The second in a series, this article provides a preview of a movie you might like to see along with a vocabulary lesson for intermediate to advanced English learners. The selected vocabulary words are in bold and followed by succinct definitions. Sherlock Holmes was the previous article in the series – check back soon for the next.

Clint Eastwood’s new film Invictus tells the story of Nelson Mandela’s first days as president of post-apartheid South Africa in 1994. Morgan Freeman’s moving (evoking strong feelings) portrayal of Mandela’s gentle humor, elegant, old-fashioned courtesy, and fierce intelligence makes for a fascinating (very interesting) behind-the-scenes (theater metaphor: occuring backstage or out of the view of the general public) look at the birth of a new era.

Freeman’s Mandela is continually surprising his advisors and security personnel with his indefatigability (never getting tired) – as he charges out of his house for his pre-dawn (before sunrise) constitutionals (walking for exercise) at the beginning of marathon workdays – as well as with his emphasis on reconciliation (making harmony with your opponents or enemies) rather than recrimination in dealing with white South Africans.

In this spirit, Mandela makes the surprising decision to throw his whole-hearted (full, passionate) support behind the Springboks, the nearly all-white national rugby team that had become a hated symbol of oppression to most black South Africans. And so begins a remarkable turnaround (reversal of fortunes) for a team that seemed destined to make a poor showing as hosts of  the 1995 Rugby World Cup.

If you’re watching the film to practice your English, Freeman’s stately (majestic), measured eloquence as Mandela will give you a sporting (good enough) chance to understand the vocabulary the first time around.

Matt Damon as the Springboks’ captain Francois Pienaar is also not too difficult to understand as he echoes the calm, thoughtful, resilient (able to recover from adversity) tone of Mandela.

The grunting exertions of the rugby scenes are not so lengthy that they risk boring non-sports fans, and the underdog (not expected to win) status of the Springboks makes for stirring drama as their startling (very surprising) success is celebrated with boyish enthusiasm by Mandela.

In a quietly moving scene Damon’s character and the Springboks team visit the tiny (very small) Robben Island prison cell where Mandela spent 18 of his 27 years as a political prisoner. The song 9,000 Days, the title of which refers to the length of time Mandela spent in prison, by the South African group Overtone with Yollande Nortjie, is featured in the soundtrack (the music in the film).

The title of the film – Latin for unconquered – is drawn from a poem by the 19th century poet William Ernest Henley that in the film Mandela gives to the Springboks’ captain for inspiration. In reality, Mandela did find inspiration in the poem while in prison but instead gave the Springboks’ captain a passage from a 1910 speech called The Man in the Arena by US president Teddy Roosevelt.

Invictus

Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.

Vocabulary from the poem:
fell (dreadful, cruel)
clutch (strong hold, grip)
winced (flinch, draw back from fear of pain)
bludgeonings (heavy blows or hits)
unbowed (not lowered)
wrath (anger)
looms (action to describe the taking shape of an impending event or the coming closer of something of impressive size)
menace (danger, threat)
strait (narrow – not the same as straight, which means without bend or curve)
scroll (list or roster)

If you see the film, let us know what you think of it!

Students of English often complain about the difficulty of learning phrasal verbs. Simply put, a phrasal verb is a combination of  a verb (an action word like look, take, set) and a preposition (a short connecting word like up, out, over) in which the preposition gives the verb a new meaning. In this sense, we can say that the meaning is idiomatic - in other words the phrase can’t be translated word by word but only by looking at the phrase as a whole.

Sometimes verb + preposition combinations are not idiomatic, as in the phrase listen to. To is simply the preposition that’s required after the verb listen if you want to say what it is you’re listening to, as in: She’s listening to the radio.

Sometimes a single phrasal verb can have both a literal, non-idiomatic meaning and one or more idiomatic or figurative meanings. For example, if you want to see the moon you have to look up at the sky. The word up here is used as a kind of adverb (adverb particle is the tehnical term) and it doesn’t really change the meaning of the verb look — it just tells us the direction you’re looking.

However, when you don’t know the meaning of a word and you look up the word in a dictionary, there’s nothing directional about the word up. Look in this phrase still means use your eyes, but the meaning of the phrase as a whole has a very specific focus – searching for information in a reference book or online.

There are some grammatical issues with phrasal verbs – can another word come between the verb and preposition or not? – but learning how to use phrasal verbs is best accomplished the same way that you go about learning any new vocabulary.

How to Learn Phrasal Verbs:

1. Read and listen. When you see or hear a phrasal verb you don’t know, write it down. But don’t just write down the verb and the preposition, copy the whole sentence. Understanding the context – how the phrase is used with the other words in the sentence – is what will make it possible for you to use the phrase yourself in the future.

2. Find out the meaning in that specific context. This is where a teacher or native English speaker can save you time, because there is often more than one meaning for each phrasal verb, but if you’re on your own, look it up in a dictionary and decide which definition fits best in context.

3. Practice it in conversation and/or writing. Get feedback from a teacher or native English speaker about whether or not you’re using it the way native speakers do.

4. Study your list of phrasal verbs and keep adding to the list. If you find a phrasal verb from your list used in a new way, write down the new example.

Why is learning phrasal verbs in context better than learning them from a dictionary or book about phrasal verbs? Four reasons.

1. You can be sure you’re learning the most common uses of the most common phrasal verbs first. You don’t want to waste your time learning the more obscure uses.

2. They will be easier to remember. Dictionary.com has 15 different phrasal verbs based on the verb set (set in, set off, set out, etc.) and 15 different meanings for just the single phrasal verb set up – and the meanings vary widely. If you try to learn them all together, it’ll be too difficult to remember each separate meaning. Take them one at at time, in context.

3. When you’re learning phrasal verbs in context, through reading and listening, you’re learning a lot of other things about English as well, including other vocabulary words and grammatical structures.

4. It’s much more interesting to learn from stories and conversation than from printed lists. And the fact that you’re interested in the context will make it much easier to remember the phrasal verb later.

If you have any questions about the meaning of specific phrasal verbs, or if you have your own tips on how to learn phrasal verbs, leave a comment here!

Film Director Guy Ritchie’s new take on the iconic 19th-century English detective Sherlock Holmes was released on Christmas Day in the USA. While preserving some of the brooding (preoccupied with morbid thoughts) aloofness (emotional distance, reserve) and bohemian (unconventional, anti-establishment) eccentricities of the character as seen in earlier film versions dating back to the Basil Rathbone series of the 1940′s, this new version of Sherlock Holmes, starring Robert Downey Jr., presents us with a scrappier, funnier, and more vulnerable mastermind.

The scrappiness (fighting spirit) comes into play when Holmes shows off (exhibits) his skills as an expert bare-knuckle (no boxing gloves) boxer and inventive street brawler (disorderly, unruly fighter) in several scenes that pit him against (find him confronted by) opponents nearly twice his size. The idea of investing Holmes with boxing prowess (bravery, ability, strength, especially in battle) comes straight from the pen of Sherlock Holmes’s creator, the author, athlete, spiritualist, and amateur detective Sir Arthur Conan Doyle.

The vulnerability (susceptibility to being hurt) is seen in his emotional dependence on his friend Dr. Watson, played by Jude Law, and his confusion when ensnared by the seductive Irene Adler, played by Rachel McAdams.

The humor comes occasionally from the repartee (quick, witty replies) between Holmes and Watson, but more often from the clever and eccentric way that Holmes extricates himself from the most dangerous predicaments, as when he hides himself from his enemy in the smoke of a fireplace and then launches himself out of the window of the Houses of Parliament into the River Thames. The first part of his anatomy that resurfaces is not his head, gasping for air, but his extended right hand holding the pipe he was anxious to keep dry.

Susan Wloszczynza of USA Today gives us a fascinating backstage look at the making of Sherlock Holmes, describing the conversion of a Brooklyn, NY, armory into a 19th-century English gentleman’s flat and revealing that both Downey and Law pored over (read or studied intently) Doyle’s writings to extract what they dubbed (called) Doyle-isms — characteristic expressions that would lend color and authenticity to the dialogue.

The language of the film, while occasionally formal in tone in keeping with the time period, is fairly straightforward and not too slang-heavy, making it a good choice for upper-intermediate to advanced-level speakers of English.

If you see the movie, leave a comment here telling us what you think!

For intermediate and advanced English students, one of the best ways to learn new vocabulary in English — and get a better understanding of how native speakers put words together — is to read an article that expresses an opinion on a topic that interests you. The nice thing about an opinion article — such as this one in Slate about how to encourage more women to study science at university — is that the vocabulary is precise and expressive, but also informal and colloquial — in other words, it’s like listening to a well-spoken, interesting person at the dinner table. Speaking of listening… you can listen to a podcast of this article as well (scroll down the list of podcasts to June 7).

When you’re reading something difficult, first read through the whole article fairly quickly and try to get a general idea of the the topic and the thesis (the main argument). Then go back to the beginning and read more slowly, looking up words you don’t know and paying close attention to how the words are put together.

For example, in the first couple of paragraphs we find the phrase take the helm – a common expression in business English meaning to take charge, to become the leader of something, in this case referring to Ursula Burns becoming the new CEO of Xerox. The word comes from the nautical world, since helm means the wheel or tiller by which a ship is steered.

Next up is the verb balk (rhymes with walk), which means to stop, as at an obstacle, and refuse to proceed or to do something specified (usually followed by at). Here, Burns’s predecessor as CEO of Xerox, Ann Mulcahy, refutes the idea that Burns would have had a harder time reaching the top if Mulcahy hadn’t broken the glass ceiling at Xerox. Balk is also a term used in baseball, when the pitcher interrupts his pitching motion to fake a throw to one of the bases – an illegal move that allows a baserunner to advance.

This leads into a discussion of the paucity of women in senior positions. Paucity is a noun which means that there isn’t enough of something.

Don’t feel frustrated if it takes you half an hour and you’re still not even halfway through the article. Who cares how many pages or paragraphs you read? The important thing is you’ve learned a few new words in context, and that context will help you understand those words the next time you encounter them in print or on the web.

Bonus article on the topic of women in science: from a science blog, short bios of top women scientists past and present.

Have any of your own tips about learning vocabulary through reading, or about the issues raised in the Slate article about women in science?