Pratique du Shadowing: How Jane Austen Changed Fiction Forever - Apprendre l'anglais à l'oral avec la vidéo

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In the first chapter of the first book that

Jane Austen ever published, Sense and Sensibility, she did something that changed fiction forever.

The narrator of the book begins by describing the situation of the Dashwood family.

John Dashwood has come into a big inheritance from his father,

Henry, who on his deathbed makes John promise to take care of his three half -sisters.

When he gave his promise to his father,

he meditated within himself to increase the fortunes of his sisters by the present of a thousand pounds apiece.

He then really thought himself equal to it.

The prospect of four thousand a year made him feel capable of generosity.

Yes, he would give them three thousand pounds.

It would be liberal and handsome.

It would be enough to make them completely easy.

Three thousand pounds he could spare so considerable a sum with little inconvenience.

He thought of it all day long and for many days successively and he did not repent.

So what stands out in this passage?

Which of these things is not like the rest?

Well, it's this part here.

Before this, the narrator is describing the thoughts and feelings of John Dashwood.

But in the highlighted section, something changes.

It's suddenly as if we're inside John's mind.

And yet, the point of view doesn't change.

We're still in the third person.

Now, Austin could have reported John's thoughts directly here, writing, I will give them 3 ,000 pounds or I can spare so considerable a sum,

but she doesn't.

Instead, she does something new in English literature, what's called free indirect speech.

Now, Austen isn't the first to use this technique, but she's the first author to do so consistently, the first to really explore its possibilities.

And in the process, she effectively adds a new tool to the writer's toolbox. But why?

What is free indirect style good for?

Why not just use direct thought?

Well, if you're familiar with Jane Austen, you know that all of her books have a really strong narratorial voice.

The narrator has full control over the story, painting a universe of manners, making witty asides to the reader,

and using irony to critique characters and social conventions.

To accomplish her goals, Austen needed her narrator to have critical distance from the story,

but this ironic distance has the potentially negative side effect of distancing the characters from the reader.

I mean she still needs us to be emotionally involved with these people after all.

Free indirect speech is Austen's intuitive and revolutionary solution for having it both ways.

Okay, let's look at another Suttler example from Emma as the

matchmaking title character thinks about the suitability of Mr. Elton for her friend Harriet Smith.

The longer she considered it, the greater was her sense of its expediency.

Mr. Elton's situation was most suitable, quite the gentleman himself and without low connections.

He had a comfortable home for her and Emma imagined a very sufficient income, for though the vicarage of Highbury was not large,

he was known to have some independent property, and she thought very highly of him as a good -humored, well -meaning, respectable young man.

Like the first passage, this one begins firmly in the first -person narratorial voice with she considered and her sense.

Then in the second sentence, it seamlessly switches to free indirect speech and were inside

Emma's mind, which you can tell by phrasing like most suitable and quite the gentleman.

After this, it starts to get tricky.

Austin begins to weave in and out of free indirect speech within individual sentences.

The narrator returns with phrases like

Emma imagined and she thought.

And as critic Daniel Gunn points out, this return and the distance it creates reminds us to be wary of Emma's judgments and imaginings.

But then we slip right back into her spirit again, her subjectivity, subjectivity, in clauses like a good -humored, well -meaning, respectable young man.

In Emma especially, Austin uses free indirect speech with extraordinary finesse,

dipping in and out of several minds without ever interrupting the flow of narration.

Representing subjectivities, as Dunn says, with great immediacy, while still providing a frame within which that subjectivity can be understood.

At the end of the novel, we get the amazing convergence of these two voices, as Emma's self -deception becomes self -knowledge,

as her inner voice finally aligns with what the narrator and the reader have seen all along.

Free indirect speech is a formal innovation that changed the course of literature.

Now, it's impossible to say who Austen influenced directly, but she effectively created a tool that thousands and thousands of authors used and still use,

including some of the most famous ever, like George Eliot, Henry James, James Joyce, and Virginia Woolf.

Unlike these other authors, Jane Austen is often belittled for her seemingly lightweight marriage comedies,

but that critique misses the complex formal dynamics that are working under the surface.

If you really want to see Austen's genius, you have to look deeper.

You have to look at the language.

Hey everybody, thank you so much for watching.

If you like this video, check out my book of essays, Escape into Meaning, which is currently on sale at the link below.

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Vocabulaire et conseils d’expression pour cette leçon

Cette leçon d’expression orale s’appuie sur la vidéo « How Jane Austen Changed Fiction Forever ». Les mots qui reviennent le plus souvent : indirect, Austen, squarespace, narrator, thousand. Cette vidéo contient 74 phrases et 1007 mots à répéter en shadowing. La partie parlée dure 5:45. Le locuteur parle à un rythme naturel d’environ 175 mots par minute, proche d’une conversation courante. Seuls 80 % des mots font partie des 3 000 mots les plus courants en anglais, le vocabulaire est donc exigeant.

Vocabulaire clé de cette vidéo

15 mots de la vidéo à retenir, avec leur prononciation et leur sens :

Mot	Prononciation	Sens
indirect adjectif	/ˌɪn.daɪˈɹɛkt/	indirect
narrator nom	/ˈnæˌɹeɪ.təɹ/	narrateur, narratrice
reader nom	/ˈɹi.dɚ/	lecteur, lectrice
formal adjectif	/ˈfɔɹməl/	formel, soutenu
suitable adjectif	[ˈsjuː.tə.bɫ̩]	approprié, convenable
phrase nom	/ˈfɹeɪ̯z/	expression
spare adjectif	/spɛɚ/	rechange
passage nom	/ˈpæsɪd͡ʒ/	passage
considerable adjectif	/kənˈsɪdəɹəbl̩/	considérable
gentleman nom	/ˈd͡ʒɛn.təl.mən/	monsieur
critique nom	/kɹɪˈtiːk/	critique
respectable adjectif	[ɹɪˈspɛk.tə.bl̩]	respectable
technique nom	/tɛkˈniːk/	technique
fiction nom	/ˈfɪkʃən/	fiction, belles-lettres
potentially adverbe	/pəˈtɛnʃ(ə)li/	potentiellement

Les verbes à particule que vous entendrez

Mot	Sens
check out verbe	mater, regarder
point out verbe	pointer

La grammaire de cette vidéo

Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :

Structure	Dans la vidéo
Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait	be emotionally involved · was known · can be understood
Present perfect have/has + participe passé — une action passée qui compte encore maintenant	has come · have seen

Prononciation à surveiller

Le locuteur utilise 10 contractions et formes réduites, comme you're, doesn't, we're. Prononcez-les sous leur forme courte, telles que vous les entendez.

Les sons « sh » et « zh »: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
Mots longs — placez bien l’accent: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/

Les sons difficiles pour les francophones :

/h/ — il se souffle, il n’est pas muet: handsome /ˈhæn.səm/, highlight /ˈhaɪˌlaɪt/, inheritance /ɪnˈhɛɹɪtəns/
/tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: passage /ˈpæsɪd͡ʒ/, gentleman /ˈd͡ʒɛn.təl.mən/, engage /ɪnˈɡeɪd͡ʒ/, genius /ˈd͡ʒin.jəs/, judgment /ˈd͡ʒʌd͡ʒ.mənt/
/r/ anglais — langue recourbée, sans frotter la gorge: indirect /ˌɪn.daɪˈɹɛkt/, narrator /ˈnæˌɹeɪ.təɹ/, reader /ˈɹi.dɚ/, formal /ˈfɔɹməl/, phrase /ˈfɹeɪ̯z/

Comment s’entraîner avec cette vidéo

Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme indirect, narrator, reader.

Qu'est-ce que la technique du Shadowing ?

Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.

Technique du shadowing : lire le guide complet étape par étape →

Pratique du Shadowing: How Jane Austen Changed Fiction Forever - Apprendre l'anglais à l'oral avec la vidéo

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