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Downton Abbey: A New Era · 2022 — 第 9 / 18 章 · 1'37" · B2

Mary Talks About Her Marriages, Explained：trouble in paradise

Late at night, Mary tells Jack Barber about the two men she married: the first killed in a crash the day their son was born, the second steady and practical. When he suggests trouble in paradise, she answers with a line of her own: "marriage is a novel, not a short story."

あらすじ

After dinner at Downton, Mary and the film director Jack Barber fall into a quiet conversation about marriage. Mary describes her first husband, killed in a car accident on the day their son George was born, and her second, the practical Henry. Barber asks whether there is trouble in paradise, and Mary explains her view of marriage as a long story.

StorytellingSmall talkConfessingExplainingFriendsB2fastbritishClean
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注目の表現

trouble in paradisedo his bitcomes down toplot twists

00:00 / 01:37
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  18. ❝ 独白How she talks about Henry4 行練習ページ ↗
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このシーンの表現

trouble in paradise

美满关系出了裂痕

女仆问起对方的婚姻是否也出了问题，用这个说法轻轻探问。

A year after the wedding, there was trouble in paradise.

このシーンの他の表現

  • do his bit

    尽一份力

  • comes down to

    归根结底在于

  • plot twists

    剧情反转；情节的意外转折

このシーンのメモ一覧

30 行のセリフに 26 件のメモ

表現 · A2on one's wayGeorge should be in bed, or at least on his way there.
表現 · A2at leastGeorge should be in bed, or at least on his way there.
表現 · B1on the day something happensGeorge's father was killed in a car accident seven years ago, on the day George was born.
文法 · B1was killed in a car accident

passive voice

George's father was killed in a car accident seven years ago, on the day George was born.
表現 · A2on the way homeHe held the baby in his arms and died on the way home.
発音on the way home

liaison

He held the baby in his arms and died on the way home.
表現 · A2What was someone like?What was he like?
表現 · B1as handsome as someone/somethingAs handsome as a prince in a fairy tale.
表現 · B1full of somethingMoral, strong, full of dreams, determined to do his bit.
表現 · B2do one's bitMoral, strong, full of dreams, determined to do his bit.
発音do his bit

elision

Moral, strong, full of dreams, determined to do his bit.
表現 · B2make something of someoneAlthough I sometimes wonder what life would've made of him if he'd lived.
文法 · B2if he'd lived

hypothetical condition

Although I sometimes wonder what life would've made of him if he'd lived.
表現 · B1remind someone of someoneI was going to say, in a way, you remind me of him.
表現 · B1much more + adjectiveOh, Henry's much more pragmatic.
表現 · C1powers of enduranceAnd he must test his powers of endurance from morning till night.
表現 · B1from morning till nightAnd he must test his powers of endurance from morning till night.
表現 · B2trouble in paradiseBut there's trouble in paradise?
表現 · B2X is a novel, not a short storyYou don't need me to tell you that marriage is a novel, not a short story.
文法 · B2not a short story

negative appositive

You don't need me to tell you that marriage is a novel, not a short story.
表現 · B2plot twistsFull of plot twists along the way.
表現 · B2come down to somethingSuppose it comes down to whether or not you love him.
表現 · B1whether or notSuppose it comes down to whether or not you love him.
文法 · B2whether or not you love him

nominal clause with whether

Suppose it comes down to whether or not you love him.
発音comes down to

liaison

Suppose it comes down to whether or not you love him.
表現 · B1more than enoughI think I've said more than enough for one evening.

「Mary Talks About Her Marriages」を読み解く

What's really going on

The scene is a quiet confession dressed as small talk. Mary has already buried one husband and settled into another, and she measures them without sentiment: the first was romantic and full of dreams, the second is "much more pragmatic." When Barber asks "But there's trouble in paradise?" she does not deny it, and instead offers her theory that marriage "is a novel, not a short story," full of plot twists. The exchange matters because it lets Mary speak plainly about a life the house usually keeps buttoned up, and because Barber, an outsider from the film world, is the one who draws it out by asking what love has to do with it. Her sharp reply, that he sounds like a film man, puts the intimacy back behind the door.

Theme

MarriageMary weighs two husbands out loud and treats marriage as a long story with its own twists and turns.
MemoryShe keeps her dead first husband alive in description while living a practical second marriage.

このチャプターで学べること

  • 'trouble in paradise' carries more than its dictionary gloss.
  • 'work in the films' changes the pressure of the reply.
  • The surrounding lines set the social temperature.

発音のポイント

  • on the way home — liaison
  • do his bit — elision
  • comes down to — liaison
You don't need me to tell you that marriage is a novel, not a short story.

Mary's view of marriage: it is long, full of incident and impossible to sum up, so a brief trouble does not mean the end.

Suppose it comes down to whether or not you love him.

Barber's blunt summary of her marriage: whatever the complications, the real question is whether she loves Henry.

Moral, strong, full of dreams, determined to do his bit.

Mary's description of her first husband, an idealistic man eager to serve, listed as a contrast to her practical second.

Although I sometimes wonder what life would've made of him if he'd lived.

Mary admits she cannot keep her dead husband frozen as a perfect memory, and wonders how he would have changed.

As handsome as a prince in a fairy tale.

Her romantic first impression of him, cast in storybook terms that set up the novel-versus-short-story idea.

このシーンについての質問

Who is the first husband Mary talks about?

Matthew Crawley, who was killed in a car accident on the day their son George was born.

How does Mary describe her second husband, Henry?

She calls him much more pragmatic than her first husband, a doer with no dreams about him.

What does Mary mean by marriage being a novel, not a short story?

She means a marriage runs long and is full of plot twists, so trouble along the way does not define the whole of it.

Why does Mary tease Barber about working in films?

Because he answers her marriage troubles with a neat romantic line, as if life were a screenplay.

ダウントン・アビー　新たなる時代へ · 全 18 章

すべて見る →
次のチャプター · 第 10 章more than capableRobert Learns Cora Is Ill
第 1 章who are we to argueViolet Gives Sybbie a French Villa第 2 章take a dim viewJack Barber Pitches Filming at Downton第 3 章wouldn't hear of itHollywood Comes to Downton第 4 章frighten the horsesThe Family Dines with Myrna Dalgleish第 5 章eye someone upDinner at the Villa of the Doves第 6 章in a wayTom and Lucy Inherit the Villa第 7 章perform miraclesMary Saves the Talkie第 8 章On an impulseMolesley Pitches His Own Ending再生中 · 第 9 章trouble in paradiseMary Talks About Her Marriages第 10 章more than capableRobert Learns Cora Is Ill第 11 章in your handsMyrna Walks Off the Set第 12 章washed upThe Maids Talk Myrna Down第 13 章had in mindViolet Says Goodbye to Tom第 14 章await developmentsGuy Offers Barrow a Hollywood Job第 15 章an object of desireBarber Asks to Kiss Mary第 16 章a fool for loveViolet Tells Mary the Truth第 17 章what the blazesMolesley Proposes to Baxter第 18 章last the courseViolet's Deathbed Goodbyes
第 9 / 18 章 · 残り約 20 分