シャドーイング練習: Hamlet Act 1 Scenes 1-5 Summary and Analysis: Piper's Paraphrases - 動画で英語スピーキングを学ぶ
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1
Do you smell that?
2
I think something's rotten.
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In the state of Denmark!
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Welcome to Piper's Paraphrases.
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I'm Professor Pipes, and in case you couldn't tell, I'm here to talk about Shakespeare's classic tragedy, Hamlet.
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Specifically, Act 1.
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So get ready for a ghost story.
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Let's start by talking about the players.
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First we have the titular
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Hamlet, Prince of Denmark.
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He's the son of King Hamlet, who is now dead and a ghost.
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Hamlet is extremely thoughtful.
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Not so much in the buys you flowers just because kind of way,
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and more so in the should I avenge my father's death and should I even exist kind of way.
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He took that think -before -you -act advice maybe a bit too seriously.
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Hamlet's mom is Gertrude, Queen of Denmark.
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Though she seems nice and protective, to be honest, she's mostly just a plot point, existing to provide motive.
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Speaking of motive, Claudius is the Motivated.
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He's Ghost Hamlet's brother and murderer, which makes him main character
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Hamlet's uncle and stepdad.
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That's right, Claudius moved in on Gertrude quickly after her husband's death, so he's now
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King of Denmark.
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Claudius' main advisor is Polonius.
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He's basically one part pompous and one part conniving.
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He's the kind of old man to say things like, back in my day, without a shred of irony,
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and then give some unsolicited advice that he himself wouldn't follow.
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Polonius' son is Laertes, who eventually serves as a bit of a foil to Hamlet, and his daughter is Ophelia,
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who happens to be Hamlet's sweet and innocent love interest.
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Horatio is Hamlet's wise, kind, and loyal friend.
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Kinda boring, but a good guy!
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Hamlet also has a couple of old school friends named Rosencrantz and Guildenstern, but we'll learn about them later.
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Lastly, Fortinbras is the Prince of Norway, and like Hamlet, he also has a dead dad who shares his name.
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So we've got two Hamlets and two Fortinbras.
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What, did you run out of names, Shakespeare?
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Scene 1 begins at midnight with a changing of the guard.
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Horatio and some guards talk about a thing that has been seen twice already.
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But Horatio is skeptical.
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Just as one of the guards tries to convince him of what he saw, it arrives.
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The ghost of King Hamlet, dressed in armor.
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The other guards encourage Horatio to talk to the ghost, but as soon as he asks, What are you?
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The ghost disappears.
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Spooky.
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The guards start wondering what the apparition could mean, and also why the castle seems to be preparing for war.
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Luckily, Horatio has answers for both he states that
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King Hamlet was wearing that armor when he killed
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King Fortinbras, the King of Norway, thus obtaining his lands.
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Unfortunately, Fortinbras's son, the new Fortinbras,
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has gathered his own army and plans to attack Denmark in order to avenge his father's death and win back the land.
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Horatio wonders if the ghost's appearance is a warning about upcoming war, much like all the omens before Julius Caesar's death.
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Easter egg of another Shakespeare play.
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Just then, the ghost reappears, and Horatio asks why it has come.
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Before it can answer, a rooster crows, and the ghost disappears again.
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Clearly not a fan of chickens.
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The scene ends at dawn, as Horatio plans to tell the alive
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Hamlet what they saw.
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In scene two, we're introduced to most of the cast, as Claudius, Gertrude, Hamlet, Polonius, Ophelia, and Laertes enter.
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Claudius is explaining why he and Gertrude got married so quickly after
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King Hamlet's death.
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The country needed to seem strong, not sad, since Fortinbras is planning to attack. So romantic.
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He then sends a couple of ambassadors to Norway with a note to Fortinbras' uncle, encouraging him to stop his nephew.
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Laertes asks Claudius for permission to return to France, and he consents.
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Claudius then points out that
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Hamlet's appearance seems sad and cloudy.
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To which Hamlet replies that he's actually too much in the sun.
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Get it?
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Because he's now
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Hamlet's and Claudius' son?
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Anyway, Claudius and Gertrude tell
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Hamlet that he should stop looking so sad.
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After all, all that lives must die.
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Claudius even tells
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Hamlet that his grief makes him seem weak and stupid.
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Hmm, that's a weird way to say I'm sorry for your loss.
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Gertrude asks Hamlet not to return to school and he agrees, so everybody heads off except Hamlet.
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And in case you were wondering just how sad
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Hamlet is, he gives a speech saying that his father's death
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and his mother's remarriage have made him wish he could kill himself.
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But it goes against his religion.
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Horatio and crew then arrive, and Hamlet mentions he'll never see a man as good as his father again.
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Which is a perfect segue for Horatio to tell him that maybe he will, since Horatio saw his ghost last night.
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Hamlet vows to meet Horatio tonight so he can speak with the ghost.
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Scene 3 gives us some sibling time with Laertes and Ophelia, saying goodbye before Laertes heads back to Paris.
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Laertes offers his sister some advice about Hamlet, saying that the prince is immature, and his affection for her won't last long.
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Good advice, but still, rude.
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Laertes reminds her that, as a prince, Hamlet will have to marry someone who will be good for the kingdom.
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Therefore, she'd better be afraid, be very afraid, and reject his advances to protect her honor.
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Polonius comes in and gives Laertes a bunch of advice about how precisely and carefully he should behave in every possible situation.
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What to do, what not to do, how he should spend his time and money,
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before concluding with a reminder to just be himself as long as himself is exactly who his father wants him to be.
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When Laertes leaves, Polonius gives his daughter a long lecture about how stupid she is for believing
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Hamlet's words of love.
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Aw, father of the year.
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Like lots of parents, Polonius warns Ophelia that
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Hamlet only wants one thing, so she'd better stay away from him.
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And like the good daughter that she is, Ophelia agrees, but likely doesn't want to.
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For scene four, we fast forward to just after midnight, night, and Hamlet has joined Horatio and the guard Marcellus in hopes of seeing the ghost.
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When some trumpets sound, Hamlet comments that
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King Claudius must be drinking again and is clearly annoyed by such partying.
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Whoops.
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Since it gives the country a bad reputation as a bunch of drunks.
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Just then, the ghost arrives.
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Hamlet immediately recognizes it as his father and asks why it has come.
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Instead of answering, the ghost beckons him to follow.
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And despite his friend's warnings and literal attempts to hold him back, Hamlet follows.
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Marcellus and Horatio decide to go after him.
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Yeah, let's all follow a ghost into the dark in the middle of the night.
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What could go wrong?
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In scene 5, once they're alone, the ghost tells
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Hamlet to AVENGE MEEEEEE!
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And Hamlet agrees before he even hears the story.
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Here it is anyways.
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The whole country has heard that a snake bit old
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King Hamlet, and that's what killed him.
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Revenge on a snake?
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Oh, actually the snake is Claudius.
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He seduced Gertrude, and when King Hamlet was sleeping in an orchard, as one does, Claudius poured poison in his ear,
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killing him and sending him to purgatory, where he now lives.
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Well, unlives?
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He again tells
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Hamlet to seek revenge, but also to leave his mom out of it.
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The ghost disappears, and Hamlet is big mad at both his mom and Claudius, and he vows to get revenge!
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Horatio and Marcellus catch up to Hamlet, who makes them swear a bunch of times that they won't say anything about what they saw tonight.
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And then he makes them swear some more, for good measure, because he keeps hearing the ghost of his father call out to swear.
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He eventually tells them that, no matter how strangely he acts in the future, since he might need to act a bit crazy,
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they must not give any sort of clue to anyone that they know what happened tonight.
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And let's be real here, they really don't.
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As Hamlet curses the fact that he now has to fix everything, Act 1 ends.
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Many of the themes and motifs revolve around the idea of appearance versus reality.
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In fact, the idea of questioning our own reality comes up in the very first scene, when Horatio says of the ghost,
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I might not this believe without the sensible and true avouch of mine own eyes.
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This suggests that seeing is believing, but we all know that this isn't always the case.
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After all, both Laertes and Polonius warn Ophelia that she can't believe everything she sees and hears from Hamlet, since his affections are forward,
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not permanent, sweet, not lasting.
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And even though Ophelia says that
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Hamlet has always been honorable, Polonius says, do not believe his vows, since he might act all honorable and perfect,
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the better to beguile, and trick her into sleeping with him.
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Which is interesting, since Polonius' advice to Laertes is pretty much to do exactly what he faults
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Hamlet for doing.
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He tells Laertes to give every man thy ear, but few thy voice, meaning that he should listen to other people,
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but not reveal his own opinions, thus making his appearance untrustworthy.
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He even tells Laertes how to dress, since the apparel oft proclaims the man.
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Polonius knows that people tend to believe what they see, so he wants Laertes to use this to his advantage.
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Ironically, he finishes up this advice with the oft -quoted, to thine own self be true.
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Great advice, but from a rather untrue source.
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Along the lines of appearance versus reality, we've already started to see one of the main motifs of the play.
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Performance.
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Not like the performance of the play, but rather the ways in which people are performative, acting, in their normal lives.
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For instance, when talking about Hamlet's grief, Gertrude asks, why seems it so particular with thee?
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To which Hamlet replies, seems, madam, nay it is.
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He continues, saying that anyone can put on the appearance of grief, wear the clothing, act sad,
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since these indeed seem, for they are actions that a man might play.
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Hamlet, on the other hand, has that within which passeth show, these but the trappings and the suits of woe.
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Meaning that his outward appearance is a true reflection of his grief, not an act.
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Ironically, in scene 5, Hamlet talks about his own performance,
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saying that he might have to put an antic disposition on or act mad in order to avenge his father.
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And that in itself should make the audience question
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Hamlet in the future.
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If he won't reveal when he's acting mad, how are we to know whether it's appearance or reality?
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In fact, while some interpretations of the play suggest he is mentally sound and he wears madness like a costume,
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others suggest that his desire for revenge actually drives him to madness.
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In other words, we as the audience might not be able to trust his appearance.
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And to bring it full circle, how we view his mental state ultimately comes down to the actor's performance.
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Speaking of appearances, let's discuss the ghost.
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Obviously, we know that the Others can see it, so it is there.
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We also know that it looks like
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Old King Hamlet.
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But the characters question what exactly it is, even calling it a thing in Scene 1 rather than a ghost.
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They also question why it is there and where it comes from, with Hamlet wondering, Be thou a spirit of health or goblin damned?
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Bring with the heirs from heaven or blasts from hell?
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Be thy intents wicked or charitable?
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However, Hamlet immediately decides to believe everything it says.
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Perhaps because it says exactly what he wants to hear, that Gertrude's relationship is incestuous and wrong, and that Claudius is evil.
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But we should keep in mind that
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Hamlet's the only one the ghost tells this to, since it disappears when Horatio and Marcellus arrive,
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and he's also the only one to see or interact with the ghost in all of scene 5.
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In fact, when the ghost keeps saying, swear.
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Hamlet is the only one to reference this, and when Hamlet continues to speak to the absent ghost, Horatio points out, oh, day and night,
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but this is wondrous strange.
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Is he talking about hearing the ghost or Hamlet's strange behavior?
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Ultimately, it's up to the performers.
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And while they could choose to physically react to the ominous swear, they could also choose to ignore it,
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making the audience further wonder what we should believe.
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Another important theme is the complexity of morality.
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Throughout the play, Hamlet often questions what is right, struggling against the morals he's been taught.
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In fact, in his first appearance,
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Hamlet is so overwhelmed by the death of his father and the incestuous behavior of his mother that he is contemplating suicide.
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He wishes that he could just disappear or that the Everlasting had not fixed his canon against self -slaughter.
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In other words, Hamlet says that the only thing stopping him is his religious belief that suicide is a mortal sin.
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He continues to discuss religion when he talks to the ghost, and so does the ghost.
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He says that the most horrible part of his murder is
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that he was cut off even in the blossoms of my sin,
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no reckoning made, but sent to my account with all my imperfections on my head.
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In other words, he wasn't able to repent for his sins or receive last rites, which landed him in purgatory.
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Despite this, the ghost urges
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Hamlet to sin by killing Claudius.
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Do two wrongs make a right?
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Hamlet has to decide which is the lesser of two evils, murder or failing to honor his father and avenge his death.
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Clearly Fortinbras picked a side.
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He's basically in the same boat as Hamlet,
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and he immediately takes action to try to win back the lands his father lost when he was killed.
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And Claudius uses Fortinbras and morality to justify his behavior, saying that marrying Gertrude so quickly was the right thing to do,
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since Fortinpros is holding a weak supposal of our worth,
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or thinking by our late dear brother's death our state to be disjoint and out of frame.
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We can't have him thinking our country is weak, or missing a ruler, so he had to marry Gertrude.
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Sure.
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As Marcellus says, something is rotten in the state of Denmark, and apparently Hamlet was born to set it right.
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Good luck with that.
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Finally, I can't leave without pointing out the pretty messed up beliefs related to gender.
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Of course we have the classic line from Claudius that
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Hamlet's grief is unmanly.
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Apparently men shouldn't care that their dad died.
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Right.
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And then with women, their honor is clearly tied to, well, their sex lives.
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Hamlet and Ghost Hamlet both refer to Gertrude's relationship with Claudius as incestuous, and to be honest, Hamlet kinda seems more mad at his mom than,
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you know, the killer, saying, oh most pernicious woman, oh villain, villain, smiling, damned villain.
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Meanwhile, Polonius and Laertes keep awkwardly talking about Ophelia's virginity.
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Laertes warns her not to listen to Hamlet, or else lose your heart, or your chaste treasure open, to his unmastered importunity.
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Polonius takes it further, saying that her behavior with Hamlet will tender me a fool.
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In other words, Ophelia's behavior would dishonor not only herself, but also her family.
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Oh, how times have.
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Not really changed.
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Before we finish
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Act 1, it's time for me to leave you with some food for thought.
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First, what is the significance of the ghost appearing in the very first scene?
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How does its appearance set the tone for the rest of the play?
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Second, both Hamlet and Claudius talk a lot about how Denmark is perceived by other countries.
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In what ways does this add to the conflict in the play, and how does it relate to the idea of appearance versus reality?
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Third, look back at Polonius' advice to his kids.
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How does this advice reflect Polonius' character and his views on honor, duty, and family?
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Fourth, what do you think is the purpose of Fortinbras?
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Why might Shakespeare have established this political turmoil?
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And or why does he give Fortinbras such a similar backstory to Hamlet's?
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Finally, where do you currently stand in terms of Hamlet's mental state?
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So far, what evidence suggests a mental break and what evidence opposes it?
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Thanks for watching this episode of Piper's Paraphrases.
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Now go forth, read a bunch, and be good people who don't kill their brothers.
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If this video was helpful, don't forget to like and subscribe, and check out the other videos in this series.
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If there are any books that you might like covered in future episodes, leave a comment.
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To see all the books and stories I've covered so far, plus some useful literary knowledge and teacher tips,
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you can visit my website or find me on social media.
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Links are right down there.
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Thanks again from me and Cooper.
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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
このスピーキングレッスンは、動画「Hamlet Act 1 Scenes 1-5 Summary and Analysis: Piper's Paraphrases」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：Hamlet, ghost, Claudius, Horatio, Laertes。 この動画には、シャドーイング用の文が242文、単語が2883語あります。 音声の長さは16:13です。 話す速さは1分あたり約178語で、日常会話に近い自然なペースです。 英語の頻出3,000語に含まれる単語は79%だけなので、語彙は難しめです。
この動画の重要語彙
動画に出てくる覚えておきたい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| ghost 名詞 | /ɡoʊst/ | 幽霊, 亡霊 |
| disappear 動詞 | /dɪsəˈpɪɹ/ | 消える |
| grief 名詞 | /ɡɹiːf/ | 悲しみ, 悲哀 |
| arrive 動詞 | /əˈɹaɪv/ | 着く, 到着する |
| revenge 名詞 | /ɹəˈvɛnd͡ʒ/ | 復讐, 報復 |
| marry 動詞 | /ˈmæɹi/ | 結婚する, 娶る |
| versus | /ˈvɝsəs/ | 対, バーサス |
| snake 名詞 | /sneɪk/ | 蛇, ヘビ |
| warn 動詞 | /woɹn/ | 警告する, 言い聞かせる |
| villain 名詞 | /ˈvɪl.ən/ | 悪人, 悪党 |
| vow 名詞 | /vaʊ/ | 誓い, 誓約 |
| belief 名詞 | /bɪˈliːf/ | 確信 |
| encourage 動詞 | /ɪnˈkʌɹ.ɪd͡ʒ/ | 勇気付ける, 奨励する |
| uncle 名詞 | /ˈʌŋ.kl̩/ | 伯父, 伯父貴 |
| reveal 動詞 | /ɹɪˈviːl/ | 現す, 表す |
動画に出てくる句動詞
| 単語 | 発音 | 意味 |
|---|---|---|
| point out 動詞 | 指す, 指し示す | |
| check out 動詞 | 試験する, 検査する | |
| cut off 動詞 | /ˌkʌt ˈɔf/ [ˌkɐɾ ˈɔf] | 断つ |
繰り返し練習したい文
動画に出てくる短く完結した文です。日常会話でそのまま使えます。
- Do you smell that?
- Let's start by talking about the players.
- Speaking of appearances, let's discuss the ghost.
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 |
|---|---|
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | has been seen · has gathered · has come |
| 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 | has been seen · been taught · was cut |
| 関係詞節 who / which + 節 — 人や物について情報を加える | murderer, which makes · someone who will · people who don |
注意したい発音
話し手はcan't, don't, I'mなど、短縮形や弱形を29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: clothing /ˈkloʊðɪŋ/, gather /ˈɡæðɚ/, thoughtful /ˈθɔːtfəl/
- 「sh」と「zh」の音: affection /əˈfɛk.ʃən/, reputation /ˌɹɛpjʊˈteɪʃən/, interpretation /ɪnˌtɜːpɹəˈteɪʃən/, reflection /ɹɪˈflɛkʃən/, treasure /ˈtɹɛʒəɹ/
- 長い単語（アクセントの位置に注意）: morality /məˈɹælɪti/, ironically /aɪˈɹɑnɪkli/, reputation /ˌɹɛpjʊˈteɪʃən/, ambassador /æmˈbæs.ə.dɚ/, literary /ˈlɪt.(ə.)ɹə.ɹi/
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: reveal /ɹɪˈviːl/, morality /məˈɹælɪti/, honorable /ˈɑn.ə.ɹəbl̩/, ironically /aɪˈɹɑnɪkli/, carefully /ˈkɛɹf(ə)li/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: arrive /əˈɹaɪv/, revenge /ɹəˈvɛnd͡ʒ/, versus /ˈvɝsəs/, villain /ˈvɪl.ən/, vow /vaʊ/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: grief /ɡɹiːf/, belief /bɪˈliːf/, affection /əˈfɛk.ʃən/, carefully /ˈkɛɹf(ə)li/, refer /ɹɪˈfɜː/
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。ghost, disappear, grief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。