(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 These methods are obscured by the commercialized dramas, but they are behind them all.
used to join words or parts of a sentence that go together
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
areauxiliary verbUS /ɑːr/
the form of “be” used with you, we, they, or a plural noun
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
behindprepositionUS /bɪˈhaɪnd/
at or toward the back of something
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
in the space, time, or range separating two things
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
used to introduce something that contrasts with what came before
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
showing who or what does the action
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
inflected form of “come” — move toward, travel toward something or somebody or approach something or somebody
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
classicnounUS /ˈklæsɪk/
a creation of the highest excellence
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
commercializedadjectiveUS /kəˈmɜːrʃəlaɪzd/
organized principally for financial gain
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
dependentadjectiveUS /dɪˈpendənt/
relying on or requiring a person or thing for support, supply, or what is needed
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
DIFFERENCESnounUS /ˈdɪfərənsɪz/
plural of “difference” — the quality of being unlike or dissimilar
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
discussverbUS /dɪˈskʌs/
to consider or examine in speech or writing
From this reading Let us discuss for illustration the Ibsen tradition.
being or moving lower in position or less in some value
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
dramasnounUS /ˈdrɑːməz/
plural of “drama” — a dramatic work intended for performance by actors on a stage
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
an Indo-European language belonging to the West Germanic branch; the official language of Britain and the United States and most of the commonwealth countries
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
brought about or set up or accepted; especially long established
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
with resolute determination
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
firstadjectiveUS /fɜːrst/
preceding all others in time or space or degree
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
intended to be given to, or used by, somebody
From this reading Let us discuss for illustration the Ibsen tradition.
the Romance language spoken in France and in countries colonized by France
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
showing where something starts, or who sent it
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
GreecenounUS /ɡriːs/
a republic in southeastern Europe on the southern part of the Balkan peninsula; known for grapes and olives and olive oil
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
IbsennounUS /ˈɪbsən/
realistic Norwegian author who wrote plays on social and political themes (1828-1906)
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
illustrationnounUS /ˌɪləˈstreɪʃən/
artwork that helps make something clear or attractive
From this reading Let us discuss for illustration the Ibsen tradition.
the form of “be” used with he, she, it, or a singular noun
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
a thing, animal, or idea already mentioned
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
Letauxiliary verbUS /let/
used to make a suggestion or a command including the speaker
From this reading Let us discuss for illustration the Ibsen tradition.
plural of “line” — a formation of people or things one beside another
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
methodsnounUS /ˈmeθədz/
plural of “method” — a way of doing something, especially a systematic way; implies an orderly logical arrangement (usually in steps)
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
miraclenounUS /ˈmɪrəkəl/
any amazing or wonderful occurrence
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
NorwaynounUS /ˈnɔːrweɪ/
a constitutional monarchy in northern Europe on the western side of the Scandinavian Peninsula; achieved independence from Sweden in 1905
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
in the historical present; at this point in the narration of a series of past events
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
obscuredverbUS /əbsˈkjʊrd/
past form of “obscure” — make less visible or unclear
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
belonging to, or connected with, somebody or something
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
PHOTOPLAYS
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
participate in games or sport
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
precedentnounUS /ˈpresɪdənt/
an example that is used to justify similar occurrences at a later time
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
ripenedadjectiveUS /ˈraɪpənd/
of wines, fruit, cheeses; having reached a desired or final condition; (“aged” pronounced as one syllable)
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
capital and largest city of Italy; on the Tiber; seat of the Roman Catholic Church; formerly the capital of the Roman Republic and the Roman Empire
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
1/60 of a minute; the basic unit of time adopted under the Systeme International d'Unites
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
Shakespeariannoun
a Shakespearean scholar
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
for that reason; with the result that
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
any distinct time period in a sequence of events
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
how something is done or how it happens
From this reading Second, the English style, ripened from the miracle play and the Shakespearian stage.
used to introduce what somebody said, thought, or felt
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
the people or things already mentioned, as the object
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
the plural of “this”: the people or things near, or just mentioned
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
the people, animals, or things already mentioned, as the subject
From this reading These methods are obscured by the commercialized dramas, but they are behind them all.
one of three equal parts of a divisible whole
From this reading And third, the Ibsen precedent from Norway, now so firmly established it is classic.
the cardinal number that is the product of ten and three
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
the cardinal number that is the sum of one and one and one
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
from one end or side of something to the other
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
traditionnounUS /trəˈdɪʃən/
an inherited pattern of thought or action
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
uponprepositionUS /əˈpɑːn/
a formal word for “on”
From this reading THIRTY DIFFERENCES BETWEEN THE PHOTOPLAYS AND THE STAGE The stage is dependent upon three lines of tradition: first, that of Greece and Rome that came down through the French.
the speaker and others, as the object of a verb or preposition
From this reading Let us discuss for illustration the Ibsen tradition.
