Alexander Pushkin's tale of a careful man, a secret of three cards, and the price of wanting a shortcut.
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Ten words unlock the story. Work through the four short activities — say your answer out loud before you reveal it.
Three words from the story: fortune · ward · stake. Match each definition to the right word — out loud, then reveal.
Read each part. After it, there's a quick comprehension check (try the questions from memory first), then one thing to discuss.
One winter night in St Petersburg, a group of young officers sat up late over cards at the house of Narumov. Among them was Hermann, a young engineer of German descent — a man who watched the play with intense interest, night after night, but never touched a card. "The game fascinates me," he would say, "but I am not in a position to sacrifice the necessary in the hope of winning the superfluous." He lived on his pay, allowed himself not the slightest luxury, and his three ruling principles were calculation, moderation and industry.
That night, Tomsky told the company a curious story about his grandmother, the old Countess Anna Fedotovna. Sixty years ago in Paris, she had been a celebrated beauty — and had lost an enormous sum at cards, on her word of honour, to the Duke of Orléans. Her husband refused to pay. In despair, she turned to a remarkable friend — the Count Saint-Germain, a man about whom so many marvellous stories were told. He gave her no money. Instead, he confided to her a secret: three cards which, played one after the other in three consecutive games, could not lose. She played them that same evening — three, seven, ace, or so the family whispered — won everything back, and from that day to this had never revealed the secret to anyone. She had told it, the story went, to only one man in her life, and he had died soon after.
"A fairy tale," said Hermann. "Chance! A joke!" said the others, and the party broke up at dawn. But the anecdote had entered Hermann's mind, and it would not leave. That evening he found himself wandering the streets of Petersburg — and stopping, without quite knowing how, in front of an old mansion. "Whose house is this?" he asked a watchman. "The Countess Anna Fedotovna's," the man replied. Hermann stood staring at the lighted windows. The secret was inside that house. He dreamed all night of cards, green tables, and heaps of banknotes; and by morning the prudent engineer had begun, quietly, to plan.
1. What kind of man is Hermann, and what are his three ruling principles?
2. What is the Countess's secret, and how did she get it?
1. A careful, disciplined young engineer who watches the card games with fascination but never plays: he will not risk "the necessary in the hope of winning the superfluous". His principles are calculation, moderation and industry.
2. A sequence of three cards that supposedly cannot lose, given to her sixty years ago in Paris by the mysterious Count Saint-Germain after she lost a fortune at cards. She has revealed it to only one person in her life.
In the Countess's household lived Lizaveta Ivanovna, her young ward — an orphan with a bitter position: dressed like a lady, treated like a servant, scolded for every draught and every delay, and quite invisible to the fashionable world. From his post in the street, Hermann began to watch the house — and Lizaveta noticed the young officer who appeared, day after day, gazing up at her window. Then came the letters: tender, respectful, and increasingly passionate. Lizaveta, lonely and unnoticed all her life, resisted, wavered — and finally answered. In her reply she explained how a visitor might enter the house unseen while the household was away at a ball: the small back staircase, the study, the two doors.
On the appointed night, Hermann slipped into the house. But he did not take the staircase to Lizaveta's room. Instead, he hid himself in the Countess's study and waited, hour after hour, until the old lady returned from the ball and her maids had left her. Then he stepped out before her. "Do not be alarmed," he said. "I have come only to beg a favour of you: the secret of the three cards." The Countess stared at him in silence. "It was a joke," she said at last. "I swear to you it was a joke." "It is no joke," Hermann pressed on, growing desperate. He pleaded; he reasoned; he promised to guard the secret; at last, losing all control of himself, he demanded it — and drew from his pocket an unloaded pistol, only to frighten her. At the sight of it the old woman raised her hands before her face — and sank back in her chair. The shock had been too much for her heart. The Countess was dead, and her secret, if there had ever been one, had died with her.
Hermann went up at last to Lizaveta's room — and told her everything. She listened in horror. The letters, the devotion, the romance: all of it had been a means to reach the old lady and her three cards. "You are a monster," she whispered, through tears. Hermann said nothing. He felt no remorse where she looked for it; what tormented him was not the deceived girl but the lost secret — the irrecoverable loss of the thing that was to have made his fortune. Before dawn, Lizaveta showed him the hidden staircase, and he walked out of the silent house.
1. What is Lizaveta's position in the household, and why does she answer Hermann's letters?
2. What actually happens on the night Hermann enters the house?
1. She is the Countess's ward — an orphan treated as an unpaid companion, scolded constantly and ignored by society. Lonely and unnoticed, she is gradually won over by the daily letters of an admirer who seems devoted to her.
2. Instead of going to Lizaveta, Hermann hides in the Countess's study and confronts the old lady, demanding the secret. When pleading fails he frightens her with an unloaded pistol — and the shock stops her heart. She dies without revealing anything, and Hermann confesses to Lizaveta that the courtship was only ever a route to the cards.
Three days later, Hermann attended the Countess's funeral — telling himself it was prudent to ask her forgiveness, so that her memory would not trouble him. As he bent over the coffin, it seemed to him that the dead woman glanced at him mockingly, with one eye half-closed. He turned pale and stumbled. That night, unable to sleep, he heard footsteps — and a figure in white entered his room. "I have come to you against my will," the apparition said, "but I am ordered to grant your request. The three, the seven and the ace will win for you, played one after the other, on three conditions: that you stake on only one card each day, that you never play again as long as you live — and that you marry my ward, Lizaveta Ivanovna." And the figure was gone. Hermann wrote it all down. Three. Seven. Ace. The words drove out every other thought. Seeing a young girl, he would say to himself: how slender — like the three of hearts. Every stout man reminded him of the ace. The three cards bloomed in his dreams in every possible shape.
A famous banker, Chekalinsky, had come to Petersburg — a man who had dealt cards all his life and made millions. Hermann appeared at his table one evening, a total stranger to the company, and asked to play. He staked forty-seven thousand roubles — his whole inheritance, the capital he had never once touched — on a single card: the three. The company stared; Chekalinsky smiled and dealt. The three won. Hermann took his winnings and left. The next evening he returned: the entire sum — ninety-four thousand — on the seven. The seven won. The room fell silent when he appeared on the third evening. Everyone left their own games to watch. He placed all of it — nearly two hundred thousand — on one final card, and the deal began.
"The ace wins," said Hermann, and turned his card. "Your queen loses," said Chekalinsky gently. Hermann stared. In his hand, where the ace should have been, stood the queen of spades. He could not believe his eyes — how had he drawn the wrong card? And at that moment it seemed to him that the queen of spades narrowed her eyes and smiled at him — a face suddenly, impossibly, like the old Countess's. "The old woman!" he cried out in terror. Everything he had was gone. Hermann never recovered. He sits now in Room 17 of the Obukhov hospital, answering no questions, murmuring the same words over and over, unusually fast: "Three, seven, ace! Three, seven, queen!" And Lizaveta Ivanovna — the story notes calmly — has since married a pleasant young man with a good position in the civil service.
1. What three conditions does the apparition attach to the secret — and which does Hermann keep?
2. What happens on the third night at the card table?
1. One card per day; never gamble again afterwards; and marry Lizaveta. He honours the first while it suits him, and shows no sign of intending the other two — he thinks only of the cards.
2. Having won twice on the three and the seven, he stakes everything on what he believes is the ace — but the card in his hand is the queen of spades, which seems to wink at him with the Countess's face. He loses everything and ends in the hospital, endlessly repeating "Three, seven, ace! Three, seven, queen!"
Hermann dreams of winning, insists on knowing, and is obsessed with finding the secret. When a verb or adjective is followed by a preposition, the next verb takes the -ing form — a pattern that unlocks dozens of natural English expressions.
Fill each gap with the preposition + the -ing form of the verb in brackets.
1. Every night, Hermann dreamed (win) a fortune at the green table.
2. The Countess was no longer capable (remember) — or so she claimed.
3. Hermann insisted (learn) the secret, whatever the cost.
1. of winning 2. of remembering 3. on learning
Complete each sentence with the correct pattern from the box: obsessed with · succeeded in · gave up · tired of + the verb in brackets.
1. After Tomsky's anecdote, Hermann became (discover) the three cards.
2. Lizaveta was (be) invisible in the Countess's house.
3. On the first two nights, Hermann (double) his money — twice.
1. obsessed with discovering
2. tired of being
3. succeeded in doubling
Fill each gap with the correct preposition + -ing form. Read the whole paragraph aloud when you finish.
I was always proud (be) a careful man. I never dreamed (risk) my inheritance. But one story changed everything: I could not stop (think) about those cards. I even apologise now (deceive) an innocent girl. In the end I was incapable (see) anything but three, seven, ace.
of being · of risking · thinking (stop + -ing, no preposition needed) · for deceiving · of seeing
Note the odd one out: "stop" takes -ing directly. The rest all need their preposition first.
Hold on to these patterns — the Speak tab is full of dreams, plans and obsessions, and every one will need its preposition + -ing.
Pushkin — Russia's national poet — wrote this story in 1833, and it electrified Petersburg: gamblers reportedly began staking on three, seven and ace the week it appeared. Tchaikovsky later turned it into a famous opera. It is often called the most perfectly constructed short story in Russian.
This is the heart of the lesson — do all of it out loud. The timer is there to keep you going: fill the time with detail rather than racing through it.
Tell the story of The Queen of Spades in your own words, as if to someone who has never heard it. Move through the arc: the careful engineer who never plays → Tomsky's anecdote → the letters to Lizaveta → the night in the study → the funeral and the midnight visitor → three, seven — and the queen.
Use at least three preposition + -ing patterns (dreamed of winning, insisted on knowing, obsessed with…) and at least five key words (prudent, obsession, countess, ward, stake, fortune, court, apparition, gambler, secret).
Hermann didn't want to gamble — he wanted a guarantee. Build an argument: why are "systems", "secrets" and get-rich-quick promises so persuasive, even to intelligent people? Use Hermann as your first case, then a modern one (crypto schemes, "one weird trick", miracle diets — your choice). What is the reliable warning sign that a shortcut is really a trap?
The story is a portrait of a single idea taking over a mind. Talk about fixation — seriously or lightly — using today's grammar.
Stuck for an idea? Pick one of these and run with it: