Luke reads verses from a modernised version of this medieval poem, considered one of the masterpieces of Middle English literature. Listen to hear the rhyme and rhythm of the poetry, the descriptive vocabulary and details of the story, with vocabulary explanations and comments from Luke. This is part 2 of a double episode about this story. Video version available with on-screen text.
Sir Gawain and The Green Knight by Simon Armitage, published by W. W. Norton & Company (available in all good bookshops)
Introduction Transcript
Hello listeners,
Welcome to episode 779 of my podcast for learners of English. This is in fact part 2 of a 2-part episode.
In part 1 of this (episode 778), I talked to my dad about an old poem from the medieval period in Britain.
The poem is basically a really mysterious and wonderfully descriptive adventure about a knight from King Arthur’s table at Camelot.
King Arthur was a mythical king of Britain who people told and wrote stories about, many centuries ago.
We’re not sure if he really existed, if the stories about him are all fictional, or some combination of those two things.
Anyway, the Arthurian legends, or stories of King Arthur and his Knights from Camelot are full of magic, chivalry and adventure.
Chivalry means the rules that all honourable knights had to follow – a code of honour.
Anyway, the poem I talked about with my dad in the last episode is about one of Arthur’s knights who accepts a strange and dangerous challenge. The poem is called Sir Gawain and The Green Knight.
If you listened to episode 778, you heard my dad describing the story of the poem, the linguistic style and how it fits into British history and the history of the English language.
At the end of that episode I read some verses from a modernised version of the poem, by Simon Armitage.
In this episode I’d like to read some more verses from the poem, but this time I’d like to explain some of the vocabulary and other aspects of the language while I am doing it.
So here you will be able to hear part of a medieval poem written in middle English, which has been updated into modern English, with explanations and comments from me.
Again, the poem is called Sir Gawain and The Green Knight.
It was probably written in England in the 14th century (probably around the year 1370).
Since this text was discovered it has been studied and translated and is now considered one of the greatest works of medieval English literature.
Modernised versions have been published, including one by JRR Tolkein and another one more recently by Simon Armitage.
The one I’m going to read from here is the modernised version by Simon Armitage, which is available as a book from W. W. Norton & Company – you can get it in any good bookshop.
I do recommend it. It has a really interesting introduction and it presents both the modernised version and the original text, side by side.
In terms of language, there are three main things to notice.
These linguistic features or poetic devices were all present in the original version and Simon Armitage has done a great job of replicating them in this modern version.
Alliteration This is when the same sounds are used at the beginnings of words.
It creates a kind of rhythm or music to the lines.
Examples:
a fearful form appeared, framed in the door
a mountain of a man, immeasurably high,
a hulk of a human from head to hips,
so long and thick in his loins and his limbs
I should genuinely judge him to be a half giant,
or a most massive man, the mightiest of mortals.
The “Bob and Wheel”. This is a poetic device which can be found in poems from this era.
Each “stanza” (group of lines) ends with two syllables (the bob) and then four flowing lines which follow (the wheel)
So listen a little while to my tale if you will
and I’ll tell it as it’s told in the town where it trips from
the tongue;
and as it has been inked
in stories bold and strong,
through letters which, once linked,
have lasted loud and long.
Descriptive vocabulary The poem is full of vivid descriptions, and Simon Armitage has managed to modernise the vocabulary so most of the language used here is up-to-date and still used by people today.
So, let’s get into the poem.
I’ll read each verse one by one, and then I’ll go back through and explain the language.
You could try to repeat the lines of the poem after me. That would be a good way to practise your pronunciation.
I’m going to start reading from line 130.
Just to bring you up to speed with the story, here’s what happens between lines 1 and 129.
The poem begins by referring to Greek mythology. It briefly describes the fall of Troy and the foundation of Rome, and it makes a clear connection between King Arthur of Britain and those heroes from Greek and Roman mythology.
It’s Christmas in Camelot and King Arthur is celebrating with a big feast (a big meal which lasts for a long time).
The poem describes the celebrations, the food, the games they’ve been playing, the decorations, the seating arrangement with all the knights, ladies and their guests. King Arthur’s wife Guinevere is there, and the poem describes how beautiful she is.
They are just about to start eating, when the celebration is interrupted by something extraordinary.
Luke reads lines 130 – 466 from the Simon Armitage version of the poem.
A conversation with my dad about a great medieval adventure story originally written in middle English and updated and translated into modern English by Simon Armitage. Dad talks about the origin of this story, its connection to the history of the English language, and the poetic devices used in the writing. In the second half I read a summarised version of the story and some verses from Armitage’s modernised version.
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Introduction Script
Hello there, how are you? Hope you’re well. Just before we start – a quick bit of news.
So, my full time teaching schedule at school has ended now and I have about 1 week to work on LEP content, and upload it before the August summer holiday begins. I’m not sure if I will be able to work during August, because “hello” it’s holiday season – my daughter is off school, we’re going on holiday in France and in the UK, and I might not bring my computer with me and so on. So I might upload loads of content this week, which you can listen to during the summer. I don’t want to overload you, but also I don’t want to underload you (is that a word).
In any case, it’ll be like waiting for a bus again – you wait ages and then 3 come at the same time. This includes premium content. An update about LEP Premium: New episodes will be arriving very soon, including P35 part 2, which is full of pronunciation practice. As you may know, LEP Premimum is still in a transition from Libsyn to Acast and during this time I can’t upload episodes because of a slight issue relating to transferring 6 and 12 month subscriptions, but this is going to be solved very soon, and as soon as it is solved, new premium content will arrive. If you are a premium subscriber on Libsyn (the old system) with a 6 or 12 month subscription, and you’re keen to move to Acast – I will be contacting you soon with a solution to the situation. Just hold on. If you don’t understand what’s happening, check my website for updates. But mainly – just hold on.
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— Jingle —
Hello everyone,
In this episode, my dad is back, but it’s not the Rick Thompson Report, so no politics this time. Instead we’re doing an episode that we have been hoping to do since Christmas last year.
In this one, Dad is going to tell us about an old story from the Arthurian legends – that’s a set of stories about the mythical King Arthur and his Knights of the Round Table. British legends and folklore.
The story we’re talking about is in the form of a poem called Sir Gawain & The Green Knight. This long poem was probably first written down in the 14th century by an unknown poet, but the story is probably much older than that, and part of a long oral storytelling tradition.
What Dad is going to do is describe the significance of this story, give us a summary of the plot and also he will make some comments about the history of the English language, and the rhythmic and rhyming style used in the original 14th century version, which was written in what we now call middle English. My dad studied English literature at university in the 1960s and this was one of the texts that he studied, and so he knows it quite well.
Recently the old 14th century version of this poem was updated by a modern poet called Simon Armitage (the current poet laureate in the UK). Armitage has managed to write a modern version of this poem using modern English vocabulary, but it retains many of the linguistic and poetic devices of the original, including certain forms of rhyme and rhythm that made the poem so effective.
My dad got that version for Christmas and that’s what inspired us to do this episode.
It should be interesting for you to hear the story, hear my dad’s comments about it and learn how this fits into the history of the English language.
In the second half of the episode I will read you a summarised version of the full story just to make sure you get to hear an uninterrupted version, plus I will read out a few verses of the Simon Armitage version of them poem, again, to give you a good chance to hear some the rhythm and rhyme of it uninterrupted.
So, if you are sitting comfortably, let’s begin.
Ending Script
Well, how was that?
You might be keen to hear more of the story and to hear more samples of the poem. That’s what I’d like to do in this ending part.
I’m going to do a couple of readings for you now.
I thought it would be useful for you to hear a brief version of the whole story, just to give you an overview and to make sure you’ve understood the whole thing. Then I’ll read a few of verses from the Simon Armitage version, in order to give you a flavour of the poetry with its distinctive style: wonderfully descriptive language and a particular rhythm, which was originally used in the 14th century version, as my dad described.
A Summary of the Story
This is a version of the story, from a TED Ed video by Dan Kwartler.
Credit for this version goes to Dan Kwartler and there’s an animated version of it here https://youtu.be/SaQImmPev2o I have adapted this version slightly.
This doesn’t have the rhythmic style of the original poem, or the richly descriptive language.
But it does tell the story quite briefly. I’m not going to explain all the words here. I might do that in part 2 (If there is a part 2).
It was Christmas time in Camelot
and King Arthur was throwing a party.
The entire court was invited,
except for the evil sorceress Morgan le Fay.
The food and drink flowed freely.
But in the midst of all the revelry,
the castle doors suddenly split open.
A tall knight riding an emerald horse
burst into the room,
stunning the court into silence.
He was green from head to toe,
including his skin, hair and clothes.
Even his horse was green.
Then, in a deep bellowing voice, he proposed a game.
The Green Knight declared that he would allow
the bravest warrior present
to attack him with his own axe.
If they could strike him down, they would win his powerful weapon.
However, the knight would be allowed to return that blow
in one year and one day.
Arthur and his knights were baffled.
No man could survive such a strike.
How would the Green Knight be able to return the blow in a year’s time?
The Green Knight began to mock their leader’s hesitance,
and Arthur stood up to defend his honour.
But as soon as he gripped the axe,
another person leapt up to take his place.
It was Arthur’s nephew,
Sir Gawain,
who decided he could not let the king be drawn into such a macabre game.
Keen to prove himself as a worthy hero,
Sir Gawain took the weapon instead.
The Green Knight knelt down to receive the blow from the axe,
even moving his hair away to expose the naked green skin of his neck.
With one swift strike, Sir Gawain beheaded the knight.
But the moment his skull hit the ground, it began to laugh.
The Green Knight bent down,
collected his head
and mounted his horse.
As he rode off,
his severed head reminded Gawain of their contract
and told him to seek the Green Chapel
one year and one day from that moment.
In the months that followed, Gawain tried to forget this bizarre vision.
But despite the strangeness of the knight’s game,
Sir Gawain was determined to act honourably and fulfil his promise.
When the following winter approached,
he set out —
enduring foul weather
and encounters with dangerous beasts
in his quest to find the mysterious Green Chapel.
Finally, on Christmas Eve, he saw a shimmering castle on the horizon.
The castle’s lord and lady were thrilled to help such an honourable guest,
and informed him that the Green Chapel was only a short ride away.
They implored Gawain to rest at their home until his meeting with the Green Knight.
Thrilled at this news, Gawain happily accepted their offer.
However, in exchange for this hospitality,
the lord made a strange request.
Over the next three days, he would go hunting
and every night he would share whatever he caught with Gawain.
In return, Gawain must give him whatever he’d gained during his day at the castle.
At first, Gawain was perplexed by these strange terms.
But the lord’s meaning became quite clear the next day,
when his wife tried to seduce Gawain.
To rebuff the lady’s advances without offending her honour,
Gawain allowed one kiss —
which he then passed on to her husband in exchange for a slain deer.
The next day, Gawain allowed two kisses,
which he gave to the lord for a dead boar.
But on the third day,
the lady offered more than just three kisses.
She presented a magical sash that would protect Gawain
from the Green Knight’s blade.
Gawain accepted immediately,
but that evening,
when the lord returned,
Gawain offered only three kisses and did not mention the enchanted gift which he had received.
The next morning,
Gawain rode out to the Green Chapel—
a simple mound of earth
where the Green Knight was waiting and ominously sharpening his axe.
With the sash’s protection,
Gawain approached stoically —
determined to honour his agreement.
He bowed his head for the deadly blow.
He flinched twice,
but then with a massive swing,
the Green Knight cut Gawain’s neck —
but inflicted nothing more than a flesh wound.
Once more, Gawain was bewildered.
Why hadn’t the sash protected him?
And why hadn’t the knight killed him?
Bursting into laughter,
the Green Knight revealed himself to be the castle’s lord,
and that he’d been working with the sorcoress Morgan Le Fay
to test the honour and bravery of Arthur’s knights.
He was impressed with Gawain’s behavior,
and he’d planned to spare his neck entirely —
until Gawain concealed the sash,
and this is when the Green Knight chose to inflict the fleshwound upon him.
Filled with shame, Gawain returned to Camelot.
But to his surprise, his companions absolved him of blame
and celebrated his valor.
Struggling to understand this strange journey,
it seemed to Gawain that perhaps the whole world was playing a game —
with rules more wild and bewildering than any man could understand.
Ok, so that’s the story.
It’s a bit confusing and mysterious.
(Luke gives a quick summary again)
Reading Verses from the Simon Armitage version of Sir Gawain and The Green Knight
What you don’t get from that story summary (above) is the beautiful language.
Wonderfully descriptive vocabulary
Alliteration (the repetition of rhyming consonant sounds at the start of words)
The “Bob and Wheel” (a rhythmic device which ends each verse)
There are some extracts from the Simon Armitage version available in the preview of the book on Amazon (other bookshops are available)
Let me read a couple of those initial pages.
The way the Armitage version of this poem is presented is that it gives one page of the modernised version, and then on the next page you have the equivalent original text, so you can compare them side by side.
I won’t read any of the original text because the English is so old fashioned that I frankly wouldn’t be able to pronounce it all. And before you fall out of your chair in disbelief that I don’t know my own language – hardly anyone is able to pronounce sentences written in middle English. Only academic experts can do that, and a lot of them disagree about how middle English should be pronounced. So, that’s not for us. Middle English is almost like another language, so there’s no need for me to read it to you.
The modern version of this poem on the other hand, is much more appropriate for us, and Simon Armitage has done a fantastic job because as my dad said, his version of the poem manages to keep the same alliteration, the same rhythm, and the bob & wheel – that structural device where after a few lines the verse comes to an end with a distinctive two syllable break (the bob) and then four lines which follow it (the wheel). You’ll have a chance to listen to examples of that again in a moment.
Simon Armitage, while managing to keep a lot of these literary and poetic devices from the original poem, has updated it using normal modern English words. So this is still written in a literary and poetic style, but these are words that are still regularly used by people today, more or less.
Listen carefully to the rhythm and sounds of this and you’ll see what I mean.
I’m now going to read the first few verses to you. This is very rich in terms of language. Again, I am not going to stop and explain everything here, or analyse the text. I’m just going to read it to you.
I do plan to do another separate episode in which I just read out some of these verses again and then break them down for language. Hopefully I will be able to make a video version of that too. Perhaps it will be the next episode. We will see. If not, I will do my best to get it done at a later date.
But now, for your listening pleasure, have a listen to this.
Extracts from Sir Gawain & The Green Knight, by Simon Armitage.
Listen to readings of “If—” by Rudyard Kipling, a popular poem from England. Includes analysis of the vocabulary and the themes in the poem and also a chance to enjoy the unique voice of Sir Michael Caine – with some funny impressions too. Transcript, vocabulary and videos available.
Hello, here’s an episode of the podcast devoted to one of the UK’s favourite poems.
I thought it was about time we looked at some poetry on the podcast. I was wondering which poem I could look at. In the end I’ve chosen one that is popular with lots of people in the UK. Sometimes poetry is a bit complicated and highbrow, but this particular poem is pretty clear and not too challenging or anything, while also touching upon ideas that most people can relate to. So I think it’s probably a good one for us to do.
We’re going to listen to the poem, understand the vocabulary used, and talk about the general meaning of the poem too.
You’ll also be able to listen to the voice of Michael Caine, and hear some Michael Caine impressions too.
The poem in question is called “If -” by Rudyard Kipling. That’s it… “If -“.
It has been voted the UK’s favourite poem in a number of polls done by the BBC. So, let’s listen to this much loved poem being read out by a couple of different people and then analyse the lines for their full meaning and pick up some vocabulary in the process.
“If-” by Rudyard Kipling
“If—” is a poem by British Nobel laureate Rudyard Kipling (a nobel laureate is someone who won the nobel prize for their poetry). The poem was written in 1895 and was first published in 1910.
It is written in the form of paternal advice to the poet’s son. You can imagine that the poet is talking to his son about life and teaching him what it means to be a man.
Grammatically, it’s basically one huge ‘if clause’ with each line beginning with the word ‘if’ and then concluding at the end of the poem. It might actually be the world’s longest conditional sentence – “if you do this and this and this, then eventually, this will happen”. Like, “If you do plenty of practice, stay motivated and don’t give up then eventually you’ll be a fluent English speaker.”
As poetry, “If—” is a literary example of the principles of Victorian-era stoicism. This is a set of attutides that became popular in the UK during the Victorian period. By stoicism I mean a kind of attitude and approach to life that involves being tolerant of difficulty, showing a sort of calm self-discipline, having control over your emotions, being patient, accepting difficulty and having a quiet determination to just keep calm and carry on. It could also be described as the principle of “stiff upper lip”, which British people often consider to be a national virtue. If your upper lip is stiff, or firm, I suppose it means that you have your emotions under control.
Often Brits will talk about how they are proud to be tolerant (not just of things like cultural differences, but of difficulty, discomfort and hardship) and I think we quite like the idea that we are in control of our emotions because it shows strength of character. This is what “If–” is about and because of this, the poem remains a cultural touchstone in the UK.
We’re not always self controlled of course. You can’t generalise. There are times when Brits intentionally lose all self-control – like when they get drunk on a Friday night or when they go on holiday to Majorca or something, and get drunk there. Those moments seem to be like time off from being self-controlled. Also, these days, I think British people are more in touch with their emotions than they used to be.
But this poem is all about the side of the British personality that is all about quiet strength, fair play and not losing your head in a crisis.
It is also like a of self-help mantra which inspires people to try and do the right thing and probably gives people some inspiration for living your life correctly and dealing with times of difficulty.
For these reasons it’s often voted one of the UK’s favourite poems.
Listen to Academy Award winning actor Michael Caine reading the poem
Listen to Michael Caine reading the poem. All the sentences start with IF – how do you think the poem will end.
If you’re already familiar with the poem, you can just enjoy the voice one of our favourite actors. Michael Caine
“If—” by Rudyard Kipling
(video below)
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’
If you can talk with crowds and keep your virtue,
Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!
Source: A Choice of Kipling’s Verse (1943)
The audio comes from a YouTube video uploaded by Peace One Day http://www.peaceoneday.org/
Peace One Day is a non-profit organisation that was founded in 1999. In 2001 due to their efforts the member states of the United Nations unanimously adopted the first ever annual day of global ceasefire and non-violence on 21 September – Peace Day.
Peace One Day’s objective is to institutionalise Peace Day 21 September, making it a day that is self-sustaining, an annual day of global unity, a day of intercultural cooperation on a scale that humanity has never known.
I guess these ideas are universal and this applies to everyone facing the challenges of life.
Girls – I hope you can relate to this too, even though he says “…and you’ll be a man my son”.
Read it again and analyse the words
“If—” by Rudyard Kipling
If you can keep your head when all about you Are losing theirs and blaming it on you,
If you’re in a stressful situation in which everyone else is losing their heads and saying it’s your fault, but you stay cool and stay in control…
If you can trust yourself when all men doubt you, But make allowance for their doubting too;
Everyone doubts you but you trust yourself, but you still consider their doubts in you – you don’t ignore them
If you can wait and not be tired by waiting, (patience is a virtue) Or being lied about, don’t deal in lies,
other people are lying about you, but you manage to avoid lying
Or being hated, don’t give way to hating,
others hate you, and you feel pressure to hate them too, but you resist that pressure and don’t give in to hatred, or give way to hatred – don’t let hatred come in – it’s sounding a bit like the Jedi code here
And yet don’t look too good, nor talk too wise:
stay modest in your appearance, and also don’t talk like you know it all
If you can dream—and not make dreams your master;
have dreams, ambitions and ideas but keep them in perspective so you’re not just a dreamer but someone who is still practical and pragmatic – a doer not just a dreamer
If you can think—and not make thoughts your aim;
you can be thoughtful, but manage to actually do things rather than just thinking about things all the time
If you can meet with Triumph and Disaster And treat those two impostors just the same;
don’t let success go to your head, but don’t let failure get you down either – an imposter is something or someone who is not welcome or someone who is pretending to be someone else – e.g. someone who claims to be an experienced pilot and fakes their ID, or someone in a hospital who claims to be a doctor but isn’t
If you can bear to hear the truth you’ve spoken Twisted by knaves to make a trap for fools,
if you can stand having your words manipulated by dishonest people – e.g. in the press or in a court of law) (to bear something = to tolerate something) (twisted = changed, distorted, manipulated) (knaves = dishonest and untrustworthy people, it’s an old fashioned word)
Or watch the things you gave your life to, broken, And stoop and build them up with worn-out tools:
see your life’s work, ruined and then just start again even though the tools you’re using are damaged by lots of use
If you can make one heap of all your winnings And risk it on one turn of pitch-and-toss,
(you take a big pile of all the money you’ve won and risk it all on one go – if you’re willing to take big risks) (a game of pitch-and-toss is an old gambling game in which you ‘pitch’ a coin – throw it – towards a mark on the ground. The one who gets closest to the mark wins the right to ‘toss’ all the coins which have been thrown. To toss means ‘throw’ but specifically to ‘toss a coin’ means to throw it up so it spins and then lands. If you win you can toss all the coins and you can keep all the ones that land with the heads facing up” – so basically, if you can win loads of money and then risk it all on one game…
And lose, and start again at your beginnings
and then lose but just start again from scratch
And never breathe a word about your loss;
and never tell anyone you lost – that would be hard!
If you can force your heart and nerve and sinew To serve your turn long after they are gone,
even when you’re exhausted you keep going and force your body to keep going, sinew = tendons, ligaments
And so hold on when there is nothing in you Except the Will which says to them: ‘Hold on!’
so, just using your willpower you force your muscles, heart, ligaments to resist and keep going
If you can talk with crowds and keep your virtue,
if you can stay honest and moral even when you have the attention of a crowd of people – e.g. you might feel pressure to lie, bend the truth, tell them what they want to hear. Virtue = doing and thinking what is morally right. Adj – virtuous.
Or walk with Kings—nor lose the common touch
if you spend time with rich and powerful people but never lose touch with ordinary life and people
If neither foes nor loving friends can hurt you,
Foes = enemies. You’re not affected by criticism or praise.
If all men count with you, but none too much;
If you value everyone equally. Everyone counts – everyone is important.
If you can fill the unforgiving minute With sixty seconds’ worth of distance run,
if you can make the most of every single minute – the unforgiving minute means 60 seconds, no more no less. So, if you have the strength, stamina and determination to do your absolute best in every second of every minute
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!
Source: A Choice of Kipling’s Verse (1943)
Hear Michael Caine’s thoughts on it from the recording
If you can meet with triumph and disaster and treat those two imposters just the same.
Films can be either successful or failures. You have to be able to deal with both outcomes.
If you can bear to hear the truth you’ve spoken Twisted by knaves to make a trap for fools,
When you’re a famous actor the press sometimes takes your words and uses them against you – especially the tabloid press.
He also says that war ruins everything. Also, every single war has been declared by men who are too old to go, and this has made him suspicious.
Impressions of Michael Caine’s Voice
Michael Caine’s voice. It’s quite distinctive. He comes from the East End of London – so it’s a cockney accent, basically – not very strong, but it is there. Also, his voice is unique (just like everyone’s voice is unique) and quite well-known. It’s so well-known that he is one of those actors that lots of people can impersonate, like Sean Connery.
How Michael Caine Speaks
You’re only supposed to blow the bloody doors off! (The Italian Job)
Batman – The Dark Knight Rises “I won’t bury you”
Vocabulary Review
keep your head (stay calm, stay in control!)
Don’t lose your head (don’t lose self control)
(Don’t) Blame it on someone (it was his fault, he did it!)
To have doubts (silent letter)
Make allowance for something / take something into account (include something in your decision making process – e.g. when I plan lessons I have to make allowances for the fact that students come from different countries and cultural backgrounds)
Don’t give way to hatred/anger/frustration = yield, give in (Star Wars)
(Star Wars: don’t give in to hatred)
To be wise / to have wisdom (e.g. Yoda, Gandalf, Dumbledore, ObiWan Kenobi – most old dudes with grey hair and beards)
Keep something in perspective (think about things in a reasonable way – e.g. Let’s get things in perspective / let’s keep things in perspective. Sure, we’re locked up in a Turkish jail, but at least we have each other! It’s not that bad! OK bad example. The doctor says I have a 1 in 200 chance of survival!!! Oh shit!!! Wait, let’s keep things in perspective. 1 in 200 is really quite good, and you’re quite young and in good shape. Don’t panic.)
Treat someone/something like something (Don’t treat me like an idiot Tony!)
Impostors = people who fake their identity in order to get in somewhere. “I felt like an imposter” (common usage) I think it’s quite common for us to feel like an imposter if we feel we don’t deserve the success we’ve had, or when we are in a situation that we don’t deserve to be in, because we feel inferior. Have you ever felt like that? You’re in a situation, you look around and everyone seems so impressive. They’re all so clever and have achieved so much and you feel like you’re not as good as them, and you’re not worthy to be there. You feel like an imposter. It’s a common feeling. I think this might be the situation in which the word “imposter” is most commonly used today, other than when someone has intentionally sneaked into a place by lying.
If you have ever felt like that, here’s a nice little anecdote from Neil Gaiman – a great author of short fiction novels, comic books and graphic novels.
This is from an article I found on Quartz.com and it quotes Neil Gaiman from his Tumblr page. https://qz.com/984070/neil-gaiman-has-the-perfect-anecdote-for-anyone-with-impostors-syndrome/
Neil was asked if he had any advice for people experiencing imposter syndrome – that feeling of being an imposter. Some years ago, I was lucky enough to be invited to a gathering of great and good people: artists and scientists, writers and discoverers of things. And I felt that at any moment they would realise that I didn’t qualify to be there, among these people who had really done things. On my second or third night there, I was standing at the back of the hall, while some musical entertainment happened, and I started talking to a very nice, polite, elderly gentleman about several things, including our shared first name. And then he pointed to the hall of people, and said words to the effect of, “I just look at all these people, and I think, what the heck am I doing here? They’ve made amazing things. I just went where I was sent.” And I said, “Yes. But you were the first man on the moon. I think that counts for something.” And I felt a bit better. Because if Neil Armstrong felt like an imposter, maybe everyone did. Maybe there weren’t any grown-ups, only people who had worked hard and also got lucky and were slightly out of their depth, all of us doing the best job we could, which is all we can really hope for.
So, there you go – even Neil Armstrong feels like an imposter, and so does Neil Gaiman and many other people who’ve done good things.
How about you? Do you ever feel like an imposter?
Bear to do something / bear to hear your words twisted (I just can’t bear to see him like this)
To stoop (bend down)
To build something up (create something from the bottom up)
The common touch (the ability to appeal to ordinary people)
Friend / Foe
Count (v) (all opinions count, every second counts) = to have merit, importance, value, etc.; deserve consideration
Finally, listen to Dave Bassett doing it in a scouse accent
I did an episode a while ago called “The Chaos of English Pronunciation” which included a couple of poems which are full of notoriously difficult words to pronounce in English. You can find that episode in the archive. It’s number 144
This is a very short podcast episode because I don’t have much time, but I just wanted to say a very sincere THANK YOU to everyone who voted for me in the 2014 Macmillan Love English Awards. I’m proud to say that I won my category: Best Blog 2014 for the 4th year in a row! I am absolutely delighted, and as a way of expressing my delight I’ve decided to write a poem (extremely quickly – it’s no masterpiece!) I hope you enjoy it, and thank you again! [Download]
Please write your own poems in the comments section. Just have fun and try to make the words rhyme. You can write a poem about anything, and it can be as short or as long as you like. Thank you! (If you can’t think of a topic – try writing something about LEP or learning English).
My Epic Masterpiece of a Poem – POEM OF THANKS!
I won the award
It’s thanks to y’all
I hope you’re not bored
by me talking about the award
All in all
It’s great to have you on board
You’re all from abroad
And you felt inclined
To take the time
To go online
And vote in kind
for the podcast that’s mine
It makes me feel fine
Like the sun that shines
Thank you to you
For doing what you did
And I hope you consid(er)
You’re the real winner
Because by voting for me you bring more attention to the site, raising the profile of the podcast, broadening the audience, and ultimately helping me to keep doing this with confidence, which then feeds into the way in which I record episodes, and encourages me to continue doing this project which I started 5 and a half years ago and which continues to amaze me in terms of how popular it is, how useful it is to many listeners, and how I could possibly turn this whole venture into a career.
The rhyming broke down, but I did say that I hadn’t prepared it, right?
It’s hardly a masterpiece, but it doesn’t matter. It’s just for fun.
Here’s the rejected part of my poem
And voting for who
You felt was more true
“I listen to you
when sitting on the loo”
Is a sentence that you
might use to describe
a side of your life
that involves listening to me
while you do a pee
because, you see
your time is quality
I mean you can see
That you have to multi task
Here’s the video of Eminem talking about rhyming
Why don’t you try to write a poem in the comments section?
You could try to continue my one (can you think of something that rhymes with ‘multi task’?) or you could create your own poem.
Remember: Just try to have fun and make the words rhyme. No pressure to be the next Eminem!
Late one night recently, I decided to record a podcast while randomly picking some pieces of music from my hard-drive and talking to you at the same time. This is the result.
There’s no language agenda in this episode in particular. It’s just me talking to you about various things while interspersing the episode with some music and other bits and pieces from my hard-drive.
Any music or other content in this episode is presented for educational purposes as part of my effort to aid people in their learning of English and culture.
Below you can read lyrics of some songs from this episode if you’d like to read to check your listening comprehension or pick up vocabulary.
Thanks for listening.
p.s. Competition Update: Voting closes this evening, and then I will count votes and eventually publish an episode with the names of the winner(s). Thanks for voting!
Song Lyrics
Arctic Monkeys – “Mardy Bum” Buy “Mardy Bum” on iTunes here. Well, now then Mardy Bum
I’ve seen your frown
And it’s like looking down the barrel of a gun
And it goes off
And out come all these words
Oh there’s a very pleasant side to you
A side I much prefer
It’s one that laughs and jokes around
Remember cuddles in the kitchen
Yeah, to get things off the ground
And it was up, up and away
Oh, but it’s right hard to remember
That on a day like today when you’re all argumentative
And you’ve got that face on
Well, now then Mardy Bum
Oh I’m in trouble again, aren’t I?
I thought as much
‘Cause you turned over there
Pulling that silent disappointment face
The one that I can’t bear
Well, can’t we just laugh and joke around
Remember cuddles in the kitchen
Yeah, to get things off the ground
And it was up, up and away
Oh, but it’s right hard to remember
That on a day like today when you’re all argumentative
And you’ve got that face on
Yeah I’m sorry I was late
But I missed the train
And then the traffic was a state
And I can’t be arsed to carry on in this debate
That reoccurs, oh when you say I don’t care
But of course I do, yeah I clearly do!
So laugh and joke around
Remember cuddles in the kitchen
Yeah, to get things off the ground
And it was up, up and away
Oh, but it’s right hard to remember
That on a day like today when you’re all argumentative
And you’ve got that face on
Black Sabbath – “The Wizard” Buy “The Wizard on iTunes here. Misty morning, clouds in the sky
Without warning, the wizard walks by
Casting his shadow, weaving his spell
Funny clothes, tinkling bell
Never talking
Just keeps walking
spreading his magic
Evil power disappears
Demons worry when the wizard is near
He turns tears into joy
Everyone’s happy when the wizard walks by
Never talking
Just keeps walking
spreading his magic
Sun is shining, clouds have gone by
All the people give a happy sigh
He has passed by, giving his sign
Left all the people feeling so fine
Never talking
Just keeps walking
spreading his magic
Charles Bukowski – “The Life of the King” Unfortunately I can’t find the lyrics to this, but here is a video featuring Bukowski reading his poem “The Life of the King”, if you’d like to listen to it again.
Curtis Mayfield – “Pusherman” Buy “Pusherman” in iTunes here. I’m your mama, I’m your daddy,
I’m that nigga in the alley.
I’m your doctor when in need.
Want some coke? Have some weed.
You know me, I’m your friend,
Your main boy, thick and thin.
I’m your pusherman.
Ain’t I clean, bad machine
Super cool, super mean
Dealin’ good, for The Man.
Superfly, here I stand.
Secret stash, heavy bread,
Baddest bitches in the bed,
I’m your pusherman
Silent life of crime
A man of odd circumstance,
A victim of ghetto demands.
Feed me money for style
And I’ll let you trip for a while.
Insecure from the past,
How long can a good thing last?
No, no, no
Got to be mellow, y’all
Got to get mellow, now
Pusherman gettin’ mellow, y’all
Heavy mind, every sign
Makin’ money all the time
My LD and just me
For all junkies to see
Ghetto Prince is my thing
Makin’ love’s how I swing
I’m your pusherman
Two bags, please
For a generous fee
Make your world what you want it to be
Got a woman I love desperately
Wanna give her somethin’ better than me
Been told I can’t be nuthin’ else
Just a hustler in spite of myself
I know I can break it
This life just don’t make it
Lord, Lord, yeah
Got to get mellow, now
Gotta be mellow, y’all
Got to get mellow, now
I’m your mama, I’m your daddy,
I’m that nigga in the alley.
I’m your doctor when in need.
Want some coke? Have some weed.
You know me, I’m your friend,
Your main boy, thick and thin.
I’m your pusherman.
I’m your pusherman.
I’m your pusherman.
I’m your pusherman.
Lord, Lord
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