Chapter 25 of The City of the Discreet is here in full — 77 sentences across 16 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XXV
Chapter 25 of The City of the Discreet is here in full — 77 sentences across 16 reading sections, with audio for every sentence and word.
THE VICTIM OF A FEUILLETON The woman and Quentin were left alone. “If you don’t want me to stay here,” said Quentin--“tell me so.” “Do you hate me so much for last night?” she said. “I? No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
Chapter 25 of The City of the Discreet is here in full — 77 sentences across 16 reading sections, with audio for every sentence and word.
Reading 1/15 · 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.
Having no one else present.
From this reading “THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.”
a natural or artificial enclosed space
From this reading “No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.””
the emotion of intense dislike; a feeling of dislike so strong that it demands action
From this reading ““Do you hate me so much for last night?” she said.”
change location; move, travel, or proceed, also metaphorically
From this reading “No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.””
make or become more narrow or restricted
From this reading “No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.””
only a very short time before
From this reading “No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.””
stay the same; remain in a certain state
From this reading ““If you don’t want me to stay here,” said Quentin--“tell me so.””
an unfortunate person who suffers from some adverse circumstance
From this reading “THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.”
English keeps certain words together, and knowing the pair is worth more than knowing each word alone. Every partnership below was counted across our whole published library, and earns its place by appearing far more often than two unrelated words of the same frequency would.
Shown as this reading writes them, with the form the library counts, what kind of pairing it is, and how often it occurs.
In this reading ““Do you hate me so much for last night?” she said.”
In this reading ““If you don’t want me to stay here,” said Quentin--“tell me so.””
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 THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
Having no one else present.
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
used to join words or parts of a sentence that go together
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
used to introduce something that contrasts with what came before
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
to be able to, or to be allowed to
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
a natural or artificial enclosed space
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
used to form questions and negatives, and to give emphasis
From this reading “Do you hate me so much for last night?” she said.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
intended to be given to, or used by, somebody
From this reading “Do you hate me so much for last night?” she said.
the emotion of intense dislike; a feeling of dislike so strong that it demands action
From this reading “Do you hate me so much for last night?” she said.
in or at this place; where the speaker or writer is
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
the person speaking or writing, as the subject of the verb
From this reading “I?
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
on condition that; in the event that
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
inside something, or within a place, period, or state
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
the form of “be” used with he, she, it, or a singular noun
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
a thing, animal, or idea already mentioned
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
be cognizant or aware of a fact or a specific piece of information; possess knowledge or information about
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
immediately past
From this reading “Do you hate me so much for last night?” she said.
location near or direction toward the left side; i.e. the side to the north when a person or object faces east
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
used to make a suggestion or a command including the speaker
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
the person speaking, as the object of a verb or preposition
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
change location; move, travel, or proceed, also metaphorically
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
to a great degree or extent
From this reading “Do you hate me so much for last night?” she said.
used to say something is necessary, or almost certainly true
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
make or become more narrow or restricted
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
the time after sunset and before sunrise while it is dark outside
From this reading “Do you hate me so much for last night?” she said.
not any; not one
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
belonging to, or connected with, somebody or something
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
used to mean any person in general, including the speaker
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
being the one previously mentioned or spoken of
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
only a very short time before
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
a woman, girl, or female animal already mentioned, as the subject
From this reading “Do you hate me so much for last night?” she said.
from a time in the past until now
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
for that reason; with the result that
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
stay the same; remain in a certain state
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
express in words
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
used to introduce what somebody said, thought, or felt
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
used for a person or thing that is near, or that has just been mentioned
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
used before the base form of a verb to make the infinitive
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
an unfortunate person who suffers from some adverse circumstance
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
feel or have a desire for; want strongly
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
how something is done or how it happens
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
the past form of “be” used with you, we, they, or a plural noun
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
an adult female person (as opposed to a man)
From this reading THE VICTIM OF A FEUILLETON The woman and Quentin were left alone.
the person or people being spoken to
From this reading “If you don’t want me to stay here,” said Quentin--“tell me so.”
belonging to the person or people being spoken to
From this reading No, Señora; but since this chamber is so narrow that one can scarcely move in it, you must let me know if I’m in your way.”
Chapter 25 of The City of the Discreet by Pío Baroja holds 77 sentences, grouped into 16 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 25 holds 77 sentences of The City of the Discreet, unabridged, divided into 16 reading sections.
This page carries chapter 25 of The City of the Discreet by Pío Baroja exactly as it stands in the source edition, without abridgement. It runs to 77 sentences, grouped into 16 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 16 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 16 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 25 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 6657 sentences of Project Gutenberg eBook #56324 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #56324, unabridged. The Project Gutenberg header, footer and licence are removed.
About 554 minutes of reading across 1332 sections of 5 sentences each, at an unhurried pace.
How to work through The City of the Discreet section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 35 chapters of The City of the Discreet 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 City of the Discreet, each tappable for pronunciation and meaning.
