Prática de Shadowing: Ancient Chinese Wisdom to Calm Your Modern Mind - Aprenda a falar inglês com vídeo
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The End Once we stop learning in order to pass exams or to impress daunting people, we are ready for the best kind of education.
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The kind that's done for our own sakes, to strengthen us for the difficulties of our lives,
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to make us feel less sad and less alone.
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And it's here that we stand to derive much benefit from classical Chinese culture,
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in particular its painting, poetry, ceramics and philosophy.
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Despite the barriers of time and language, we are liable to discover many friends and familiar emotions that can illuminate neglected,
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important corners of our own deep selves.
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are five big ideas that the classical Chinese kept stressing for their benefit and now may serve our own.
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Firstly, how very small we are.
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The great Chinese artists never allowed themselves to forget
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that we are infinitesimal beings in a vast and mysterious universe and that this frightening thought,
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well handled, is in fact the route to salvation.
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They constantly show us vast landscapes against which humans barely make a mark.
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We have to search for them amidst gigantic mountains, rivers, boulders and forests.
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We loom so large in our own imaginations day to day.
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But under the wise tutelage of the Chinese masters, we are returned to more appropriate and more manageable dimensions.
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We relearn how little we matter.
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We can gain relief from seeing just how puny our ego-driven plans are in a world that's so much older,
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more majestic and more incomprehensible than we ordinarily recall while under the spell of our illusory ambitions.
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What does it matter who is famous and who obscure, who celebrated and who disgraced,
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when we are as earthworms or twigs next to the mighty southern mountains whose peaks are constantly shrouded in fast-flowing mists.
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Can we continue to care about personal achievement when nature is
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so resolutely indifferent to everything that we are and attempt to be.
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The artists of classical China were committed to tempering our distressing egoism and vanity by contemplating us from a new, fairer perspective.
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Secondly, sadness.
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A redeeming air of melancholy suffuses classical Chinese culture.
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Here, unlike Back in our own era and societies, we no longer have to smile when we would prefer to cry or be mute.
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The Chinese did not aggressively repudiate their own grief.
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They understood, from a Buddhist and Taoist perspective, that the ingredients of life are inherently rather than accidentally pretty serious.
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The gap between our aspirations and reality will always be vast.
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We will love those who cannot love us back, our friends and lovers will die, our own bodies are fast decaying.
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Far from making us sad, the sadness of the Chinese sages helps us to feel less alone and less persecuted with our own range of sorrows.
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We have not been handed some especially cruel fate.
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This is the way existence is, in and of its essence, when we are ready to throw off sentimental illusions.
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Here is the poet Wang Wei, reflecting on the passage of time.
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The poem is called Lamenting White Hairs.
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Once a child's face, now an old man's, White hairs soon replace the infant's down.
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How much can hurt the heart in one life span?
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The favourite seasons for the Chinese sages were autumn and winter, time when nature reminds us all of our adherence to nature's life cycles.
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Here is Su Shi drawing appropriately melancholy thoughts from this.
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The sunset clouds are gathered far away.
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It's clear and cold.
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The Milky Way is silent.
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I turn to the jade plate.
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The goodness of this life and of this night will not last for long.
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Next year, where will I watch the bright moon?
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Death is a constant in Chinese culture and it rips at all our plans for tenderness and love.
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giving way to sadness for an old friend.
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We followed you back for your burial on Mount Shiloh, and then through the greens of oaks and pines we rode away home.
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Your bones are there under the white clouds until the end of time, and there is only the stream that flows down to the world of men.
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Thirdly, open-heartedness.
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There is something immensely touching in how emotionally vulnerable the great figures of Chinese culture allowed themselves to be.
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We might imagine older societies to wear a stiff military upper lip.
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Surely back then they didn't cry over small things.
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They were not as soft-hearted as we know we are deep down.
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But far from it.
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The Chinese knew how to speak with near childlike honesty of what made them cry.
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And it was much the same as what makes us cry cry.
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Here is Wang Wei in the 8th century AD writing with acute,
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entirely modern, clear-eyed sensitivity about his emotions on watching a young man leaving his family to study in a faraway city.
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Green, green the willowed road, the road where they're separating, a loved son off for far provinces, old parents left at home.
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He must go or they couldn't live, but his going revives their grief.
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Tears dried, he must catch up with his companions.
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At last the carriage passes out of sight, but still at times there's the dust thrown up from the road.
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I too, long ago, said goodbye to my family, and when I see this, my handkerchief is wet with tears.
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Fourthly, we can cope with simple things.
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The classical Chinese lived in a highly unpredictable world.
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In the capital, the emperor in his court could be the route to vast riches and status.
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But politics and business were especially treacherous, and reversals of fortune were common.
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In order to calm themselves, the classical Chinese artists emphasised the satisfactions that were already available on a modest salary.
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Not in order to negate every kind of achievement,
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but in order to quieten their worries and comfort themselves with the idea that even in infamy and exile,
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there would still be much left to appreciate.
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There was a long tradition of people who'd fallen out of favour in important circles, leaving town and going to settle in remote provinces.
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This wasn't depicted as a punishment, pure and simple.
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In many ways, it could be a liberation.
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Artists depicted materially bare lives, unfolding in unshowy, uncostly small huts set within the majesty of nature.
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Chinese culture chose to celebrate simple elements like birds, rabbits, bamboo forests, flowers and the sight of the moon.
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No lesser figure than the 12th century emperor Huizong gained relief from painting vast numbers of finches in his palace garden.
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In order to make the most of their simple pleasures, Chinese artists invented particular rituals, for example, moon gazing, whereby one would sit,
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perhaps with a friend, and contemplate the moon for hours at a time on a veranda of one's house.
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And one might, in a similar manner, contemplate the ebb and flow of the tides.
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Fifthly, a cult of calm and simplicity.
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The Chinese had an extremely turbulent history.
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Civil wars regularly broke out.
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Invaders came from the north and west.
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In the midst of turmoil, they, like we, longed for calm.
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They wanted emptiness, purity, rest, everything their own lives had too little of.
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And one of the places they went to look for calm was in an arena
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that can powerfully move us to this day – pottery.
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The ceramicists of classical china could, when the occasion demanded it, create noisy, highly decorated pieces full of dragons and phoenixes.
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But what they really loved, and what we in turn loved them for, are those occasions when they created exquisitely pure,
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empty pieces of pottery in which we can bathe in expanses of milky green
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or bluey silver or playful yellow and attenuate some of our sorrows, confusion and anxiety.
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To our surprise, perhaps, We suffer today much as the Chinese suffered in their classical era.
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And we can look to their ingenuity and kindness to still our anxieties and appease our sense of loss and regret.
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We should study them not for knowledge's sake but with the highest ambition as a form of therapy.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível B2 usa o vídeo “Ancient Chinese Wisdom to Calm Your Modern Mind”. As palavras que mais se repetem: Chinese, classical, vast, cry, artists. Este vídeo tem 97 frases e 1354 palavras para praticar shadowing. A fala dura 9:23. O falante mantém um ritmo estável de cerca de 144 palavras por minuto, confortável para o shadowing. Apenas 77% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| contemplate verbo | /ˈkɑn.təmˌpleɪt/ | contemplar |
| sadness substantivo | /ˈsædnəs/ | tristeza |
| depict verbo | /dɪˈpɪkt/ | representar, retratar |
| melancholy substantivo | /ˈmɛl.ənˌkɑ.li/ | melancolia |
| milky adjetivo | /ˈmɪlki/ | leitoso |
| amidst | /aˈmɪdst/ | entre, no meio de |
| pottery substantivo | /ˈpɑtəɹi/ | cerâmica |
| sorrow substantivo | /ˈsɑɹoʊ/ | tristeza, mágoa |
| sage substantivo | /seɪd͡ʒ/ | sálvia, salva |
| ambition substantivo | /æmˈbɪʃ.ən/ | ambição |
| grief substantivo | /ɡɹiːf/ | pesar, mágoa |
| emotion substantivo | /ɪˈməʊ.ʃən/ | emoção |
| adherence substantivo | /ədˈhɪə.ɹəns/ | aderência |
| appease verbo | /əˈpiːz/ | apaziguar |
| aspiration substantivo | /ˌæspəˈɹeɪʃən/ | aspiração |
Pronúncia para ficar de olho
O falante usa 5 contrações e formas reduzidas, como couldn't, didn't, they're. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: earthworm /ˈɜː(ɹ)θˌwɜː(ɹ)m/, fourthly /ˈfɔːɹθ.li/, strengthen /ˈstɹɛŋ(k)θən/
- Os sons de “sh” e “zh”: ambition /æmˈbɪʃ.ən/, emotion /ɪˈməʊ.ʃən/, aspiration /ˌæspəˈɹeɪʃən/, liberation /ˌlɪbəˈɹeɪʃən/, illusion /ɪˈl(j)uːʒ(ə)n/
- Palavras longas — acerte a sílaba tônica: melancholy /ˈmɛl.ənˌkɑ.li/, aspiration /ˌæspəˈɹeɪʃən/, attenuate /əˈtɛn.juˌeɪt/, egoism /ˈi.ɡoʊˌɪ.zəm/, illuminate /ɪˈl(j)umɪneɪt/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: contemplate /ˈkɑn.təmˌpleɪt/, depict /dɪˈpɪkt/, amidst /aˈmɪdst/, attenuate /əˈtɛn.juˌeɪt/, childlike /ˈt͡ʃaɪldlaɪk/
- /l/ final — a língua toca o céu da boca, não vira “u”: incomprehensible /ɪnˌkɑmpɹəˈhɛnsɪb(ə)l/, infinitesimal /ˌɪnfɪnɪˈtɛsɪməl/, manageable /ˈmænəd͡ʒəb(ə)l/, turmoil /ˈtɜːmɔɪl/, exile /ˈɛɡˌzaɪl/
- /h/ — um sopro suave, diferente do “r”: adherence /ədˈhɪə.ɹəns/, handkerchief /ˈhæŋkəːt͡ʃɪf/, heartedness /ˈhɑːɹ.təd.nəs/, incomprehensible /ɪnˌkɑmpɹəˈhɛnsɪb(ə)l/, inherently /ɪnˈhɛɹəntli/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Faça shadowing frase por frase na velocidade normal, repetindo cada uma até o seu ritmo ficar igual ao do falante.
- Grave a sua voz e compare com o original, prestando atenção a palavras como contemplate, sadness, depict.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.