Chapter 30 of Fifty Contemporary One-Act Plays is here in full — 850 sentences across 170 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XXX
Chapter 30 of Fifty Contemporary One-Act Plays is here in full — 850 sentences across 170 reading sections, with audio for every sentence and word.
You have no pity on me?... You see How humbly I've become.... FLORIO To pity you, Lady, would be cruel to her!... In a month you will be glad. VIOLANTE You have slain me, Florio!
Chapter 30 of Fifty Contemporary One-Act Plays is here in full — 850 sentences across 170 reading sections, with audio for every sentence and word.
Reading 1/170 · 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.
enter or assume a certain state or condition
From this reading “You see How humbly I've become....”
(of persons or their actions) able or disposed to inflict pain or suffering
From this reading “FLORIO To pity you, Lady, would be cruel to her!...”
English lexicographer remembered for his Italian and English dictionary (1553-1625)
From this reading “FLORIO To pity you, Lady, would be cruel to her!...”
showing or causing joy and pleasure; especially made happy
From this reading “In a month you will be glad.”
in a humble manner
From this reading “You see How humbly I've become....”
one of the twelve divisions of the calendar year
From this reading “In a month you will be glad.”
a feeling of sympathy and sorrow for the misfortunes of others
From this reading “You have no pity on me?...”
people who have been slain (as in battle)
From this reading “VIOLANTE You have slain me, Florio!”
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.
In this reading “You have no pity on me?...”
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 In a month you will be glad.
used with a past participle to form the passive, or with -ing for continuous tenses
From this reading FLORIO To pity you, Lady, would be cruel to her!...
enter or assume a certain state or condition
From this reading You see How humbly I've become....
(of persons or their actions) able or disposed to inflict pain or suffering
From this reading FLORIO To pity you, Lady, would be cruel to her!...
English lexicographer remembered for his Italian and English dictionary (1553-1625)
From this reading FLORIO To pity you, Lady, would be cruel to her!...
showing or causing joy and pleasure; especially made happy
From this reading In a month you will be glad.
used with a past participle to form the perfect tenses
From this reading You have no pity on me?...
belonging to a woman, girl, or female animal already mentioned
From this reading FLORIO To pity you, Lady, would be cruel to her!...
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading You see How humbly I've become....
in a humble manner
From this reading You see How humbly I've become....
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading You see How humbly I've become....
inside something, or within a place, period, or state
From this reading In a month you will be glad.
a polite name for any woman
From this reading FLORIO To pity you, Lady, would be cruel to her!...
the person speaking, as the object of a verb or preposition
From this reading You have no pity on me?...
one of the twelve divisions of the calendar year
From this reading In a month you will be glad.
not any; not one
From this reading You have no pity on me?...
touching and supported by a surface
From this reading You have no pity on me?...
a feeling of sympathy and sorrow for the misfortunes of others
From this reading You have no pity on me?...
perceive by sight or have the power to perceive by sight
From this reading You see How humbly I've become....
people who have been slain (as in battle)
From this reading VIOLANTE You have slain me, Florio!
used before the base form of a verb to make the infinitive
From this reading FLORIO To pity you, Lady, would be cruel to her!...
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading VIOLANTE You have slain me, Florio!
used to talk about the future, or about willingness
From this reading In a month you will be glad.
used for something imagined, polite, or habitual in the past
From this reading FLORIO To pity you, Lady, would be cruel to her!...
the person or people being spoken to
From this reading You have no pity on me?...
Chapter 30 of Fifty Contemporary One-Act Plays by Frank [Editor] Shay holds 850 sentences, grouped into 170 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 30 holds 850 sentences of Fifty Contemporary One-Act Plays, unabridged, divided into 170 reading sections.
This page carries chapter 30 of Fifty Contemporary One-Act Plays by Frank [Editor] Shay exactly as it stands in the source edition, without abridgement. It runs to 850 sentences, grouped into 170 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 170 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 170 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 30 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.
