跟讀練習: How Jane Austen Changed Fiction Forever - 通過影片學習英語口語
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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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本課的詞彙與口語要點
這節口語課以影片“How Jane Austen Changed Fiction Forever”為素材。 影片中反覆出現的詞有：indirect, Austen, squarespace, narrator, thousand。 這段影片共有 74 個句子、1007 個單詞可供跟讀。 講話部分時長為 5:45。 說話人語速自然，每分鐘約 175 個詞，接近日常對話。 只有 80% 的單詞屬於英語最常用的 3,000 詞，詞彙難度較高。
影片中的重點詞彙
影片中 15 個值得學習的單詞，附發音和釋義：
| 單詞 | 發音 | 釋義 |
|---|---|---|
| indirect 形容詞 | /ˌɪn.daɪˈɹɛkt/ | 間接 /間接 |
| narrator 名詞 | /ˈnæˌɹeɪ.təɹ/ | 敘述者 /敘述者, 講述者 /講述者 |
| reader 名詞 | /ˈɹi.dɚ/ | 讀者 /讀者 |
| formal 形容詞 | /ˈfɔɹməl/ | 正式 |
| suitable 形容詞 | [ˈsjuː.tə.bɫ̩] | 合適 /合適, 適當 /適當 |
| phrase 名詞 | /ˈfɹeɪ̯z/ | 短語 /短語, 片語 /片語 |
| passage 名詞 | /ˈpæsɪd͡ʒ/ | 片斷 /片斷, 片段 |
| considerable 形容詞 | /kənˈsɪdəɹəbl̩/ | 可觀 /可觀 |
| gentleman 名詞 | /ˈd͡ʒɛn.təl.mən/ | 先生 |
| respectable 形容詞 | [ɹɪˈspɛk.tə.bl̩] | 受人尊敬的, 可敬 |
| technique 名詞 | /tɛkˈniːk/ | 技術 /技術, 技巧 |
| fiction 名詞 | /ˈfɪkʃən/ | 虛構文學 /虛構文學, 小說 /小說 |
| remind 動詞 | /ɹəˈmaɪnd/ | 提醒 |
| extraordinary 形容詞 | /ɪksˈtɹɔːrdɪn(ə)ɹi/ | 非凡, 了不起 |
| genius 名詞 | /ˈd͡ʒin.jəs/ | 人才, 天才 |
影片中出現的短語動詞
| 單詞 | 釋義 |
|---|---|
| check out 動詞 | 退房 |
| point out 動詞 | 指, 指出 |
影片中的語法
說話人最常用的結構，並附上影片中的原話：
| 結構 | 影片中的用法 |
|---|---|
| 被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的 | be emotionally involved · was known · can be understood |
| 現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事 | has come · have seen |
需要注意的發音
說話人用了 10 次縮略和弱讀形式，例如 you're, doesn't, we're。請按聽到的簡短形式來說。
- “sh” 和 “zh” 音: fiction /ˈfɪkʃən/, potentially /pəˈtɛnʃ(ə)li/, innovation /ˌɪn.əˈveɪ.ʃən/, sufficient /səˈfɪʃənt/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
- 長單詞——注意重音位置: considerable /kənˈsɪdəɹəbl̩/, potentially /pəˈtɛnʃ(ə)li/, extraordinary /ɪksˈtɹɔːrdɪn(ə)ɹi/, innovation /ˌɪn.əˈveɪ.ʃən/, consistently /kənˈsɪstəntli/
中文母語者容易讀錯的音：
- /v/ — 不要讀成 /w/，上齒輕觸下唇: innovation /ˌɪn.əˈveɪ.ʃən/, revolutionary /ˌɹɛvəˈluʃənɛɹi/, inconvenience /ɪnkənˈvinjəns/, intuitive /ɪnˈtjuːɪtɪv/, weave /wiːv/
- 詞尾子音 — 要讀清楚，後面不要加母音: indirect /ˌɪn.daɪˈɹɛkt/, pound /ˈpaʊ̯nd/, phrase /ˈfɹeɪ̯z/, passage /ˈpæsɪd͡ʒ/, critique /kɹɪˈtiːk/
- /r/ 和 /l/ 的區別: formal /ˈfɔɹməl/, considerable /kənˈsɪdəɹəbl̩/, respectable [ɹɪˈspɛk.tə.bl̩], explore /ɪkˈsploɹ/, revolutionary /ˌɹɛvəˈluʃənɛɹi/
如何用這段影片練習
- 先完整聽一遍影片，不要開口，記下不認識的單詞。
- 先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
- 錄下自己的聲音並與原聲對比，特別注意 indirect, narrator, reader 這類單詞。
什麼是跟讀法？
跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。