Prática de Shadowing: How Jane Austen Changed Fiction Forever - Aprenda a falar inglês com vídeo
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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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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “How Jane Austen Changed Fiction Forever”. As palavras que mais se repetem: indirect, Austen, squarespace, narrator, thousand. Este vídeo tem 74 frases e 1007 palavras para praticar shadowing. A fala dura 5:45. O falante fala em ritmo natural, cerca de 175 palavras por minuto, próximo de uma conversa do dia a dia. Apenas 80% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| indirect adjetivo | /ˌɪn.daɪˈɹɛkt/ | indireto |
| narrator substantivo | /ˈnæˌɹeɪ.təɹ/ | narrador |
| reader substantivo | /ˈɹi.dɚ/ | leitor, leitora |
| formal adjetivo | /ˈfɔɹməl/ | formal |
| suitable adjetivo | [ˈsjuː.tə.bɫ̩] | apropriado, favorável |
| phrase substantivo | /ˈfɹeɪ̯z/ | expressão, frase |
| passage substantivo | /ˈpæsɪd͡ʒ/ | passagem, trecho |
| considerable adjetivo | /kənˈsɪdəɹəbl̩/ | considerável |
| gentleman substantivo | /ˈd͡ʒɛn.təl.mən/ | senhor, cavalheiro |
| critique substantivo | /kɹɪˈtiːk/ | crítica |
| respectable adjetivo | [ɹɪˈspɛk.tə.bl̩] | respeitável |
| technique substantivo | /tɛkˈniːk/ | técnica |
| fiction substantivo | /ˈfɪkʃən/ | literatura de ficção, ficção |
| potentially advérbio | /pəˈtɛnʃ(ə)li/ | potencialmente |
| remind verbo | /ɹəˈmaɪnd/ | lembrar, recordar |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| check out verbo | verificar, sacar só |
| point out verbo | apontar |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | be emotionally involved · was known · can be understood |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | has come · have seen |
Pronúncia para ficar de olho
O falante usa 10 contrações e formas reduzidas, como you're, doesn't, we're. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “sh” e “zh”: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- Palavras longas — acerte a sílaba tônica: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: indirect /ˌɪn.daɪˈɹɛkt/, pound /ˈpaʊ̯nd/, critique /kɹɪˈtiːk/, technique /tɛkˈniːk/, remind /ɹəˈmaɪnd/
- /l/ final — a língua toca o céu da boca, não vira “u”: formal /ˈfɔɹməl/, flexible /ˈflɛk.sɪ.bəl/, narratorial /naɹəˈtɔːɹɪəl/, belittle /bɪˈlɪt.əl/
- /h/ — um sopro suave, diferente do “r”: handsome /ˈhæn.səm/, highlight /ˈhaɪˌlaɪt/, inheritance /ɪnˈhɛɹɪtəns/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como indirect, narrator, reader.
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.