Chapter 17 of Miss Million's Maid is here in full — 153 sentences across 31 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XVII
Chapter 17 of Miss Million's Maid is here in full — 153 sentences across 31 reading sections, with audio for every sentence and word.
REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all? Yes. The most terrible thing has happened. Miss Million has disappeared. Gone!
Chapter 17 of Miss Million's Maid is here in full — 153 sentences across 31 reading sections, with audio for every sentence and word.
Reading 1/30 · 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.
past form of “disappear” — get lost, as without warning or explanation
From this reading “Miss Million has disappeared.”
past form of “happen” — come to pass
From this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
the number that is represented as a one followed by 6 zeros
From this reading “Miss Million has disappeared.”
unrestrained merrymaking
From this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
concerned with work or important matters rather than play or trivialities
From this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
causing fear or dread or terror
From this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
a way of regarding situations or topics etc.
From this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
the act of creating written works
From this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
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 “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
In this reading “The most terrible thing has happened.”
In this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
In this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
In this reading “REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?”
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.
later than; following
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
(quantifier) used with either mass or count nouns to indicate the whole number or amount of or every one of a class
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
the form of “be” used with “I”
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
used to join words or parts of a sentence that go together
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
used to introduce something that contrasts with what came before
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
showing who or what does the action
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
past form of “disappear” — get lost, as without warning or explanation
From this reading Miss Million has disappeared.
destroyed or killed
From this reading Gone!
past form of “happen” — come to pass
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
the form of “have” used with he, she, it, or a singular noun
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
the person speaking or writing, as the subject of the verb
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
inside something, or within a place, period, or state
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
the number that is represented as a one followed by 6 zeros
From this reading Miss Million has disappeared.
fail to perceive or to catch with the senses or the mind
From this reading Miss Million has disappeared.
used to form the superlative
From this reading The most terrible thing has happened.
the time after sunset and before sunrise while it is dark outside
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
belonging to, or connected with, somebody or something
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
in accordance with truth or fact or reality
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
unrestrained merrymaking
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
concerned with work or important matters rather than play or trivialities
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
causing fear or dread or terror
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
used to introduce what somebody said, thought, or felt
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
a special situation
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
used for a person or thing that is near, or that has just been mentioned
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
a way of regarding situations or topics etc.
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
the cause or intention underlying an action or situation, especially in the phrase “the whys and wherefores”
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
the act of creating written works
From this reading REVELRY BY NIGHT BUT why am I writing all this, in view of the really serious and terrible thing that has happened after all?
an affirmative
From this reading Yes.
Chapter 17 of Miss Million's Maid by Berta Ruck holds 153 sentences, grouped into 31 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 17 holds 153 sentences of Miss Million's Maid, unabridged, divided into 31 reading sections.
This page carries chapter 17 of Miss Million's Maid by Berta Ruck exactly as it stands in the source edition, without abridgement. It runs to 153 sentences, grouped into 31 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 31 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 31 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 17 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 Miss Million's Maid by Berta Ruck on this page, its source edition and its audio.
Yes. All 6764 sentences of Project Gutenberg eBook #33977 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #33977, unabridged. The Project Gutenberg header, footer and licence are removed.
About 563 minutes of reading across 1353 sections of 5 sentences each, at an unhurried pace.
How to work through Miss Million's Maid section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 33 chapters of Miss Million's Maid 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 Miss Million's Maid, each tappable for pronunciation and meaning.
