Learn English with another short story. This time it’s Parson’s Pleasure by Roald Dahl, which is an intriguing tale of a dodgy antiques dealer, with a nasty twist at the end. Learn vocabulary while you enjoy a fascinating story.

James Harris is a writer, comedian, English teacher and language learner (French, German, Chinese) from England. In this funny chat, we talk about learning Chinese, being married to a Chinese woman and his semi-autobiographical book, “Midlands” which tells several funny and touching stories about two ex-pats living in Germany; Stuart, who is a stand-up comedian trying to understand the Germans, and Doug who gets involved in a love affair. James reads several passages from the book during the episode.
Stuart describes his early days in Germany, learning German.
Then a chance meeting in a pub had earned him an invitation to Berlin. Laura, Danish and short, was staying there for the summer, rummaging around in the archives for information about a particular Jewish family who had gone on to achieve cultural success in post-war Denmark;
Laura, a snub-nosed Danish girl with glasses who loved Israel and wheat beer. Stuart didn’t care much about her interests but did enjoy spending the days reading on her balcony and socializing with university friends at night;
by the end of the summer his hair had lengthened and his German increased fifty-fold, meaning he now knew about a hundred words. ‘Hallo!’ he would say, then ‘Weltschmerz’ and following a further pause ‘Auf Wiedersehen,’ saying a final farewell to people he would see again the next day.
He also hadn’t yet learnt to ask whether something was sugar or salt, leading to an evening eating some very sweet chips. But even speechless he wasn’t, at last, uneasy in Berlin – it seemed to him a gentle city, where the trains slid in and out and the open spaces pacified tourists drunker and rowdier elsewhere.
It was like the Germans had become one of the peaceful races in Star Trek, the ones introduced by an insert screen of their orderly, verdant planet, Bajorans, say, or some other species permanently threatened by obliteration; and what a change after the tiny cubicles and traffic-jam living of the English, who could only ever be the Borg.
Surrounded by pacifists, Stuart revelled in the license of Englishness, his ability to voice the odd mildly aggressive opinion or wildly over-celebrate during that summer’s football tournament, until England lost. He swam in lakes, and bought a bicycle, and gradually stopped thinking of England and the ashes it had fed him.
In Oxford, where he had been President of the University sketch revue, people had printed gossip about him in the student newspapers, asked him to leave parties, dealt with him as the man who had committed that deepest and most unforgivable of Oxford crimes: failure.
He had failed, as a comedian and a young man, and now publicly; his country had rejected him. He had been humiliated in front of an audience of his contemporaries and sent into an internal exile.
Afterwards, many of these young dilettantes, at the time apparently picturing future lives as bereft of unforeseen distress as possible, lives composed of simply an endless procession of success, successes occurring within a network of contacts which they had built up at University and which would continue to provide them with unstinting support throughout their adult lives, never violating the simple and essential principle that all was permissible as long as it did well – did not want his name on their social CV.
Stuart is on-stage doing stand up in Germany.
‘Don’t you sometimes get the feeling,’ said Stuart, years before on the stage in Heidelberg, ‘that if Barack Obama had been German it wouldn’t have been “Yes We Can” but ”Nein das geht nicht”? No you can’t.
‘Everyone would have been chanting it – No you can’t! No you can’t! Of course in this version Obama would not have been black.’
Stuart was closing in on the kill. ‘And this very lack of optimism,’ he said, treading across the stage, limbering, into the really good stuff now, ‘is actually built into the German language itself.
Like for example, when you’re really happy in English, you say “I’m on Cloud Nine.” But in Germany you say, “I’m on Cloud Seven.”
Does this mean that even in their happiest moments the Germans are two clouds less happy than English-speaking people?’
And after developing that bit, which meant moving into a depiction of an exemplary German, Hannes, in his German heaven, with an allotment, board games, juice and an Autobahn heading directly to Mallorca, he noting, somewhat wistfully, the celebratory Anglophones on Cloud Nine who were dancing to ‘Video Killed the Radio Star’, which was an excuse to sing it, following which they – the Anglophones – called down to Cloud Eight “Hey Hannes man! Come and join us here on Cloud Nine” and Hannes replying “No thank you. Everything on Cloud Seven is perfectly satisfactory” then moving on to speculation as to the occupants of the other clouds, the French on Cloud Eight living it up, their motor scooters floating off the cloud and down to Cloud Zero where the Greeks were and below them the Cypriots who’d had to sell the cloud, and were just falling – after all these and other jokes, Stuart had them where he wanted them.
‘Isn’t it funny that, since the Second World War, the Germans have been like’, change voice, German accent, ‘”We Germans. We have done so many things wrong and there is no way we can ever put them right.”
And now Greece is like,’ pause, turn of the head, “Well, actually…”’
They laughed, and laughed, and laughed. They got it.
The third (and final) adventure in this series of mini-mysteries on LEP. Can I improve my detective skills to work out the disappearance of a priceless painting and a series of gruesome murders? Story by Peter Carlson and available on textadventures.co.uk
The second in a trilogy of text adventure stories by Peter Carlson. In this one we are chasing a ghostly serial killer with a few tricks up his sleeve. Do I have the detective skills to solve the mystery and avoid certain death?
Let’s do another text adventure mystery story by Peter Carlson. Listen to me read the story and make choices to solve the mystery. You can read the story with me (link below) or do the game yourself later. This is the first in a series of 3 stories from Peter’s “Victorian Detective Interlude” game on textadventures.co.uk
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Learn English with another short story. In fact, this episode contains two stories. Listen until the end for the 2nd one. Repeat after me to practise your pronunciation. Learn some vocabulary & grammar in the second half of the episode, with an explanation of modal verbs of deduction in the past and present. Video version available.
Hello everyone,
Welcome back to the podcast. How are you doing out there in podcast land? Surviving?
Here’s a new episode. It’s time to do some more English learning with a story.
In this episode, I’m going to read another short story to you, and use it to teach you some English.
I recommend that as well as listening to me read the story out loud to you today, that you read this story out loud too, and I will give you a chance to do that by repeating after me.
We’ll also look at some vocabulary and grammar from the story during the episode. And if you listen until the end, I will tell you another story too.
That’s all going to come later in the episode. If you’re watching the video version – hello. Don’t forget to like & subscribe.
If you are listening to the audio version. Click the link in the description to visit the page for this episode where you will be able to read a transcript for the whole things. You’re welcome.
Recently I have been looking for short stories to help me teach English, the shorter the better, and I found lots of 100-word stories on several websites. A 100-word story is a story with no more than 100 words.
There are a couple of sites where you can find a lot of these. One site is called https://100wordstory.org/ and the other is https://www.fridayflashfiction.com/
Anyone can submit a story to these sites. The stories are then checked by the website editors and then published for everyone to read.
The only rule for the writers, is that the stories have a 100-word limit. I think the minimum is 75 words, but the maximum is 100. So, a story with no more than 100 words.
That’s quite a challenge.
The writers need to be very disciplined. They have to choose their words carefully, and as a result these stories are very minimal and manage to convey descriptions and emotions using only a few words.
As a teacher of English, I think these stories are great because it gives us compelling and concise samples of English to work with.
I want to just point out that there is a book full of these very short stories, which you could buy.
It’s called Nothing Short of 100: Selected tales from 100 Word Story
It is a collection of stories from the https://100wordstory.org/ website.
There’s a Kindle version or a print version.
It is published by OUTPOST 19 and it was put together by the team behind the website, including Grant Faulkner, Lynn Mundell and Joshua Michael Stewart.
It is available for you to purchase and I recommend it if you are looking for bite size stories to use for learning or teaching English.
I also recommend visiting https://100wordstory.org/ and www.fridayflashfiction.com where you can find absolutely loads of stories like this with new ones arriving each week.
OK so let’s start with a story which I’ve selected from the Nothing Short of 100 book.
This story is called DOPPELGÄNGER
By the way, we don’t usually use an umlaut in English → ä
What is a doppleganger?
A doppelganger is someone who looks exactly like someone else, but it’s creepy and scary, like a ghostly copy of someone.
I think the word has its origins in German (hence the umlaut in the title), and translates directly as “double goer”. So your doppelganger is your double, a copy of you, who looks exactly like you and who goes around, walking the earth.
In my case, that would be Luka Modric, the Croatian footballer. That’s what people say anyway, that Luka Modric is my doppelganger.
Yes, he is my doppelganger. I’m not his doppelganger, ok? He’s my doppelganger. I was here first!
We do use the word in conversational English.
We say things like “Oh, I saw your doppelganger in the street today!” (meaning, “I saw someone who looked just like you”)
or “It’s amazing, he’s your complete doppelganger!” etc.
I don’t know if you’ve ever experienced that. Has it ever happened to you? Have you ever seen someone who looks exactly like someone you know? Have you ever done a double take and been confused for a split second? Has anyone told you that they’d seen your doppelganger?
Just one question 👇
Answer: She felt shocked, upset, sad, surprised and possibly heartbroken. Maybe she couldn’t believe her eyes, because she saw her lover with another woman, or she saw someone who looked exactly like her lover with another woman.
Listen to the episode to hear me summarise and explain the story.
Let me give my comments and explanations, line by line (listen to get my comments)
DOPPELGÄNGER I almost didn’t see the you who wasn’t you. I was walking past the outdoor tables of the French café, and just at the last second, I caught a familiar hand gesture, and looked again. It couldn’t have been you though, my love, because your other hand was clasping the hand of the woman opposite. Your heads were too close. She was laughing, that abandoned laughing you do when you’re totally in the moment, totally in love. I walked on, heels tapping out a staccato rhythm, as I no longer wanted to look at the you who wasn’t you. |
Vocabulary & Grammar
Present
Who is that?
I’m sure/certain it’s Dave | It must be Dave |
It’s possible (that) it’s Dave-not sure | It could be DaveIt might be DaveIt may be Dave |
It’s impossible (that) it’s Dave | It can’t be DaveIt couldn’t be Dave |
Past
Who was that?
I’m sure/certain it was Dave | It must have been Dave |
It’s possible (that) it was Dave-not sure | It could have been DaveIt might have been DaveIt may have been Dave |
It’s impossible (that) it was Dave | It can’t have been DaveIt couldn’t have been Dave |
DOPPELGÄNGER
I almost didn’t see the you who wasn’t you.
I was walking past the outdoor tables of the French café,
and just at the last second,
I caught a familiar hand gesture,
and looked again.
It couldn’t have been you though, my love,
because your other hand
was clasping the hand of the woman opposite.
Your heads were too close.
She was laughing,
that abandoned laughing you do when you’re totally in the moment,
totally in love.
I walked on,
heels
tapping out a staccato rhythm,
as I no longer wanted to look
at the you
who wasn’t you.
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We’re not finished yet.
I’m going to read you another story. This one is also about a doppelganger.
I’ll just read the story to you, and then I’m going to do language work in a premium episode which is coming soon to the premium subscription.
OK, I am trying to persuade you to sign up to my premium subscription, but I think it’s worth it, and if you do you’ll be supporting the podcast. No pressure though.
If you don’t want to sign up or you can’t, no worries.
I’m still going to read the story to you in this free episode, now.
I hope you enjoy it.
I’ll quickly summarise it at the end (in case you don’t understand), but I’ll do the detailed language teaching in premium series, coming soon.
Doppelganger, by Sue Clayton From → www.FridayFlashFiction.com and adapted slightly by me. “This book says everyone has a doppelganger, a mirror image, and if you meet yours face to face, you’ll die.” Janice, my flatmate, closed the book, finished her tea and toast, and slammed out of the door for her A&E shift at St. Margaret’s hospital just down the road. She loved any kind of fantasy literature, always immersed in some supernatural genre book. Not my cup of tea at all. Give me a good Nordic Noir mystery anytime. After taking a shower I went to brush my teeth. If you meet your doppelganger face to face you’ll die, my reflection in the bathroom mirror laughed as I recited the words, but they’d begun to worm their subliminal way into my subconscious, waiting to claw their way to the surface and pounce. One day, a couple of weeks later, I headed for the front door ready to set off into town where I worked at a music store. Doppelganger, I froze as my mind hissed the insidious word. What if I saw me on the train? Or stood behind me in the line at the coffee place? What if I came into the shop to buy a record and had to serve myself? The words shot through my mind. I let go of the door handle as if I had been electrocuted, and phoned in sick. “Do you fancy a night out at that new wine bar down the street?” Janice bounced through the front door one afternoon, chirpy as a blue bird, her shift trauma-free for once. “Not tonight, Janice, I’m still not feeling very good.” The image of my other self perched on a stool at the far end of the bar, possibly raising a toast, was too hard to stomach. ‘You haven’t been outside for ages, Natalie, not even for work…you’ll end up getting fired. What’s going on with you?” Janice pressed. “I’ll meet my doppelganger and die if I go outside,” I burst into tears, knowing how ridiculous I sounded. “You know there’s no such thing. You need to get help, Natalie. I’ve got a therapist friend who works at the hospital. I’ll fix you up an appointment.” She wrapped me in a comfort hug. “You’re booked in for ten o’clock this morning.” Two days later Janice grabbed my arm and pulled me through the front door; I didn’t stand a chance. “You won’t meet yourself between here and St. Margaret’s.” She smiled reassuringly and we set off down the street. “Excuse me,” a hand tapped my shoulder as we waited to cross the busy main road. I turned around and my shriek froze the blood of everyone close by, before I stepped backwards off the footpath into the path of an articulated lorry. “I didn’t mean to frighten her,” tears ran down the anguished face of one of the two men who’d been standing behind me. He was holding a large six-feet square mirror which they were carrying across to the framing workshop across the road. “I just wanted to ask her to step to one side.” |
The narrator, let’s call her Sue (although I realised after recording this that she’s actually called Nathalie in the story!) lives with her flatmate Janice.
One day Janice reads a line from a scary book she’s reading. It says that if you ever meet your doppelganger, you’ll die.
Sue doesn’t usually believe that kind of thing, but the idea gets into her head and as she is leaving the house one day, she suddenly gets scared that she might meet her doppelganger, and die.
So she decides to stay at home.
In fact she keeps staying at home, every day. The idea of meeting her doppelganger has made her too terrified to leave the house.
Janice gets worried about Sue and arranges for her to meet a therapist, and assures Sue that nothing can happen to her on the way.
Sue agrees to leave the house, but at the main road someone taps her on the shoulder.
Sue turns around and sees her own reflection.
The man who tapped her on the shoulder was trying to carry a mirror across the road.
He wanted to ask her to step to one side, to make space.
But Sue turned around and saw her doppelganger – her reflection in the mirror and screamed!
Then she stepped back, into the road, and was hit by a large lorry.
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.
[DOWNLOAD]
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 —
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.
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.
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)
What you don’t get from that story summary (above) is the beautiful language.
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.
There is no script for the verses, but you can check the Amazon page for this book, where you can preview the first pages of the book, including many of the lines I’m reading here.
This is a free sample of LEP Premium, available for everyone. In this episode I’ll tell you about my technique for learning English with stories and transcripts, with full details about how to improve your English with my stories. Then I’ll tell you a story about a time I had an encounter with a bear, and then I’ll give you some language practice exercises for your grammar and vocabulary, and some pronunciation drills to let you repeat after me. Full PDF transcript available + video version available too.
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📄 PDF in normal size https://teacherluke.co.uk/wp-content/uploads/2022/07/P35-1_1-StoryTime_-Learn-English-with-Stories-free-LEP-Premium-Sample-THE-BEAR-STORY-COMPUTER-VERSION.pdf
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Listen to Luke reading a text adventure story set in a summer camp. You can read the story at the same time as you listen, or just relax and have fun following this action packed horror story, and read do text adventure later. Includes some vocabulary explanations, differences between British & American English and some very dodgy jokes. Video version available.
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Where’s the text? Where’s the transcript? It’s up there, look! 👆👆