Chapter 24 of The Fortune of the Landrays is here in full — 413 sentences across 83 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XXIV
Chapter 24 of The Fortune of the Landrays is here in full — 413 sentences across 83 reading sections, with audio for every sentence and word.
“Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face. “Why not?” “You are not in a position—” again she came to an abrupt stop. “To marry—you would say? Why not, Elinor?”
Chapter 24 of The Fortune of the Landrays is here in full — 413 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.
marked by sudden changes in subject and sharp transitions
From this reading ““You are not in a position—” again she came to an abrupt stop.”
having or capable of producing colors
From this reading ““Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.”
the act of drawing spatially closer to something
From this reading ““Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.”
with determination; in a determined manner
From this reading ““Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.”
take in marriage
From this reading ““To marry—you would say?”
the particular portion of space occupied by something
From this reading ““You are not in a position—” again she came to an abrupt stop.”
English writer (1832-1904)
From this reading ““Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.”
come to a halt, stop moving
From this reading ““You are not in a position—” again she came to an abrupt stop.”
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.
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 “You are not in a position—” again she came to an abrupt stop.
marked by sudden changes in subject and sharp transitions
From this reading “You are not in a position—” again she came to an abrupt stop.
anew
From this reading “You are not in a position—” again she came to an abrupt stop.
the form of “a” used before a word that begins with a vowel sound
From this reading “You are not in a position—” again she came to an abrupt stop.
any thing at all
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
the form of “be” used with you, we, they, or a plural noun
From this reading “You are not in a position—” again she came to an abrupt stop.
inflected form of “come” — move toward, travel toward something or somebody or approach something or somebody
From this reading “You are not in a position—” again she came to an abrupt stop.
having or capable of producing colors
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
the act of drawing spatially closer to something
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
with determination; in a determined manner
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
the front of the human head from the forehead to the chin and ear to ear
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
perceive (sound) via the auditory sense
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
belonging to a woman, girl, or female animal already mentioned
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
the person speaking or writing, as the subject of the verb
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
inside something, or within a place, period, or state
From this reading “You are not in a position—” again she came to an abrupt stop.
moving to the inside of something
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
a thing, animal, or idea already mentioned
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
used to make a suggestion or a command including the speaker
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
take in marriage
From this reading “To marry—you would say?
the person speaking, as the object of a verb or preposition
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
used to make a word, phrase, or sentence negative
From this reading “Why not?”
the particular portion of space occupied by something
From this reading “You are not in a position—” again she came to an abrupt stop.
being the one previously mentioned or spoken of
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
express in words
From this reading “To marry—you would say?
a woman, girl, or female animal already mentioned, as the subject
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
English writer (1832-1904)
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
come to a halt, stop moving
From this reading “You are not in a position—” again she came to an abrupt stop.
express in words
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
used before the base form of a verb to make the infinitive
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
feel or have a desire for; want strongly
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
the cause or intention underlying an action or situation, especially in the phrase “the whys and wherefores”
From this reading “Why not?”
used for something imagined, polite, or habitual in the past
From this reading “To marry—you would say?
the person or people being spoken to
From this reading “Elinor, let me tell you—” “Don't tell me anything, Stephen, I don't want to hear it!” she said determinedly, the colour coming into her face.
Chapter 24 of The Fortune of the Landrays by Vaughan Kester holds 413 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 24 holds 413 sentences of The Fortune of the Landrays, unabridged, divided into 83 reading sections.
This page carries chapter 24 of The Fortune of the Landrays by Vaughan Kester exactly as it stands in the source edition, without abridgement. It runs to 413 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 24 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 Fortune of the Landrays by Vaughan Kester on this page, its source edition and its audio.
Yes. All 10914 sentences of Project Gutenberg eBook #52560 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #52560, unabridged. The Project Gutenberg header, footer and licence are removed.
About 600 minutes of reading across 2183 sections of 5 sentences each, at an unhurried pace.
How to work through The Fortune of the Landrays section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 27 chapters of The Fortune of the Landrays 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 Fortune of the Landrays, each tappable for pronunciation and meaning.
