Chapter 11 of The Exemplary Novels of Cervantes is here in full — 411 sentences across 83 reading sections, with audio for every sentence and word.
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Chapter XI
Chapter 11 of The Exemplary Novels of Cervantes is here in full — 411 sentences across 83 reading sections, with audio for every sentence and word.
Apathy and disgust commonly follow satiated lust. Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was. He had set to work with that intention, when she came to herself, saying, "Where am I? Woe is me! What darkness is this?
Chapter 11 of The Exemplary Novels of Cervantes is here in full — 411 sentences across 83 reading sections, with audio for every sentence and word.
Reading 1/82 · 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.
an absence of emotion or enthusiasm
From this reading “Apathy and disgust commonly follow satiated lust.”
under normal conditions
From this reading “Apathy and disgust commonly follow satiated lust.”
fill with distaste
From this reading “Apathy and disgust commonly follow satiated lust.”
restless or short-tempered under delay or opposition
From this reading “Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.”
incapable of physical sensation
From this reading “Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.”
a strong sexual desire
From this reading “Apathy and disgust commonly follow satiated lust.”
supplied (especially fed) to satisfaction
From this reading “Apathy and disgust commonly follow satiated lust.”
misery resulting from affliction
From this reading “Woe is me!”
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.
the form of “be” used with “I”
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
used to join words or parts of a sentence that go together
From this reading Apathy and disgust commonly follow satiated lust.
an absence of emotion or enthusiasm
From this reading Apathy and disgust commonly follow satiated lust.
at the same time that; because; in the way that
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
inflected form of “come” — move toward, travel toward something or somebody or approach something or somebody
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
under normal conditions
From this reading Apathy and disgust commonly follow satiated lust.
absence of light or illumination
From this reading What darkness is this?
fill with distaste
From this reading Apathy and disgust commonly follow satiated lust.
to travel behind, go after, come after
From this reading Apathy and disgust commonly follow satiated lust.
come into the possession of something concrete or abstract
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
the past form of “have”, used to form the past perfect
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
a man, boy, or male animal already mentioned, as the subject
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
belonging to a woman, girl, or female animal already mentioned
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
used when the woman or girl doing the action is also its object
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
belonging to a man, boy, or male animal already mentioned
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
the person speaking or writing, as the subject of the verb
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
restless or short-tempered under delay or opposition
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
inside something, or within a place, period, or state
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
incapable of physical sensation
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
an anticipated outcome that is intended or that guides your planned actions
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
the form of “be” used with he, she, it, or a singular noun
From this reading Woe is me!
put into a certain place or abstract location
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
a strong sexual desire
From this reading Apathy and disgust commonly follow satiated lust.
produced by a manufacturing process
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
the person speaking, as the object of a verb or preposition
From this reading Woe is me!
The element of a person that enables awareness and thought.
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
in the historical present; at this point in the narration of a series of past events
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
belonging to, or connected with, somebody or something
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
relieve from
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
supplied (especially fed) to satisfaction
From this reading Apathy and disgust commonly follow satiated lust.
a word or phrase that particular people use in particular situations
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
put into a certain place or abstract location
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
a woman, girl, or female animal already mentioned, as the subject
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
a thoroughfare (usually including sidewalks) that is lined with buildings
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
used to introduce what somebody said, thought, or felt
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
used for a person or thing that is near, or that has just been mentioned
From this reading What darkness is this?
used before the base form of a verb to make the infinitive
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
being or moving higher in position or greater in some value; being above a former position or level
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
the past form of “be” used with I, he, she, it, or a singular noun
From this reading Rodolfo was now impatient to get rid of Leocadia, and made up his mind to lay her in the street, insensible as she was.
used to ask for information about something
From this reading What darkness is this?
at the time that
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
in or at the place that
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
in the company of; together with
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
misery resulting from affliction
From this reading Woe is me!
exert oneself by doing mental or physical work for a purpose or out of necessity
From this reading He had set to work with that intention, when she came to herself, saying, "Where am I?
Chapter 11 of The Exemplary Novels of Cervantes by Miguel de Cervantes Saavedra holds 411 sentences, grouped into 83 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 11 holds 411 sentences of The Exemplary Novels of Cervantes, unabridged, divided into 83 reading sections.
This page carries chapter 11 of The Exemplary Novels of Cervantes by Miguel de Cervantes Saavedra exactly as it stands in the source edition, without abridgement. It runs to 411 sentences, grouped into 83 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 83 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 83 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 11 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 5648 sentences of Project Gutenberg eBook #14420 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #14420, unabridged. The Project Gutenberg header, footer and licence are removed.
About 470 minutes of reading across 1130 sections of 5 sentences each, at an unhurried pace.
How to work through The Exemplary Novels of Cervantes section by section, using the audio and the tap-to-define vocabulary.
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Play the section aloud, then tap any unfamiliar word for its entry.
Words and structures a reader meets early in The Exemplary Novels of Cervantes, each tappable for pronunciation and meaning.
