Chapter 3 of Tempest and Sunshine is here in full — 227 sentences across 46 reading sections, with audio for every sentence and word.
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Chapter III
Chapter 3 of Tempest and Sunshine is here in full — 227 sentences across 46 reading sections, with audio for every sentence and word.
DR. LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright. "No," said he, "indeed she shan’t go! What does she want of any more flummerdiddle notions? What she does know is a damage to her."
Chapter 3 of Tempest and Sunshine is here in full — 227 sentences across 46 reading sections, with audio for every sentence and word.
Reading 1/45 · 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.
third-person singular of “appear” — give a certain impression or have a certain outward aspect
From this reading “LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.”
the occurrence of a change for the worse
From this reading “What she does know is a damage to her."”
the capital of Kentucky; located in northern Kentucky
From this reading “LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.”
English playwright and pamphleteer (1570-1627)
From this reading “LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.”
plural of “notion” — a vague idea in which some confidence is placed
From this reading “What does she want of any more flummerdiddle notions?”
without restrictions or stipulations or further payments
From this reading “LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.”
past form of “refuse” — show unwillingness towards
From this reading “LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.”
the act of causing something to go (especially messages)
From this reading “LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.”
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 What she does know is a damage to her."
one or some or every or all without specification
From this reading What does she want of any more flummerdiddle notions?
third-person singular of “appear” — give a certain impression or have a certain outward aspect
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
in or near a particular place or position
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
the occurrence of a change for the worse
From this reading What she does know is a damage to her."
the form of “do” used with he, she, it, or a singular noun
From this reading What does she want of any more flummerdiddle notions?
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading DR.
preceding all others in time or space or degree
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading What does she want of any more flummerdiddle notions?
the capital of Kentucky; located in northern Kentucky
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
change location; move, travel, or proceed, also metaphorically
From this reading "No," said he, "indeed she shan’t go!
a man, boy, or male animal already mentioned, as the subject
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
belonging to a woman, girl, or female animal already mentioned
From this reading What she does know is a damage to her."
in truth (often tends to intensify)
From this reading "No," said he, "indeed she shan’t go!
the form of “be” used with he, she, it, or a singular noun
From this reading What she does know is a damage to her."
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
be cognizant or aware of a fact or a specific piece of information; possess knowledge or information about
From this reading What she does know is a damage to her."
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
English playwright and pamphleteer (1570-1627)
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
(comparative of “much” used with mass nouns) a quantifier meaning greater in size or amount or extent or degree
From this reading What does she want of any more flummerdiddle notions?
a form of address for a man
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
not any; not one
From this reading "No," said he, "indeed she shan’t go!
plural of “notion” — a vague idea in which some confidence is placed
From this reading What does she want of any more flummerdiddle notions?
belonging to, or connected with, somebody or something
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
touching and supported by a surface
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
without restrictions or stipulations or further payments
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
past form of “refuse” — show unwillingness towards
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
being the one previously mentioned or spoken of
From this reading "No," said he, "indeed she shan’t go!
the place where some action occurs
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
the act of causing something to go (especially messages)
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "No," said he, "indeed she shan’t go!
a woman, girl, or female animal already mentioned, as the subject
From this reading "No," said he, "indeed she shan’t go!
uttered through the medium of speech or characterized by speech; sometimes used in combination
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
the subject matter of a conversation or discussion
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
used before the base form of a verb to make the infinitive
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
a formal word for “on”
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
feel or have a desire for; want strongly
From this reading What does she want of any more flummerdiddle notions?
the past form of “be” used with I, he, she, it, or a singular noun
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
used to ask for information about something
From this reading What does she want of any more flummerdiddle notions?
at the time that
From this reading LACEY APPEARS UPON THE SCENE When Mr. Middleton was spoken to on the subject of sending Julia to Frankfort, he at first refused outright.
Chapter 3 of Tempest and Sunshine by Mary Jane Holmes holds 227 sentences, grouped into 46 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 227 sentences of Tempest and Sunshine, unabridged, divided into 46 reading sections.
This page carries chapter 3 of Tempest and Sunshine by Mary Jane Holmes exactly as it stands in the source edition, without abridgement. It runs to 227 sentences, grouped into 46 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 46 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 46 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.
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Yes. All 4820 sentences of Project Gutenberg eBook #17260 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #17260, unabridged. The Project Gutenberg header, footer and licence are removed.
About 401 minutes of reading across 964 sections of 5 sentences each, at an unhurried pace.
How to work through Tempest and Sunshine section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 25 chapters of Tempest and Sunshine 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 Tempest and Sunshine, each tappable for pronunciation and meaning.
