Chapter 12 of Fifty Contemporary One-Act Plays is here in full — 973 sentences across 195 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XII
Chapter 12 of Fifty Contemporary One-Act Plays is here in full — 973 sentences across 195 reading sections, with audio for every sentence and word.
CECIL [_relieved_]. But I _do_ love you. Of course I love you. That's why I kissed you. [_A thrush is heard calling in the distance._] EVELYN.
Chapter 12 of Fifty Contemporary One-Act Plays is here in full — 973 sentences across 195 reading sections, with audio for every sentence and word.
Reading 1/194 · 5 reading units · Lines 1–5
These definitions explain words found in the current reading and keep every example grounded in its original sentence.
Oxford-style entry order: headword, part of speech, US IPA, concise definition, contextual example, and audio.
the particular occupation for which you are trained
From this reading “[_A thrush is heard calling in the distance._] EVELYN.”
education imparted in a series of lessons or meetings
From this reading “Of course I love you.”
the property created by the space between two objects or points
From this reading “[_A thrush is heard calling in the distance._] EVELYN.”
detected or perceived by the sense of hearing
From this reading “[_A thrush is heard calling in the distance._] EVELYN.”
past form of “kiss” — touch with the lips or press the lips (against someone's mouth or other body part) as an expression of love, greeting, etc.
From this reading “That's why I kissed you.”
a strong positive emotion of regard and affection
From this reading “But I _do_ love you.”
(of pain or sorrow) made easier to bear
candidiasis of the oral cavity; seen mostly in infants or debilitated adults
From this reading “[_A thrush is heard calling in the distance._] EVELYN.”
English keeps certain words together, and knowing the pair is worth more than knowing each word alone. Every partnership below was counted across our whole published library, and earns its place by appearing far more often than two unrelated words of the same frequency would.
Shown as this reading writes them, with the form the library counts, what kind of pairing it is, and how often it occurs.
as might be expected
In this reading “Of course I love you.”
In this reading “[_A thrush is heard calling in the distance._] EVELYN.”
Every word in these five lines is listed here, and every one of them can be played on its own.
Dictionary details are shown only when verified; these are not licensed Oxford entries.
used before a singular noun to mean one of a group, when it is not a particular one
From this reading [_A thrush is heard calling in the distance._] EVELYN.
used to introduce something that contrasts with what came before
From this reading But I _do_ love you.
the particular occupation for which you are trained
From this reading [_A thrush is heard calling in the distance._] EVELYN.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading CECIL [_relieved_].
education imparted in a series of lessons or meetings
From this reading Of course I love you.
the property created by the space between two objects or points
From this reading [_A thrush is heard calling in the distance._] EVELYN.
used to form questions and negatives, and to give emphasis
From this reading But I _do_ love you.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading [_A thrush is heard calling in the distance._] EVELYN.
detected or perceived by the sense of hearing
From this reading [_A thrush is heard calling in the distance._] EVELYN.
the person speaking or writing, as the subject of the verb
From this reading But I _do_ love you.
inside something, or within a place, period, or state
From this reading [_A thrush is heard calling in the distance._] EVELYN.
the form of “be” used with he, she, it, or a singular noun
From this reading [_A thrush is heard calling in the distance._] EVELYN.
past form of “kiss” — touch with the lips or press the lips (against someone's mouth or other body part) as an expression of love, greeting, etc.
From this reading That's why I kissed you.
a strong positive emotion of regard and affection
From this reading But I _do_ love you.
belonging to, or connected with, somebody or something
From this reading Of course I love you.
(of pain or sorrow) made easier to bear
From this reading CECIL [_relieved_].
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading That's why I kissed you.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading [_A thrush is heard calling in the distance._] EVELYN.
candidiasis of the oral cavity; seen mostly in infants or debilitated adults
From this reading [_A thrush is heard calling in the distance._] EVELYN.
the cause or intention underlying an action or situation, especially in the phrase “the whys and wherefores”
From this reading That's why I kissed you.
the person or people being spoken to
From this reading But I _do_ love you.
Chapter 12 of Fifty Contemporary One-Act Plays by Frank [Editor] Shay holds 973 sentences, grouped into 195 reading sections of at most 5 sentences. The text is the source edition, unabridged, and the chapter records which sentences cover which part of the work so that nothing is dropped. Every word can be tapped for its pronunciation and dictionary entry.
Chapter 12 holds 973 sentences of Fifty Contemporary One-Act Plays, unabridged, divided into 195 reading sections.
This page carries chapter 12 of Fifty Contemporary One-Act Plays by Frank [Editor] Shay exactly as it stands in the source edition, without abridgement. It runs to 973 sentences, grouped into 195 sections of at most 5 sentences so that a reader can take the chapter in steady, finishable pieces. The chapter also stores a coverage record mapping every one of its sentences to a part of the work, which is how the edition demonstrates that no line was dropped.
Work through the 195 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 195 sections in this chapter is short enough to read once, hear once, and then re-read with the vocabulary in view. Tapping a word plays it alone and opens its dictionary entry with IPA, part of speech and meaning, so the reader is never forced to guess a pronunciation from spelling. Working section by section keeps a long chapter from becoming an undifferentiated wall of text, which is the usual reason a reader abandons a work of this period.
Yes — every sentence and every individual word in chapter 12 can be played aloud in United States English.
Audio covers the whole chapter: any sentence can be played, and any single word within it can be played on its own. The voice uses United States English. For a work of this period that matters, because spelling is an unreliable guide to pronunciation for vocabulary that has fallen out of daily use, and a learner who guesses wrong tends to keep the error. Hearing the word in its own sentence, and then alone, settles it.
Common questions about reading Fifty Contemporary One-Act Plays by Frank [Editor] Shay on this page, its source edition and its audio.
Yes. All 35466 sentences of Project Gutenberg eBook #36984 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #36984, unabridged. The Project Gutenberg header, footer and licence are removed.
About 600 minutes of reading across 7094 sections of 5 sentences each, at an unhurried pace.
How to work through Fifty Contemporary One-Act Plays section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 37 chapters of Fifty Contemporary One-Act Plays to begin.
Each section holds 5 sentences; read it once through.
Play the section aloud, then tap any unfamiliar word for its entry.
Words and structures a reader meets early in Fifty Contemporary One-Act Plays, each tappable for pronunciation and meaning.
