Chapter 6 of The best short stories of 1915, and is here in full — 405 sentences across 81 reading sections, with audio for every sentence and word.
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Chapter VI
Chapter 6 of The best short stories of 1915, and is here in full — 405 sentences across 81 reading sections, with audio for every sentence and word.
"That's swell, Charley! Quit! You mustn't squeeze me like that till--till you've asked me to be engaged, Charley. We--we ain't engaged yet, are we, Charley?" "Aw, what difference does that make?
Chapter 6 of The best short stories of 1915, and is here in full — 405 sentences across 81 reading sections, with audio for every sentence and word.
Reading 1/81 · 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 “ask” — make a request or demand for something to somebody
From this reading “You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.”
the quality of being unlike or dissimilar
From this reading “"Aw, what difference does that make?”
having ones attention or mind or energy engaged
From this reading “You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.”
put an end to a state or an activity
From this reading “Quit!”
to compress with violence, out of natural shape or condition
From this reading “You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.”
increase in size, magnitude, number, or intensity
From this reading “"That's swell, Charley!”
up to a particular time
From this reading “You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.”
but in spite of that
From this reading “We--we ain't engaged yet, are we, Charley?"”
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.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading We--we ain't engaged yet, are we, Charley?"
the form of “be” used with you, we, they, or a plural noun
From this reading We--we ain't engaged yet, are we, Charley?"
past form of “ask” — make a request or demand for something to somebody
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "Aw, what difference does that make?
used with a past participle to form the passive, or with -ing for continuous tenses
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "That's swell, Charley!
the quality of being unlike or dissimilar
From this reading "Aw, what difference does that make?
the form of “do” used with he, she, it, or a singular noun
From this reading "Aw, what difference does that make?
having ones attention or mind or energy engaged
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
prefer or wish to do something
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
engage in
From this reading "Aw, what difference does that make?
the person speaking, as the object of a verb or preposition
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
put an end to a state or an activity
From this reading Quit!
to compress with violence, out of natural shape or condition
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
increase in size, magnitude, number, or intensity
From this reading "That's swell, Charley!
used to introduce what somebody said, thought, or felt
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "That's swell, Charley!
up to a particular time
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
used before the base form of a verb to make the infinitive
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
the speaker together with one or more other people
From this reading We--we ain't engaged yet, are we, Charley?"
used to ask for information about something
From this reading "Aw, what difference does that make?
but in spite of that
From this reading We--we ain't engaged yet, are we, Charley?"
the person or people being spoken to
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading You mustn't squeeze me like that till--till you've asked me to be engaged, Charley.
Chapter 6 of The best short stories of 1915, and by Edward J. (Edward Joseph) [Editor] O'Brien holds 405 sentences, grouped into 81 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 6 holds 405 sentences of The best short stories of 1915, and, unabridged, divided into 81 reading sections.
This page carries chapter 6 of The best short stories of 1915, and by Edward J. (Edward Joseph) [Editor] O'Brien exactly as it stands in the source edition, without abridgement. It runs to 405 sentences, grouped into 81 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 81 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 81 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 6 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 The best short stories of 1915, and by Edward J. (Edward Joseph) [Editor] O'Brien on this page, its source edition and its audio.
Yes. All 12288 sentences of Project Gutenberg eBook #20303 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #20303, unabridged. The Project Gutenberg header, footer and licence are removed.
About 600 minutes of reading across 2458 sections of 5 sentences each, at an unhurried pace.
How to work through The best short stories of 1915, and section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 31 chapters of The best short stories of 1915, and 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 best short stories of 1915, and, each tappable for pronunciation and meaning.
