Shadowing Practice: How Jane Austen Changed Fiction Forever - Learn English Speaking with Video
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In the first chapter of the first book that
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Jane Austen ever published, Sense and Sensibility, she did something that changed fiction forever.
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The narrator of the book begins by describing the situation of the Dashwood family.
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John Dashwood has come into a big inheritance from his father,
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Henry, who on his deathbed makes John promise to take care of his three half -sisters.
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When he gave his promise to his father,
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he meditated within himself to increase the fortunes of his sisters by the present of a thousand pounds apiece.
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He then really thought himself equal to it.
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The prospect of four thousand a year made him feel capable of generosity.
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Yes, he would give them three thousand pounds.
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It would be liberal and handsome.
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It would be enough to make them completely easy.
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Three thousand pounds he could spare so considerable a sum with little inconvenience.
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He thought of it all day long and for many days successively and he did not repent.
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So what stands out in this passage?
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Which of these things is not like the rest?
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Well, it's this part here.
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Before this, the narrator is describing the thoughts and feelings of John Dashwood.
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But in the highlighted section, something changes.
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It's suddenly as if we're inside John's mind.
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And yet, the point of view doesn't change.
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We're still in the third person.
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Now, Austin could have reported John's thoughts directly here, writing, I will give them 3 ,000 pounds or I can spare so considerable a sum,
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but she doesn't.
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Instead, she does something new in English literature, what's called free indirect speech.
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Now, Austen isn't the first to use this technique, but she's the first author to do so consistently, the first to really explore its possibilities.
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And in the process, she effectively adds a new tool to the writer's toolbox. But why?
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What is free indirect style good for?
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Why not just use direct thought?
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Well, if you're familiar with Jane Austen, you know that all of her books have a really strong narratorial voice.
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The narrator has full control over the story, painting a universe of manners, making witty asides to the reader,
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and using irony to critique characters and social conventions.
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To accomplish her goals, Austen needed her narrator to have critical distance from the story,
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but this ironic distance has the potentially negative side effect of distancing the characters from the reader.
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I mean she still needs us to be emotionally involved with these people after all.
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Free indirect speech is Austen's intuitive and revolutionary solution for having it both ways.
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Okay, let's look at another Suttler example from Emma as the
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matchmaking title character thinks about the suitability of Mr. Elton for her friend Harriet Smith.
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The longer she considered it, the greater was her sense of its expediency.
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Mr. Elton's situation was most suitable, quite the gentleman himself and without low connections.
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He had a comfortable home for her and Emma imagined a very sufficient income, for though the vicarage of Highbury was not large,
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he was known to have some independent property, and she thought very highly of him as a good -humored, well -meaning, respectable young man.
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Like the first passage, this one begins firmly in the first -person narratorial voice with she considered and her sense.
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Then in the second sentence, it seamlessly switches to free indirect speech and were inside
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Emma's mind, which you can tell by phrasing like most suitable and quite the gentleman.
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After this, it starts to get tricky.
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Austin begins to weave in and out of free indirect speech within individual sentences.
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The narrator returns with phrases like
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Emma imagined and she thought.
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And as critic Daniel Gunn points out, this return and the distance it creates reminds us to be wary of Emma's judgments and imaginings.
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But then we slip right back into her spirit again, her subjectivity, subjectivity, in clauses like a good -humored, well -meaning, respectable young man.
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In Emma especially, Austin uses free indirect speech with extraordinary finesse,
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dipping in and out of several minds without ever interrupting the flow of narration.
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Representing subjectivities, as Dunn says, with great immediacy, while still providing a frame within which that subjectivity can be understood.
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At the end of the novel, we get the amazing convergence of these two voices, as Emma's self -deception becomes self -knowledge,
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as her inner voice finally aligns with what the narrator and the reader have seen all along.
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Free indirect speech is a formal innovation that changed the course of literature.
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Now, it's impossible to say who Austen influenced directly, but she effectively created a tool that thousands and thousands of authors used and still use,
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including some of the most famous ever, like George Eliot, Henry James, James Joyce, and Virginia Woolf.
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Unlike these other authors, Jane Austen is often belittled for her seemingly lightweight marriage comedies,
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but that critique misses the complex formal dynamics that are working under the surface.
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If you really want to see Austen's genius, you have to look deeper.
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You have to look at the language.
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Hey everybody, thank you so much for watching.
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If you like this video, check out my book of essays, Escape into Meaning, which is currently on sale at the link below.
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i'll see you next time.
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Woordenschat en spreektips bij deze les
Deze spreekles is gebaseerd op de video “How Jane Austen Changed Fiction Forever”. Deze woorden komen het vaakst terug: indirect, Austen, squarespace, narrator, thousand. Deze video bevat 74 zinnen en 1007 woorden om na te spreken. Het gesproken deel duurt 5:45. De spreker praat in een natuurlijk tempo van ongeveer 175 woorden per minuut, dicht bij een alledaags gesprek. Slechts 80% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden, dus de woordenschat is pittig.
Belangrijke woorden in deze video
15 woorden uit de video die het leren waard zijn, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| indirect bijvoeglijk naamwoord | /ˌɪn.daɪˈɹɛkt/ | onrechtstreeks, indirect |
| narrator zelfstandig naamwoord | /ˈnæˌɹeɪ.təɹ/ | verteller, vertelster |
| reader zelfstandig naamwoord | /ˈɹi.dɚ/ | lezer, lezeres |
| formal bijvoeglijk naamwoord | /ˈfɔɹməl/ | formeel |
| suitable bijvoeglijk naamwoord | [ˈsjuː.tə.bɫ̩] | geschikt, passend |
| phrase zelfstandig naamwoord | /ˈfɹeɪ̯z/ | uitspraak |
| spare bijvoeglijk naamwoord | /spɛɚ/ | extra |
| passage zelfstandig naamwoord | /ˈpæsɪd͡ʒ/ | passage |
| considerable bijvoeglijk naamwoord | /kənˈsɪdəɹəbl̩/ | geruim, aanzienlijk |
| gentleman zelfstandig naamwoord | /ˈd͡ʒɛn.təl.mən/ | meneer |
| technique zelfstandig naamwoord | /tɛkˈniːk/ | techniek |
| fiction zelfstandig naamwoord | /ˈfɪkʃən/ | fictie |
| potentially bijwoord | /pəˈtɛnʃ(ə)li/ | potentieel |
| remind werkwoord | /ɹəˈmaɪnd/ | herinneren |
| extraordinary bijvoeglijk naamwoord | /ɪksˈtɹɔːrdɪn(ə)ɹi/ | buitengewoon |
Phrasal verbs die je zult horen
| Woord | Betekenis |
|---|---|
| check out werkwoord | onderzoeken |
| point out werkwoord | aanwijzen, aanduiden |
Grammatica in deze video
De structuren die de spreker het meest gebruikt, met de exacte woorden uit de video:
| Structuur | In de video |
|---|---|
| Lijdende vorm be + voltooid deelwoord — het gaat om wat er gebeurt, niet om wie het doet | be emotionally involved · was known · can be understood |
| Present perfect have/has + voltooid deelwoord — iets uit het verleden dat nu nog telt | has come · have seen |
Uitspraak om op te letten
De spreker gebruikt 10 samentrekkingen en verkorte vormen, zoals you're, doesn't, we're. Spreek ze kort uit, zoals je ze hoort.
- De klanken “sh” en “zh”: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- Lange woorden — let op de klemtoon: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: pound /ˈpaʊ̯nd/, phrase /ˈfɹeɪ̯z/, passage /ˈpæsɪd͡ʒ/, remind /ɹəˈmaɪnd/, engage /ɪnˈɡeɪd͡ʒ/
- /æ/ — opener dan de Nederlandse “e”: narrator /ˈnæˌɹeɪ.təɹ/, passage /ˈpæsɪd͡ʒ/, handsome /ˈhæn.səm/, dynamics /dɑɪˈnæm.ɪks/, analytics /ˌæn.əˈlɪt.ɪks/
- /w/ — met ronde lippen: lightweight /ˈlaɪt.weɪt/, wary /ˈwɛɚ.i/, witty /ˈwɪti/, weave /wiːv/
Zo oefen je met deze video
- Luister de hele video één keer zonder te spreken en noteer de woorden die je niet kent.
- Begin op 0,75× snelheid, spreek zin voor zin na en ga terug naar normale snelheid zodra het makkelijk gaat.
- Neem jezelf op en vergelijk met het origineel; let daarbij op woorden als indirect, narrator, reader.
Wat is de Shadowing-techniek?
Shadowing is een wetenschappelijk onderbouwde taalleermethode die oorspronkelijk is ontwikkeld voor professionele tolkentraining en gepopulariseerd door polyglot Dr. Alexander Arguelles. De methode is eenvoudig maar krachtig: je luistert naar native Engelse audio en herhaalt het onmiddellijk hardop — als een schaduw die de spreker volgt met slechts 1–2 seconden vertraging. In tegenstelling tot passief luisteren of grammaticadrills, dwingt shadowing je hersenen en mondspieren om echte spraakpatronen tegelijkertijd te verwerken en te reproduceren. Onderzoek toont aan dat het de uitspraaknauwkeurigheid, intonatie, ritme, verbonden spraak, luisterbegrip en spreekvaardigheid aanzienlijk verbetert — waardoor het een van de meest effectieve methoden is voor IELTS Speaking-voorbereiding en echte Engelse communicatie.