Shadowing Practice: The Secret Garden Chapter Three - Learn English Speaking with Video
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The Secret Garden by Frances Hodgson, Burnett, Chapter 3
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Across the Moor She slept a long time, and when she awakened, Mrs. Medlock had bought a lunch basket at one of the stations,
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and they had some chicken and cold beef and bread and butter, and some hot tea.
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The rain seemed to be streaming down more heavily than ever, and everybody in the station wore wet and glistening waterproofs.
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The guard lighted the lamps in the carriage, and Mrs. Medlock cheered up very much over her tea and chicken and beef.
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She ate a great deal, and afterward fell asleep herself, and Mary sat and stared at her, and watched her fine bonnet slip on one side,
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until she herself fell asleep once more in the corner of the carriage, lulled by the splashing of the rain against the windows.
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It was quite dark when she awakened again.
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The train had stopped at a station and Mrs. Medlock was shaking her.
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You have had a sleep, she said.
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It's time to open your eyes.
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We're at Thwaite Station and we've got a long drive before us.
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Mary stood up and tried to keep her eyes open while Mrs. Medlock collected her parcels.
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The little girl did not offer to help her, because in India, native servants always picked up or carried things,
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and it seemed quite proper that other people should wait on one.
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The station was a small one, and nobody but themselves seemed to be getting out of the train.
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The station master spoke to Mrs Medlock in a rough, good -natured way, pronouncing his words in a queer, broad fashion, which
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Mary found out afterward was Yorkshire.
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I see thou's got back, he said, and thou's brought the young 'n with thee.
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Aye, that's her, answered Mrs Medlock, speaking with a Yorkshire accent herself, and jerking her head over her shoulder toward Mary.
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How's the missus?
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Wellie now, the carriage is waiting outside for thee.
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A brougham stood on the road before the little outside platform.
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Mary saw that it was a smart carriage and that it was a smart footman who helped her in.
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His long waterproof coat and the waterproof covering of his hat were shining and dripping with rain,
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as everything was the burly stationmaster included.
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When he shut the door, mounted the box with the coachman and they drove off, the little girl found herself seated in a comfortably cushioned corner,
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but she was not inclined to go to sleep again.
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She sat and looked out of the window,
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curious to see something of the road over which she was being driven to the queer place Mrs. Medlock had spoken of.
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She was not at all a timid child, and she was not exactly frightened,
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but she felt that there was no knowing what might happen in a house with a hundred rooms nearly all shut up,
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a house standing on the edge of a moor.
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What is a moor, she said suddenly to Mrs Medlock.
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Look out of the window in about ten minutes and you'll see, the woman answered.
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We've got to drive five miles across Missalmoor before we get to the manor.
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You won't see much because it's a dark night, but you can see something.
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Mary asked no more questions, but waited in the darkness of her corner, keeping her eyes on the window.
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The carriage lamps cast rays of light a little distance ahead of them, and she caught glimpses of the things they passed.
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After they had left the station, they had driven through a tiny village, and she had seen whitewashed cottages and the lights of a public house.
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Then they had passed a church and a vicarage and a little shop window, or so, in a cottage,
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with toys and sweets, and odd things set out for sale.
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Then they were on the high road and she saw hedges and trees.
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After that, there seemed nothing different for a long time, or at least it seemed a long time to her.
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At last the horses began to go more slowly, as if they were climbing uphill,
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and presently there seemed to be no more hedges and no more trees.
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She could see nothing, in fact, but a dense darkness on either side.
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She leaned forward and pressed her face against the window, just as the carriage gave a big jolt.
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Eee, we're on the moor now, sure enough, said Mrs Medlock.
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The carriage lamps shed a yellow light on a rough -looking road, which seemed to be cut through bushes,
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and low -growing things, which ended in the great expanse of dark, apparently spread out before and around them.
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A wind was rising and making a singular wild low rushing sound.
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It's...
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It's not the sea, is it? said
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Mary, looking round at her companion.
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No, not it, answered Mrs Medlock.
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Nor it isn't fields nor mountains.
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It's just miles and miles and miles of wild land
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that nothing grows on but heather and gorse and broom and nothing lives on but wild ponies and sheep.
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I feel as if it might be the sea, if there were water on it, said Mary.
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It sounds like the sea just now.
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That's the wind blowing through the bushes, Mrs Medlock said.
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It's a wild, dreary enough place to my mind, though there's plenty that likes it, particularly when the heather's in bloom.
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On and on they drove through the darkness, and though the rain stopped, the wind rushed by and whistled and made strange sounds.
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The road went up and down, and several times the carriage passed over a little bridge,
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beneath which water rushed very fast with a great deal of noise.
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Mary felt as if the drive would never come to an end
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and that the wide bleak moor was a wide expanse of black ocean through
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which she was passing on a strip of dry land.
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I don't like it, she said to herself.
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I don't like it.
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And she pinched her thin lips more tightly together.
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The horses were climbing up a hilly piece of road when she first caught sight of a light.
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Mrs Medlock saw it as soon as she did and drew a long sigh of relief.
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Hey, I am glad to see that bit of light twinkling, she exclaimed.
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It's the light in the lodge window.
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We shall get a good cup of tea after a bit at all events.
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It was after a bit, as she said, for when the carriage passed through the park gates,
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there were still two miles of avenue to drive through, and the trees, which nearly met overhead,
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made it seem as if they were driving through a long, dark vault.
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They drove out of the vault into a clear space
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and stopped before an immensely long but low -built house which seemed to ramble round a stone court.
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At first Mary thought that there were no lights at all in the windows,
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but as she got out of the carriage she saw that one room in a corner upstairs showed a dull glow.
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The entrance door was a huge one, made of massive curiously shaped panels of oak,
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studded with big iron nails and bound with great iron bars.
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It opened into an enormous hall, which was so dimly lighted,
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that the faces in the portraits on the walls and the figures in the suits of armour,
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made Mary feel that she did not want to look at them.
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As she stood on the stone floor, she looked a very small,
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odd little black figure, and she felt as small and lost and odd as she looked.
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A neat, thin old man stood near the manservant who opened the door for them.
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You are to take her to her room, he said in a husky voice.
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He doesn't want to see her.
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He's going to London in the morning.
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Very well, Mr. Pitcher, Mrs. Medlock answered so long as I know what's expected of me I can manage.
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What's expected of you, Mrs. Medlock, Mr. Pitcher said,
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is that you make sure that he's not disturbed and that he doesn't see what he doesn't want to see.
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And then Mary Lennox was led up a broad staircase
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and down a long corridor and up a short flight of steps
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and through another corridor and another until a door opened in a wall
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and she found herself in a room with a fire in it and a supper on a table.
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Mrs. Medlock said unceremoniously, Well, here you are.
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This room and the next are where you'll live and you must keep to them.
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Don't you forget that.
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It was in this way
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Mistress Mary arrived at Misselthwaite Manor and she had perhaps never felt quite
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so contrary in all her life and so ends the third chapter of Mary Lennox's story.
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Chapter 4 Martha is just around the corner.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación se basa en el vídeo “The Secret Garden Chapter Three”. Las palabras que más se repiten: Medlock, Mary, carriage, window, seemed. Este vídeo tiene 109 frases y 1497 palabras para practicar shadowing. La parte hablada dura 9:05. El hablante habla a un ritmo natural de unas 165 palabras por minuto, cercano a una conversación cotidiana. Solo el 81 % de las palabras está entre las 3.000 más comunes del inglés, por lo que el vocabulario es exigente.
Vocabulario clave de este vídeo
15 palabras del vídeo que vale la pena aprender, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| carriage sustantivo | /ˈkæɹɪd͡ʒ/ | coche, carruaje |
| rush verbo | /ɹʌʃ/ | correr, apurarse |
| darkness sustantivo | /ˈdɑɹk.nɪs/ | oscuridad |
| lamp sustantivo | /ˈlæ̝mp/ | lámpara |
| waterproof adjetivo | /ˈwɔt̬ɚˌpruf/ | impermeable |
| afterwards adverbio | /ˈæf.tɚ.wɚdz/ | después, consecuentemente |
| asleep adjetivo | /əˈsliːp/ | dormido, jato |
| climb verbo | /ˈklaɪ̯m/ | escalar, subir |
| cottage sustantivo | /ˈkɒt.ɪd͡ʒ/ | chalet, chalé |
| vault sustantivo | /vɑlt/ | bóveda |
| corridor sustantivo | /ˈkɒɹɪdɔː/ | corredor, andador |
| manor sustantivo | /ˈmænəɹ/ | finca, señorío |
| hedge sustantivo | /ˈhɛd͡ʒ/ | seto vivo, cerco vivo |
| gate sustantivo | /ˈɡeɪ̯t/ | puerta, portón |
| mount verbo | /maʊnt/ | montar, cabalgar |
Phrasal verbs que vas a escuchar
| Palabra | Pronunciación | Significado |
|---|---|---|
| get out of verbo | salirse de, ponerse fuera de | |
| cheer up verbo | animarse | |
| find out verbo | averiguar, anoticiarse | |
| get back verbo | regresar | |
| go up verbo | subir | |
| pass through verbo | atravesar | |
| pick up verbo | coger, asir | |
| shut up | /ʃʌt ʌp/ | cállate la boca, cállate |
Frases que vale la pena repetir
Frases cortas y completas del vídeo que puedes reutilizar en la conversación diaria:
- It's time to open your eyes.
- It's not the sea, is it?
- I don't like it, she said to herself.
Pronunciación a tener en cuenta
El hablante usa 14 contracciones y formas reducidas, como doesn't, don't, we're. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “th”: thin /ˈθɪn/, beneath /bɪˈniːθ/, heather /ˈhɛðɚ/
- Los sonidos de “sh” y “zh”: rush /ɹʌʃ/, shake /ˈʃeɪk/, sheep /ˈʃiːp/, shine /ʃaɪn/, splash /splæʃ/
- Palabras largas — cuida el acento: curiously /ˈkjʊɹ.i.əs.li/, stationmaster /ˈsteɪʃənˈmɑːstə/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: strip /ˈstɹɪp/, slip /ˈslɪp/, stare /stɛɚ/, splash /splæʃ/, stud /stʌd/
- /v/ — no es /b/: los dientes tocan el labio inferior: vault /vɑlt/, avenue /ˈæv.əˌn(j)u/, servant /ˈsɝvənt/, overhead /ˈəʊvəˌhɛd/, manservant /ˈmænˌsɜː(ɹ)vənt/
- /z/ — sonora, no /s/: afterwards /ˈæf.tɚ.wɚdz/, upstairs /ˌʌpˈstɛɹz/, presently /ˈpɹɛzəntli/, missus /ˈmɪs.əz/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como carriage, rush, darkness.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.