Wednesday, 5 March 2025

The Romantic Young Lady by W.S. Maugham

 The Romantic Young Lady

One of the many inconveniences of real life is that it seldom gives you a

complete story. Some incident has excited your interest, the people who are

concerned in it are in the devil’s own muddle, and you wonder what on earth

will happen next. Well, generally nothing happens. The inevitable catastrophe

you foresaw wasn’t inevitable after all, and high tragedy, without any regard to

artistic decency, dwindles into drawing–room comedy. Now, growing old has

many disadvantages, but it has this compensation (among, let us admit, not a

few others), that sometimes it gives you the opportunity of seeing what was the

outcome of certain events you had witnessed long ago. You had given up the

hope of ever knowing what was the end of the story, and then, when you least

expected it, it is handed to you on a platter.

These reflections occurred to me when, having escorted the Marquesa de San

Esteban to her car, I went back into the hotel and sat down again in the lounge.

I ordered a cocktail, lit a cigarette, and composed myself to order my

recollections. The hotel was new and splendid, it was like every other first–class

hotel in Europe, and I had been regretting that for the sake of its modern

plumbing I had deserted the old–fashioned, picturesque Hotel de Madrid to

which I generally went when I stayed in Seville. It was true that from my hotel

I had a view of the noble river, the Guadalquivir, but that did not make up for

the thés dansants that filled the bar–lounge two or three days a week with a

fashionable crowd whose exuberant conversation almost drowned the strident

din of a jazz orchestra.

I had been out all the afternoon, and coming in found myself in the midst of

a seething mob. I went to the desk and asked for my key so that I might go

straight up to my room. But the porter, handing it to me, said that a lady had

been asking for me.

‘For me?’

‘She wants to see you very much. It’s the Marquesa de San Esteban.’

I knew no one of that name.

‘It must be some mistake.’

As I said the words, looking rather vaguely around, a lady came up to me with

outstretched hands and a bright smile on her lips. To the best of my knowledge

I had never seen her before in my life. She seized my hands, both of them, and

shook them warmly. She spoke in fluent French.

‘How very nice to see you again after all these years. I saw by the paper that

you were staying here and I said to myself: I must look him up. How many

years is it since we danced together? I daren’t think. Do you still dance? I do.

And I’m a grandmother. I’m fat of course, I don’t care, and it keeps me from

getting fatter.’

She talked with such a rush that it took my breath away to listen to her. She

was a stout, more than middle–aged woman, very much made up, with dark

red hair, obviously dyed, cut short; and she was dressed in the height of

Parisian fashion, which never suits Spanish women very well. But she had a

gay, fruity laugh that made you feel you wanted to laugh too. It was quite

obvious that she thoroughly enjoyed life. She was a fine figure of a woman and

I could well believe that in youth she had been beautiful. But I could not place

her.

‘Come and drink a glass of champagne with me and we will talk of old times.

Or will you have a cocktail? Our dear old Seville had changed, you see. Thés

dansants and cocktails. It’s just like Paris and London now. We’ve caught up.

We’re a civilized people.’

She led me to a table near the space where they were dancing and we sat

down. I could not go on pretending I was at ease; I thought I should only get

into a fearful mess.

‘It’s terribly stupid of me, I’m afraid,’ I said, ‘but I don’t seem able to

remember ever having known anyone of your name in the old days in Seville.’

‘San Esteban?’ she interrupted before I could go on. ‘Naturally. My husband

came from Salamanca. He was in the diplomatic service. I’m a widow. You

knew me as Pilar Carreon. Of course having my hair red changes me a little,

but otherwise I don’t think I’ve altered much.’

‘Not at all,’ I said quickly. ‘It was only the name that bothered me.’

Of course now I remembered her, but I was concerned at the moment only

with the effort to conceal from her the mingled consternation and amusement

that filled me as I realized that the Pilar Carreon I had danced with at the

Countess de Marbella’s parties and at the Fair had turned into this stout,

flaunting dowager. I could not get over it. But I had to watch my step.

I wondered if she knew how well I recollected the story that had shaken Seville

to its foundations, and I was glad when after she had finally bidden me an

effusive farewell I was able to recall it at ease.

In those days, forty years ago, Seville had not become a prosperous

commercial city. It had quiet, white streets, paved with cobbles, with a

multitude of churches on the belfries of which storks built their nests.

Bull–fighters, students, and loungers sauntered in the Sierpes all day long. Life

was easy. This of course, was before the time of motor–cars, and the Sevillan

would live in penury, practising every possible economy, in order to have a

carriage. For this luxury he was willing to sacrifice the necessities of life.

Everyone who had any claim to gentility drove up and down the Delicias, the

park–like gardens by the Guadalquivir, every blessed afternoon from five till

seven. You saw carriages of all sorts, from fashionable London victorias to old

broken–down shays that seemed as though they would fall to pieces,

magnificent horses and wretched hacks whose tragic end in the bull–ring was

near at hand. But there was one equipage that could not fail to attract the

stranger’s attention. It was a victoria, very smart and new, drawn by two

beautiful mules; and the coachman and the footman wore the national

costume of Andalusia in pale grey. It was the most splendid turn–out Seville

had ever known, and it belonged to the Countess de Marbella. She was a

Frenchwoman married to a Spaniard, who had enthusiastically adopted the

manners and customs of her husband’s country, but with a Parisian elegance

that gave them a peculiar distinction. The rest of the carriages went at a snail’s

pace so that their occupants could see and be seen, but the countess, behind

her mules, dashed up between the two crawling lines at a fast trot, went to the

end of the Delicias and back twice and then drove away. The proceeding

savoured somewhat of royalty. When you looked at her gracefully seated in

that swift victoria, her head handsomely poised, her hair of too brilliant a gold

to be natural, you did not wonder that her French vivacity and determination

had given her the position she held. She made the fashion. Her decrees were

law. But the countess had too many adorers not to have as many enemies, and

the most determined of these was the widowed Duchess de Dos Palos, whose

birth and social consequence made her claim as a right the first place in Society

which the Frenchwoman had won by grace, wit and character.

Now the duchess had an only daughter. This was Doña Pilar. She was twenty

when I first knew her and she was very beautiful. She had magnificent eyes and

a skin that, however hard you tried to find a less hackneyed way to describe it,

you could only call peach–like. She was very slim, rather tall for a Spanish girl,

with a red mouth and dazzlingly white teeth. She wore her abundant, shining

black hair dressed very elaborately in the Spanish style of the period. She was

infinitely alluring. The fire in her black eyes, the warmth of her smile, the

seductiveness of her movements suggested so much passion that it really

wasn’t quite fair. She belonged to the generation which was straining to break

the old conventions that had kept the Spanish girl of good family hidden away

till it was time for her to be married. I often played tennis with her and I used

to dance with her at the Countess de Marbella’s parties. The duchess

considered the Frenchwoman’s parties, with champagne and a sit–down

supper, ostentatious, and when she opened her own great house to Society,

which was only twice a year, it was to give them lemonade and biscuits. But she

bred fighting–bulls, as her husband had done, and on the occasions when the

young bulls were tried out, she gave picnic luncheons to which her friends

were asked, very gay and informal, but with a sort of feudal state which

fascinated my romantic imagination. Once, when the duchess’s bulls were to

fight at a corrida in Seville, I rode in with them at night as one of the men

escorting Doña Pilar, dressed in a costume that reminded one of a picture by

Goya, who headed the cavalcade. It was a charming experience to ride through

the night, on those prancing Andalusian horses, with the six bulls, surrounded

by oxen, thundering along behind.

A good many men, rich or noble and sometimes both, had asked Doña Pilar’s

hand in marriage, but, notwithstanding her mother’s remonstrances, she had

refused them. The duchess had been married at fifteen and it seemed to her

really indecent that her daughter at twenty should be still single. The duchess

asked her what she was waiting for; it was absurd to be too difficult. It was her

duty to marry. But Pilar was stubborn. She found reasons to reject every one of

her suitors.

Then the truth came out.

During the daily drives in the Delicias which the duchess, accompanied by

her daughter, took in a great old–fashioned landau, they passed the countess as

she was twice swiftly driven up and down the promenade. The ladies were on

such bad terms that they pretended not to see one another, but Pilar could not

keep her eyes off that smart carriage and the two beautiful grey mules and, not

wishing to catch the countess’s somewhat ironic glance, her own fell on the

coachman who drove her. He was the handsomest man in Seville and in his

beautiful uniform he was a sight to see. Of course no one knew exactly what

happened, but apparently the more Pilar looked at the coachman the more she

liked the look of him, and somehow or other, for all this part of the story

remained a mystery, the pair met. In Spain the classes are strangely mingled

and the butler may have in his veins much nobler blood than the master. Pilar

learnt, not I think without satisfaction, that the coachman belonged to the

ancient family of León, than which there is none in Andalusia more

distinguished; and really so far as birth went there was little to choose between

them. Only her life had been passed in a ducal mansion, while fate had forced

him to earn his living on the box of a victoria. Neither could regret this, since

only in that exalted place could he have attracted the attention of the most

difficult young woman in Seville. They fell madly in love with one another. It so

happened that just then a young man called the Marqués de San Esteban,

whom they had met at San Sebastian the summer before, wrote to the duchess

and asked for Pilar’s hand in marriage. He was extremely eligible and the two

families had formed alliances from time to time ever since the reign of Philip II.

The duchess was determined not to stand any more nonsense, and when she

told Pilar of the proposal added that she had shilly–shallied long enough. She

must either marry him or she should go into a convent.

‘I’m not going to do either the one or the other,’ said Pilar.

‘What are you going to do then? I have given you a home long enough.’

‘I’m going to marry José León.’

‘Who is he?’

Pilar hesitated for a moment and it may be, it is indeed to be hoped, that she

blushed a little.

‘He’s the countess’s coachman.’

‘What countess?’

‘The Countess de Marbella.’

I remembered the duchess well and I am sure that when roused she stuck at

little. She raged, she implored, she cried, she argued. There was a terrific scene.

People said that she slapped her daughter and pulled her hair, but I have an

impression that Pilar in such a pass was capable of hitting back. She repeated

that she loved José León and he loved her. She was determined to marry him.

The duchess called a family council. The matter was put before them and it was

decided that to save them all from disgrace Pilar should be taken away to the

country and kept there till she had recovered from her infatuation. Pilar got

wind of the scheme and put a stop to it by slipping out of the window of her

room one night when everyone was asleep and going to live with her lover’s

parents. They were respectable persons who inhabited a small apartment on

the unfashionable side of the Guadalquivir, in the quarter called Triana.

After that no concealment was possible. The fat was in the fire and the clubs

along the Sierpes buzzed with the scandal. Waiters were kept busy bringing

trays of little glasses of Manzanilla to the members from the neighbouring

wine–shops. They gossiped and laughed over the scandal, and Pilar’s rejected

suitors were the recipients of many congratulations. What an escape! The

duchess was in despair. She could think of nothing better to do than go to the

Archbishop, her trusted friend and former confessor, and beg him himself to

reason with the infatuated girl. Pilar was summoned to the episcopal palace,

and the good old man, used to intervening in family quarrels, did his utmost to

show her the folly of her course. But she would not be persuaded. Nothing that

anyone could say would induce her to forsake the man she loved. The duchess,

waiting in an adjoining room, was sent for and made a final appeal to her

daughter. In vain. Pilar returned to her humble lodging and the duchess in

tears was left alone with the Archbishop. The Archbishop was no less astute

than he was pious, and when he saw that the distracted woman was in a fit

state to listen to him, advised her as a last resource to go to the Countess de

Marbella. She was the cleverest woman in Seville and it might be that she could

do something.

At first the duchess indignantly refused. She would never suffer the

humiliation of appealing to her greatest enemy. Sooner might the ancient

house of Dos Palos fall in ruin. The Archbishop was accustomed to dealing

with tiresome women. He set himself with gentle cunning to induce her to

change her mind and presently she consented to throw herself on the

Frenchwoman’s mercy. With rage in her heart she sent a message asking if she

might see her, and that afternoon was ushered into her drawing–room. The

countess of course had been one of the first to hear the story, but she listened

to the unhappy mother as though she had not known a thing about it. She

relished the situation enormously. It was the crowning triumph to have the

vindictive duchess on her knees before her. But she was at heart a

good–natured woman and she had a sense of humour.

‘It’s a most unfortunate situation,’ she said. ‘And I’m sorry that one of my

servants should be the occasion of it. But I don’t exactly see what I can do.’

The duchess would have liked to slap her painted face and her voice trembled

a little with the effort she made to control her anger.

‘It is not for my own sake I’m asking you to help. It’s for Pilar’s. I know, we all

know, that you are the cleverest woman in the city. It seemed to me, it seemed

to the Archbishop, that if there was a way out, your quick wit would find it.’

The countess knew she was being grossly flattered. She did not mind. She

liked it.

‘You must let me think.’

‘Of course, if he’d been a gentleman I could have sent for my son and he

would have killed him, but the Duke of Dos Palos cannot fight a duel with the

Countess de Marbella’s coachman.’

‘Perhaps not.’

‘In the old days it would have been so simple. I should merely have hired a

couple of ruffians and had the brute’s throat cut one night in the street. But

with all these laws they have nowadays decent people have no way of

protecting themselves from insult.’

‘I should deplore any method of settling the difficulty that deprived me of the

services of an excellent coachman,’ murmured the countess.

‘But if he married my daughter he cannot continue to be your coachman,’

cried the duchess indignantly.

‘Are you going to give Pilar an income for them to live on?’

‘Me? Not a peseta. I told Pilar at once that she should get nothing from me.

They can starve for all I care.’

‘Well, I should think rather than do that he will prefer to stay on as my

coachman. There are very nice rooms over my stables.’

The duchess went pale. The duchess went red.

‘Forget all that has passed between us. Let us be friends. You can’t expose me

to such a humiliation. If I’ve ever done things to affront you I ask you on my

knees to forgive me.’

The duchess cried.

‘Dry your eyes, Duchess,’ the Frenchwoman said at last. ‘I will do what I can.’

‘Is there anything you can do?’

‘Perhaps. Is it true that Pilar has and will have no money of her own?’

‘Not a penny if she marries without my consent.’

The countess gave her one of her brightest smiles.

‘There is a common impression that southern people are romantic and

northern people matter–of–fact. The reverse is true. It is the northerners who

are incurably romantic. I have lived long enough among you Spaniards to

know that you are nothing if not practical.’

The duchess was too broken to resent openly these unpleasant remarks, but,

oh, how she hated the woman! The Countess de Marbella rose to her feet.

‘You shall hear from me in the course of the day.’

She firmly dismissed her visitor.

The carriage was ordered for five o’clock and at ten minutes to, the countess,

dressed for her drive, sent for José. When he came into the drawing–room,

wearing his pale grey livery with such an air, she could not deny that he was

very good to look upon. If he had not been her own coachman–well, it was not

the moment for ideas of that sort. He stood before her, holding himself easily,

but with a gallant swagger. There was nothing servile in his bearing.

‘A Greek god,’ the countess murmured to herself. ‘It is only Andalusia that can

produce such types.’ And then aloud: ‘I hear that you are going to marry the

daughter of the Duchess of Dos Palos.’

‘If the countess does not object.’

She shrugged her shoulders.

‘Whoever you marry is a matter of complete indifference to me. You know of

course that Doña Pilar will have no fortune.’

‘Yes, madam. I have a good place and I can keep my wife. I love her.’

‘I can’t blame you for that. She is a beautiful girl. But I think it only right to

tell you that I have a rooted objection to married coachmen. On your wedding–

day you leave my service. That is all I had to say to you. You can go.’

She began to look at the daily paper that had just arrived from Paris, but José,

as she expected, did not stir. He stared down at the floor. Presently the countess

looked up.

‘What are you waiting for?’

‘I never knew madam would send me away,’ he answered in a troubled tone.

‘I have no doubt you’ll find another place.’

‘Yes, but . . .’

‘Well, what is it?’ she asked sharply.

He sighed miserably.

‘There’s not a pair of mules in the whole of Spain to come up to ours. They’re

almost human beings. They understand every word I say to them.’

The countess gave him a smile that would have turned the head of anyone

who was not madly in love already.

‘I’m afraid you must choose between me and your betrothed.’

He shifted from one foot to the other. He put his hand to his pocket to get

himself a cigarette, but then, remembering where he was, restrained the

gesture. He glanced at the countess and that peculiar shrewd smile came over

his face which those who have lived in Andalusia know so well.

‘In that case, I can’t hesitate. Pilar must see that this alters my position

entirely. One can get a wife any day of the week, but a place like this is found

only once in a lifetime. I should be a fool to throw it up for a woman.’

That was the end of the adventure. José León continued to drive the Countess

de Marbella, but she noticed when they sped up and down the Delicias that

henceforward as many eyes were turned on her handsome coachman as on

her latest hat: and a year later Pilar married the Marqués de San Esteban.

Thursday, 27 February 2025

Everyday English: Going to the PHARMACY

by Emma EngVid

Hello, my name is Emma, in today's video, I am going to teach you some great sentences and expressions and vocabulary we use when we are going to the pharmacy. So, and I'll tell you what a pharmacy is, because maybe you've never heard that word before. So, let's get started.

So, a pharmacy is a place, and it's a place you go when you need to get medication or medicine, okay?

So, another word for pharmacy is drugstore. So, you can say either pharmacy or drugstore. Pharmacy has a weird spelling, you'll notice it's spelled with "ph", pharmacy, so just looking at that "ph" might be confusing.

But the way it's pronounced is "farm-a-see".

Pharmacy.

Okay?

So, don't spell it like this, but this is how we pronounce it.

So, you go to the pharmacy after you see the doctor and you go there to get your medication.

So, like I said, why do you go to the pharmacy?

You go there to get your medication, medicine or drugs.

These are all words for the same thing.

Now, you might have heard the word "drug" before and you might think, wait a second, drugs, isn't that bad?

In English, "drugs", there are two meanings.

We can talk about drugs that are illegal, so these are the ones that are against the law.

So, for example, heroin or cocaine, these are illegal drugs.

If you go to the pharmacy, you cannot get illegal drugs. I know I'm calling it a drugstore, but they do not sell those kinds of drugs.

What kind of drugs do they sell?

They sell prescription drugs.

A prescription drug is another way to say a medication.

And it's a medication that your doctor is saying you should take.

So, to get a prescription, you need to go see a doctor and the doctor gives you a note telling you what medication to take.

We call these prescription drugs.

You can find prescription drugs at the drugstore or the pharmacy.

Something else you can find at the pharmacy is over the counter drugs.

Over the counter drugs are different than prescription drugs.

Prescription drugs, you need a doctor to say, "Take this".

But over the counter drugs, you do not need a prescription.

They are medication or medicine that anyone can buy.

So, for example, if you have a headache, you can buy Tylenol, and that is an over the counter drug.

You do not need a prescription.

Okay, so we've covered why you might go to a pharmacy and that we also call it a drugstore.

What else can we say about pharmacies?

Well, we can talk about who works at a pharmacy.

What people might you see at a pharmacy?

First of all, you might see a pharmacist.

What is a pharmacist?

A pharmacist is a person who works at the pharmacy.

They are an expert in medication.

They have taken a lot of education to become a pharmacist.

They are usually the people working in the back of the pharmacy.

You might also see a clerk or a pharmacy assistant.

These people help the pharmacist.

They are not the pharmacist, but they can help the pharmacist, and they are the ones you usually talk to first.

When you go to the pharmacy, you will often bring your prescription and give it to the

clerk or the pharmacy assistant and the pharmacist with put your medication into a bottle and prepare it for you.

So now, let's look at some other words we need to know for when we go to the pharmacy.

Okay, so you're at the pharmacy or drugstore, and you have your prescription.

You've seen the doctor and there's medicine you need.

So, what do you do?

Well, first step is usually, at a pharmacy, you might see two signs.

You might see the sign that says "Drop off" and you might see a sign that says "Pick up".

So, if you go to where it says "Drop off", that is where you go first.

And that is where you hand your prescription from the doctor to the pharmacy assistant,

the pharmacist, or the clerk.

Whoever is working there.

And then - so that's the first step.

You give them your prescription.

And then usually, you have to wait while the pharmacist prepares your prescription.

And once the prescription is ready, you go the third step, which is the "Pick up".

You go to the sign that says "Pick up", and this is where they give you your medicine.

So, three steps.

Go to "Drop off", wait, and then you go and you pick up your medication.

So, this seems really simple, but I remember when I was a teenager picking up medicine.

I'd get confused and sometimes I'd go here first, and then they'd tell me, "No, no, you've got to go to drop off".

So, it's simple, but you need to know this is how it works.

So, there's two words we often use when we talk about medication.

And they're very important words if you want to save money.

So, those words are "generic" and "brand".

Usually, medications have - you might have the same medication and in one case, there's a brand name, okay?

So, it's a famous name that makes that medication.

And brand names are usually very popular and they spend a lot of money on advertising.

And so, their medicine costs a lot more money.

Sometimes, there's a cheaper brand that they call the generic, and that's where - it doesn't have a name, or the name is not well known.

So, it's the cheaper form of the medicine.

Same medicine, but it just doesn't have all the advertising.

So, we call that the generic.

The thing to remember is the generic is the cheap form of the medicine.

The brand is the expensive form.

So, it's always a good idea when you're at the pharmacy to say, "Is there a generic?"

Meaning, is there a cheaper form of this medication?

And the pharmacist can tell you, "Yes, there is", or "No, there isn't.

There's only the brand name."

But it's a good idea, because you can save a lot of money that way.

So, let's look at some things you might do while you're at the pharmacy.

So, like I said, the first step is going and dropping off your prescription.

This is a great expression we use when we do that.

We say to the pharmacist or the pharmacy assistant, "I'd like to get my prescription filled."

And so, the word we use with prescription, the verb we're using is "filled".

I'd like to get my prescription filled.

We might also ask to speak to a pharmacist.

"Can I speak to a pharmacist, please?"

And we might do this if we have questions about our medication.

For example, you might want to ask, "What are the side effects?"

Side effects is - it's an important vocabulary word or words that we use a lot when we talk about medication.

The side effect is the - what the medication can do to you that might not be a good thing.

So, usually, medications can help you, but sometimes, they have bad things that theycan do to you, too.

So, maybe they help your cold, but maybe they make you very tired.

Or maybe they make your eyes have trouble in sunlight.

So, it's a good idea to ask the pharmacist, "What are the side effects?"

Now, let's look at a couple of more actions you can do at a pharmacy, so you will be ready to go the next time you need to get medication.

Okay, so you've had your prescription filled, you've dropped off your prescription, you've had it filled, you've waited, and now it's time to pick up your prescription.

So, we're at the pick up part of the counter.

This is where you pay, and you often get asked certain questions.

You might be asked about your insurance.

So, they might ask you, "Do you have coverage?"

So, this means, do you have insurance?

And if you have insurance, then you can say, "Yes, I have coverage" and you give them your insurance information.

But if you don't have coverage, what you can say is, "I will pay out of pocket".

When you pay out of pocket, that means you're not using insurance, you're paying for your medication.

I need to pay out of pocket.

So, these are two great expressions you will likely hear if you're at the pharmacy.

Okay, so they will also tell you how to take your medication.

When we're talking about how much medication to take and how often, what we're talking about is dosage.

So, if you ask a pharmacist, you can say, "What is the dosage?"

That means, how much medication do I take, and how often do I take it?

So, the pharmacist might tell you, you might have to take a pill, a tablet, a pill and a tablet mean the same thing, okay?

There might be a slightly different meaning, but in general when we're talking about pills and tablets, they're synonyms, they mean the same thing.

So, you might have to take a pill and if you take a pill or a tablet, they might tell you something like, "You need to take two tablets or two pills", so this answers, "How much?" "at bedtime for two weeks."

"For two weeks" is "How often?".

So, this is an example of what they might say for your dosage, okay?

So, this example is your dosage.

You might also have to take medication in a fluid or liquid form.

It might not be a pill.

So, they might tell you, you need to take a liquid dose. A dose means - it's another way to say amount.

And so, for this, you might see words like, "tsp", which means "teaspoon", which is a measuring amount, or you might see - there are different ways to measure.

You might see tablespoon or just a couple of drops.

So, it's good to figure out what these words mean, okay?

And if you don't know, you can always ask the pharmacist. I don't know what tsp means; can you tell me how much? And they will be happy to help you with that.

Alright, so now, just a couple more things about medication and then we'll be finished for today.

Okay, so the last thing I wanted to talk about is how pharmacists might give you directions on how to take your medication.

This is really important to listen to.

So, they will often give you directions.

And sometimes, these directions are also written on the label of the medicine.

Here are some examples of directions that you might see.

You might see something that says, "Do not exceed".

Do not exceed five pills, do not exceed ten tablets in a day.

What does it mean when we say "Do not exceed?"

Well, what it means is don't take more than.

So, sometimes, for example, with Tylenol, you can take a certain number of pills in a day.

And on the bottle, it will say, "Do not exceed" this number, meaning don't take more than this.

If you take more than this, you might have very bad side effects.

We often see the word "empty stomach".

For some medications, they work better if you do not eat before or when taking them. We call this an "empty stomach".

So, the pharmacist might say, "Take your medication on an empty stomach", which means don't eat when you take this medication.

Sometimes, pharmacists might tell you the opposite.

When you take this medication, make sure you eat. Take this with food.

Or, they might talk to you about drinks, you know. Do not take this medication with milk.

For a lot of medications, you're not supposed to take with milk, so this might be a direction you get.

You might also be told, "This medication needs to stay cold". Keep it in the refrigerator. Refrigerate this medication, meaning keep it in the refrigerator.

So, pay attention to what the pharmacist tells you and when you're learning another language,

there can be a lot of information coming at you, especially when you're at the pharmacy.

The pharmacist can sometimes talk a little fast.

There's a lot of different instructions.

Even if English is your first language, you can get very confused at the pharmacy.

So, it's very important if you don't understand something, ask.

Or, if you missed what the pharmacist said, ask them, "Can you repeat that? Sorry, I didn't quite catch that."

Really good to ask.

The other thing that's really important to do is confirm what you hear.

So, the pharmacist says, you know, make sure you take this on an empty stomach and do not exceed more than five pills in a day.

And you're like wow, okay.

Let me get this straight, just to confirm, you said, "Do not exceed this many pills in a day and take this on an empty stomach."

By confirming, the pharmacist will then tell you, "Yes, that's what I said", or "No, what I said is this".

Because medication can be dangerous and can have side effects, it's really a good idea to confirm what you hear with the pharmacist just to make sure you understand everything correctly.

So, we have covered a lot of different expressions, a lot of different words today.

I hope you feel more confident for when you go to the pharmacist.

Again, learning the words and understanding what will happen at a pharmacist will help you be better prepared so you can understand more of what you hear.

So, thank you so much for watching, and until next time, take care.


Tuesday, 22 February 2022

ENGLISH FILE ELEMENTARY 3rd EDITION UNIT 10

ENGLISH FILE ELEMENTARY 3rd EDITION UNIT 10

WORKBOOK AUDIO:















ENGLISH FILE ELEMENTARY 3rd EDITION UNIT 10 TEST AUDIO




ENGLISH FILE ELEMENTARY 3rd EDITION UNIT 10 VIDEO SB P. 83

English File Elementary Revise & Check 9-10 5.24 (Can You Understand These People? SB p. 83)





English File Elementary Revise & Check 9-10 (The History of Sandwich p. 8)




Sunday, 23 January 2022

ENGLISH FILE BEGINNER 4th EDITION - 1A

 ENGLISH FILE BEGINNER 4th EDITION - 1A

LISTENING & SPEAKING 1.2

Read & Listen 1.2 (page 6)

Listen & Repeat 1.3 (page 6)

GRAMMAR BANK 1A

Grammar Bank 1A 1.4 p.92 (page 92)

Grammar Bank 1A 1.5 p.92 (page 92)

Grammar 2c 1.6 Listen and say the contractions (page 6)

VOCABULARY: NUMBERS 1-10

Listening 1.7  Listen and tick the correct photo (page 7)

VOCABULARY BANK: NUMBERS

Listening 1.8 Numbers 1-10 (page 116)

Listening 1.9 Listen and write the numbers (page 7)

Listening 1.10 Listen and say the next number (page 7)

PRONUNCIATION

Listening 1.11 (page 7)

Listening 1.12 Listen and repeat the sentences (page 7)

VOCABULARY: DAYS OF THE WEEK

Listening 1.13 Vocabulary Bank: listen and repeat the days of the week (page 116)

DAYS OF THE WEEK - VIDEO



Listening 1.14 Saying Goodbye. Listen and repeat.

PRONUNCIATION: SOUND BANK 01




PRONUNCIATION: SOUND BANK 02



Saturday, 27 November 2021


ESL English Videos - English File Elementary 4th - Practical English - Episode 1 - Jenny Talks to Rob - Full Text & Subtitles

Jenny talks to Rob (1.51)

Waitress Is your tea OK?

Jenny Yes, thank you... It’s very quiet this evening.

Waitress Yes, very relaxing! Are you on holiday?

Jenny No, I’m here on business.

Waitress Where are you from?

Jenny I’m from New York. What about you?

Waitress I’m from Budapest, in Hungary.

Jenny Really? Oh, sorry.

Waitress No problem.

Jenny Hello?

Rob Is that Jennifer?

Jenny Yes...

Rob This is Rob. Rob Walker... From London 24seven?

Jenny Oh Rob, yes, of course. Hi.

Rob Hi. How are you?

Jenny Oh, I’m fine, thanks. A little tired, that’s all.

Rob I can meet you at the hotel tomorrow morning. Is nine ok for you?

Jenny That’s perfect.

Rob Great. OK, see you tomorrow at nine.

Jenny Thanks. See you then. Bye.

Waitress Would you like another tea?

Jenny No, thanks. It’s time for bed.

Waitress Good night, and enjoy your stay.

Jenny Good night.

The Romantic Young Lady by W.S. Maugham

 The Romantic Young Lady ♦ One of the many inconveniences of real life is that it seldom gives you a complete story. Some incident has excit...