Chapter 18 of Fifty Contemporary One-Act Plays is here in full — 993 sentences across 199 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XVIII
Chapter 18 of Fifty Contemporary One-Act Plays is here in full — 993 sentences across 199 reading sections, with audio for every sentence and word.
CAROLINA. Florencio, you are perfectly disgusting! You have no right to talk like this. FLORENCIO. Very well then, my dear.
Chapter 18 of Fifty Contemporary One-Act Plays is here in full — 993 sentences across 199 reading sections, with audio for every sentence and word.
Reading 1/198 · 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 area of the states of North Carolina and South Carolina
From this reading “CAROLINA.”
dearly loved
From this reading “Very well then, my dear.”
highly offensive; arousing aversion or disgust
From this reading “Florencio, you are perfectly disgusting!”
prefer or wish to do something
From this reading “You have no right to talk like this.”
completely and without qualification; used informally as intensifiers
From this reading “Florencio, you are perfectly disgusting!”
precisely, exactly
From this reading “You have no right to talk like this.”
exchange thoughts; talk with
From this reading “You have no right to talk like this.”
(often used as a combining form) in a good or proper or satisfactory manner or to a high standard (“good” is a nonstandard dialectal variant for “well”)
From this reading “Very well then, my dear.”
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.
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.
the form of “be” used with you, we, they, or a plural noun
From this reading Florencio, you are perfectly disgusting!
the area of the states of North Carolina and South Carolina
From this reading CAROLINA.
dearly loved
From this reading Very well then, my dear.
highly offensive; arousing aversion or disgust
From this reading Florencio, you are perfectly disgusting!
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading Florencio, you are perfectly disgusting!
used with a past participle to form the perfect tenses
From this reading You have no right to talk like this.
prefer or wish to do something
From this reading You have no right to talk like this.
belonging to the person speaking
From this reading Very well then, my dear.
not any; not one
From this reading You have no right to talk like this.
completely and without qualification; used informally as intensifiers
From this reading Florencio, you are perfectly disgusting!
precisely, exactly
From this reading You have no right to talk like this.
exchange thoughts; talk with
From this reading You have no right to talk like this.
subsequently or soon afterward (often used as sentence connectors)
From this reading Very well then, my dear.
used for a person or thing that is near, or that has just been mentioned
From this reading You have no right to talk like this.
used before the base form of a verb to make the infinitive
From this reading You have no right to talk like this.
precisely as stated
From this reading Very well then, my dear.
(often used as a combining form) in a good or proper or satisfactory manner or to a high standard (“good” is a nonstandard dialectal variant for “well”)
From this reading Very well then, my dear.
the person or people being spoken to
From this reading Florencio, you are perfectly disgusting!
Chapter 18 of Fifty Contemporary One-Act Plays by Frank [Editor] Shay holds 993 sentences, grouped into 199 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 18 holds 993 sentences of Fifty Contemporary One-Act Plays, unabridged, divided into 199 reading sections.
This page carries chapter 18 of Fifty Contemporary One-Act Plays by Frank [Editor] Shay exactly as it stands in the source edition, without abridgement. It runs to 993 sentences, grouped into 199 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 199 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 199 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 18 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.
