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The Wild Iris.
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At the end of my suffering there was a door.
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Hear me out.
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That which you call death I remember.
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Overhead noises, branches of the pine shifting.
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Then nothing.
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The weak sun flickered over the dry surface.
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It is terrible to survive as consciousness buried in the dark earth.
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Then it was over.
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That which you fear, being a soul and unable to speak, ending abruptly, the stiff earth bending a little,
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and what I took to be birds darting in low shrubs.
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You who do not remember passage from the other world, I tell you I could speak again.
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Whatever returns from oblivion returns to find a voice.
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From the center of my life came a great fountain, deep blue shadows on azure seawater.
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So that was Louise Gluck and
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if you've not heard of Louise Gluck she is an American poet
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and essayist and has also won the Nobel Prize in 2020 I think.
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She was born in 1943 and And that poem was called, or is called, The Wild Iris.
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And today we're going to be talking about becoming yourself is more important than preserving yourself.
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And what do I mean by this?
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I guess I mean that becoming yourself is about learning who you actually are below the surface,
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not just what we see externally or aesthetically this isn't about like finding an aesthetic
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or finding you know your kind of brand or anything like
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that this is about something a bit deeper um
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and i think those other things i've spoken about actually often are more concerned about self -preservation
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and um being able to neatly define who you are
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which i think is kind of um an impossible task to do
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and we'll get into why
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but uh i have a few different things i want to talk about today
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so it's louise gluck i want to talk about richard powers the over story
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and i've also been learning a bit about some buddhist teachings
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that i think are relevant
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and tie all of this together in the the wild iris um
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it's spoken from the perspective of a flower bulb frozen in the earth a bulb that's buried and
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when she says the line
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it is terrible to survive as consciousness buried in the dark earth
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this is really touching on the notion of existing without growth it's being preserved
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but it's not really being allowed to exist
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and as always I keep looking down because I'm actually checking out my notes
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because I've written about the the poem itself and I've written some quotes
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that I've wanted to specifically bring up to you guys
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so the bulb is technically alive it is preserved
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but it's stuck in it's trapped almost actually in a pitch black stasis
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and this self -preservation is more about being driven by fear than anything else.
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On the surface it may feel safe preserving yourself in such a way
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but keeping your consciousness preserved in order to stop any kind of injury
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or mistake happening is an incredibly suffocating way to exist.
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This is just, I would argue, a version of surviving and surviving is not the same as existing and really living.
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And then the next few things, few lines that she says that I've written,
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then it was over that which you fear being unable to speak ending abruptly the stiff earth bending a little.
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And then what I've said about this is that
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so the exact moment the flower breaks through the the bending as they put
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it it breaks through its hard protective shell which is the winter earth and i think here it kind of highlights that
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Growth requires a very structural disruption, a shattering of the rigid walls that we would call the self,
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the wall that we build around us to preserve a version of identity.
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But the rupture itself is what actually ends the fear of being small or not having a voice.
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The rupture is actually the next steps in having that voice, in not being small.
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And then the next lines, I tell you I could speak again, whatever returns from oblivion returns to find a voice.
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The iris returns from oblivion to actually reclaim its expression in the world, to become.
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And actually I think in this sense
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that the kind of idea of self -actualization demands in fact
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that you face the risk of a total kind of breakdown of the former self
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or of oblivion because you cannot really find an authentic voice if you're trying to shield yourself from finding it.
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And then the last line of the poem
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and one I've written down again is from the center of
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my life came a great fountain deep blue shadows on azure sea water
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and the blossoming of the iris is really an expansive version of beauty
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it's outward reaching it's the acceptance of a change that caused this
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and it's also the ability to allow yourself to be vulnerable
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which is obviously very something that's quite difficult to to do but before we go any further,
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I just want to thank MUBI who are the sponsor of this video.
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And MUBI has really become the place I go to to find deep and meaningful films that really stay with me.
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MUBI is a curated streaming service dedicated to great cinema from
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all across the globe where it really feels like the films have been chosen by someone who genuinely loves film.
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And a film I actually watched recently that's really stuck with me is the film
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Sentimental Value which is on Mubi
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and it follows these two sisters whose lives become disrupted
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when their kind of evasive father returns into their lives
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and in the movie he's a celebrated film director
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and he is trying to make a film actually about the meaning of family and the meaning of his family.
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It becomes this really grief -stricken piece of work that really ties kind of art,
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memory, family history and all the kind of shared trauma family members inherit from one another.
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And my favourite part actually was the very beginning where
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The film opens with a young girl, one of the daughters, one of the sisters, thinking about the perspective of the house
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and how the house might have seen the family
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and the house's perspective on having occupants inside it
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and actually I do want to read you the first part because it really really touched me.
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In sixth grade, Nora was told to write an essay as if she was an object.
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She knew at once she'd be their house.
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She described how its belly shook as she and her sister ran downstairs and out the back door.
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That it saw them take the shortcut through the fence and onto the road, where the house no longer could see them.
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She wondered if the house liked to be empty and light, or full and heavy.
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If the floors liked being trodden on.
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If the walls were ticklish.
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if it ever felt pain, and she thought that yes, it probably liked to be full.
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Before them, other people and pets had lived their moments in time there.
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Her great -grandfather died in the room where her grandmother was born, which was now her parents' bedroom.
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Their father said the house had a floor, discovered right after it was finished a century ago.
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She wrote that it was as if the house was sinking, collapsing, only in very slow motion,
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and that her family's time there was just a split second in mid -air.
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When she read it later, she saw that she hadn't used the word quarrel, but wrote of the noise her parents made.
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But what the house disliked more than noise was silence.
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When her father left for good, the house grew lighter.
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The noise her parents made went away, but the house missed the other sounds he made.
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Definitely recommend checking out MUBI.
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It's really introduced me to films
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that I would have found really difficult to find otherwise
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and you can get 30 days of free great cinema at MUBI .com slash Josephine Writes
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and I've left the link and everything in the description below if you'd like to take a look.
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I highly recommend and thank you so much MUBI for sponsoring this video.
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Buddhist teachings in general assert that there's no fixed self to preserve in the very first place.
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There is just this kind of illusion of a fixed self
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and this illusion of the fixed self kind of forces one into the fear of self -preservation,
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the fear that one will lose the self if they don't preserve it.
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And there are five shifting aggregates and they fuel the flow of becoming
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which in buddhism is called anatta and i'm really sorry
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if i've pronounced it wrong i will write what i'm kind of talking about on screen
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so you can look up the word if you like yourself
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and see what i'm actually talking about
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but in essence anatta kind of means the non -self the idea
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that there is kind of no permanent self there is no unchanging self there is only a becoming a changing
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and in english language for example the word me is almost just a representation
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or a way of expressing these five shifting elements
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that we call me um so these five just the sorry these five shifting elements are body feelings,
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perception, mental formations and then consciousness.
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But the real self which is the non -self is just more of this flow,
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a flow with the natural impermanence of life and
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so the name obviously we just give to these shifting parts is me
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or I or the self
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but really I would almost think of this like a river how we call a river a river um
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but actually also in some cultures a river is um a verb as opposed to a noun
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which is more of a doing thing rather than a fixed entity
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and what i mean by this is
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that um a river we we call it a river
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but really it's it's never the same thing because the water
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that flows through the river is it could never be the
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same element of water ever again like you cannot catch the same piece of water again
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and that's kind of how life works
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and how the self works in the eyes of Buddhism
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and I feel like this idea resonates with me personally
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and then I was actually thinking like
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if we are to apply
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this kind of idea in the world in the Western world where like capitalism is dominant again
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I'm not like pro
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or against I'm just that's just what the world the Western world is kind of built upon
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so it's worth you know talking about it but
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if we are to talk about it um obviously anti -aging
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is a massive uh part of this kind of world
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we live in like we are told to preserve our youth
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because that is preserving beauty and that is preserving who we are
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when we are our most um productive almost our most um you know our highest level of self the self
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that can probably do the most in life you know
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because as you get older your body starts to decline in certain ways.
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I think that with this kind of buddhist teaching and then also
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when we are to think of the iris poem I think
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that we can obviously observe that the body is a temporary state
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and even within
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that the body is ever changing it's never one thing even within youth it's never one thing
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because you know when you're a teenager you have all these hormones
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and you're changing constantly and then
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when you go into your 20s you learn lots of new things
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you learn to live on your own you you know get a job
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that is perhaps a career
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and you learn there you meet new people like everything is always constantly changing like in a really simple way
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you know your hair grows and your nails grow
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and obviously being a teenager and being a child you your height changes but the actual clinging to maintain or preserve
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the self in any kind of way, that's the painful part.
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The painful part isn't actually necessarily the change, it's the idea that, or the hurtful part,
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the hurtful part mentally is the idea that you feel like you mustn't change
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because you are only worth something
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if you preserve a version of yourself that's more useful
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and then i i am someone who is obsessed with trees like whenever
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i i go for a walk every day
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and there's a lot of trees in my area
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and i always think how it's very strange
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that those trees have been sitting there for some of them hundreds of years
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and they've obviously seen things that or i've been around things that are like beyond my comprehension
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and they're just sitting there every single day waiting for me in their same spot
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and I find that really like endearing and it makes me feel less alone
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but anyway that's just my sentimental view on trees but
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when I think of a tree a tree has this beauty
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and that is not because it's flawless it's actually
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because it has signs of life it has signs
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that it has lived and that's actually what makes it beautiful
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and it's not beautiful in a vain sense it's beautiful in a truthful sense
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and you know like when you cut through a tree
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and you see the rings on the tree they can they tell a story the rings
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that are perhaps larger I think means you know maybe it was a better better weather -wise year
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and the rings are smaller perhaps it was a more difficult year
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and so these rings actually tell us the story
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and the tree sheds its leaves without fear and without grief
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and it knows it's still a tree with or without its leaves
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or with a changed leaf colour like from you know green in the summer to auburn
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and orange in the autumn to completely falling off in the winter and then turning to blossoms,
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white and pink blossoms in the spring and it's okay with these changes.
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It's not grieving itself, it's just being.
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And I don't want this to be confused with being passive in life because I'm not saying to be,
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I don't think any of these kind of poems or readings or anything are actually saying to be passive.
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I think they're just saying that there are some things
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that we can choose and there are other things we can't choose
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and one of the things we cannot choose is the fact
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that life is almost yet continuous change so to accept that
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and go with the flow of that and within
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that make decisions where we can but also even these decisions might change us
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but be okay with that change
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because you underneath the foundation just like a tree the roots are there
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if you make sure
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that you know you are not just obsessing over very aesthetic surface level issues as as opposed to like you know depth.
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The tree's roots are really where it stems from and the leaves are just passing parts of the tree.
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But because I've been thinking about trees and change I have started reading
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The Overstory by Richard Powers.
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It's a really really beautiful book um it's kind of fable -like
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and it follows nine I think different narratives
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that all um are tied together
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when a kind of natural catastrophe sort of ties them together it talks a lot about um trees
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and their importance and their perspective um
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and there's this one quote I kind of wanted to talk about here um it's kind of long
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but it goes the Greeks had a word Xenia Guest Friendship A command to take care of travelling strangers
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To open your door to whoever is out there
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Because anyone passing by far from home might be God
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Ovid tells the story of two immortals who came to earth in disguise to cleanse the sickened world
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No one would let them in But one old couple Borsis and Philemon did,
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and their reward for opening their door to strangers was to live an afterlife as a tree, an oak and a linden.
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huge and gracious and intertwined what we care for we will grow to resemble
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and what we resemble will hold us
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when we are us no longer i think that's a really beautiful little um tale there
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and um exenia i think is an ancient greek word for
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or law an ancient law of hospitality again correct me
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if i'm wrong there but when i looked up that's what that's what it means
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and there are particular parts that i want to talk about here
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which is when it says anyone passing by from home might be god far from home might be god
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and i've actually written here that knocking locking oneself in
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and locking the world out could stop you from something really profound happening to you something a lesson
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that is required or will touch you in a way
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that you you cannot imagine and i just love the idea
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that the the words itself it might be god
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and then the other parts i've also highlighted are
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that they become obviously an oak and a linden tree huge gracious
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and intertwined and so obviously yes they become trees
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which is their reward and then what we care for we will grow to resemble
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and what we resemble will hold up will hold us
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when we are us no longer such a lovely line um
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and i think this is kind of like allowing yourself to be changed by the things you care about
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and i think this is like is kind of the whole
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sentiment of this video here really rather than caring about very vain
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or shallow things which you know is that something you would like to resemble
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or would you rather rather than being hollow
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and fragile would you rather spend your life caring about your caring about art caring about ideas
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and nature and other people and the world
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and actually become to resemble these things that you have shown
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and poured love and care into like the tree will be rooted
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and expansive and layered and textured because I guess the real question is like
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when the physical facade begins to fade
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or change um annoyingly I think we would say fade
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but like I don't think age is fading
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I think age is just change what is left though to hold you
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and then I've written here is it the love you gave the wisdom you gathered the empathy you learnt
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and the roots you planted
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and from this like living on in the ecosystem of the lives we've touched can be achieved um
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and actually um this really makes me think of the artwork by Anna Mendieta.
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Her work is photographed but actually the work itself
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which was a lot of them were these kind of figures in the ground
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that had either been scorched with flames or
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flowers had been allowed to grow in them
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or waves had been allowed to tumble over these marked figures in the ground
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and they were allowed to change to to be
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and also to return back to the earth this cycle
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which is okay and i find that kind of comforting
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so i i don't know
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if this has been uh cohesive
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i feel like it's been such a long time since i've sort of made an essay like this
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and kind of put all my ideas together but I really hope
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that it's made you have a think about kind of these kind of almost vain pursuits of preservation
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and also harmful and fear -induced pursuits as opposed to kind of working on an inner self
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that you know you always have and will create like depth
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and layer and layers and it's okay you know for change for aging for
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that process to happen
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and in fact it's a privilege wow i sound really preachy
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that's not my intention um i just i feel passionate about it um
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so yeah finding beauty in every stage of life
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and even i suppose in in death and new life yes
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so anyway thank you so much for watching um i'm going to try
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and get back on the videos again
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because i am feeling a bit better i think thankfully um
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and i think this will also be on spotify um again thank you
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so much for sponsoring this video and i will see you all again next time
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione si basa sul video “Becoming Yourself Is More Important Than Preserving Yourself”. Questo video contiene 286 frasi e 3508 parole da ripetere con lo shadowing. Il parlato dura 24:58. Chi parla mantiene un ritmo costante di circa 140 parole al minuto, comodo per lo shadowing. Il 84% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| preserve verbo | /pɹəˈzɝv/ | preservare, proteggere |
| iris sostantivo | /ˈaɪ.ɹɪs/ | iris, giaggiolo |
| resemble verbo | /ɹɪˈzɛmbəl/ | rassomigliare, somigliare |
| poem sostantivo | /ˈpoʊ.əm/ | poema, poesia |
| consciousness sostantivo | /ˈkɑnʃəsnəs/ | conoscenza, coscienza |
| preservation sostantivo | /ˌpɹɛz.əˈveɪ.ʃən/ | conservazione, preservazione |
| bend verbo | /bɛnd/ | curvare, piegare |
| sponsor sostantivo | /ˈspɒn.səː/ | sponsor |
| bury verbo | /ˈbɛɹi/ | sotterrare |
| fade verbo | /feɪd/ | sbiadire |
| vain aggettivo | /veɪn/ | vanitoso, vanesio |
| bulb sostantivo | /ˈbʌlb/ | bulbo |
| blossom verbo | /ˈblɑ.səm/ | fiorire |
| shadow sostantivo | /ˈʃædəʊ̯/ | ombra |
| flower sostantivo | /ˈfloʊɚ/ | fiore |
I phrasal verb che sentirai
| Parola | Significato |
|---|---|
| check out verbo | investigare |
| go away verbo | partire, andarsene |
| hold up verbo | ritardare, rallentare |
| write down verbo | sottoscrivere, annotare |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect continuous have/has been + -ing — un’azione iniziata prima e ancora in corso | i've also been learning · have been sitting · I've been thinking |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | you've not heard · has also won · i've spoken |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | was born · being preserved · being allowed |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | shell which is · someone who genuinely · Value which is |
Pronuncia a cui fare attenzione
Chi parla usa 47 contrazioni e forme ridotte, come I've, I'm, don't. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: aesthetic /ɛsˈθɛ.tɪk/, sixth /sɪksθ/, gather /ˈɡæðɚ/, grandfather /ˈɡɹæn(d)ˌfɑðɚ/, grandmother /ˈɡɹæn(d)ˌmʌðɚ/
- I suoni “sh” e “zh”: consciousness /ˈkɑnʃəsnəs/, preservation /ˌpɹɛz.əˈveɪ.ʃən/, shadow /ˈʃædəʊ̯/, illusion /ɪˈl(j)uːʒ(ə)n/, gracious /ˈɡɹeɪʃəs/
- Parole lunghe — attenzione all’accento: preservation /ˌpɹɛz.əˈveɪ.ʃən/, necessarily /ˌnɛs.əˈsɛɹ.ə.li/, temporary /ˈtɛmp(əˌɹ)ɛɹi/, incredibly /ɪŋˈkɹɛdɪbli/, representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: highlight /ˈhaɪˌlaɪt/, whoever /huˈɛvɚ/, harmful /ˈhɑɹmfl̩/, hollow /ˈhɑloʊ/, overhead /ˈəʊvəˌhɛd/
- Consonante finale — senza aggiungere una vocale dopo: preserve /pɹəˈzɝv/, iris /ˈaɪ.ɹɪs/, consciousness /ˈkɑnʃəsnəs/, bend /bɛnd/, fade /feɪd/
- /æ/ — più aperta della “e”: shadow /ˈʃædəʊ̯/, passive /ˈpæs.ɪv/, narrative /ˈnæɹ.ə.tɪv/, trap /tɹæp/, passage /ˈpæsɪd͡ʒ/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come preserve, iris, resemble.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.