シャドーイング練習: The Art World Couldn't Understand William Blake - 動画で英語スピーキングを学ぶ
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128 文
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This is a coin sorter and it's a useful tool to help me explain why certain works of art become classics,
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get taught in schools, live on in the culture, while so many others just disappear into oblivion.
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In order to achieve that level of prestige, it's not always enough for creative work to be beautiful or thought -provoking.
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It also has to fit into one of a handful of accepted categories.
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Categories like painting, poetry, the novel, or the film.
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When a work of art drops into one of these channels it enters a whole ecosystem of commercial, critical, and scholarly attention.
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Institutions that can promote it, consecrate it, and preserve it.
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You can think of this whole coin sorter as that ecosystem.
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All the institutions that comprise it have for a very long time been organized to classify work in this way.
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And when something comes along that can't be classified, well, the ecosystem has a hard time assimilating or even seeing it.
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And left on the outside, its chances of long -term survival are slim.
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This is a predicament that unclassifiable artists have faced for centuries.
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And for centuries, so many of them have found solace and inspiration in the radical visionary work of William Blake,
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the patron saint of unclassifiable artists.
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Here, take a look at this.
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How would you categorize this from Blake's book
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Songs of Innocence?
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Is it poetry?
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Is it illustration?
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Well, there's a poem here, a short one, you can see, but it's embedded in this gorgeous design,
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in the curving spiky stem of this evocative red flower.
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Despite what you might expect, this imagery is not a depiction of the subject of the poem.
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Not really.
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The poem makes no mention of a flower.
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Each of the two art forms have their own aesthetic and symbolic integrity, neither one subordinate to the other.
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And yet, when you put them together like this, their interaction, their dialogue, creates something new.
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What you're seeing here, these are not paintings.
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They're prints of engravings from Blake's illuminated books, which he designed, wrote, etched,
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colored, and printed himself using a technique that he invented.
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These extraordinary books are works of art that mix and synthesize categories.
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And as a result, the art world of the late 17 and early 1800s didn't really know what to make of them.
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And Blake never sold more than a handful.
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At that time, the ecosystem that we've been talking about was in the process of forming and hardening.
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The key event in England was the founding of the Royal Academy of Arts in 1768 when Blake was 11 years old.
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The Royal Academy was one of several similar institutions springing up across Europe in this period, institutions that elevated the status of the fine arts
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while also wielding their power to help define the standards by which art was judged.
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The Academy in England trained students to be obedient to its values and rewarded
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that obedience at their annual exhibitions where a good placement on the wall could make an artist's reputation
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and create a demand from private clients.
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In turn, these exhibitions, which were popular events, shaped the taste of collectors, patrons, and the public, dramatically expanding the commercial market for artworks.
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After apprenticing as an engraver, a 21 -year -old
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Blake entered the Royal Academy as a student in 1779, but quickly found himself at odds with its teaching,
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especially the aesthetic philosophy of its first president, Sir Joshua Reynolds.
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Blake despised Reynolds' emphasis on generalizing and idealizing nature
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and hated his reverence for Venetian and Flemish -style oil painting with its soft tonal variations and blurred contours.
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Blake believed that art should come from within,
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from imaginative vision, and he preferred the strong lines and distinct forms of artists like Raphael and Durr.
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Blake just didn't fit at the Academy.
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By refusing to work in oils, his paintings were classed as watercolors, considered a minor medium.
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He was primarily regarded as an engraver anyway, which the Academy treated as an even lesser art, but he didn't fit there either.
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As Eileen Ward points out, engravers were valued to the extent that they approximated the effects of the works they copied.
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Blake could do that, he earned a living doing that, but his creative focus was on his own original designs, and that was very uncommon.
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What's more, many of those designs incorporated the entirely different art form of poetry.
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There was simply no category that could contain him.
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His choice, Morris Eaves writes, to work as a maker of words, maker of images, and crossbreeder of both,
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amounted to a decision to live in incommensurable neighborhoods of meaning.
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He swam against the current of modern human understanding, whose bedrock is the principle of specialization.
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Why was Blake like this?
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Why did he resist, at the cost of money and recognition, that trend towards specialization?
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Well, I think the answer could be found in possibly his greatest work ever, his engravings of the Book of Job.
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Here, check this out.
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So this series includes 22 engraved illustrations like this, based on earlier watercolors that
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Blake made for a patron.
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In the engravings, however, you can see
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that he added these ornate borders full of symbolic imagery and handwritten quotes from the Bible.
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His blending of text and image, his mixing of media, it's more than a stylistic choice.
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It's a thematic one.
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You see, Blake believed that the fall of man, the source of human suffering, was a fall into division.
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A division of body from spirit, man from woman, person from nature, humanity from God.
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All around him, he saw one faculty of the human mind, reason, claiming dominance over all others,
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measuring, explaining, dividing everything in its path, even the arts and religion.
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It's this situation that led to the rigid classifications and hierarchies that he saw at the Royal Academy,
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and to a dry, legalistic interpretation of the Bible.
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For Blake, the Book of Job isn't the story of a righteous man being tested by an inscrutable God.
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It's the story of a man who believes mistakenly that salvation requires a slavish obedience to words written in a book.
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That's what Job's doing in this first page.
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Surrounded by his wife and children, Bible on his lap, he's performing what he believes is piety.
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But the moment is cheerless, empty.
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Above him, musical instruments hang like fruit on the tree, unused.
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There's no music, no vitality in the scene where the sun retreats behind the horizon and the sheep doze.
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As the caption says, thus did Job continually.
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This is what
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Job does out of habit, unthinkingly, day after day after day.
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The text recontextualizes the image and vice versa.
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The very existence of the surrounding border suggests that there's a wider perspective that
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Job can't see.
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He can't see that submission to the letter killeth, that only spirit giveth life.
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For Blake, God doesn't exist in some separate heaven above man.
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Job looks up where he believes the deity resides, but there's no God there, only more words.
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All throughout the series, as Job goes through his trials, as his worldview begins to change, there is this interplay between border and image,
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image and text, inviting our creative participation to interpret Blake's meaning.
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Gradually, Job learns the folly of a religion based on law, tradition, received wisdom.
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By page 14, his experience of divinity is no longer mediated by a book.
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He and his wife and his friends apprehend creation directly, and the glory of creation, with God not at the top but at the center,
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expands past the border of the image and fills the whole sheet.
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On page 17, the book has been moved from the image proper into the lower margin.
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As the caption says, I have heard thee with the hearing of the ear, but now my eye seeth thee.
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And who does he see?
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It's Christ, the divine inhuman, entreating Job to see the divine in himself.
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Books are not discarded entirely here.
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They're just restored to their proper place in the balance.
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For Blake, words aren't evil in themselves, just as reason isn't evil.
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The danger comes when we try to understand reality through words alone, or reason alone, or any one fragment of the human soul.
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The danger is when we divide and sort ourselves.
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Blake's antidote to classification and division is imaginative art, an art that seeks to reunify what's been split apart.
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His plea for that unity is expressed in his work, but as with the engravings of Job, it's also enacted by it.
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Words and images coalesce in an art object made without a division of labor.
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The writing, designing, engraving, coloring, printing, they're all the product of a single set of hands, a single visionary mind.
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In 1827, at age 69, William Blake died in poverty and relative obscurity.
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And when he was rediscovered some decades after his death, his resurrectors did so by isolating the component parts of his work,
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ripping his poetry from the surrounding designs and printing it in nice, respectable font, formatted and categorized for scholarly attention.
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Next year, 2027, will mark two centuries since Blake's death,
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and in that time we've become much better at recognizing and celebrating art that crosses boundaries, that can't be contained by any one category.
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But the ecosystem will always need categories, and there will always be unclassifiable artists whose work.. is overlooked.
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If you, you, happen to be one of those artists, you already know what there is to lose by being so radical.
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Let the visionary work of William Blake remind you of all there is to gain.
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Thanks, guys, and I'll see you next time.
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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「The Art World Couldn't Understand William Blake」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：Blake, image, Academy。 この動画には、シャドーイング用の文が128文、単語が1786語あります。 音声の長さは11:19です。 話す速さは1分あたり約158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77%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 |
|---|---|---|
| ecosystem 名詞 | /ˈikoʊˌsɪstəm/ | 生態系 |
| poetry 名詞 | /ˈpoʊ.ə.tɹi/ | 詩, 詩歌 |
| poem 名詞 | /ˈpoʊ.əm/ | 詩, 詩歌 |
| surround 動詞 | /səˈɹaʊnd/ | 囲む, 取り巻く |
| patron 名詞 | /ˈpeɪ.tɹən/ | 守護者 |
| flower 名詞 | /ˈfloʊɚ/ | 花 |
| exhibition 名詞 | /ɛksɪˈbɪʃən/ | 展示物 |
| expand 動詞 | /ɪkˈspænd/ | 広げる, 拡大する |
| radical 名詞 | /ˈɹædɪkəl/ | 根, 累乗根 |
| maker 名詞 | /ˈmeɪk.ɚ/ | 作者, 作り手 |
| coin 名詞 | /ˈkoɪ̯n/ | 硬貨, 玉 |
| classification 名詞 | /ˌklæsɪfɪˈkeɪʃən/ | 分類 |
| divide 動詞 | /dɪˈvaɪd/ | 分割する, 分ける |
| handful 名詞 | /ˈhæn(d)fʊl/ | 少数 |
| aesthetic 形容詞 | /ɛsˈθɛ.tɪk/ | 美的な |
動画に出てくる句動詞
| 単語 | 発音 | 意味 |
|---|---|---|
| look up 動詞 | /ˌlʊk ˈʌp/ | 見上げる |
| point out 動詞 | 指す, 指し示す | |
| show up 動詞 | 現れる |
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 | been organized · can't be classified · was judged |
| 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 | have faced · have found · has been moved |
| 関係詞節 who / which + 節 — 人や物について情報を加える | exhibitions, which were · man who believes |
注意したい発音
話し手はcan't, didn't, they'reなど、短縮形や弱形を20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: exhibition /ɛksɪˈbɪʃən/, classification /ˌklæsɪfɪˈkeɪʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, caption /ˈkæp.ʃən/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/
- 長い単語（アクセントの位置に注意）: ecosystem /ˈikoʊˌsɪstəm/, exhibition /ɛksɪˈbɪʃən/, classification /ˌklæsɪfɪˈkeɪʃən/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, primarily /ˈpɹaɪ.mə.ɹə.li/
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: radical /ˈɹædɪkəl/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, primarily /ˈpɹaɪ.mə.ɹə.li/, relative /ˈɹɛl.ə.tɪv/, glory /ˈɡlɔːɹi/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: divine /dɪˈvaɪn/, divide /dɪˈvaɪd/, relative /ˈɹɛl.ə.tɪv/, poverty /ˈpɑːvɚti/, survival /sɚˈvaɪ.vəl/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: flower /ˈfloʊɚ/, classification /ˌklæsɪfɪˈkeɪʃən/, handful /ˈhæn(d)fʊl/, refuse /ɹɪˈfjuːz/, faculty /ˈfæk.əl.ti/
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。ecosystem, poetry, poem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。