シャドーイング練習: Don't Try - The Philosophy of Charles Bukowski - 動画で英語スピーキングを学ぶ
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Charles Bukowski was a 20th century American writer and poet known for his unfiltered, potent, and often crude takes on life.
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Bukowski was born in Germany in 1920 and then emigrated with his family to America in 1923.
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Bukowski had a horrible childhood, beaten regularly by his father, starting at age six.
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As an immigrant from Germany, Bukowski was ridiculed by other kids for his accent and clothing, ostracized as an outcast throughout his schooling.
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Into his teenage years, Bukowski developed a condition that covered his face with extreme acne and acne-related blemishes, further intensifying his self-consciousness in isolation.
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The circumstances of abuse and loneliness imposed on Bukowski as a young child
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and adolescent laid the groundwork for his perspective on life and his desire to express himself as a writer.
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In an interview much later in his life, Bukowski said that his father was a great literary teacher because he taught him the meaning of pain, more specifically, pain without reason.
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When you get the shit kicked out of you long enough, you will have a tendency to say what you really mean," said Bukowski.
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In his 20s, after two years at college, Bukowski would quit school and make his first real attempt at becoming a professional writer, bouncing around the United States,
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doing short-term blue-collar jobs while writing hundreds of short stories.
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However, out of the hundreds of stories, only a couple during this time would go on to get published, and the ones that did found essentially no success.
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After a couple years, Bukowski basically stopped writing altogether, disappointed by the publishing process and his apparent inability to write well enough to be successful.
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Bukowski would go on to work various blue-collar jobs for several years thereafter.
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Then in 1955, at 35 years old, after about 10 years of not writing, Bukowski nearly died from a serious bleeding ulcer.
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He survived, however, and then soon after, as fate would have it, Bukowski quit his job, which was at the post office at the time, and began writing again.
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A couple more years went by and Bukowski would publish several pieces during this time, but But still, nothing was providing much success, and he was forced to return to the post office of which he had originally quit.
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Counter to the original time though, this time, Bukowski continued writing while at the post office.
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Before his shift, he would use whatever time he had to write.
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Bukowski would continue in this for many years, getting a collection of pieces published here and there in underground magazines, all with very little success.
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With no real sight of success or money or fame or even just creating a living from writing, Bukowski continued writing nearly every day before work for years.
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Of course, we know how Bukowski's story ended.
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He is being spoken about right now as a writer.
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A renowned, successful, and important enough one to be spoken about with significance decades after his passing, to be considered one of the greats of all time.
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Bukowski, however, didn't end up becoming traditionally or publicly successful until he was into his 50s, many more years into the second stint of working at the post office.
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Only after a long, continued attempt at writing did Bukowski's work finally become noticed and appreciated by an audience, and only after a deal with a publisher who agreed to find Bukowski's work,
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did Bukowski begin to make any sort of living from it.
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At 50 years old, on the tail end of the traditional career timeline, Bukowski got his first real shot and took it.
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After it would seem like to many that it was over, it began, and he would soon become increasingly successful and famous in the literary world and culture at large not long after.
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It took Bukowski years and years of writing and toiling
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and trying to finally have circumstances work out in his favor so he could gain traction and find success as a writer.
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To get what he wanted since he was a teenager and fulfill what he believed his life was for.
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In this, it is at least initially perplexing that his gravestone reads, right now, don't try.
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A message that seems rather grim, especially for a gravestone, as well as counterintuitive to his story.
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How could a man who became successful in fulfilling his idea of himself, a man who, although it took a while, found immense respect and recognition for his craft, all because of his relentless trying,
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how could this man leave the words, don't try, as his final offering?
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Arguably, Perhaps this is where the most important idea can be found, not only in Bukowski's work, but in Bukowski's life.
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In a letter to William Packard, a publisher, friend and fellow writer, Bukowski wrote, Too many writers write for the wrong reasons.
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They want to get famous, or they want to get rich, or they want to get laid by the girls with the blue bells in their hair.
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When everything works best, it's not because you chose writing, but because writing chose you.
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It's when you're mad with it, when it's stuffed in your ears, nostrils, under your fingernails.
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when there's no hope but that.
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In this letter, Bukowski is referring to aspiring writers, but he's arguably referring to something much larger, the notion of purpose and success and creative endeavors in general.
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When you were very young and someone asked you for the first time what your favorite color was, and you decided that it was blue or red or whatever else,
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perhaps it felt like a choice, but it wasn't really.
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No one chooses how colors make them feel and why some seem to paint onto the brain with better feelings than others.
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We can describe the reasons why we like the colors we like, but we can't choose why we do.
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The color, sort of, chooses us.
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In a relatively low-stakes situation like our favorite color, it's easy to just realize which one feels best and declare it without trying.
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How one defines their purpose and carries out the bulk of their life, however, is not so easy nor so low-stakes, making it inevitably more complicated, convoluted, and challenging.
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Although, perhaps it is, at its core, somewhat the same as knowing your favorite color.
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In the same letter to Packard, Bukowski went on to say, We work too hard.
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We try too hard.
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Don't try.
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Don't work.
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It's there, looking right at us, aching to kick out of the closed room.
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In this, Bukowski alludes to the idea that if you have to try to try, if you have to try to care about something or have to try to want something, perhaps you don't care about it,
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and perhaps you don't want it, perhaps it isn't your favorite color.
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Throughout his life, Bukowski constantly returned to writing, never reducing or modifying his voice for the sake of something else,
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never letting the rejection or the suffering throughout the process ultimately take writing away from him.
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It's not that Bukowski didn't try, it's that he didn't try to be something that he wasn't.
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He tried to be a writer, but he didn't try to want to be a writer.
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Nor did he try to write how he wanted to write, he just did it and kept on doing it.
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At least creatively, we seem to often perform at our best when we are ourselves, natural and honest, attending to who we really are and what we really want to say or do,
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without the addition of ulterior motives, without forcing it or overthinking too much.
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And perhaps this is, in part, what Bukowski meant.
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Truthfully, no one other than Bukowski can say or know exactly what Bukowski ever really thought or meant in anything.
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And none of this is to suggest that something as hard
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and complicated as purpose and passion and desire and success is easy or prescribable.
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Because it isn't.
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It's all as unclear and complicated as the very brain that contrives the whole system.
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And it's not as if writing or filmmaking or painting or making music or business or whatever else else, must come easy to the writer or filmmaker or painter
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or musician etc. in order for it to be the right thing or for them to be great at it.
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But it is likely, however, that if the pain and endurance of working through the process does not feel worth it,
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and you are not compelled to do it even in the face of rejection or hardship or sacrifice, then perhaps it is here where Bukowski might say, don't try.
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But if it does, if the thought of not doing the thing hurts more than the thought of potentially suffering through the process, if the thought of a life without it or never having tried it at all terrifies you.
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If it comes to you, through you, out of you, almost as if you're not trying, perhaps Bukowski might say, here, try.
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And if you're going to try, go all the way.
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Charles Bukowski.
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You can find the Patreon page by clicking on the link in the description or the icon on the screen.
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Thanks again for watching and see you next video.
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このレッスンの語彙とスピーキングのポイント
このC1レベルのスピーキングレッスンは、動画「Don't Try - The Philosophy of Charles Bukowski」を教材にしています。 繰り返し出てくる語は次のとおりです：Bukowski, writing, writer, perhaps, color。 この動画には、シャドーイング用の文が81文、単語が1551語あります。 音声の長さは7:38です。 話す速さは速く、1分あたり約203語です。音のつながりや弱く発音される音が多くなります。 単語の86%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。
この動画の重要語彙
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| litter 名詞 | /ˈlɪt.ɚ/ | ごみ |
| circumstance 名詞 | /ˈsɝ.kəmˌstæns/ | 状況, 事情 |
| acne 名詞 | /ˈækni/ | 痤瘡, 面皰 |
| fulfill 動詞 | /fʊlˈfɪl/ | 遂行する, 実施する |
| rejection 名詞 | /ɹɪˈd͡ʒɛkʃən/ | 拒絶 |
| collar 名詞 | /ˈkɑlɚ/ | 襟, カラー |
| allude 動詞 | /əˈljuːd/ | 遠回しに触れる, 当て擦る |
| aspire 動詞 | /əˈspaɪɚ/ | 希求する, 熱望する |
| compel 動詞 | /kəmˈpɛl/ | 強いる |
| emigrate 動詞 | /ˈɛmɪɡɹeɪt/ | 移住する, 移民する |
| filmmaking 名詞 | 映画制作 | |
| fingernail 名詞 | /ˈfɪŋɡɚˌneɪl/ | 爪, ツメ |
| groundwork 名詞 | /ˈɡɹaʊndˌwɜːɹk/ | 基礎 |
| nostril 名詞 | /ˈnɒs.tɹɪl/ | 鼻孔, 鼻の穴 |
| outcast 名詞 | /ˈaʊtkæst/ | のけ者 |
動画に出てくる句動詞
| 単語 | 発音 | 意味 |
|---|---|---|
| carry out 動詞 | /ˈkæ.ɹi aʊt/ | 行う, 実行する |
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | was born · was ridiculed · was forced |
| 関係詞節 who / which + 節 — 人や物について情報を加える | job, which was · man who became |
注意したい発音
話し手はdon't, didn't, you'reなど、短縮形や弱形を19回使っています。聞こえたとおりの短い形で発音しましょう。
- 「th」の音: truthfully /ˈtɹuːθ.fəl.i/, thereafter /ˌðɛɹˈæf.tɚ/, altogether /ɔl.tuˈɡɛð.ɚ/
- 「sh」と「zh」の音: rejection /ɹɪˈd͡ʒɛkʃən/, blemish /ˈblɛmɪʃ/, hardship /ˈhɑɹdˌʃɪp/, traction /ˈtɹæk.ʃən/, musician /mjuˈzɪʃən/
- 長い単語（アクセントの位置に注意）: convoluted /ˌkɑnvəˈlutəd/, counterintuitive /ˌkaʊntəɹɪnˈtuɪtɪv/, creatively /kɹiˈeɪtɪvli/, intensify /ɪnˈtɛnsɪfaɪ/, ulterior /ʌlˈtɪɚ.i.ɚ/
日本語話者が苦手な音：
- /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: arguably /ˈɑɹɡjuəbli/, creatively /kɹiˈeɪtɪvli/, nostril /ˈnɒs.tɹɪl/, ridicule /ˈɹɪdɪkjuːl/, truthfully /ˈtɹuːθ.fəl.i/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: gravestone /ˈɡɹeɪvstoʊn/, contrive /kənˈtɹaɪv/, convoluted /ˌkɑnvəˈlutəd/, counterintuitive /ˌkaʊntəɹɪnˈtuɪtɪv/, creatively /kɹiˈeɪtɪvli/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: fulfill /fʊlˈfɪl/, fingernail /ˈfɪŋɡɚˌneɪl/, intensify /ɪnˈtɛnsɪfaɪ/, terrify /ˈtɛɹɪfaɪ/, truthfully /ˈtɹuːθ.fəl.i/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。litter, circumstance, acneなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。