跟讀練習: The Ghibli Lesson About Relationships - 通過影片學習英語口語

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I've never been a fan of the idea that films should always end with a happily ever after.

我向來不認同電影就該永遠以幸福圓滿收尾的觀點。

Not because I don't think it's a wonderful idea in a vacuum, but because more often than not, it doesn't feel real to me.

倒不是說我從理論上不覺得這是個好主意，而是大多數時候，我都覺得這事兒不切實際。

It's fine as a concept for toddlers, but for anyone who's lived an adult life, it doesn't feel like it relates at all to the experience of being human.

這個理念對幼兒來說還算合理，但對任何有過成年生活經歷的人而言，它完全無法讓人產生共鳴，和真實的人類體驗毫無關聯。

Happily ever after implies that there's some sort of forever ending that exists, but how many people actually stay in your life forever?

從此幸福快樂往往意味著存在某種永恆的結局，但又有多少人真的會永遠留在你的生命裡呢？

Maybe your family, maybe your closest friends, maybe your partner, and I say maybe because even these are not a given.

或許是你的家人，或許是你最親密的朋友，或許是你的伴侶，我之所以說“或許”，是因為即便是這些人，也不是理所當然會存在的。

Family can be a source of grief that's better cut off.

有些家庭帶來的痛苦，不如徹底斷絕關係來得好。

Friends can drift even without negative feelings, and relationships can end even after years of happiness.

即使沒有負面情緒，朋友也可能漸行漸遠；即便歷經多年幸福，感情也可能走向終結。

Now if all of that sounds bleak or depressing, I don't mean it to.

如果這一切聽起來有些黯淡或令人沮喪，那並不是我的本意。

In fact, I want to talk to you about the opposite.

其實，我想和你談的恰恰相反。

I want to talk to you about how even if someone isn't in your life forever, that doesn't mean that the value they bring to your life is lessened.

我想和你聊聊，即便某個人不會永遠留在你的生命裡，也不代表他給你帶來的價值會因此減少。

That's why I want to talk to you about Studio Ghibli films, in particular Arrietty and Spirited Away,

這就是為什麼我想和你聊聊吉卜力工作室的電影，特別是《借東西的小人阿莉埃蒂》和《千與千尋》。

because they speak to me in a way that feels much more profound and much more human.

因為它們與我交流的方式，感覺要深刻得多，也更有人情味。

They don't have happily ever after endings, they don't try to pretend that the characters will forever now live in love and harmony,

它們沒有從此幸福快樂地生活下去的結局，也不會試圖假裝角色們從此會永遠生活在愛與和諧之中。

and that's why I want to talk to you about transient relationships in our lives.

正因如此，我想和你聊聊我們生命中那些轉瞬即逝的關係。

In other words, relationships that come and go, and how sometimes someone not being in your life forever might actually be the good outcome

換句話說，那些來來去去的人際關係，以及有時某個人不會永遠留在你的生命裡，反而可能是最好的結局。

that gives you even more value than if they had stayed happily ever after.

這帶給你的價值，甚至比他們從此幸福地生活在一起還要高。

Before I ramble on philosophically, and there will be a lot of that, let's first look at the details of the film Arrietty.

在我開始漫談哲學之前——後面會有不少這類討論——我們先來看看《借東西的小人阿莉埃蒂》這部電影的細節。

Arrietty follows the journey of the titular Arrietty, a 14 -year -old girl who is a borrower,

《借東西的小人阿莉埃蒂》講述了同名主角阿莉埃蒂的成長曆程，她是一名14歲的借物族少女。

a species of little people who survive in the homes of humans by borrowing objects around the house that humans wouldn't miss,

這是一種小人族，它們靠在人類家中借用那些人類不會留意的物品為生，以此在人類的住所裡生存下去。

like little bits of food or knickknacks from which they can make their clothes and furniture.

比如一些零碎的食物或小玩意兒，他們可以用這些東西製作衣服和傢俱。

At the start of the film, Arrietty is now old enough to go on her first borrowing, but as she's doing so, she is spotted by Sho,

影片一開始，阿麗埃蒂已經長到可以第一次外出借東西的年紀了，可就在她行動的時候，被翔發現了。

a young boy who himself has just arrived in his aunt's house.

一個剛到姑媽家的小男孩。

Sho is a gentle soul who is awaiting an impending heart operation to save his life.

翔是一個性格溫和的人，他正在等待一場即將到來的、用以挽救他生命的心臟手術。

But the borrowers have a rule.

但借款方有一條規則。

They cannot be spotted by humans.

人類無法發現它們。

If they are, they up and move to a different house for fear of their own safety.

如果情況屬實，他們會因為擔心自身安全而立刻搬到另一所房子裡。

But Sho means her no harm.

但Sho對她並無惡意。

He is instantly fascinated by Arrietty and wants to protect and provide for her, offering her a little sugar cube which she was caught borrowing when he first spots her.

他立刻對阿麗埃蒂產生了好感，想要保護她、供養她，還送給她一小塊方糖——他第一次發現她時，她正被撞見在“借”這塊方糖。

But the maid of the house, Haru, is the threat that the borrowers fear about and sets about trying to capture them, hoping to punish them for the things they've been taking from around the house.

但這戶人家的女僕春，正是這些借物一族所懼怕的威脅，她開始著手試圖抓住他們，希望能懲罰他們從屋子裡各處拿走東西的行為。

Eventually she succeeds and captures Arrietty's mother, Homily.

最終她成功了，抓走了阿麗埃蒂的母親霍米莉。

That's when Arrietty asks Sho for help, who diligently helps Arrietty save her mother and shortly after leave to find a different home.

就在那時，阿莉埃蒂向翔求助，翔盡心盡力地幫助阿莉埃蒂救出了她的母親，之後不久他們便動身去尋找另一個家。

But before she leaves forever, Arrietty stops to have a final goodbye with Sho.

但在她永遠離開之前，阿麗埃蒂停下來與翔做最後的告別。

They thank the other for the role they've played in one another's lives and then go their separate ways.

他們感謝彼此在對方生命中扮演的角色，然後各自踏上不同的人生道路。

Sho to have his operation and hopefully live a long life

翔將接受手術，希望他能長壽。

and Arrietty to move to a different house and try

阿莉埃蒂也不得不搬到另一棟房子，試著開始新的生活。

and find other borrowers so that they may survive as a species and that's where the movie ends.

然後找到其他借物小人，讓這個物種得以延續，電影就在這裡結束了。

There's no walking into the sunset together

我們根本沒法一起攜手走向夕陽。

and far from some promise of meeting again someday they both seem to know

他們兩人心裡都清楚，根本不存在將來某一天還能再見面的可能。

that their paths will never cross again and yet it's clear

他們的人生軌跡再也不會有交集，可這一點卻又如此清晰。

that they're not upset about this and neither should we be as the audience

他們對此並不感到不滿，作為觀眾的我們也不應該為此感到不滿。

because they've given each other something that will last regardless of their presence in one another's lives.

因為他們曾給予彼此一份無論今後是否相伴都將永存的饋贈。

In their final goodbye to each other, they both acknowledge that the other has taught them something that will stay with them forever.

在他們最後告別的時刻，兩人都承認對方教會了自己一些將永遠銘記於心的東西。

Ariechi is shown that human beings aren't all to be feared, and in fact, kindness and harmony can very much exist with them.

有裡終於明白，人類並非全都值得畏懼，事實上，善意與和諧完全可以存在於人類之中。

On top of that, he's sort of her first love, a formative experience that will no doubt shape her future relationships.

更重要的是，他算得上是她的初戀，這段成長經歷無疑會影響她未來的感情關係。

For Shou, Ariechi gives him something even more profound, the will to live.

對翔來說，有吉給予了他更為深刻的東西——活下去的意志。

He as much says so

他幾乎就是這個意思了。

that she has given him the courage to fight to stay alive

她給了他為活下去而抗爭的勇氣

and having started the movie as a frail boy resigned to his fate, he ends it as a fighter who's confident that the operation will not be his end.

影片開場時他是一個順從命運的孱弱男孩，到結尾時卻已蛻變為一名鬥士，堅信這場手術不會是他的終點。

Now, like many Studio Ghibli films, none of this is confirmed.

和許多吉卜力工作室的電影一樣，目前這些都尚未得到證實。

There is no epilogue, no one year later to show us that in fact everyone is living happily ever after.

That wouldn't be Ghibli and it wouldn't be as poetic

and profound as it is to let the audience decide for themselves what happened from this point onwards.

But we do know that the very first line of the film is from a narrator who says, I'll never forget that summer I spent a week in the old house where my mother grew up.

So we know that this is show speaking and it confirms two things to us.

One, that he does in fact survive his illness as he said he would. And secondly,

that he wasn't lying when he tells Arrietty that he will never forget her or the mark she's left on his life.

We can tell that Sho must be much older now when he says this, and yet 5, 10, 20 years later, he still remembers this one simple week of his childhood.

And you know why?

Because even though it came when he was at such a low point in his life, it was an experience that gave him everything he needed at the time.

Just because Arrietty was only in his life for a short while, it didn't diminish the profundity of the impact she had on him.

It made Sho a better person, and the internal change is just as valuable as someone's physical presence.

I think this is a really valuable lesson for all of us, whether it's children or adults.

Transient relationships are something we will all experience, and rather than regret what we didn't have, i .e a forever happy ending, we should learn to appreciate what we did get,

an experience, a journey, something that can transform and inspire us for the rest of our lives, even when that person is long since a memory.

And by not trying to force the relationship to be something it's not, Cho and Arrietty both gain something profound that is so rare to find, an instance of a perfect memory.

I want to expand on what I mean by this and if you'll indulge me for a moment, I want to talk about a poem that I studied at university

that really stuck with me because it resonates with these same themes explored in Arrietty and several Studio Ghibli films.

This is Shakespeare's Sonnet 15, a part of a series of sonnets he wrote, addressing a beautiful young man who he admires and thinks should get married

and have children so that his legacy will live on.

I'll now read to you the lines that really resonate with me.

When I consider everything that grows, holds in perfection but a little moment.

When I perceive that men as plants increase, vaunt in their youthful sap, at height decrease.

And all in war with time, for love of you, as he takes from you, I engraft you new.

What Shakespeare's saying here is that everything that grows, or everything that's alive, is perfect for only one singular moment.

Human beings like plants are to some extent growing to reach this one moment when they are at their apex.

And from that point onwards, they are forever a lesser version of themselves, fighting a losing battle against time.

To understand this idea, think of a rose which starts as a bud and grows and grows until it reaches this moment of perfect bloom.

There will come one singular moment when it can be said to be at its most beautiful, perfectly blossomed and healthy.

While there is beauty in that one moment, there's also sadness because from that point on, the rose will now never be this beautiful again.

It will slowly, minute by minute, day by day, start to wither and eventually die.

This is the inevitable losing battle against time that all living things have to face.

Shakespeare is using this argument to convince the young man he's addressing

that he should have children while he's at this perfect moment of bloom, because the kids will be a way for him to win the battle against time.

By having children, he will pass something of himself onto a new form of life, thus making him immortal in a way.

But he also suggests a second way in the last line, I engraft you new, meaning the poem itself.

By writing about the young man, Shakespeare has also immortalized him.

And you can say he was pretty correct since we're still talking about him over 400 years later.

Well to bring all of this back to our Ghibli movies I'd like to suggest a third way to immortalize someone.

Memories.

If what I described in the poem sounds a little bittersweet I don't think it has to be viewed

that way because in life there are so few perfect things that exist but memories I'd argue can be one of them.

I have several memories that I'd call perfect and I hope you watching have those.

Moments in our lives, especially those shared with other people, where we felt nothing but joy.

Something about the experience stays magical for us in a way that can never be sullied.

When I was in my early 20s, I went on a solo trip to New York.

As a little boy in India, and then in my formative years in the United Kingdom, I always dreamed of visiting New York.

All the movies and television I'd seen had been sufficient indoctrination to make me believe

that it was the greatest place on earth.

While I was there, I went on a date with a girl

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that I'd been talking to online for several months and that day will forever be a perfect memory to me.

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Spending a lovely evening with Pleasant Company in a city

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that made me feel like I was living in a movie with the picturesque setting of Christmas time in New York.

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Nothing can ruin that memory for me.

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And you know why?

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Because that person was not in my life forever.

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It was obvious that with our situations in life, we were never going to be in each other's lives forever.

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And trying to force that to be the case would only have slowly soured our appreciation of each other.

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Sometimes you can have wonderful moments with someone, romantic or otherwise, and then later down the line, your relationship with that person ends up souring.

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Fondness becomes replaced by regret, or even bitterness, and all the memories that were once joyful now become things you'd rather forget.

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To explain it in a less philosophical and much more silly way, it's like when you have a TV series you really love.

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There's nothing that ruins an awesome show, More than the writers having only material for, let's say, two seasons, but then stretching it out to five.

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You might be initially happy that the show is still continuing, but as time goes on, you're going to be left with a worse and worse relationship with that show, and by the end, you lose all your excitement and fondness for it,

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till maybe you don't even want to watch the show anymore.

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But like Ariety in show, this person and I didn't try to force anything, and instead, we parted on lovely terms, both really thankful for the other,

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but knowing that our paths will never cross again.

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And even though my later trips to New York have shown me

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that it's a place full of flaws and ugliness like anywhere else in the world, nothing can ruin that perfect memory of that perfect day.

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And I have a few other such perfect memories.

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This is what brings us back to Arrietty.

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As Arrietty in show part, they know that they will never cross paths again.

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But far from being sad, I think what it allows for is perfection.

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In a life where perfect is constantly slipping away from our grasp like grains of sand in your fingers.

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Cho will never see Arrietty again, and while some could choose to interpret that sadly, I don't, and I don't think he does either from what we're shown.

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Because instead, what he has is a perfect memory that has immortalized Arrietty.

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There is no season 3 syndrome, no bitter taste left in the mouth.

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Instead, he has captured the rose in full bloom.

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Forever perfect, and forever an inspiration.

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Now, Arrietty is not the only Studio Ghibli film to explore this idea.

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So many Ghibli films either directly or indirectly explore the concept of transient relationships.

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Most famously perhaps Spirited Away features the protagonist Chihiro being transported

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to a spirit world where she has a transformative experience in order to save her parents.

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In the short time she spends in the spirit world, not only does Chihiro grow a lot as a person, going from brooding scaredy cat to capable and confident,

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but she also forms several beautiful friendships in that time, most intensely with Haku, the boy slash dragon slash river spirit.

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Considering how strong their impact is on one another, it would have been really easy to end the film with Chihiro returning to the real world

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and then somehow meeting Haku again.

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Even if it's not literally him, maybe we'd finish with a last shot of Chihiro making friends with some doppelganger of his, who she can learn to love anew,

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and we the audience would assume that the two of them can continue their relationship happily ever after.

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But that diminishes the events of the film, and as I'm going to explore now in more detail, I'd argue that it also actively restricts our character's future.

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The downside to happy ever afters is that it implies a level of stasis within our characters.

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The struggle, the journey, the growth is all in the past.

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The future becomes almost solved.

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Think how much Shihiro learned and grew in her time in the spirit world.

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As we've discussed, bringing that back to the real world risks losing the perfection of what she experienced.

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But also, she grew so much because she was in a new and challenging environment.

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Without pushing your boundaries, you can't change in any meaningful way.

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And that's the lesson Chihiro has to learn at the start of the film.

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When we first see her, she is sulking in the back of the car because she's having to move house, meaning she's leaving behind her old friends and old life.

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Of course that is understandably upsetting.

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I moved around a lot as a kid so I know how tough it can be.

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But Chihiro is especially averse to change.

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She's especially resistant to seeing all the good things

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that could come from this opportunity and it's only through the events of the film

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that she finally achieves that level of maturity.

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Now imagine if Haku was able to join Chihiro in the real world at the end of the film.

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Would we not in a way return exactly where we were?

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With Chihiro now relying on him rather than trying to make new friends at her new school and neighbourhood.

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One of the charms of Haku in the film is that he is someone who does protect Chihiro, especially at the start, and gives her someone to lean on.

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But by the end of the film, she doesn't need that anymore.

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So like any transitional object, be that training wheels on a bike or a baby's pacifier, we must eventually outgrow them.

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And so Chihiro outgrows the need to rely on Haku.

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Now that might sound cynical or even cold when talking about humans, but I don't see it that way.

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When you think back to that favourite blanket or your special stuffed toy from childhood, you think of them with nothing but fondness.

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In the same way, people can't always be in our lives forever, and it's not a tragedy every time they have to part ways with you.

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What that transitional thing gave you is still amazing.

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So like Shou's memory of Arrietty, Chihiro and Haku's memories of each other can be both fond and inspirational, pushing them both to grow to new heights,

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even without the other's active presence.

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These ideas exist in so many other Ghibli films too, whether that's Kiki's delivery service, My Neighbor Totoro, Princess Mononoke, or many others.

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And while there are traditionally happy endings like In Howl's Moving Castle and Ponyo, I really like that they're not the default or the only way.

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I think it's really profound sound relatable to explore this idea of transient relationships

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so hopefully the next time you reflect on the people in your life

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that come and go you'll think about that flower in bloom

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and rather than worry about what was lost you'll cherish those moments

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when you were able to capture the perfect memory that lasts forever always inspiring and never withering

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okay so

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if you've made it all the way to the end of

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Firstly, thank you for watching.

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If you can't support the content monetarily, that's totally fine.

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本課的詞彙與口語要點

這節 B2 級別的口語課以影片“The Ghibli Lesson About Relationships”為素材。影片中反覆出現的詞有：Arrietty, film, forever, perfect。這段影片共有 190 個句子、3233 個單詞可供跟讀。講話部分時長為 16:20。說話人語速較快，每分鐘約 198 個詞，會出現較多連讀和弱讀。 84% 的單詞屬於英語最常用的 3,000 詞，其餘的詞建議在練習前先學一下。

影片中的重點詞彙

影片中最難的 15 個單詞，附發音和釋義：

單詞	發音	釋義
happily 副詞	/ˈhæp.ə.li/	快樂地 /快樂地
borrower 名詞	/ˈbɑɹoʊɚ/	借款人, 借用人
transient 形容詞	/ˈtɹæn.ʃənt/	短暫的 /短暫的
perfection 名詞	/pɚˈfɛk.ʃən/	完美, 完善
onward 副詞	/ˈɒnwəd/	向前
singular 形容詞	/ˈsɪŋ.ɡjə.lɚ/	單一 /單一
imply 動詞	/ɪmˈplaɪ/	意味著
inspire 動詞	/ɪnˈspaɪə(ɹ)/	授意, 鼓舞
harmony 名詞	/ˈhɑ̟ɹ.mə.ni/	和諧 /和諧, 和睦
bittersweet 形容詞	/ˈbɪtɚˌswit/	苦甜
diligently 副詞	/ˈdɪlɪd͡ʒ(ə)ntli/	努力
doppelganger 名詞	/ˈdɑp(ə)lˌɡɛŋəɹ/	分身
epilogue 名詞	/ˈɛpɪlɔɡ/	收場白 /收場白
fascinate 動詞	/ˈfæsɪneɪt/	誘惑 /誘惑, 迷住
indoctrination 名詞	/ɪnˌdɑktrəˈneɪʃən/	灌輸 /灌輸, 洗腦 /洗腦

影片中出現的短語動詞

單詞	發音	釋義
cut off 動詞	/ˌkʌt ˈɔf/ [ˌkɐɾ ˈɔf]	切下, 割下
end up 動詞		到達
grow up 動詞		長大 /長大
leave behind 動詞		遺棄 /遺棄

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
條件句 if + 從句，will/would + 動詞 — 條件及其結果	if it's not literally him, maybe we'd finish
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	I've never been · has just arrived · they've played
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	is lessened · is spotted · cannot be spotted
定語從句 who / which + 從句 — 補充說明人或事物	people who survive · man who he · someone who does

需要注意的發音

說話人用了 53 次縮略和弱讀形式，例如 don't, I'd, doesn't。請按聽到的簡短形式來說。

“th” 音: youthful /ˈjuθfəl/, thankful /ˈθæŋkfəl/
“sh” 和 “zh” 音: transient /ˈtɹæn.ʃənt/, perfection /pɚˈfɛk.ʃən/, diminish /dɪˈmɪnɪʃ/, transitional /tɹænˈzɪʃənəl/, indoctrination /ɪnˌdɑktrəˈneɪʃən/
長單詞——注意重音位置: immortalize /ɪˈmɔː(ɹ).təˌlaɪz/, transitional /tɹænˈzɪʃənəl/, diligently /ˈdɪlɪd͡ʒ(ə)ntli/, doppelganger /ˈdɑp(ə)lˌɡɛŋəɹ/, indoctrination /ɪnˌdɑktrəˈneɪʃən/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: formative /ˈfɔːmətɪv/, averse /əˈvɜː(ɹ)s/, perceive /pɚˈsiv/, viewer /ˈvju.ɚ/, inevitable /ɪˈnɛvɪtəbəl/
詞尾子音 — 要讀清楚，後面不要加母音: profound /pɹəˈfaʊnd/, transient /ˈtɹæn.ʃənt/, fondness /ˈfɑndnəs/, immortalize /ɪˈmɔː(ɹ).təˌlaɪz/, diminish /dɪˈmɪnɪʃ/
/r/ 和 /l/ 的區別: immortalize /ɪˈmɔː(ɹ).təˌlaɪz/, transitional /tɹænˈzɪʃənəl/, doppelganger /ˈdɑp(ə)lˌɡɛŋəɹ/, ramble /ˈɹæmbəl/, relatable [ɹɪˈleɪ.tə.bɫ̩]

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 happily, borrower, transient 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。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: The Ghibli Lesson About Relationships - 通過影片學習英語口語

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