Chapter 16 of The Beetle: A Mystery is here in full — 300 sentences across 60 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XVI
Chapter 16 of The Beetle: A Mystery is here in full — 300 sentences across 60 reading sections, with audio for every sentence and word.
THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’ She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy. ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now. Such strange trouble.’ So was I,--and in perplexity as well.
Chapter 16 of The Beetle: A Mystery is here in full — 300 sentences across 60 reading sections, with audio for every sentence and word.
Reading 1/60 · 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.
state categorically
From this reading “She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.”
the emotion of great happiness
From this reading “She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.”
inflected form of “overtake” — catch up with and possibly overtake
From this reading “‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.”
trouble or confusion resulting from complexity
From this reading “So was I,--and in perplexity as well.”
only a very short time before
From this reading “She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.”
someone who has or gives or receives a part or a share
From this reading “She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.”
the largest Australian city located in southeastern Australia on the Tasman Sea; state capital of New South Wales; Australia's chief port
From this reading “THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’”
an overwhelming feeling of fear and anxiety
From this reading “THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’”
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 She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
used to join words or parts of a sentence that go together
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
at the same time that; because; in the way that
From this reading So was I,--and in perplexity as well.
state categorically
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
in or near a particular place or position
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
used with a past participle to form the passive, or with -ing for continuous tenses
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
used to introduce something that contrasts with what came before
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
to be able to, or to be allowed to
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
move toward, travel toward something or somebody or approach something or somebody
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
the past of “can”; used for possibility or polite requests
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
inflected form of “cry” — utter a sudden loud cry
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
showing or causing joy and pleasure; especially made happy
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
belonging to a woman, girl, or female animal already mentioned
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
the person speaking or writing, as the subject of the verb
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
on condition that; in the event that
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
inside something, or within a place, period, or state
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
the emotion of great happiness
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
the person speaking, as the object of a verb or preposition
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
used to say something is possible but not certain
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
a particular point in time
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
the time after sunset and before sunrise while it is dark outside
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
in the historical present; at this point in the narration of a series of past events
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
belonging to, or connected with, somebody or something
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
inflected form of “overtake” — catch up with and possibly overtake
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
trouble or confusion resulting from complexity
From this reading So was I,--and in perplexity as well.
only a very short time before
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
perceive by sight or have the power to perceive by sight
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
someone who has or gives or receives a part or a share
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
a woman, girl, or female animal already mentioned, as the subject
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
used to say what is right, expected, or advisable
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
for that reason; with the result that
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
being definitely out of the ordinary and unexpected; slightly odd or even a bit weird
From this reading Such strange trouble.’
of the kind already mentioned
From this reading Such strange trouble.’
the largest Australian city located in southeastern Australia on the Tasman Sea; state capital of New South Wales; Australia's chief port
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
an overwhelming feeling of fear and anxiety
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
used to introduce what somebody said, thought, or felt
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
used before the base form of a verb to make the infinitive
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
inflected form of “tell” — express in words
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
a source of difficulty
From this reading ‘I told you that if trouble overtook me I should come to you, and--I’m in trouble now.
the past form of “be” used with I, he, she, it, or a singular noun
From this reading She might be,--but, at that moment, I could scarcely assert that I was a sharer of her joy.
(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 So was I,--and in perplexity as well.
the person or people being spoken to
From this reading THE TERROR IN THE NIGHT ‘Sydney!’ she cried, ‘I’m so glad that I can see you!’
Chapter 16 of The Beetle: A Mystery by Richard Marsh holds 300 sentences, grouped into 60 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 16 holds 300 sentences of The Beetle: A Mystery, unabridged, divided into 60 reading sections.
This page carries chapter 16 of The Beetle: A Mystery by Richard Marsh exactly as it stands in the source edition, without abridgement. It runs to 300 sentences, grouped into 60 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 60 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 60 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 16 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 6966 sentences of Project Gutenberg eBook #5164 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #5164, unabridged. The Project Gutenberg header, footer and licence are removed.
About 580 minutes of reading across 1394 sections of 5 sentences each, at an unhurried pace.
How to work through The Beetle: A Mystery section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 39 chapters of The Beetle: A Mystery 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 The Beetle: A Mystery, each tappable for pronunciation and meaning.
