シャドーイング練習: how to do critical literary analysis | English made simple - 動画で英語スピーキングを学ぶ
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113 文
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We study poems, plays, and books in English class, but strangely if you really think about it, we never actually learn how to analyze literature.
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Rather, we were expected to pick it up along the way.
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This, however, is unfortunately easier said than done, and as a result, we're just left with the too vague
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or go deeper comments on our essays without actually knowing how to improve.
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Today we're going to change that.
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Here is my five -step critical literary analysis guide
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that I developed over the course of my high school career
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that got me an A -star in IGCSE English and A7 in IB English HL.
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It honestly made my life so much easier
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because it meant I could spend the minimum amount of time worrying about English exams
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and spend more time on things like my university applications.
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If you want to improve your English grades, watch this.
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There is just one thing you need for this critical literary analysis framework, your text.
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The steps will be simple, but you have to follow them exactly.
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They're also all linked together with the fifth step being the most important
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because that's what's actually going to make your analysis precise and deep.
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In order to demonstrate these steps in real time, I'll be using one of my favorite poems, A .E.
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Hausmann's Because I Loved You Better, as an example.
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But this method works on both a large scale, so on a whole poem or a book, and small scale, so on individual sentences and quotes.
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If you want to know how you can use this method to analyze a full book,
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make sure to check it out on my free Patreon linked down below.
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Step one, summarize what is actually happening.
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The first step is to summarize exactly what is happening.
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Don't worry about literary meaning or devices or anything like that at this stage.
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Focus on just the plot, as if you're trying to give a factual report.
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And this doesn't have to be very long either, you just have to make sure that you understand fully the sequence of events.
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If you want to, you can write this out to practice the first few times, but afterwards you can just do it in your head.
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For example, the poem that we're going to discuss, Because I'd Like To Better, tells the story of a man,
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our speaker, who has just confessed to his lover that he likes them, probably more than a man should, in his words.
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Basically, he's confessed that his feelings are stronger than he would like to admit to himself.
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Unfortunately, the other person does not reciprocate his feelings and has asked our speaker to forget him entirely, which our speaker promises to do.
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In the third stanza, the scene cuts to a tomb.
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It is of our speaker.
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He has died trying to keep his promise, and he asks his lover to stop by his headstone
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and know that he has died trying to keep his word to him.
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Step two, generalize it to a wider human experience.
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Right now, what is happening in this work is limited to our speaker.
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So why are we affected by it?
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Why do we care about the fiction at all when they are all stories about other people?
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But because they talk about the general human condition, experiences the majority of us will go through at least once in our life.
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That's why we relate to fiction, to songs, to movies, and so on.
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So once you've established the plotline of the work, it's time to extrapolate from it the general human condition that it is describing.
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In the case of our poem, for example, it talks about three main universal experiences.
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First, loving somebody, having a crush, but then having your feelings rejected by the other person.
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A devastating experience for everybody.
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Sometimes it hurts so much that it feels like you're dying.
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Second, still loving your crush, for lack of a better term, even after the rejection.
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In this poem, for instance, the speaker still feels very much in love with this you figure, even after his metaphorical death.
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And third, and this is a slightly more nuanced experience, but feeling like you ought not to love someone, not being able to help it,
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but also not being able to quite admit it even to yourself.
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That is why perhaps the speaker says that he likes his lover, even though his actions clearly point to a deep love for this other person.
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And if you know the authorial and historical context of this poem,
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you'll understand why the poet and the speaker is not in a position where he can freely admit to his feelings,
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and he probably also has a layer of internalized homophobia
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that is stopping himself from being able to accept it even to himself.
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If you're interested for more on this check out my free Patreon where I explain more on this poem as well.
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Step three, name the emotions.
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Next we have to describe what we're actually feeling from this work.
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I know this slightly sounds like some strange group therapy session
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but one key part of literary analysis is being able to explicitly describe exactly what this is making us feel.
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That is also why reading makes us more emotionally mature people
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because we're able to exactly understand and name what we were feeling.
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So first, put an emotion to the work.
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For instance, in Because I Like You Better, the big feeling here is sadness.
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Step four, be a bit more specific.
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As you can probably tell though, sadness alone is not nearly satisfactory enough to describe all of the nuanced feelings going on in this poem.
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And there is definitely more than one feeling going on here too.
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So the next step is to be more specific with the emotions and how we describe these emotions.
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Let's apply this back to our case study, our poem.
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We know that the speaker feels sad, but he's also feeling many smaller emotions under this sadness umbrella.
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So essentially we're trying to splice this larger emotion into all of its smaller and more intricate parts.
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First we have his resigned acceptance that his lover does not love him back.
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Next we have the speaker's yearning and a deep love for his lover, hoping that his lover will still remember him even after his metaphorical death.
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There's also a degree of self -blame.
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This is why as we mentioned before he uses like instead of love
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and why he says all this was because he liked his lover.
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Blaming his own emotions and affection for this other person for all of the sadness and not the other person.
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We can also see that the speaker is feeling ignored because his emotions, which for him was life -endingly deep,
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was nothing but annoying or irksome to his lover.
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That is why he uses the word irksome.
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There's also the sense of not belonging because his feelings, which are natural and uncontrollable as we all know, are not accepted by society.
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Hence why he says that his feelings are more than suits a man to say.
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Presumably because society has historically told men that they have to be stoic and restrained in their emotions.
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Step 5.
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Why this?
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And this is the key difference between a B and an A star answer.
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Finally, we have the most important step.
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This is the one step that everyone misses in their literary analysis, and why your analysis might sound vague or not deep enough.
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The last step is to explain exactly why the author chose these words to express themselves,
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and all of these smaller emotions that we were able to identify in our previous step.
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For example, for this poem, let's say that you want to analyze the quote, throw the thought away.
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A B -level answer, or a 5 -6 level answer if you're doing the IB, might say the poet uses the metaphor to say
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that the speaker will throw the thought away to show how much he wanted to get rid of his thoughts.
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However, that analysis is still just explaining the plot of what is happening in those words, that the speaker wants to throw away the thought.
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It does not explain why Hausman chose the verbs throw or the word thought.
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We have to fully explain this if we were to make it a top -level answer.
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For example, we might analyze the word throw like this.
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The speaker promises to throw his thought away as though it were nothing more than an irksome piece of trash
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and not as devastatingly deep feelings for his lover.
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So linking the word throwaway, which is commonly used for trash,
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and how much the speaker of the poem is feeling like his emotions are literally being treated like trash.
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Likewise, we might analyze Hausmann's specific choice of the word thought like this.
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Furthermore, Hausmann describes the speaker's uncontrollable feelings and emotions as a thought, as though it was a conscious thing the speaker could control,
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and therefore just stop thinking about.
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Pay close attention to the difference between the first answer,
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which only explains the effects of the word and the plot of what is happening in that line, and the other two answers,
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which specifically comments on why these words were intentionally chosen by Hausmann and the effect that those words have on the reader.
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So this is the simple five -step guide to critical literary analysis.
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As you can see, the steps themselves are extremely simple, but it can be tricky to execute them accurately.
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But actually being able to follow them explicitly is the difference between a vague and a deep understanding of the literary text.
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And that is why I've posted another full example analysis, this time for a whole book, Margaret Atwood's The Handmaid's Tale, for free on my Patreon,
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where as you know I post all of my study resources for free.
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Thank you so much for watching and bye!
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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「how to do critical literary analysis」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：step, feeling, speaker, emotion, poem。 この動画には、シャドーイング用の文が113文、単語が1684語あります。 音声の長さは7:39です。 話す速さは速く、1分あたり約220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87%は英語の頻出3,000語に含まれるため、語彙は分かりやすいです。
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 |
|---|---|---|
| poem 名詞 | /ˈpoʊ.əm/ | 詩, 詩歌 |
| emotion 名詞 | /ɪˈməʊ.ʃən/ | 感情, 心緒 |
| lover 名詞 | /ˈlʌvɚ/ | 恋人, 愛人 |
| literary 形容詞 | /ˈlɪt.(ə.)ɹə.ɹi/ | 文学の |
| analyze 動詞 | /ˈæn.əˌlaɪz/ | 分析する |
| sadness 名詞 | /ˈsædnəs/ | 悲しみ |
| trash 名詞 | /tɹæʃ/ | ごみ |
| vague 形容詞 | /veɪɡ/ | 曖昧, 漠然とした |
| fiction 名詞 | /ˈfɪkʃən/ | フィクション, 小説 |
| poet 名詞 | /ˈpoʊ.ət/ | 詩人 |
| crush 動詞 | /kɹʌʃ/ | 砕く |
| explicitly 副詞 | 明確に, 明白に | |
| confess 動詞 | /kənˈfɛs/ | 認める, 自白する |
| universal 形容詞 | /ˌjunəˈvɜɹs(ə)l/ | 宇宙の |
| ignore 動詞 | /ɪɡˈnɔː/ | 無視する, 忽略する |
動画に出てくる句動詞
| 単語 | 意味 |
|---|---|
| check out 動詞 | 試験する, 検査する |
| throw away 動詞 | 棄てる, 捨てる |
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 |
|---|---|
| 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 just confessed · has asked · you've established |
| 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 | were expected · are not accepted · being treated |
| 関係詞節 who / which + 節 — 人や物について情報を加える | feelings, which are · throwaway, which is |
注意したい発音
話し手はwe're, you're, doesn'tなど、短縮形や弱形を18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。
- 「sh」と「zh」の音: emotion /ɪˈməʊ.ʃən/, trash /tɹæʃ/, fiction /ˈfɪkʃən/, crush /kɹʌʃ/, establish /ɪˈstæb.lɪʃ/
- 長い単語（アクセントの位置に注意）: literary /ˈlɪt.(ə.)ɹə.ɹi/, universal /ˌjunəˈvɜɹs(ə)l/, essentially /ɪˈsɛnʃəli/, historically /hɪˈstɔɹɪkli/, presumably /pɹɪˈzuːməbli/
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: literary /ˈlɪt.(ə.)ɹə.ɹi/, universal /ˌjunəˈvɜɹs(ə)l/, relate /ɹɪˈleɪt/, historically /hɪˈstɔɹɪkli/, freely /ˈfɹili/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: lover /ˈlʌvɚ/, vague /veɪɡ/, universal /ˌjunəˈvɜɹs(ə)l/, verb /vɝb/, devastate /ˈdɛv.ə.steɪt/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: fiction /ˈfɪkʃən/, confess /kənˈfɛs/, afterwards /ˈæf.tɚ.wɚdz/, framework /ˈfɹeɪm.wɜːk/, furthermore /ˈfɜː(ɹ).ðə(ɹ)ˌmɔː(ɹ)/
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。poem, emotion, lover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。