Chapter I

used before a singular noun to mean one of a group, when it is not a particular one

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the action of accomplishing something

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

make it possible through a specific action or lack of action for something to happen

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

in addition

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

the form of “be” used with “I”

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

the form of “a” used before a word that begins with a vowel sound

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used to join words or parts of a sentence that go together

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the form of “be” used with you, we, they, or a plural noun

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

an old form of “are”, used with “thou”

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

at the same time that; because; in the way that

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

make a request or demand for something to somebody

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

in or near a particular place or position

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

a gathering of spectators or listeners at a (usually public) performance

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

stay clear from; keep away from; keep out of the way of someone or something

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

used with a past participle to form the passive, or with -ing for continuous tenses

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

plural of “bear” — massive plantigrade carnivorous or omnivorous mammals with long shaggy coats and strong claws

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

past form of “bequeath” — leave or give by will after one's death

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

state capital and largest city of Massachusetts; a major center for banking and financial services

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

a natural stream of water smaller than a river (and often a tributary of a river)

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

plural of “building” — a structure that has a roof and walls and stands more or less permanently in one place

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

used to introduce something that contrasts with what came before

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

showing who or what does the action

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the particular occupation for which you are trained

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

to be able to, or to be allowed to

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

assets available for use in the production of further assets

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

a prominent attribute or aspect of something

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

an urge to do or say something that might be better left undone or unsaid

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

-ing form of “concern” — be relevant to

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

entrusted with private information and the confidence of another

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

the use of speech for informal exchange of views or ideas or information etc.

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

forced to turn and face attackers

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

a politically organized body of people under a single government

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

a state in which you want to learn more about something

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

beyond or deviating from the usual or expected

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

something used to beautify

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

-ing form of “demonstrate” — give an exhibition of to an interested audience

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

something immaterial that interferes with or delays action or progress

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

the main meal of the day served in the evening or at midday

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

(used of persons) standing above others in character or attainment or reputation

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

operate or control a vehicle

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

lacking in liveliness or animation

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

King of England and Ireland in 1936; his marriage to Wallis Warfield Simpson created a constitutional crisis leading to his abdication (1894-1972)

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

expressing yourself readily, clearly, effectively

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

education that results in understanding and the spread of knowledge

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

past form of “enrich” — make better or improve in quality

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

in essence; at bottom or by one's (or its) very nature

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a native or inhabitant of Europe

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

a statement that is not literally false but that cleverly avoids an unpleasant truth

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

divisible by two

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

all the members of a group, with none left out

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

plural of “example” — an item of information that is typical of a class or group

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

the activity of exerting your muscles in various ways to keep fit

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

to a considerable degree; very much

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

showing or representing to advantage

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

intended to be given to, or used by, somebody

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

plural of “forebear” — a person from whom you are descended

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

a short introductory essay preceding the text of a book

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

recently made, produced, or harvested

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

showing where something starts, or who sent it

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

to or at a greater extent or degree or a more advanced stage (“further” is used more often than “farther” in this abstract sense)

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

take exception to

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

plural of “gallery” — spectators at a golf or tennis match

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

plural of “generation” — all the people living at the same time or of approximately the same age

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

a kind of literary or artistic work

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

change location; move, travel, or proceed, also metaphorically

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

a visitor to whom hospitality is extended

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

the past form of “have”, used to form the past perfect

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

used with a past participle to form the perfect tenses

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the male already mentioned, as the object of a verb or preposition

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

something immaterial that interferes with or delays action or progress

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

belonging to a man, boy, or male animal already mentioned

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

a tangible symbol signifying approval or distinction

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

past form of “hope” — expect and wish

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

the person speaking or writing, as the subject of the verb

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

on condition that; in the event that

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

inside something, or within a place, period, or state

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

occurring among members of a family usually by heredity

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

too numerous to be counted

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

in place of, or as an alternative to

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

an act of delaying or interrupting the continuity

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the act of beginning something new

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the form of “be” used with he, she, it, or a singular noun

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a thing, animal, or idea already mentioned

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used when the thing doing the action is also its object

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

used to make a suggestion or a command including the speaker

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

a characteristic state or mode of living

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

consisting of or related to language

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

no longer in your possession or control; unable to be found or recovered

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

engage in

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a quantifier that can be used with count nouns and is often preceded by “as” or “too” or “so” or “that”; amounting to a large but indefinite number

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

a vaguely specified concern

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

plural of “medal” — an award for winning a championship or commemorating some other event

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

Recollections of past events.

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

make reference to

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

used to say something is possible but not certain

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used to form the superlative

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

a form of address for a man

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

to a great degree or extent

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

used to say something is necessary, or almost certainly true

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

belonging to the person speaking

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

provide commentary for a film, for example

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

the essential qualities or characteristics by which something is recognized

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a condition requiring relief

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

in such a manner as could not be otherwise

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

not any; not one

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used to make a word, phrase, or sentence negative

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

easily perceived by the senses or grasped by the mind

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

belonging to, or connected with, somebody or something

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

United States jazz musician who influenced the style of Louis Armstrong (1885-1938)

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used to join alternatives or possibilities

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

characteristic of an orator or oratory

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

have ownership or possession of

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

an artist who paints

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

an organization to gain political power

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

the property of a continuous and connected period of time

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

concerning or affecting a particular person or his or her private life and personality

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

reading carefully with intent to remember

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a visual representation (of an object or scene or person or abstraction) produced on a surface

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

a word picture of a person's appearance and character

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

a short introductory essay preceding the text of a book

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

confined to particular persons or groups or providing privacy

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

with considerable certainty; without much doubt

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

people in general considered as a whole

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

on the contrary

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a person who enjoys reading

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

possessive form of “reader” — a person who enjoys reading

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a rational motive for a belief or action

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

a person who receives something

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

(usually preceded by “in”) a detail or point

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

being connected either logically or causally or by shared characteristics

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

a statement (either spoken or written) that is made to reply to a question or request or criticism or accusation

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

require as useful, just, or proper

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

being the one previously mentioned or spoken of

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

the cardinal number that is the sum of six and one

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

being ten more than sixty

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used to say what is right, expected, or advisable

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

from a time in the past until now

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

for that reason; with the result that

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

(quantifier) used with either mass nouns or plural count nouns to indicate an unspecified number or quantity

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

third-person singular of “speak” — express in speech

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

restricted to something

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

serving no useful purpose; having no excuse for being

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

required or under orders

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

definitely or positively (“sure” is sometimes used informally for “surely”)

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

disclosing unintentionally something concealed

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

used to introduce what somebody said, thought, or felt

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

used before a noun that is already known, already mentioned, or the only one of its kind

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

subsequently or soon afterward (often used as sentence connectors)

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

used for a person or thing that is near, or that has just been mentioned

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

a heading that names a statute or legislative bill; may give a brief summary of the matters it deals with

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

used before the base form of a verb to make the infinitive

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

inflected form of “tell” — express in words

From this reading The story, in so far as it is related to the title of this preface, speaks for itself, and since it bears upon a personal characteristic of the painter, inherited, I am told, from generations of oratorical forebears, a characteristic which also speaks for itself, I must ask the reader to regard it as strictly confidential and to allow it to go no further.

consistent with fact or reality; not false

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

a formal word for “on”

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

precisely as stated

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

Moral excellence and goodness of character; the highest human attainment in Stoic philosophy.

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

the past form of “be” used with I, he, she, it, or a singular noun

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

used to introduce a clause giving more about a thing just mentioned

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

to a complete degree or to the full or entire extent (“whole” is often used informally for “wholly”)

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

belonging to which person

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

used to talk about the future, or about willingness

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

in the company of; together with

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.

not having, not using, or not accompanied by

From this reading Picture then, Curious Reader, a Boston dinner party at which Mr. Edward Simmons as guest of honor is exercising without let or hindrance the lingual accomplishment bequeathed to him by generations of eloquent forebears, and demonstrating to a fresh audience that the supposed “lost art of conversation” was not so much lost as cornered.

exert oneself by doing mental or physical work for a purpose or out of necessity

From this reading The recipient of medals innumerable, and the most flattering mention in every European capital, surely should need no introduction even in his own country, many of whose public buildings and galleries are enriched by examples of his work in decoration, portraiture, or genre.

used for something imagined, polite, or habitual in the past

From this reading But this, as I have said, would be an evasion and not my true reason for calling my preface an interruption, and since the curiosity that can drive a reader to the perusal of matter that is essentially deterrent, wholly superfluous, and probably dull must be of a persistence that will brook no gainsay, I will make a virtue of compulsion and narrate for that reader’s private enlightenment a story of a very personal nature concerning Mr. Simmons, the telling of which I had rather hoped to avoid.

an American who lives in the North (especially during the American Civil War)

From this reading FROM SEVEN TO SEVENTY Memories of a Painter and a Yankee With an Interruption by OLIVER HERFORD If some curious reader, chancing upon this foreword to the narrative of the life of Edward Simmons, should require my reason for calling it an Interruption instead of an Introduction, I might reply with the obvious evasion that so distinguished a painter as Edward Simmons needs no introduction.