para mostrarte las diferencias y ayudarte a ver las cosas más claras.

For y Since

For y Since se traducen ambos como desde. Casi siempre se utilizan con el presente perfecto (o el presente perfecto progresivo).

I haven’t called her for 5 weeks. - No la he llamado desde hace 5 semanas.

I haven’t called her since last may. - No la he llamado desde el pasado mes de mayo.

Después de For ⇒ pon una duración.
Después de Since ⇒ se pone un punto de partida, o una fecha concreta.
Esta es la principal diferencia que hay que recordar entre estas dos palabras.

Ejemplos:

For 25 years
For 7 months
For five hours
For a long time

Since her birthday
Since 2010
Since last year
Since yesterday

Recuerda:

For + duration
Since + punto de partida

Nota: Tiene sentido utilizar el presente perfecto (o el presente perfecto progresivo), en lugar de otro tiempo. En efecto, se utiliza cuando se habla de una acción pasada que está vinculada al presente. Cuando se utiliza la palabra "desde", se suele hablar de algo que sigue vigente.

Ago

Si quieres hablar de una acción pasada, en el pasado, debes decir "hace" en su lugar:

"Conocí a Pablo hace cinco años". Se trata de un suceso concreto que ocurrió hace cinco años.

Así que usamos AGO en inglés:

I met Pablo 5 years ago.

Ago se utiliza siempre junto a un marcador de tiempo. Significa "hace" y se coloca después del marcador de tiempo.

I sent you an email five weeks ago. - Te envié un correo electrónico hace cinco semanas.
I was a police ages ago. - Fui policía hace años.
I finished this film three hours ago! - ¡He terminado esta película hace tres horas!

Ago se utiliza siempre en pretérito.

*** Para los ejercicios de inglés que te piden que elijas entre pretérito y presente perfecto, ya sabes que si ves for o since, debes elegir presente perfecto, y si ves ago, debes poner pretérito.

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sábado, 25 de diciembre de 2021

The End of the Party - Graham Greene

The End of the Party by Graham Greene

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés

The End of the Party - Graham Greene - Ambrose Flack (1904-1991)

Peter Morton woke with a start to face the first light. Rain tapped against the glass. It was January the fifth.

He looked across a table on which a night-light had guttered into a pool of water, at the other bed. Francis Morton was still asleep, and Peter lay down again with his eyes on his brother. It amused him to imagine it was himself whom he watched, the same hair, the same eyes, the same lips and line of cheek. But the thought palled, and the mind went back to the fact which lent the day importance. It was the fifth of January. He could hardly believe a year had passed since Mrs Henne-Falcon had given her last children's party.

Francis turned suddenly upon his back and threw an arm across his face, blocking his mouth. Peter's heart began to beat fast, not with pleasure now but with uneasiness. He sat up and called across the table, "Wake up." Francis's shoulders shook and he waved a clenched fist in the air, but his eyes remained closed. To Peter Morton the whole room seemed to darken, and he had the impression of a great bird swooping. He cried again, "Wake up," and once more there was silver light and the touch of rain on the windows.

Francis rubbed his eyes. "Did you call out?"' he asked.

"You are having a bad dream," Peter said. Already experience had taught him how far their minds reflected each other. But he was the elder, by a matter of minutes, and that brief extra interval of light, while his brother still struggled in pain and darkness, had given him self-reliance and an instinct of protection towards the other who was afraid of so many things.

"I dreamed that I was dead," Francis said.

"What was it like?"' Peter asked.

"I can't remember," Francis said.

"You dreamed of a big bird."

"Did I?"

The two lay silent in bed facing each other, the same green eyes, the same nose tilting at the tip, the same firm lips, and the same premature modelling of the chin. The fifth of January, Peter thought again, his mind drifting idly from the image of cakes to the prizes which might be won. Egg-and-spoon races, spearing apples in basins of water, blind man's buff.

"I don't want to go," Francis said suddenly. "I suppose Joyce will be there … Mabel Warren." Hateful to him, the thought of a party shared with those two. They were older than he. Joyce was eleven and Mabel Warren thirteen. The long pigtails swung superciliously to a masculine stride. Their sex humiliated him, as they watched him fumble with his egg, from under lowered scornful lids. And last year … he turned his face away from Peter, his cheeks scarlet.

"What's the matter?"' Peter asked.

"Oh, nothing. I don't think I'm well. I've got a cold. I oughtn't to go to the party."

Peter was puzzled. "But Francis, is it a bad cold?"

"It will be a bad cold if I go to the party. Perhaps I shall die."

"Then you mustn't go," Peter said, prepared to solve all difficulties with one plain sentence, and Francis let his nerves relax, ready to leave everything to Peter. But though he was grateful he did not turn his face towards his brother. His cheeks still bore the badge of a shameful memory, of the game of hide and seek last year in the darkened house, and of how he had screamed when Mabel Warren put her hand suddenly upon his arm. He had not heard her coming. Girls were like that. Their shoes never squeaked. No boards whined under the tread. They slunk like cats on padded claws.

When the nurse came in with hot water Francis lay tranquil leaving everything to Peter. Peter said, "Nurse, Francis has got a cold."

The tall starched woman laid the towels across the cans and said, without turning, "The washing won't be back till tomorrow. You must lend him some of your handkerchiefs."

"But, Nurse," Peter asked, "hadn't he better stay in bed?"

"We'll take him for a good walk this morning," the nurse said. "Wind'll blow away the germs. Get up now, both of you," and she closed the door behind her.

"I'm sorry," Peter said. "Why don't you just stay in bed? I'll tell mother you felt too ill to get up." But rebellion against destiny was not in Francis's power. If he stayed in bed they would come up and tap his chest and put a thermometer in his mouth and look at his tongue, and they would discover he was malingering. It was true he felt ill, a sick empty sensation in his stomach and a rapidly beating heart, but he knew the cause was only fear, fear of the party, fear of being made to hide by himself in the dark, uncompanioned by Peter and with no night-light to make a blessed breach.

"No, I'll get up," he said, and then with sudden desperation, "But I won't go to Mrs Henne-Falcon's party. I swear on the Bible I won't." Now surely all would be well, he thought. God would not allow him to break so solemn an oath. He would show him a way. There was all the morning before him and all the afternoon until four o'clock. No need to worry when the grass was still crisp with the early frost. Anything might happen. He might cut himself or break his leg or really catch a bad cold. God would manage somehow.

He had such confidence in God that when at breakfast his mother said, "I hear you have a cold, Francis," he made light of it. "We should have heard more about it," his mother said with irony, "if there was not a party this evening," and Francis smiled, amazed and daunted by her ignorance of him.

His happiness would have lasted longer if, out for a walk that morning, he had not met Joyce. He was alone with his nurse, for Peter had leave to finish a rabbit-hutch in the woodshed. If Peter had been there he would have cared less; the nurse was Peter's nurse also, but now it was as though she were employed only for his sake, because he could not be trusted to go for a walk alone. Joyce was only two years older and she was by herself.

She came striding towards them, pigtails flapping. She glanced scornfully at Francis and spoke with ostentation to the nurse. "Hello, Nurse. Are you bringing Francis to the party this evening? Mabel and I are coming." And she was off again down the street in the direction of Mabel Warren's home, consciously alone and self-sufficient in the long empty road.

"Such a nice girl," the nurse said. But Francis was silent, feeling again the jump-jump of his heart, realizing how soon the hour of the party would arrive. God had done nothing for him, and the minutes flew.

They flew too quickly to plan any evasion, or even to prepare his heart for the coming ordeal. Panic nearly overcame him when, all unready, he found himself standing on the doorstep, with coat-collar turned up against a cold wind, and the nurse's electric torch making a short trail through the darkness. Behind him were the lights of the hall and the sound of a servant laying the table for dinner, which his mother and father would eat alone. He was nearly overcome by the desire to run back into the house and call out to his mother that he would not go to the party, that he dared not go. They could not make him go. He could almost hear himself saying those final words, breaking down for ever the barrier of ignorance which saved his mind from his parents' knowledge. "I'm afraid of going. I won't go. I daren't go. They'll make me hide in the dark, and I'm afraid of the dark. I'll scream and scream and scream."

He could see the expression of amazement on his mother's face, and then the cold confidence of a grown-up's retort. "Don't be silly. You must go. We've accepted Mrs Henne-Falcon's invitation."

But they couldn't make him go; hesitating on the doorstep while the nurse's feet crunched across the frost-covered grass to the gate, he knew that. He would answer: "You can say I'm ill. I won't go. I'm afraid of the dark." And his mother: "Don't be silly. You know there's nothing to be afraid of in the dark." But he knew the falsity of that reasoning; he knew how they taught also that there was nothing to fear in death, and how fearfully they avoided the idea of it. But they couldn't make him go to the party. "I'll scream. I'll scream."

"Francis, come along." He heard the nurse's voice across the dimly phosphorescent lawn and saw the yellow circle of her torch wheel from tree to shrub. "I'm coming," he called with despair; he couldn't bring himself to lay bare his last secrets and end reserve between his mother and himself, for there was still in the last resort a further appeal possible to Mrs Henne-Falcon. He comforted himself with that, as he advanced steadily across the hall, very small, towards her enormous bulk. His heart beat unevenly, but he had control now over his voice, as he said with meticulous accent, "Good evening, Mrs Henne-Falcon. It was very good of you to ask me to your party." With his strained face lifted towards the curve of her breasts, and his polite set speech, he was like an old withered man. As a twin he was in many ways an only child. To address Peter was to speak to his own image in a mirror, an image a little altered by a flaw in the glass, so as to throw back less a likeness of what he was than of what he wished to be, what he would be without his unreasoning fear of darkness, footsteps of strangers, the flight of bats in dusk-filled gardens.

"Sweet child," said Mrs Henne-Falcon absent-mindedly, before, with a wave of her arms, as though the children were a flock of chickens, she whirled them into her set programme of entertainments: egg-and-spoon races, three-legged races, the spearing of apples, games which held for Francis nothing worse than humiliation. And in the frequent intervals when nothing was required of him and he could stand alone in corners as far removed as possible from Mabel Warren's scornful gaze, he was able to plan how he might avoid the approaching terror of the dark. He knew there was nothing to fear until after tea, and not until he was sitting down in a pool of yellow radiance cast by the ten candles on Colin Henne-Falcon's birthday cake did he become fully conscious of the imminence of what he feared. He heard Joyce's high voice down the table, "After tea we are going to play hide and seek in the dark."

"Oh, no," Peter said, watching Francis's troubled face, "don't let's. We play that every year."

"But it's in the programme," cried Mabel Warren. "I saw it myself. I looked over Mrs Henne-Falcon's shoulder. Five o'clock tea. A quarter to six to half past, hide and seek in the dark. It's all written down in the programme."

Peter did not argue, for if hide and seek had been inserted in Mrs Henne-Falcon's programme, nothing which he could say would avert it. He asked for another piece of birthday cake and sipped his tea slowly. Perhaps it might be possible to delay the game for a quarter of an hour, allow Francis at least a few extra minutes to form a plan, but even in that Peter failed, for children were already leaving the table in twos and threes. It was his third failure, and again he saw a great bird darken his brother's face with its wings. But he upbraided himself silently for his folly, and finished his cake encouraged by the memory of that adult refrain, "There's nothing to fear in the dark." The last to leave the table, the brothers came together to the hall to meet the mustering and impatient eyes of Mrs Henne-Falcon.

"And now," she said, "we will play hide and seek in the dark."

Peter watched his brother and saw the lips tighten. Francis, he knew, had feared this moment from the beginning of the party, had tried to meet it with courage and had abandoned the attempt. He must have prayed for cunning to evade the game, which was now welcomed with cries of excitement by all the other children. "Oh, do let's." "We must pick sides." "Is any of the house out of bounds?"' "Where shall home be?"'

"I think," said Francis Morton, approaching Mrs Henne-Falcon, his eyes focused unwaveringly on her exuberant breasts, "it will be no use my playing. My nurse will be calling for me very soon."

"Oh, but your nurse can wait, Francis," said Mrs Henne-Falcon, while she clapped her hands together to summon to her side a few children who were already straying up the wide staircase to upper floors. "Your mother will never mind."

That had been the limit of Francis's cunning. He had refused to believe that so well-prepared an excuse could fail. All that he could say now, still in the precise tone which other children hated, thinking it a symbol of conceit, was, "I think I had better not play." He stood motionless, retaining, though afraid, unmoved features. But the knowledge of his terror, or the reflection of the terror itself, reached his brother's brain. For the moment, Peter Morton could have cried aloud with the fear of bright lights going out, leaving him alone in an island of dark surrounded by the gentle lappings of strange footsteps. Then he remembered that the fear was not his own, but his brother's. He said impulsively to Mrs Henne-Falcon, "Please, I don't think Francis should play. The dark makes him jump so." They were the wrong words. Six children began to sing, "Cowardy cowardy custard," turning torturing faces with the vacancy of wide sunflowers towards Francis Morton.

Without looking at his brother, Francis said, "Of course I'll play. I'm not afraid, I only thought …" But he was already forgotten by his human tormentors. The children scrambled round Mrs Henne-Falcon, their shrill voices pecking at her with questions and suggestions.

"Yes, anywhere in the house. We will turn out all the lights. Yes, you can hide in the cupboards. You must stay hidden as long as you can. There will be no home."

Peter stood apart, ashamed of the clumsy manner in which he had tried to help his brother. Now he could feel, creeping in at the corners of his brain, all Francis's resentment of his championing. Several children ran upstairs, and the lights on the top floor went out. Darkness came down like the wings of a bat and settled on the landing. Others began to put out the lights at the edge of the hall, till the children were all gathered in the central radiance of the chandelier, while the bats squatted round on hooded wings and waited for that, too, to be extinguished.

"You and Francis are on the hiding side," a tall girl said, and then the light was gone, and the carpet wavered under his feet with the sibilance of footfalls, like small cold draughts, creeping away into corners.

"Where's Francis?"' he wondered. "If I join him he'll be less frightened of all these sounds." "These sounds" were the casing of silence: the squeak of a loose board, the cautious closing of a cupboard door, the whine of a finger drawn along polished wood.

Peter stood in the centre of the dark deserted floor, not listening but waiting for the idea of his brother's whereabouts to enter his brain. But Francis crouched with fingers on his ears, eyes uselessly closed, mind numbed against impressions, and only a sense of strain could cross the gap of dark. Then a voice called "Coming", and as though his brother's self-possession had been shattered by the sudden cry, Peter Morton jumped with his fear. But it was not his own fear. What in his brother was a burning panic was in him an altruistic emotion that left the reason unimpaired. "Where, if I were Francis, should I hide?"' And because he was, if not Francis himself, at least a mirror to him, the answer was immediate. "Between the oak bookcase on the left of the study door, and the leather settee." Between the twins there could be no jargon of telepathy. They had been together in the womb, and they could not be parted.

Peter Morton tiptoed towards Francis's hiding-place. Occasionally a board rattled, and because he feared to be caught by one of the soft questers through the dark, he bent and untied his laces. A tag struck the floor and the metallic sound set a host of cautious feet moving in his direction. But by that time he was in his stockings and would have laughed inwardly at the pursuit had not the noise of someone stumbling on his abandoned shoes made his heart trip. No more boards revealed Peter Morton's progress.

On stockinged feet he moved silently and unerringly towards his object. Instinct told him he was near the wall, and, extending a hand, he laid the fingers across his brother's face.

Francis did not cry out, but the leap of his own heart revealed to Peter a proportion of Francis's terror. "It's all right," he whispered, feeling down the squatting figure until he captured a clenched hand. "It's only me. I'll stay with you." And grasping the other tightly, he listened to the cascade of whispers his utterance had caused to fall. A hand touched the book-case close to Peter's head and he was aware of how Francis's fear continued in spite of his presence. It was less intense, more bearable, he hoped, but it remained. He knew that it was his brother's fear and not his own that he experienced. The dark to him was only an absence of light; the groping hand that of a familiar child. Patiently he waited to be found.

He did not speak again, for between Francis and himself was the most intimate communion. By way of joined hands thought could flow more swiftly than lips could shape themselves round words. He could experience the whole progress of his brother's emotion, from the leap of panic at the unexpected contact to the steady pulse of fear, which now went on and on with the regularity of a heart-beat. Peter Morton thought with intensity, "I am here. You needn't be afraid. The lights will go on again soon. That rustle, that movement is nothing to fear. Only Joyce, only Mabel Warren." He bombarded the drooping form with thoughts of safety, but he was conscious that the fear continued. "They are beginning to whisper together. They are tired of looking for us. The lights will go on soon. We shall have won. Don't be afraid. That was someone on the stairs. I believe it's Mrs Henne-Falcon. Listen. They are feeling for the lights." Feet moving on a carpet, hands brushing a wall, a curtain pulled apart, a clicking handle, the opening of a cupboard door. In the case above their heads a loose book shifted under a touch. "Only Joyce, only Mabel Warren, only Mrs Henne-Falcon," a crescendo of reassuring thought before the chandelier burst, like a fruit-tree, into bloom.

The voice of the children rose shrilly into the radiance. "Where's Peter?"' "Have you looked upstairs?"' "Where's Francis?"' but they were silenced again by Mrs Henne-Falcon's scream. But she was not the first to notice Francis Morton's stillness, where he had collapsed against the wall at the touch of his brother's hand. Peter continued to hold the clenched fingers in an arid and puzzled grief. It was not merely that his brother was dead. His brain, too young to realize the full paradox, wondered with an obscure self-pity why it was that the pulse of his brother's fear went on and on, when Francis was now where he had always been told there was no more terror and no more--darkness.

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jueves, 23 de diciembre de 2021

Christmas cookies recipe

Best Homemade Christmas cookies Recipe

Cooking recipes - Desserts - How to make Christmas Cookies?

Here are little Christmas biscuits that children will love to make and enjoy. You can place these festive cookies on your table for an original and gourmet decoration.

These biscuits are also an ideal gift for all gourmets.

Classic biscuits, stars, reindeers, fir trees, they come in all shapes and sizes and can be adapted to everyone's taste.

How long does it take to make Christmas cookies?

  • Preparation : 15 min
  • Cooking time: 10 min
  • Rest : 30 min

Ingredients to make Christmas cookies :

For 4 people:

  • 225 g of flour
  • 125 g butter
  • 1 tablespoon of 4 spices
  • 120 g brown sugar
  • 1 egg
  • 75 g of candied orange peels
  • 1 tsp. baking powder

The steps of the Christmas cookie recipe :

Pour the diced soft butter and brown sugar into a salad bowl. You can put a little less sugar if you wish. Mix with a wooden spoon.

Add the flour, baking powder, egg and spices. Cut the candied orange peels into small cubes and pour them into the salad bowl. Knead the dough until you obtain a homogeneous ball. Wrap the dough in cling film and place in a cool place for 30 minutes. Preheat the oven to 180°C.

Sprinkle your worktop with wheat flour to make it easier to spread the dough. Roll the dough down on your worktop with a rolling pin. Cut out biscuits with a biscuit cutter. Arrange them on a baking sheet covered with baking paper. Make sure to space them well apart, as they will expand during baking. Flatten the biscuits slightly with the palm of your hand.

Bake the biscuits for 10 minutes. When they are golden brown, take the baking sheet out of the oven and cool the biscuits before handling them.

Enjoy these biscuits with dessert or a cup of hot chocolate. Store the biscuits in an airtight box and eat them within 4 days.

Tip: Vary making, for example, Christmas biscuits with Nutella, jam, cinnamon... We love the M&M's® version which will seduce all gourmets with its chocolatey flavour and crunchy texture. Choose red and green M&M's® for Christmas colourful biscuits.

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lunes, 20 de diciembre de 2021

The Elves - The Brothers Grimm - Christmas Stories - Navidad

the elves

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés para navidad

The Elves - The Brothers Grimm - Christmas Stories - Cuentos navidad

A shoemaker, by no fault of his own, had become so poor that at last he had nothing left but leather for one pair of shoes. So in the evening, he cut out the shoes which he wished to begin to make the next morning, and as he had a good conscience, he lay down quietly in his bed, commended himself to God, and fell asleep. In the morning, after he had said his prayers, and was just going to sit down to work, the two shoes stood quite finished on his table. He was astounded, and knew not what to say to it. He took the shoes in his hands to observe them closer, and they were so neatly made that there was not one bad stitch in them, just as if they were intended as a masterpiece. Soon after, a buyer came in, and as the shoes pleased him so well, he paid more for them than was customary, and, with the money, the shoemaker was able to purchase leather for two pairs of shoes. He cut them out at night, and next morning was about to set to work with fresh courage; but he had no need to do so, for, when he got up, they were already made, and buyers also were not wanting, who gave him money enough to buy leather for four pairs of shoes. The following morning, too, he found the four pairs made; and so it went on constantly, what he cut out in the evening was finished by the morning, so that he soon had his honest independence again, and at last became a wealthy man. Now it befell that one evening not long before Christmas, when the man had been cutting out, he said to his wife, before going to bed, "What think you if we were to stay up to-night to see who it is that lends us this helping hand?" The woman liked the idea, and lighted a candle, and then they hid themselves in a corner of the room, behind some clothes which were hanging up there, and watched. When it was midnight, two pretty little naked men came, sat down by the shoemaker's table, took all the work which was cut out before them and began to stitch, and sew, and hammer so skilfully and so quickly with their little fingers that the shoemaker could not turn away his eyes for astonishment. They did not stop until all was done, and stood finished on the table, and they ran quickly away.

Next morning the woman said, "The little men have made us rich, and we really must show that we are grateful for it. They run about so, and have nothing on, and must be cold. I'll tell thee what I'll do: I will make them little shirts, and coats, and vests, and trousers, and knit both of them a pair of stockings, and do thou, too, make them two little pairs of shoes." The man said, "I shall be very glad to do it;" and one night, when everything was ready, they laid their presents all together on the table instead of the cut-out work, and then concealed themselves to see how the little men would behave. At midnight they came bounding in, and wanted to get to work at once, but as they did not find any leather cut out, but only the pretty little articles of clothing, they were at first astonished, and then they showed intense delight. They dressed themselves with the greatest rapidity, putting the pretty clothes on, and singing,

"Now we are boys so fine to see,
Why should we longer cobblers be?"

Then they danced and skipped and leapt over chairs and benches. At last they danced out of doors. From that time forth they came no more, but as long as the shoemaker lived all went well with him, and all his undertakings prospered.

🔆 Christmas Stories 🎅🤶🎄

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The Old Year - John Clare - Christmas Poems

Classic christmas poems, Poesías en inglés navidad

Recursos Educativos en Inglés - Poems in English - Christmas Poems

The Old Year by John Clare - Poesías en inglés Navidad

The Old Year's gone away
To nothingness and night:
We cannot find him all the day
Nor hear him in the night:
He left no footstep, mark or place
In either shade or sun:
The last year he'd a neighbour's face,
In this he's known by none.

All nothing everywhere:
Mists we on mornings see
Have more of substance when they're here
And more of form than he.
He was a friend by every fire,
In every cot and hall--
A guest to every heart's desire,
And now he's nought at all.

Old papers thrown away,
Old garments cast aside,
The talk of yesterday,
Are things identified;
But time once torn away
No voices can recall:
The eve of New Year's Day
Left the Old Year lost to all.

curso ingles principiante desde cero

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