Shrek · 2001 — 第 6 / 12 章 · 2'48" · B1

Donkey Pushes Shrek About the Wall, Explained:better off alone

What starts as a star-gazing game turns into a quiet argument about whether the pair are a "we." The line "there's no we. There's no our." draws the boundary; the wall is not about privacy but about keeping everyone—including the one asking—on the other side.

あらすじ

Under the night sky, Shrek and Donkey look at the stars. One asks them to reveal the future; the reply says the stars tell stories rather than predict the future. The talk turns to what happens after rescuing the princess, and the word “we” is rejected. A ten-foot wall is meant to keep everyone out.

ArgumentsConfrontingConfessingFriendsB1slowbritishClean
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注目の表現

tell the futuremore than they appearkeep somebody outNo, do ya think?

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このシーンの表現

better off alone

better on one's own

After being pressed, he stops dodging and gives his conclusion: being alone hurts less than being misread.

After that noisy week, I'm better off alone tonight.

このシーンの他の表現

  • tell the future

    predict what will happen

  • more than they appear

    not as simple as they look

  • keep somebody out

    prevent someone from getting in

  • No, do ya think?

    obviously—said with sarcasm

  • getting somewhere

    finally making progress

このシーンのメモ一覧

45 行のセリフに 26 件のメモ

表現 · B2the only person to ever do something

the only one who has ever done something

And, uh, that one, that's Throwback, the only ogre to ever spit over three wheat fields.
表現 · B1tell someone's future from something

predict someone's future using something

Hey, can you tell my future from these stars?
表現 · B1tell the future

predict what will happen

Donkey asks for his future to be read in the stars, and the reply turns prophecy into storytelling.

The stars don't tell the future, Donkey. They tell stories.
表現 · B1make something up

invent something Not making anything physical—inventing the story.

- You can guess what he's famous for. - I know you're making this up.
表現 · B1run away from something

flee from something

No, look. There he is, and there's the group of hunters running away from his stench.
文法 · B2hunters running away from his stench

participial phrase: The participle phrase describes what the hunters are doing; it is not the main verb.

No, look. There he is, and there's the group of hunters running away from his stench.
表現 · B1nothing but a bunch of something

only a bunch of something

That is nothing but a bunch of little dots.
表現 · B2more than something appears

not as simple as they look

When the stars are dismissed as mere dots, the reply insists there is more going on under the surface.

Sometimes things are more than they appear.
発音what we gonna

Blur what we into one quick unit; let gonna carry the beat.

Hey, Shrek, what we gonna do when we get our swamp anyway?
スラング · A2gonna

going to — Casual speech; avoid it in formal writing.

Hey, Shrek, what we gonna do when we get our swamp anyway?
表現 · B2be through doing something

after finishing something

You know, when we're through rescuing the princess.
発音no we

Hit no and we hard, with a small stop between them.

We? Donkey, there's no we. There's no our.
文法 · B2The first thing I'm gonna do

relative clause: An omitted that links I'm gonna do to the first thing; the main verb comes later.

The first thing I'm gonna do is build a ten-foot wall around my land.
表現 · B2cut someone deep

hurt someone badly Not a physical cut—an emotional wound.

You cut me deep, Shrek.
表現 · B1keep somebody out

prevent someone from getting in

After the rescue, someone plans a wall around the swamp; the reply turns that wall from stone into a way of keeping people out.

I think this whole wall thing is just a way to keep somebody out.
スラング · B1ya

you — Very casual or dialectal; not for formal situations.

- No, do ya think? - Are you hiding something?
表現 · B2another one of those ... things

that kind of thing again Onion just fills the slot in 'one of those ... things'; the point is 'that kind of thing again.'

Oh, this is another one of those onion things, isn't it?
表現 · B2be getting somewhere

finally making progress

After a long detour, a real admission finally lands, and the reply catches it like a clue.

Oh, now we're getting somewhere.
表現 · B1For the love of Pete!

for heaven's sake

Oh! For the love of Pete!
表現 · B2have something against someone

have a grudge against someone

What's your problem? What you got against the whole world?
表現 · B2the one with the problem

the person who is at fault

I'm not the one with the problem, okay?
表現 · B1have a problem with someone

dislike or object to me

Asked what is wrong with him, he turns the question around: the world is the one that objects to him.

It's the world that seems to have a problem with me.
文法 · B2It's the world that seems to have a problem with me

cleft sentence: The cleft puts the world in focus: the world, not I, is the one with the problem.

It's the world that seems to have a problem with me.
表現 · B2take one look at someone

react the moment they see me

He mimics how strangers react the instant they see him: one glance, then screams and running.

People take one look at me and go, Aah! Help! Run!
発音look at me

Keep at light and run it into me in one breath.

People take one look at me and go, Aah! Help! Run!
表現 · B2be better off alone

better on one's own

After being pressed, he stops dodging and gives his conclusion: being alone hurts less than being misread.

That's why I'm better off alone.

「Donkey Pushes Shrek About the Wall」を読み解く

What's really going on

The star-gazing starts as a game, but it exposes two ways of looking: one wants a forecast, the other offers a story. The real subject shifts when a shared plan becomes "our swamp." The reply "We? Donkey, there's no we. There's no our." is not just a joke; it redraws the relationship as one speaker and his property. The proposed ten-foot wall makes that boundary literal, and the admission that it keeps "Everyone!" out turns insulation into a chosen policy. What stings is the gap between the casual chat and the final claim, "That's why I'm better off alone."

Theme

LonelinessA ten-foot wall and the line "better off alone" turn self-protection into isolation.
IdentityBeing judged as "A big, stupid, ugly ogre" before anyone knows him shapes the choice to stay apart.

発音のポイント

  • what we gonna — Blur what we into one quick unit; let gonna carry the beat.
  • no we — Hit no and we hard, with a small stop between them.
  • look at me — Keep at light and run it into me in one breath.
The stars don't tell the future, Donkey. They tell stories.

The stars are not a fortune-telling tool; they are a way to tell stories, not predict what will happen.

Sometimes things are more than they appear.

A cluster of dots can be more than it looks; the line warns against judging only by surface appearance.

We? Donkey, there's no we. There's no our.

The reply rejects any shared identity or joint ownership: there is no "we" and no "our."

They judge me before they even know me.

People form a judgment from appearance before they know anything about the person.

That's why I'm better off alone.

The conclusion is that being alone is preferable to being judged and rejected.

このシーンについての質問

Why is there no "we" in the plan?

Because the trip is treated as one person's business: "there's just me and my swamp," followed by a ten-foot wall. The rescue is not framed as a shared life.

Why does the wall have to keep everyone out?

The reason given is rejection: "People take one look at me and go, Aah! Help! Run!" and "They judge me before they even know me." The wall answers that expected rejection.

Is the wall meant to keep out one particular person?

No. The question "Who you trying to keep out?" gets the answer "Everyone! Okay?" The wall is aimed at the whole world, not one person.

What is “You cut me deep” responding to?

It follows the line “There's just me and my swamp” and the plan for a ten-foot wall. The phrase “cut me deep” answers the refusal of “we”.

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