Shadowing Practice: Virtual Egypt: The Biggest Egyptian Temple - Karnak - Learn English Speaking with Video
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The Great Temple of Amun-Ra in the site of Karnak, in the ancient city of Thebes is the grandest of all Egyptian temples.
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It was not built upon one complete plan, but owes its size, disposition and magnificence to the work of many kings.
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It is placed in an immense enclosure along with other ancillary temples that got built over time and a sacred lake, all surrounded by a wall 9 meters thick, and it is connected by an avenue of sphinxes with the temple of Luxor.
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you can see how the notion of axis and procession that was already established in the journey from the valley temple through the causeway to the pyramid, is transformed in this new building type, Egyptian temple, and in fact the procession begins long before you ever penetrate this big gate.
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We have an avenue lined with sphinxes, ram headed lion figures each protecting a small pharaoh figure between their paws, and before you even get to the sphinxes we see these two stone needles called obelisks over here, obelisks were commemorative landmarks for pharaohs made out of a single piece of stone, and in some temples behind the obelisks we see colossal statues so there are many things stretching out to the desert enforcing the notion of procession, enforcing the idea of the axis, and a gate.
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The gate in the Egyptian temples is called a pylon, and they're interesting forms because in part they're wall-like, defining the edge of a precinct, but they're also gate-like, permitting the axis to thread through.
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The temple of Amun Ra had six pairs of pylons, added by successive rulers, and consists of various courts and halls leading to the sanctuary, and a large ceremonial hall by Thutmose III in the rear.
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If you look at the pylon you might ask why does it have that shape, well, again, Egyptian architecture is mimetic of a vernacular way of building, vernacular means common to the people, so vernacular architecture is the common popular way of building.
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When I talked about the step pyramid of Djoser up on the Nile delta we saw that there was a vernacular way of building that had to do with reeds and mud and kind of weaving an architecture that then got picked up in the stone articulation of the buildings.
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Here in Karnak we don’t have the same growth of river reeds, and the vernacular Architecture might have been mud brick, and if you want to build a mud wall, it gets thicker toward the base and tapers more toward the top and you begin to get that message recapitulated in the characteristic form of the pylon.
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When you penetrate the main pylon, you’ll arrive to a great courtyard with rows of columns on both sides, and with a channel of columns in the center, enforcing the axis of the temple and the notion of procession.
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To the right is the temple of Ramesses III, whose courtyard has columns with statues of the pharaoh attached.
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The feeling of just walking inside this small temple is from another world, as it has some inscriptions that are well preserved, some still have traces of color even.
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If we go back to the main courtyard of the Amun-Ra temple, you can see that there are many sphinxes in the lateral side, these used to be part of the sphinx avenue in the entrance, but were relocated when the pylons were built.
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Beyond the courtyard is the second pylon, which gives entrance to the vast hypostyle hall built by Seti I and his son Ramesses II.
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This is the Great Hypostyle Hall in the Temple of Amon Ra, a hypostyle hall is a covered architectural enclosure supported by rows of large columns placed closely together, which can resemble a forest of columns.
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The roof of enormous slabs of stone is supported by 134 columns in 16 rows; the central avenues are about 24 meters in height and have columns 21 meters high and 3.6 meters in diameter, with capitals of the papyrus-flower, while the side avenues are lower with columns 13 meters high and 2.7 meters in diameter.
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So the central avenue is taller in order to admit light through the clerestory, which are these huge windows on the sides.
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We don’t see this method of clerestory lighting fully developed again until the middle ages in the gothic cathedrals in Europe.
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The scale of Egyptian architecture is astonishing, you go there and you really do feel something extraordinary, you have an overwhelming reaction to how small you are and how big this architecture is, and that sense of being overwhelmed by an experience of landscape or architecture is called the sublime.
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You can see that the columns are really close together.
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The tight spacing was necessary because stone cannot span very far, but it's also great, it's just as the physical experience of being around these huge columns, and getting the shade of the columns is breathtaking.
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All these columns were carved with inscriptions and reliefs in color, and give names of the royal personages who contributed to its grandeur, and praise the gods to whom it was dedicated.
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The color has mostly disappeared, but you can see here and there a few traces of it in the architecture.
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Beyond this point the temple becomes more ruinous and harder to follow, but several major features stand out, such as the obelisk of Hatshepsut, which is one of the largest obelisks in Egypt, and the sancta sanctorum, the sanctuary of the temple, where the statue of Amun was placed.
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If you continue your way toward the right, you’ll find the sacred lake, which was used by priests for ritual washing and ritual navigation, and you'll also find these precincts with more pylons, but it's worth looking for a moment at how disorganized this plan is, I mean we get the Amon Ra temple behaving in a fairly normative way, and this axis is perpendicular to the Nile River which is way over here, and so there is that same journey along the causeway from the funerary barge taking you in there, then we get certain other temples like this one where the pylons are not behaving quite so axially as we would expect from the Egyptians, and the reason for that is, a larger engagement of the site is being responded to, here it's all about the Nile and the path, the procession, here it's all about making a connection to another temple precinct, a pre-existing temple complex, so sometimes, when you start analyzing buildings, you might look at something, and you couldn’t find a way of making sense out of it, like why this thing is so messy?
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but if you find a site plan and you find information, you might get it, that the local condition is compromised to make sense out of the regional condition or the larger site idea, so some of those things are happening over here.
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Let's look at the type of Middle and New Kingdom Egyptian temple.
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Temples were of two main classes; the mortuary temples, for ministrations to deified pharaohs; and cult temples, for the popular worship of ancient gods.
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But by the New Kingdom, both mortuary and cult temples had most features in common.
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We have some constituent parts that are conserved regardless of how much difference we have, like the notion of the threshold, the pylon, that begins to structure a procession in a hierarchical fashion, you can read the pylons in plan because they are these massively thick walls, and then you get a series of hypostyle halls, that you can also read in plan because they’re these halls full of columns.
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Constituent parts laid out in quite different ways spatially, but nonetheless close enough to the normative type to deserve that title of Egyptian temple.
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This is the temple of Khonsu, located here in a corner of the Amon Ra complex, and this one's good to look at because it's so clear, the Amon Ra temple is so big and messy that it’s hard to read the type in its clarity.
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If we look closely to these temples we can begin to see ideas of organization that go beyond the simple notion that there's a big axis, we see how hierarchy is established by this telescoping scale, and by telescoping scale I mean spaces gathered together and made more and more condensed, so we have the world out here, we have the channel of space here, we have a courtyard surrounded by a double colonnade on three sides, we have this hall full of columns called hypostyle hall, smaller chambers that become more and more condensed like a telescope, so the size of the space in plan enforces the sense that this is hierarchically more and more exclusive, and if you look at the section this telescoping action is happening in two ways, the floor is stepping up, the roof is stepping down, you're getting more and more compressed.
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So, as you penetrate and move forward through the temple, you keep walking through increasingly darker, increasingly smaller rooms that have lower and lower ceilings, and at the end, there was the statue of Amun and his solar vessel, that were processioned throughout the city, dressed in rich garments and smeared with ointments and perfumes, so the sanctuary felt like a small, dark, and silent place, just like the humid and silent depths of the earth, where Amun, the subterranean and hidden god got his power.
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If you'd like to see some of the pictures I took in these amazing sites go follow me on Instagram, because I've been posting a lot of images from Egypt and from other incredible places.
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Thanks for watching, please support me with a like, and I'll see you very soon, goodbye!
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Woordenschat en spreektips bij deze les
Deze spreekles op niveau C1 is gebaseerd op de video “Virtual Egypt: The Biggest Egyptian Temple - Karnak”. Deze woorden komen het vaakst terug: temple, columns, pylon, hall, Egyptian. Deze video bevat 37 zinnen en 1639 woorden om na te spreken. Het gesproken deel duurt 9:50. De spreker praat in een natuurlijk tempo van ongeveer 167 woorden per minuut, dicht bij een alledaags gesprek. Slechts 75% van de woorden hoort bij de 3.000 meest gebruikte Engelse woorden, dus de woordenschat is pittig.
Belangrijke woorden in deze video
De 15 moeilijkste woorden uit de video, met uitspraak en betekenis:
| Woord | Uitspraak | Betekenis |
|---|---|---|
| procession zelfstandig naamwoord | /pɹəˈsɛʃən/ | processie, stoet |
| axis zelfstandig naamwoord | /ˈæksɪs/ | as |
| meter zelfstandig naamwoord | /ˈmitəɹ/ | meter, teller |
| obelisk zelfstandig naamwoord | /ˈɑbəlɪsk/ | obelisk |
| sphinx zelfstandig naamwoord | /ˈsfɪŋks/ | sfinx |
| vernacular zelfstandig naamwoord | /vɚˈnækjəlɚ/ | landstaal, volkstaal |
| courtyard zelfstandig naamwoord | /ˈkɔɹt.jɑɹd/ | binnenplaats, hof |
| pharaoh zelfstandig naamwoord | /ˈfɛɹ(ˌ)oʊ/ | farao |
| telescope zelfstandig naamwoord | /ˈtɛl.əˌskoʊp/ | telescoop, kijker |
| enforce werkwoord | /ɪnˈfoɹs/ | handhaven |
| statue zelfstandig naamwoord | /ˈstæt͡ʃu/ | standbeeld |
| penetrate werkwoord | /ˈpɛnɪtɹeɪt/ | indringen, penetreren |
| precinct zelfstandig naamwoord | /ˈpɹisɪŋkt/ | omsloten ruimte |
| clerestory zelfstandig naamwoord | /ˈklɪəɹ.stɔːɹi/ | lichtbeuk |
| condense werkwoord | /kənˈdɛns/ | verdichten |
Phrasal verbs die je zult horen
| Woord | Betekenis |
|---|---|
| step down werkwoord | aftreden, een stap opzij zetten |
| step up werkwoord | versnellen, verhogen |
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 | was not built · is placed · was already established |
| Betrekkelijke bijzinnen who / which + zin — extra informatie over een persoon of ding | together, which can · clerestory, which are · Hatshepsut, which is |
Uitspraak om op te letten
De spreker gebruikt 14 samentrekkingen en verkorte vormen, zoals they're, you'll, don't. Spreek ze kort uit, zoals je ze hoort.
- De “th”-klanken: breathtaking /ˈbɹɛθˌteɪ.kɪŋ/, cathedral /kəˈθiːdɹəl/, threshold /ˈθɹɛʃ(h)oʊld/, nonetheless /ˌnʌnðəˈlɛs/
- De klanken “sh” en “zh”: procession /pɹəˈsɛʃən/, inscription /ɪnˈskɹɪpʃən/, enclosure /ɛnˈkloʊʒəɹ/, articulation /ɑɹˌtɪk.jəˈleɪ.ʃən/, astonish /əˈstɑnɪʃ/
- Lange woorden — let op de klemtoon: vernacular /vɚˈnækjəlɚ/, sanctuary /ˈsæŋkt͡ʃuˌɛɹi/, mortuary /ˈmɔɹt͡ʃəˌwɛɹi/, diameter /daɪˈæmɪdɚ/, ancillary /ænˈsɪl.ə.ɹiː/
Klanken die Nederlandstaligen lastig vinden:
- Stemhebbende eindmedeklinker — /b/, /d/, /g/, /z/, /v/ niet verscherpen: columns /ˈkɑləmz/, courtyard /ˈkɔɹt.jɑɹd/, normative /ˈnɔːmətɪv/, pyramid /ˈpɪɹ.ə.mɪd/, surround /səˈɹaʊnd/
- /æ/ — opener dan de Nederlandse “e”: axis /ˈæksɪs/, vernacular /vɚˈnækjəlɚ/, statue /ˈstæt͡ʃu/, sanctuary /ˈsæŋkt͡ʃuˌɛɹi/, diameter /daɪˈæmɪdɚ/
- /g/ — een harde plofklank, geen Nederlandse “g”: disorganized /dɪsˈɔːɡənaɪzd/, grandeur /ˈɡɹæn.d͡ʒɚ/, magnificence /mæɡˈnɪfɪsəns/, garment /ˈɡɑɹmənt/, navigation /nævɪˈɡeɪʃən/
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 procession, axis, meter.
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.