Prática de Shadowing: The Secret Garden Chapter Three - Aprenda a falar inglês com vídeo
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The Secret Garden by Frances Hodgson, Burnett, Chapter 3
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Across the Moor She slept a long time, and when she awakened, Mrs. Medlock had bought a lunch basket at one of the stations,
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and they had some chicken and cold beef and bread and butter, and some hot tea.
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The rain seemed to be streaming down more heavily than ever, and everybody in the station wore wet and glistening waterproofs.
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The guard lighted the lamps in the carriage, and Mrs. Medlock cheered up very much over her tea and chicken and beef.
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She ate a great deal, and afterward fell asleep herself, and Mary sat and stared at her, and watched her fine bonnet slip on one side,
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until she herself fell asleep once more in the corner of the carriage, lulled by the splashing of the rain against the windows.
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It was quite dark when she awakened again.
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The train had stopped at a station and Mrs. Medlock was shaking her.
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You have had a sleep, she said.
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It's time to open your eyes.
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We're at Thwaite Station and we've got a long drive before us.
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Mary stood up and tried to keep her eyes open while Mrs. Medlock collected her parcels.
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The little girl did not offer to help her, because in India, native servants always picked up or carried things,
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and it seemed quite proper that other people should wait on one.
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The station was a small one, and nobody but themselves seemed to be getting out of the train.
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The station master spoke to Mrs Medlock in a rough, good -natured way, pronouncing his words in a queer, broad fashion, which
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Mary found out afterward was Yorkshire.
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I see thou's got back, he said, and thou's brought the young 'n with thee.
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Aye, that's her, answered Mrs Medlock, speaking with a Yorkshire accent herself, and jerking her head over her shoulder toward Mary.
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How's the missus?
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Wellie now, the carriage is waiting outside for thee.
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A brougham stood on the road before the little outside platform.
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Mary saw that it was a smart carriage and that it was a smart footman who helped her in.
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His long waterproof coat and the waterproof covering of his hat were shining and dripping with rain,
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as everything was the burly stationmaster included.
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When he shut the door, mounted the box with the coachman and they drove off, the little girl found herself seated in a comfortably cushioned corner,
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but she was not inclined to go to sleep again.
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She sat and looked out of the window,
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curious to see something of the road over which she was being driven to the queer place Mrs. Medlock had spoken of.
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She was not at all a timid child, and she was not exactly frightened,
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but she felt that there was no knowing what might happen in a house with a hundred rooms nearly all shut up,
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a house standing on the edge of a moor.
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What is a moor, she said suddenly to Mrs Medlock.
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Look out of the window in about ten minutes and you'll see, the woman answered.
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We've got to drive five miles across Missalmoor before we get to the manor.
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You won't see much because it's a dark night, but you can see something.
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Mary asked no more questions, but waited in the darkness of her corner, keeping her eyes on the window.
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The carriage lamps cast rays of light a little distance ahead of them, and she caught glimpses of the things they passed.
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After they had left the station, they had driven through a tiny village, and she had seen whitewashed cottages and the lights of a public house.
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Then they had passed a church and a vicarage and a little shop window, or so, in a cottage,
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with toys and sweets, and odd things set out for sale.
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Then they were on the high road and she saw hedges and trees.
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After that, there seemed nothing different for a long time, or at least it seemed a long time to her.
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At last the horses began to go more slowly, as if they were climbing uphill,
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and presently there seemed to be no more hedges and no more trees.
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She could see nothing, in fact, but a dense darkness on either side.
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She leaned forward and pressed her face against the window, just as the carriage gave a big jolt.
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Eee, we're on the moor now, sure enough, said Mrs Medlock.
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The carriage lamps shed a yellow light on a rough -looking road, which seemed to be cut through bushes,
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and low -growing things, which ended in the great expanse of dark, apparently spread out before and around them.
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A wind was rising and making a singular wild low rushing sound.
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It's...
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It's not the sea, is it? said
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Mary, looking round at her companion.
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No, not it, answered Mrs Medlock.
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Nor it isn't fields nor mountains.
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It's just miles and miles and miles of wild land
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that nothing grows on but heather and gorse and broom and nothing lives on but wild ponies and sheep.
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I feel as if it might be the sea, if there were water on it, said Mary.
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It sounds like the sea just now.
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That's the wind blowing through the bushes, Mrs Medlock said.
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It's a wild, dreary enough place to my mind, though there's plenty that likes it, particularly when the heather's in bloom.
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On and on they drove through the darkness, and though the rain stopped, the wind rushed by and whistled and made strange sounds.
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The road went up and down, and several times the carriage passed over a little bridge,
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beneath which water rushed very fast with a great deal of noise.
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Mary felt as if the drive would never come to an end
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and that the wide bleak moor was a wide expanse of black ocean through
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which she was passing on a strip of dry land.
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I don't like it, she said to herself.
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I don't like it.
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And she pinched her thin lips more tightly together.
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The horses were climbing up a hilly piece of road when she first caught sight of a light.
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Mrs Medlock saw it as soon as she did and drew a long sigh of relief.
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Hey, I am glad to see that bit of light twinkling, she exclaimed.
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It's the light in the lodge window.
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We shall get a good cup of tea after a bit at all events.
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It was after a bit, as she said, for when the carriage passed through the park gates,
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there were still two miles of avenue to drive through, and the trees, which nearly met overhead,
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made it seem as if they were driving through a long, dark vault.
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They drove out of the vault into a clear space
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and stopped before an immensely long but low -built house which seemed to ramble round a stone court.
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At first Mary thought that there were no lights at all in the windows,
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but as she got out of the carriage she saw that one room in a corner upstairs showed a dull glow.
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The entrance door was a huge one, made of massive curiously shaped panels of oak,
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studded with big iron nails and bound with great iron bars.
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It opened into an enormous hall, which was so dimly lighted,
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that the faces in the portraits on the walls and the figures in the suits of armour,
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made Mary feel that she did not want to look at them.
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As she stood on the stone floor, she looked a very small,
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odd little black figure, and she felt as small and lost and odd as she looked.
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A neat, thin old man stood near the manservant who opened the door for them.
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You are to take her to her room, he said in a husky voice.
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He doesn't want to see her.
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He's going to London in the morning.
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Very well, Mr. Pitcher, Mrs. Medlock answered so long as I know what's expected of me I can manage.
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What's expected of you, Mrs. Medlock, Mr. Pitcher said,
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is that you make sure that he's not disturbed and that he doesn't see what he doesn't want to see.
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And then Mary Lennox was led up a broad staircase
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and down a long corridor and up a short flight of steps
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and through another corridor and another until a door opened in a wall
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and she found herself in a room with a fire in it and a supper on a table.
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Mrs. Medlock said unceremoniously, Well, here you are.
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This room and the next are where you'll live and you must keep to them.
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Don't you forget that.
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It was in this way
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Mistress Mary arrived at Misselthwaite Manor and she had perhaps never felt quite
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so contrary in all her life and so ends the third chapter of Mary Lennox's story.
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Chapter 4 Martha is just around the corner.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “The Secret Garden Chapter Three”. As palavras que mais se repetem: Medlock, Mary, carriage, window, seemed. Este vídeo tem 109 frases e 1497 palavras para praticar shadowing. A fala dura 9:05. O falante fala em ritmo natural, cerca de 165 palavras por minuto, próximo de uma conversa do dia a dia. Apenas 81% 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 |
|---|---|---|
| carriage substantivo | /ˈkæɹɪd͡ʒ/ | carruagem |
| rush verbo | /ɹʌʃ/ | apressar-se |
| darkness substantivo | /ˈdɑɹk.nɪs/ | escuridão, trevas |
| lamp substantivo | /ˈlæ̝mp/ | luminária, lâmpada |
| waterproof adjetivo | /ˈwɔt̬ɚˌpruf/ | à prova de água, impermeável |
| thin adjetivo | /ˈθɪn/ | fino |
| afterwards advérbio | /ˈæf.tɚ.wɚdz/ | depois, mais tarde |
| asleep adjetivo | /əˈsliːp/ | dormindo |
| climb verbo | /ˈklaɪ̯m/ | subir |
| cottage substantivo | /ˈkɒt.ɪd͡ʒ/ | chalé |
| vault substantivo | /vɑlt/ | abóbada |
| corridor substantivo | /ˈkɒɹɪdɔː/ | corredor |
| manor substantivo | /ˈmænəɹ/ | solar, mansão |
| hedge substantivo | /ˈhɛd͡ʒ/ | sebe, cerca viva |
| gate substantivo | /ˈɡeɪ̯t/ | portão |
Phrasal verbs que você vai ouvir
| Palavra | Pronúncia | Significado |
|---|---|---|
| cheer up verbo | animar-se | |
| find out verbo | descobrir | |
| go up verbo | subir | |
| pick up verbo | pegar | |
| shut up | /ʃʌt ʌp/ | cala a boca, cale-se |
| spread out verbo | espalhar-se | |
| stand up verbo | levantar |
Frases que vale a pena repetir
Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:
- It's time to open your eyes.
- It's not the sea, is it?
- I don't like it, she said to herself.
Pronúncia para ficar de olho
O falante usa 14 contrações e formas reduzidas, como doesn't, don't, we're. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: thin /ˈθɪn/, beneath /bɪˈniːθ/, heather /ˈhɛðɚ/
- Os sons de “sh” e “zh”: rush /ɹʌʃ/, shake /ˈʃeɪk/, sheep /ˈʃiːp/, shine /ʃaɪn/, splash /splæʃ/
- Palavras longas — acerte a sílaba tônica: curiously /ˈkjʊɹ.i.əs.li/, stationmaster /ˈsteɪʃənˈmɑːstə/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: lamp /ˈlæ̝mp/, asleep /əˈsliːp/, vault /vɑlt/, gate /ˈɡeɪ̯t/, mount /maʊnt/
- /l/ final — a língua toca o céu da boca, não vira “u”: nail /neɪl/, dull /dʌl/, whistle /ˈwɪs(ə)l/, parcel /ˈpɑɹsəl/, lull /lʌl/
- /h/ — um sopro suave, diferente do “r”: hedge /ˈhɛd͡ʒ/, overhead /ˈəʊvəˌhɛd/, heather /ˈhɛðɚ/, hilly /ˈhɪli/, husky /ˈhʌs.ki/
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 carriage, rush, darkness.
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.