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Recipe for pestiños with honey or sugar

Cooking recipes - How to pestiños?

Have you ever tasted pestiños? This Andalusian sweet, traditional at Easter and other important festivities, dates back to the 16th century, although its origin is probably much older.

Pestiños are usually eaten at Christmas or Easter. In Spain it is traditional to eat them along with other Easter sweets, such as torrijas, leche frita, the traditional Mona de Pascua, and other culinary delights.

How to make homemade pestiños with honey or sugar

Ingredients Andalusian pestiños (fritters):

• 1 glass (250 ml) extra virgin olive oil
• 1 glass (250 ml) of white wine
• 1 cinnamon stick
• 1 lemon peel
• 1 teaspoon of salt
• 750 g flour
• Extra virgin olive oil for frying
• Sugar for coating

Steps for making pestiños:

1. Put the glass of extra virgin olive oil in a frying pan with the cinnamon stick and the lemon peel.
2. Fry over a low heat to prevent the oil from burning.
3. Let the oil cool, remove the lemon peel and cinnamon stick and put the oil in a large bowl.
4. Add the glass of wine, the salt and a little flour and mix well.
5. We add the flour little by little, at the end we will have to continue kneading with our hands.
6. Knead for about five minutes until you obtain a very soft dough.
7. This dough is very easy to handle thanks to the oil, it does not stick at all.
8. Form small balls by hand, roll out very well with a rolling pin, it should be very thin.
9. Join two sides and press the two doughs together well, joining them again, this is very important as otherwise they will open when frying.
10. Fry in plenty of extra virgin olive oil until golden on both sides.
11. Remove and place on kitchen paper to absorb the excess oil.
12. Before they cool, coat them in sugar.

Andalusian pestiños with honey

Ingredients:

• 1/2 small glass of mild olive oil
• A dash of sweet wine
• A dash of sweet aniseed
• 1 tablespoon of aniseed
• 1 tablespoon of toasted sesame seeds
• 250 g wheat flour
• 150 g honey
• Water
• Lemon or orange peel

Preparation:

1. Put the lemon or orange zest in the oil and remove it when the oil starts to bubble. Then add the aniseed seeds. Turn off the heat and allow the oil to cool completely. Mix the oil with the sweet wine, sweet aniseed, sesame seeds, a pinch of salt and flour. Add the flour little by little, at the end you will have to continue kneading with your hands.
2. Knead for about five minutes until the dough is very smooth.
3. The dough needs to rest for half an hour. Form small balls by hand, roll out very well with a rolling pin, it should be very thin.
4. Join two sides and press the two doughs together well, this is important so that they do not open when frying. Fry in plenty of hot oil and remove on absorbent paper to absorb the excess oil. Prepare a syrup in a casserole with 150 g of honey and three spoonfuls of water, and once it starts to boil, turn off the heat. Dip the pestiños in this syrup, one at a time, using a spoon, and place on a tray. Leave for about two hours to cool completely.

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Recipe for Torrijas Traditional, baked and vegan

Cooking recipes - How to Torrijas?

Today we suggest you prepare the classic homemade torrijas at home so that the whole family can enjoy this very Spanish sweet. Your children can help to coat them in sugar and cinnamon. We are also going to see other torrijas recipes and also the recipe without eggs or milk.

Ingredients Torrijas of milk:

• One loaf of bread from the previous day, cut into slices of about 1.5 cm
• 4 eggs
• 1 litre of milk
• 1 cup of sugar
• A piece of lemon peel and a piece of orange peel.
• A stick of cinnamon stick
• A teaspoon of cinnamon powder
• Oil for frying: 3/4 litre.

Steps for making torrijas of milk:

1. In a saucepan, heat the milk with half the sugar, the orange and lemon peel and the cinnamon stick, stirring with a spoon to dilute the sugar.
2. Before it comes to the boil, remove from the heat and leave to stand for 10 minutes to allow the flavours to blend.
3. Then dip the slices of bread in the milk for about ten or twelve seconds.
4. Remove and set aside on a plate.
5. Heat the oil for frying.
6. While the oil is heating, beat the eggs.
7. Dip the slices of bread in the egg.
8. When the oil is hot, fry the torrijas.
9. When they are golden brown on both sides, remove them on absorbent paper.
10. Put them in a bowl where you can leave them to bathe in the milk, to which you have added the cinnamon powder and dissolved the rest of the sugar.
11. Keep in the fridge and consume preferably within three days.

** Instead of sugar and cinnamon you can sprinkle the torrijas with honey diluted with water.

And if you don't want to fry the torrijas... ⇓

How to make torrijas in the oven:

1. Preheat the oven on grill function at 250º C, with the rack in the middle.
2. Line a baking dish with baking paper.
3. Carefully place the torrijas in the baking dish after dipping them in the egg.
4. Bake for about 4-5 minutes, carefully turn them over and continue baking for a further 4 minutes.
5. The baking time is approximate, keep an eye on the torrijas, when you see them golden brown you can remove them from the oven.

Once the torrijas are baked, transfer them to a serving dish and sprinkle with a mixture of sugar and cinnamon. This would be the most traditional version, but we are going to tell you a trick that we are sure you will like so that your torrijas are very juicy, which is to substitute the sugar and cinnamon for a few spoonfuls of the infused milk from the beginning, sprinkling the torrijas lightly over the top. I assure you that you will love them.

• It is advisable to soak the torrijas while the milk is still hot, so that they hydrate better, but be careful because they can also break easily. Use a spatula to help you transfer them to the serving dish.
• You can prepare a syrup with 300 g of water and sugar to taste, let it boil until the sugar dissolves and you can flavour the syrup with a cinnamon stick while it boils. When you remove the torrijas from the oven, use a brush to dip them a little in the syrup. This step is important if you want them to be a little juicier, as they are a little drier than the traditional ones when they are baked and not fried.
• When you take them out you can also sprinkle them with a few spoonfuls of the infused milk mixture, you will see how delicious they are!
• Baked torrijas can be served with a nice bowl of hot chocolate or a cup of coffee.

Vegan torrijas without eggs and milk (easy baked recipe)

If someone in your family is vegan, or has an allergy or intolerance to eggs or milk, we also have a recipe especially for them. Check out the recipe for egg-free and dairy-free vegan torrijas.

Ingredients:

• 1 loaf of bread from the day before
• 1/2 litre almond milk or other vegetable milk
• peel of 2 lemons
• 2 cinnamon sticks
• 1 teaspoon egg substitute
• 1/2 glass of water
• 150 g fructose
• Ground cinnamon
• Butter (to grease the baking tin)

How to make egg-free and dairy-free torrijas suitable for vegans

1. Grease a baking tray with butter.
2. Cut the bread into slices of about 1-2 cm.
3. Heat the almond milk, together with 50 g fructose, 1 cinnamon stick and the peel of 1 lemon, avoiding the white inner part because it is bitter.
4. When the almond milk is hot, soak the slices of bread (they should not be excessively soaked, so that they do not fall apart).
5. Put the egg substitute in a bowl with 2 tablespoons of water or vegetable milk, and dip the slices of bread in the mixture. If you prefer, they can also be coated in chickpea flour diluted in water.
6. Place the bread on the reserved tray and bake in a preheated oven at 170ºC for about 20 minutes until golden brown.
7. While they are in the oven, prepare a syrup as follows:
8. Heat a cup of water in a saucepan, together with 100 g of fructose, 1 cinnamon stick and the other lemon peel.
9. Cook until the syrup is formed.
10. When the torrijas have browned in the oven, take them out and pour the syrup bath over them.
11. Leave to soak well and sprinkle with ground cinnamon.

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Poems Of Shel Silverstein - Poemas en inglés

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

Listen To The mustn'ts - Shel Silverstein

Listen to the mustn'ts, child,
Listen to the don'ts
Listen to the shouldn'ts
The impossibles, the wont's
Listen to the never haves
Then listen close to me-
Anything can happen, child,
anything can be

Hug O' War - Shel Silverstein

I will not play at tug o' war.
I'd rather play at hug o' war,
Where everyone hugs
Instead of tugs,
Where everyone giggles
And rolls on the rug,
Where everyone kisses,
And everyone grins,
And everyone cuddles,
And everyone wins

Snowball - Shel Silverstein

I made myself a snowball
As perfect as could be.
I thought I'd keep it as a pet
And let it sleep with me.
I made it some pajamas
And a pillow for its head.
Then last night it ran away,
But first it wet the bed.

The Little Boy And Old Man - Shel Silverstein

Said the little boy, sometimes I drop my spoon.
Said the little old man, I do that too.
The little boy whispered, I wet my pants.
I do too, laughed the old man.
Said the little boy, I often cry.
The old man nodded. So do I.
But worst of all, said the boy,
it seems grown-ups don’t pay attention to me.
And he felt the warmth of a wrinkled old hand.
I know what you mean, said the little old man.

Sick - Shel Silverstein

“I cannot go to school today,"
Said little Peggy Ann McKay.
“I have the measles and the mumps,
A gash, a rash and purple bumps.
My mouth is wet, my throat is dry,
I’m going blind in my right eye.
My tonsils are as big as rocks,
I’ve counted sixteen chicken pox
And there’s one more--that’s seventeen,
And don’t you think my face looks green?
My leg is cut--my eyes are blue--
It might be instamatic flu.
I cough and sneeze and gasp and choke,
I’m sure that my left leg is broke--
My hip hurts when I move my chin,
My belly button’s caving in,
My back is wrenched, my ankle’s sprained,
My ‘pendix pains each time it rains.
My nose is cold, my toes are numb.
I have a sliver in my thumb.
My neck is stiff, my voice is weak,
I hardly whisper when I speak.
My tongue is filling up my mouth,
I think my hair is falling out.
My elbow’s bent, my spine ain’t straight,
My temperature is one-o-eight.
My brain is shrunk, I cannot hear,
There is a hole inside my ear.
I have a hangnail, and my heart is--what?
What’s that? What’s that you say?
You say today is... Saturday?
G’bye, I’m going out to play!”

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Poems Of Edgar Allan Poe - Poemas en inglés

Recursos Educativos en Inglés - Poems in English - Poesías en inglés

The Bells - Edgar Allan Poe

I

Hear the sledges with the bells -
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the heavens seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells -
From the jingling and the tinkling of the bells.

II

Hear the mellow wedding bells -
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! -how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells -
To the rhyming and the chiming of the bells!

III

Hear the loud alarum bells -
Brazen bells!
What a tale of terror, now, their turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now -now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging
And the clanging,
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells -
Of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells -
In the clamor and the clangor of the bells!

IV

Hear the tolling of the bells -
Iron bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people -ah, the people -
They that dwell up in the steeple,
All alone,
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone -
They are neither man nor woman -
They are neither brute nor human -
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A paean from the bells!
And his merry bosom swells
With the paean of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the paean of the bells,
Of the bells -
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells,
Of the bells, bells, bells -
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells,
Of the bells, bells, bells -
To the tolling of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells -
To the moaning and the groaning of the bells.

A Valentine - Edgar Allan Poe

For her this rhyme is penned, whose luminous eyes,
Brightly expressive as the twins of Leda,
Shall find her own sweet name, that nestling lies
Upon the page, enwrapped from every reader.
Search narrowly the lines!- they hold a treasure
Divine- a talisman- an amulet
That must be worn at heart. Search well the measure-
The words- the syllables! Do not forget
The trivialest point, or you may lose your labor
And yet there is in this no Gordian knot
Which one might not undo without a sabre,
If one could merely comprehend the plot.
Enwritten upon the leaf where now are peering
Eyes scintillating soul, there lie perdus
Three eloquent words oft uttered in the hearing
Of poets, by poets- as the name is a poet's, too,
Its letters, although naturally lying
Like the knight Pinto- Mendez Ferdinando-
Still form a synonym for Truth- Cease trying!
You will not read the riddle, though you do the best you can do.

A Dream Within A Dream - Edgar Allan Poe

Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow-
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.

I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-
How few! yet how they creep
Through my fingers to the deep,
While I weep- while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?

The Raven - Edgar Allan Poe

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore--
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door--
Only this and nothing more."

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--vainly I had sought to borrow
From my books surcease of sorrow--sorrow for the lost Lenore--
For the rare and radiant maiden whom the angels name Lenore--
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me--filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door--
Some late visiter entreating entrance at my chamber door;--
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"--here I opened wide the door;--
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"--
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore--
Let my heart be still a moment and this mystery explore;--
'Tis the wind and nothing more!"

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door--
Perched upon a bust of Pallas just above my chamber door--
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore--
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning--little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door--
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered--not a feather then he fluttered--
Till I scarcely more than muttered "Other friends have flown before--
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore--
Till the dirges of his Hope that melancholy burden bore
Of ‘Never--nevermore'."

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore--
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet-violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee--by these angels he hath sent thee
Respite--respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!--
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted--
On this home by Horror haunted--tell me truly, I implore--
Is there--is there balm in Gilead?--tell me--tell me, I implore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!
By that Heaven that bends above us--by that God we both adore--
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore--
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven "Nevermore."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting--
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!--quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!

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¿Qué son los phrasal verbs en inglés? Los más usados

Gramática Inglesa - English Grammar - Recursos Educativos en inglés

Un phrasal verb es un verbo inglés que va seguido de otra palabra. Pero muy a menudo, esta pequeña palabra que añadimos cambiará el significado del verbo en cuestión, ¡o incluso hará que adquiera un significado totalmente diferente!

Por ejemplo:

• To come - Venir
• To come in - Entrar
• To come over - Pasar por aquí / dejarse caer
• To pass - Pasar o tener éxito
• To pass out - Dssmayarse 🤔

Hay miles de phrasal verbs como estos. No es fácil recordarlos.

Pero si quieres hablar un inglés que fluido, los phrasal verbs te serán muy útiles. En el lenguaje cotidiano, los phrasal verbs son omnipresentes. Saber dominarlos es un verdadero paso hacia la lengua común, la que utilizan los hablantes nativos de inglés en la vida cotidiana.

Por poner un ejemplo, el verbo "enter a place" significa "entrar", al igual que el phrasal verb "come in". Pues bien, en la vida cotidiana, casi siempre diremos "come in" y no "enter".

Así que te sugiero que conozcas los phrasal verbs de uso frecuente. Antes de aprender los primeros phrasal verbs, echemos un vistazo a algunas indicaciones generales para ayudarte a entender algunas palabras que se utilizan frecuentemente con los verbos compuestos.

Indicaciones generales sobre los phrasal verbs

Pero cuidado, porque estas indicaciones se aplican a la mayoría de las veces, pero no siempre. Es sólo información para empezar a entender el significado de algunos verbos.

• On: significa encendido. Por lo tanto, cuando se añade a un verbo, puede transmitir la noción de "sobre algo", pero puede tener muchos otros significados.
• Back: Se refiere a una noción de retorno. Por ejemplo, to go significa "ir", y to go back, volver. (también podemos decir to come back).
• Away: Con away, hay una noción de distancia. "Go away" - "vete".
• Up: Transmite un movimiento hacia arriba.
• Down: Un movimiento hacia abajo.
• Behind: Significa "detrás". Cuando lo veas unido a un verbo, puede darle un significado cercano. Por ejemplo, quedarse atrás significa quedarse detrás de los demás.
• In front of: Frente a.
• In: Cuando ves un phrasal verb con in, transmite una noción de movimiento hacia adentro. Por ejemplo: “Get in the bus”, "Sube al autobús".
• Through: Significa "a través". Por ejemplo, to go through the city centre: Atravesar el centro de la ciudad. Segundo ejemplo: To think something through: Pensar en todas las facetas de un problema. Otro ejemplo: to make it through: “I made it through two hours of boring lecture”: "He hecho que se acaben dos horas de conferencia aburrida". (Nota: to make it significa "tener éxito" en el sentido de "hacerlo" "you made it" ¡lo has conseguido!").
• Out: Cuando ves un phrasal verb con out, se trata más bien de un movimiento hacia afuera.
• Above: significa arriba.
• Under: Por debajo o en la parte inferior.

Hay muchos más adverbios, preposiciones y otras palabras que pueden constituir phrasal verbs. No dudes en buscar algunos de ellos y añadirlos a esta lista.

Phrasal verbs los más utilizados

To call back - Devolver la llamada.

To call for - preguntar, llamar a

To call off - cancelar

To fall apart - desmoronarse, caer en pedazos

To fall behind - quedarse atrás

To fall in - para caer en...

To come back - devolver

To come in - entrar en

To come out - salir de

To come over - pasar, dejarse caer (en casa de alguien)

To come up with - encontrar, inventar, imaginar

To find out - aprender, descubrir

To give back - repartir

To give out - distribuir

To go after - perseguir, intentar conseguir

To go along - seguir, estar de acuerdo con

To go away - marcharse

To go for - ir a por ello

To go off - estropearse, pudrirse

To go on - continuar

To keep from - evitar, no hacer

To keep in - mantener en...

To keep up - seguir, continuar

To leave on - dejar en

To leave out - alejar, olvidar

To look after - cuidar...

To look at - Mirar (algo)

To look down on - Mirar por encima del hombro 

To look up to - Mirar hacia arriba

To look out - ten cuidado, desconfía

To look round (o look around) - inspeccionar, mirar a su alrededor

To look up - Buscar, consultar

To let down - decepcionar, abandonar

To let off - no castigar

To let on - dejar escapar un secreto

To let out - dejar salir, soltar

To make off - huir, escapar

To make up - ponerse al día / hacer las paces

To make up - maquillarse. También es un nombre: el maquillaje.

To pass away - morir

To pass on - pasar

To pass through - pasar por un lugar / atravesar

To put away - guardabosques

To put back - volver a poner

To put through - pasar a alguien (por teléfono)

To put off - Aplazar, posponer

To put on = poner

To put up = aumentar, soportar, apoyar

To send back - devolver

To send for - hacer venir, llamar

To send off - expulsar, devolver

To send out - enviar, o mandar (normalmente en grandes cantidades)

To take over - Tomar el relevo, hacerse cargo

To think over - Pensar, reflexionar

To think up = encontrar, inventar (a menudo cuando es una mentira)

To try on = probarse (la ropa)

To use up = acabar con todo

To take away - para llevar

To take off - despegar

To take out - sacar

To work off = quemar los excesos, las calorías, etc.

To work on = trabajar en (un proyecto, una tarea, etc.)

To work out = hacer ejercicio, trabajar

To want out (coloquial) = querer salir, dejar una relación o abandonar

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Cómo usar To y for - Diferencias

Gramática Inglesa - English Grammar - Recursos Educativos en inglés

To y for son de esas palabras difíciles de usar. Son especialmente problemáticas en la escritura, incluso para quienes tienen un buen nivel de inglés.

To y For suelen ser preposiciones, pero no siempre. Por ejemplo, podemos utilizar TO para marcar el infinitivo de un verbo. To play significa jugar, en infinitivo. También los utilizamos a veces para crear verbos compuestos (los famosos phrasal verbs, como look for, plan for, etc.).

Tomemos un primer ejemplo:

She want work to earn money. Ella quiere trabajar para ganar dinero.
This is for you. Esto es para ti

Podemos ver la diferencia aquí: en un caso, hay un verbo (earn). En el otro caso, hay un sustantivo, o grupo de sustantivos (for you).

Esta es la primera regla:

Cuando queramos expresar la meta, el motivo, el objetivo, el objeto, pondremos:

TO + Verbo o FOR + sustantivo

Hay una excepción:

Podremos ver FOR + verbo en ING, cuando hablemos del uso de un objeto. Por ejemplo, al responder a la pregunta "What is it for ?" It’s a mug, it’s for drinking coffe. ¿Para qué sirve? Es una taza, es para beber café.

La segunda regla, se refiere principalmente al TO:

Cuando haya una noción de transferencia, o de dirección con movimiento, utilizaremos To.

1. Give this to María.
2. I’m going to Spain tomorrow.
3. Please, talk to me.

En su defecto, diremos:

This present is for María. Es un estado, no existe la noción de transferencia.

Regla 2: Noción de transferencia, de movimiento, utilizaremos TO.

Hasta aquí las dos formas principales de elegir entre To y For.

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