Pratique du Shadowing: The Secret Garden Chapter Three - Apprendre l'anglais à l'oral avec la vidéo
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109 phrases
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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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Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale s’appuie sur la vidéo « The Secret Garden Chapter Three ». Les mots qui reviennent le plus souvent : Medlock, Mary, carriage, window, seemed. Cette vidéo contient 109 phrases et 1497 mots à répéter en shadowing. La partie parlée dure 9:05. Le locuteur parle à un rythme naturel d’environ 165 mots par minute, proche d’une conversation courante. Seuls 81 % 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 |
|---|---|---|
| carriage nom | /ˈkæɹɪd͡ʒ/ | carrosse |
| rush verbe | /ɹʌʃ/ | se dépêcher, se hâter |
| darkness nom | /ˈdɑɹk.nɪs/ | obscurité, ténèbres |
| lamp nom | /ˈlæ̝mp/ | lampe |
| waterproof adjectif | /ˈwɔt̬ɚˌpruf/ | résistant à l'eau |
| thin adjectif | /ˈθɪn/ | mince |
| afterwards adverbe | /ˈæf.tɚ.wɚdz/ | après, ultérieurement |
| asleep adjectif | /əˈsliːp/ | endormi |
| climb verbe | /ˈklaɪ̯m/ | grimper, monter |
| cottage nom | /ˈkɒt.ɪd͡ʒ/ | cottage |
| vault nom | /vɑlt/ | voûte, voute |
| corridor nom | /ˈkɒɹɪdɔː/ | couloir, corridor |
| manor nom | /ˈmænəɹ/ | manoir |
| hedge nom | /ˈhɛd͡ʒ/ | haie |
| gate nom | /ˈɡeɪ̯t/ | portail, porte |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| cheer up verbe | remonter le moral | |
| drive off verbe | chasser, déloger | |
| find out verbe | découvrir, savoir | |
| get back verbe | retourner | |
| go up verbe | monter, s'élever | |
| pass through verbe | traverser | |
| pick up verbe | soulever | |
| shut up | /ʃʌt ʌp/ | tais-toi! informal, taisez-vous! formal or plural |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- It's time to open your eyes.
- It's not the sea, is it?
- I don't like it, she said to herself.
Prononciation à surveiller
Le locuteur utilise 14 contractions et formes réduites, comme doesn't, don't, we're. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: thin /ˈθɪn/, beneath /bɪˈniːθ/, heather /ˈhɛðɚ/
- Les sons « sh » et « zh »: rush /ɹʌʃ/, shake /ˈʃeɪk/, sheep /ˈʃiːp/, shine /ʃaɪn/, splash /splæʃ/
- Mots longs — placez bien l’accent: curiously /ˈkjʊɹ.i.əs.li/, stationmaster /ˈsteɪʃənˈmɑːstə/
Les sons difficiles pour les francophones :
- /h/ — il se souffle, il n’est pas muet: hedge /ˈhɛd͡ʒ/, overhead /ˈəʊvəˌhɛd/, heather /ˈhɛðɚ/, hilly /ˈhɪli/, husky /ˈhʌs.ki/
- /tʃ/ et /dʒ/ — à ne pas adoucir en « ch » et « j »: carriage /ˈkæɹɪd͡ʒ/, cottage /ˈkɒt.ɪd͡ʒ/, hedge /ˈhɛd͡ʒ/, lodge /lɑd͡ʒ/, cheer /t͡ʃɪɹ/
- /r/ anglais — langue recourbée, sans frotter la gorge: carriage /ˈkæɹɪd͡ʒ/, rush /ɹʌʃ/, darkness /ˈdɑɹk.nɪs/, waterproof /ˈwɔt̬ɚˌpruf/, corridor /ˈkɒɹɪdɔː/
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 carriage, rush, darkness.
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.