Chapter 3 of Somebody's Luggage is here in full — 258 sentences across 52 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter III
Chapter 3 of Somebody's Luggage is here in full — 258 sentences across 52 reading sections, with audio for every sentence and word.
My works are well known. I am a young man in the Art line. You have seen my works many a time, though it's fifty thousand to one if you have seen me. You say you don't want to see me? You say your interest is in my works, and not in me?
Chapter 3 of Somebody's Luggage is here in full — 258 sentences across 52 reading sections, with audio for every sentence and word.
Reading 1/51 · 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.
an old form of “are”, used with “thou”
From this reading “I am a young man in the Art line.”
the cardinal number that is the product of ten and five
From this reading “You have seen my works many a time, though it's fifty thousand to one if you have seen me.”
a sense of concern with and curiosity about someone or something
From this reading “You say your interest is in my works, and not in me?”
apprehended with certainty
From this reading “My works are well known.”
a formation of people or things one beside another
From this reading “I am a young man in the Art line.”
the cardinal number that is the product of 10 and 100
From this reading “You have seen my works many a time, though it's fifty thousand to one if you have seen me.”
feel or have a desire for; want strongly
From this reading “You say you don't want to see me?”
buildings for carrying on industrial labor
From this reading “My works are well known.”
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 I am a young man in the Art line.
the form of “be” used with “I”
From this reading I am a young man in the Art line.
used to join words or parts of a sentence that go together
From this reading You say your interest is in my works, and not in me?
the form of “be” used with you, we, they, or a plural noun
From this reading My works are well known.
an old form of “are”, used with “thou”
From this reading I am a young man in the Art line.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading You say you don't want to see me?
the cardinal number that is the product of ten and five
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
used with a past participle to form the perfect tenses
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
the person speaking or writing, as the subject of the verb
From this reading I am a young man in the Art line.
on condition that; in the event that
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
inside something, or within a place, period, or state
From this reading I am a young man in the Art line.
a sense of concern with and curiosity about someone or something
From this reading You say your interest is in my works, and not in me?
the form of “be” used with he, she, it, or a singular noun
From this reading You say your interest is in my works, and not in me?
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
apprehended with certainty
From this reading My works are well known.
a formation of people or things one beside another
From this reading I am a young man in the Art line.
an adult person who is male (as opposed to a woman)
From this reading I am a young man in the Art line.
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 You have seen my works many a time, though it's fifty thousand to one if you have seen me.
the person speaking, as the object of a verb or preposition
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
belonging to the person speaking
From this reading My works are well known.
used to make a word, phrase, or sentence negative
From this reading You say your interest is in my works, and not in me?
used to mean any person in general, including the speaker
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
express in words
From this reading You say you don't want to see me?
perceive by sight or have the power to perceive by sight
From this reading You say you don't want to see me?
inflected form of “see” — perceive by sight or have the power to perceive by sight
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading I am a young man in the Art line.
in spite of the fact that
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
the cardinal number that is the product of 10 and 100
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
an instance or single occasion for some event
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
used before the base form of a verb to make the infinitive
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
feel or have a desire for; want strongly
From this reading You say you don't want to see me?
(often used as a combining form) in a good or proper or satisfactory manner or to a high standard (“good” is a nonstandard dialectal variant for “well”)
From this reading My works are well known.
buildings for carrying on industrial labor
From this reading My works are well known.
the person or people being spoken to
From this reading You have seen my works many a time, though it's fifty thousand to one if you have seen me.
(used of living things especially persons) in an early period of life or development or growth
From this reading I am a young man in the Art line.
belonging to the person or people being spoken to
From this reading You say your interest is in my works, and not in me?
Chapter 3 of Somebody's Luggage by Charles Dickens holds 258 sentences, grouped into 52 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 3 holds 258 sentences of Somebody's Luggage, unabridged, divided into 52 reading sections.
This page carries chapter 3 of Somebody's Luggage by Charles Dickens exactly as it stands in the source edition, without abridgement. It runs to 258 sentences, grouped into 52 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 52 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 52 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 3 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 Somebody's Luggage by Charles Dickens on this page, its source edition and its audio.
Yes. All 945 sentences of Project Gutenberg eBook #1414 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #1414, unabridged. The Project Gutenberg header, footer and licence are removed.
About 78 minutes of reading across 189 sections of 5 sentences each, at an unhurried pace.
How to work through Somebody's Luggage section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 4 chapters of Somebody's Luggage 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 Somebody's Luggage, each tappable for pronunciation and meaning.
