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The Great English Short-Story Writers, Volume 1
The Great English Short-Story Writers, Volume 1

Chapter I · Chapter 1

Chapter 1 of The Great English Short-Story Writers, Volume 1 is here in full — 412 sentences across 83 reading sections, with audio for every sentence and word.

Cover illustration for The Great English Short-Story Writers, Volume 1
Context Illustration Reading 1/82 · 5 lines
English subtitles · tap any word to listen 1 / 5
To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.
The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."
[Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]
The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.
In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.
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LEARNER DICTIONARY
Archivist
/ˈɑːrkɪvɪst/
Editorial verification pending

A keeper or guardian of historical records and memories.

The Great English Short-Story Writers, Volume 1

Chapter I · Chapter 1

Chapter 1 of The Great English Short-Story Writers, Volume 1 is here in full — 412 sentences across 83 reading sections, with audio for every sentence and word.

Reading 1/82 · 5 reading units · Lines 1–5

Line 1
To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.
Line 2
The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."
Line 3
[Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]
Line 4
The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.
Line 5
In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.
/ɪn ˈlɪtərətʃər ʌv neˈreɪʃən ˈweðər proʊz ɔːr vɜːrs ðə drəˈmætɪk wɜːrθ ʌv ðə ˈækʃən rɪˈleɪtɪd mʌst biː ðə fɜːrst kənˌsɪdərˈeɪʃən/

Learner Dictionary

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.

consecutive adjective US /kənˈsɛk.jə.tɪv/

Following continuously in unbroken sequence.

From this reading “The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.”

copyrighted adjective US /ˈkɑːpiraɪtɪd/

(of literary or musical or dramatic or artistic work) protected by copyright

From this reading “To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.”

hereby adverb US /hɪrˈbaɪ/

(formal) by means of this

From this reading “To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.”

localities noun US /loʊˈkælɪtiz/

plural of “locality” — a surrounding or nearby region

From this reading “The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.”

narrated verb US /ˈnereɪtɪd/

past form of “narrate” — provide commentary for a film, for example

From this reading “The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.”

narration noun US /neˈreɪʃən/

a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program

From this reading “In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.”

secondary adjective US /ˈsekənderi/

being of second rank or importance or value; not direct or immediate

From this reading “The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.”

Stevenson noun US /ˈstiːvənsən/

Scottish author (1850-1894)

From this reading “The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."”

All words in this reading · 112

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.

1

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

adeterminerUS /ə/

used before a singular noun to mean one of a group, when it is not a particular one

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

acknowledgmentnounUS /ækˈnɑːlɪdʒmənt/

the state or quality of being recognized or acknowledged

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

actionnounUS /ˈækʃən/

something done (usually as opposed to something said)

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

andeterminerUS /æn/

the form of “a” used before a word that begins with a vowel sound

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

AncientadjectiveUS /ˈeɪn.ʃənt/

Belonging to the very distant past and no longer in existence or deeply revered.

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

andconjunctionUS /ənd/

used to join words or parts of a sentence that go together

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

asconjunctionUS /æz/

at the same time that; because; in the way that

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

atmospherenounUS /ˈætməsfɪr/

a particular environment or surrounding influence

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

authorsnounUS /ˈɔːθərz/

plural of “author” — writes (books or stories or articles or the like) professionally (for pay)

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

balladnounUS /ˈbæləd/

a narrative song with a recurrent refrain

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

beauxiliary verbUS /biː/

used with a past participle to form the passive, or with -ing for continuous tenses

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

byprepositionUS /baɪ/

showing who or what does the action

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

camp-fire

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

careernounUS /kərˈɪr/

the particular occupation for which you are trained

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

casenounUS /keɪs/

an occurrence of something

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

Coleridge's

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

commencedverbUS /kəˈmenst/

past form of “commence” — take the first step or steps in carrying out an action

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

comparedverbUS /kəmˈperd/

past form of “compare” — examine and note the similarities or differences of

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

consecutiveadjectiveUS /kənˈsɛk.jə.tɪv/

Following continuously in unbroken sequence.

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

considerationnounUS /kənˌsɪdərˈeɪʃən/

the process of giving careful thought to something

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

containedadjectiveUS /kənˈteɪnd/

gotten under control

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

copyrightedadjectiveUS /ˈkɑːpiraɪtɪd/

(of literary or musical or dramatic or artistic work) protected by copyright

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

courteouslyadverb

in a polite manner

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

createdverbUS /kriˈeɪtəd/

past form of “create” — make or cause to be or to become

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

detailedadjectiveUS /dɪˈteɪld/

developed or executed with care and in minute detail

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

dramaticadjectiveUS /drəˈmætɪk/

suitable to or characteristic of drama

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

editorsnounUS /ˈedɪtərz/

plural of “editor” — a person responsible for the editorial aspects of publication; the person who determines the final content of a text (especially of a newspaper or magazine)

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

firstadjectiveUS /fɜːrst/

preceding all others in time or space or degree

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

FootnotenounUS /ˈfʊtnoʊt/

a printed note placed below the text on a printed page

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

fromprepositionUS /frʌm/

showing where something starts, or who sent it

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

givenadjectiveUS /ˈɡɪvən/

acknowledged as a supposition

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

GossipnounUS /ˈɡɑːsəp/

light informal conversation for social occasions

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

gratefuladjectiveUS /ˈɡreɪtfəl/

feeling or showing gratitude

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

haveauxiliary verbUS /hæv/

used with a past participle to form the perfect tenses

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

herebyadverbUS /hɪrˈbaɪ/

(formal) by means of this

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

importancenounUS /ˌɪmˈpɔːrtəns/

the quality of being important and worthy of note

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

impressionnounUS /ˌɪmˈpreʃən/

a vague idea in which some confidence is placed

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

inprepositionUS /ɪn/

inside something, or within a place, period, or state

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

incapableadjectiveUS /ˌɪnˈkeɪpəbəl/

(followed by “of”) lacking capacity or ability

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

incidentnounUS /ˈɪnsədənt/

a single distinct event

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

isauxiliary verbUS /ɪz/

the form of “be” used with he, she, it, or a singular noun

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

itpronounUS /ɪt/

a thing, animal, or idea already mentioned

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

itsdeterminerUS /ɪts/

belonging to the thing or animal already mentioned

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

LnounUS /el/

a metric unit of capacity, formerly defined as the volume of one kilogram of pure water under standard conditions; now equal to 1,000 cubic centimeters (or approximately 1.75 pints)

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

languagenounUS /ˈlæŋɡwədʒ/

a systematic means of communicating by the use of sounds or conventional symbols

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

linesnounUS /laɪnz/

plural of “line” — a formation of people or things one beside another

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

literaturenounUS /ˈlɪtərətʃər/

creative writing of recognized artistic value

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

localitiesnounUS /loʊˈkælɪtiz/

plural of “locality” — a surrounding or nearby region

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

LouisnounUS /ˈluːɪs/

United States prizefighter who was world heavyweight champion for 12 years (1914-1981)

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

madeadjectiveUS /meɪd/

produced by a manufacturing process

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

mannounUS /mæn/

an adult person who is male (as opposed to a woman)

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

MarinernounUS /ˈmerənər/

a man who serves as a sailor

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

materialadjectiveUS /məˈtɪriəl/

concerned with worldly rather than spiritual interests

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

maymodal verbUS /meɪ/

used to say something is possible, or to give permission

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

MemoriesnounUS /ˈmɛm.ə.riz/

Recollections of past events.

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

mennounUS /men/

the force of workers available

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

mentaladjectiveUS /ˈmentəl/

involving the mind or an intellectual process

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

momentsnounUS /ˈmoʊmənts/

plural of “moment” — a particular point in time

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

mustmodal verbUS /mʌst/

used to say something is necessary, or almost certainly true

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

nakedadjectiveUS /ˈneɪkəd/

completely unclothed

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

narratedverbUS /ˈnereɪtɪd/

past form of “narrate” — provide commentary for a film, for example

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

narrationnounUS /neˈreɪʃən/

a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

ofprepositionUS /ʌv/

belonging to, or connected with, somebody or something

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

onprepositionUS /ɑːn/

touching and supported by a surface

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

orconjunctionUS /ɔːr/

used to join alternatives or possibilities

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

permittedverbUS /pərˈmɪtɪd/

inflected form of “permit” — consent to, give permission

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

picturenounUS /ˈpɪktʃər/

a visual representation (of an object or scene or person or abstraction) produced on a surface

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

poetrynounUS /ˈpoʊətri/

literature in metrical form

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

PortraitsnounUS /ˈpɔːrtrəts/

plural of “portrait” — a word picture of a person's appearance and character

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

prosenounUS /proʊz/

ordinary writing as distinguished from verse

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

publishersnounUS /ˈpʌblɪʃərz/

plural of “publisher” — a firm in the publishing business

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

putsnounUS /pʊts/

plural of “put” — the option to sell a given stock (or stock index or commodity future) at a given price before a given date

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

quiteadverbUS /kwaɪt/

to a degree (not used with a negative)

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

RnounUS /ɑːr/

a unit of radiation exposure; the dose of ionizing radiation that will produce 1 electrostatic unit of electricity in 1 cc of dry air

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

relatedadjectiveUS /rɪˈleɪtɪd/

being connected either logically or causally or by shared characteristics

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

repeatingnounUS /rɪˈpiːtɪŋ/

the act of doing or performing again

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

retainverbUS /rɪˈteɪn/

hold back within

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

RobertnounUS /ˈrɑːbərt/

United States parliamentary authority and author (in 1876) of Robert's Rules of Order (1837-1923)

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

RomancenounUS /roʊˈmæns/

a relationship between two lovers

From this reading [Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

Rossetti's

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

roundnounUS /raʊnd/

a charge of ammunition for a single shot

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

savageadjectiveUS /ˈsævədʒ/

(of persons or their actions) able or disposed to inflict pain or suffering

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

secondaryadjectiveUS /ˈsekənderi/

being of second rank or importance or value; not direct or immediate

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

seenverbUS /siːn/

inflected form of “see” — perceive by sight or have the power to perceive by sight

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

ShipverbUS /ʃɪp/

transport commercially

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

short-story

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

StevensonnounUS /ˈstiːvənsən/

Scottish author (1850-1894)

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

storiesnounUS /ˈstɔːriz/

plural of “story” — a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

thedeterminerUS /ðə/

used before a noun that is already known, already mentioned, or the only one of its kind

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

theirdeterminerUS /ðer/

belonging to the people or things already mentioned

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

thesedeterminerUS /ðiːz/

the plural of “this”: the people or things near, or just mentioned

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

ToparticleUS /tuː/

used before the base form of a verb to make the infinitive

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

toldverbUS /toʊld/

inflected form of “tell” — express in words

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

totalverbUS /ˈtoʊtəl/

add up in number or quantity

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

twonounUS /tuː/

the cardinal number that is the sum of one and one or a numeral representing this number

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

usenounUS /juːs/

the act of using

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

utterancenounUS /ˈʌtərəns/

the use of uttered sounds for auditory communication

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

verbaladjectiveUS /ˈvɜːrbəl/

communicated in the form of words

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

versenounUS /vɜːrs/

literature in metrical form

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

vividadjectiveUS /ˈvɪvəd/

evoking lifelike images within the mind

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

volumesnounUS /ˈvɑːljuːmz/

plural of “volume” — the amount of 3-dimensional space occupied by an object

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

whenconjunctionUS /wen/

at the time that

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

whereconjunctionUS /wer/

in or at the place that

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

whetherconjunctionUS /ˈweðər/

used to introduce two or more possibilities

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

whichpronounUS /wɪtʃ/

used to introduce a clause giving more about a thing just mentioned

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

WhitenounUS /waɪt/

a Caucasian

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

whopronounUS /huː/

which person or people

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

withprepositionUS /wɪð/

in the company of; together with

From this reading The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

wordnounUS /wɜːrd/

a unit of language that native speakers can identify

From this reading To the publishers and authors who have courteously permitted the use of copyrighted material in these two volumes, a word of grateful acknowledgment is hereby given by the editors.

worthnounUS /wɜːrθ/

an indefinite quantity of something having a specified value

From this reading In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

yetconjunctionUS /jet/

but in spite of that

From this reading The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse.

Chapter 1 of The Great English Short-Story Writers, Volume 1 by W. J. (William James) [Editor] Dawson holds 412 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.

What does chapter 1 of The Great English Short-Story Writers, Volume 1 contain?

Chapter 1 holds 412 sentences of The Great English Short-Story Writers, Volume 1, unabridged, divided into 83 reading sections.

This page carries chapter 1 of The Great English Short-Story Writers, Volume 1 by W. J. (William James) [Editor] Dawson exactly as it stands in the source edition, without abridgement. It runs to 412 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.

How do I study chapter 1 of The Great English Short-Story Writers, Volume 1?

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.

Can chapter 1 be read aloud to me?

Yes — every sentence and every individual word in chapter 1 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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Common questions about reading The Great English Short-Story Writers, Volume 1 by W. J. (William James) [Editor] Dawson on this page, its source edition and its audio.

Is this the complete text of The Great English Short-Story Writers, Volume 1?

Yes. All 3558 sentences of Project Gutenberg eBook #10135 are kept, with a record of which sentences cover which part.

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Project Gutenberg eBook #10135, unabridged. The Project Gutenberg header, footer and licence are removed.

How long does The Great English Short-Story Writers, Volume 1 take to read?

About 296 minutes of reading across 712 sections of 5 sentences each, at an unhurried pace.

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How to work through The Great English Short-Story Writers, Volume 1 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.

Vocabulary met early in The Great English Short-Story Writers, Volume 1

Words and structures a reader meets early in The Great English Short-Story Writers, Volume 1, each tappable for pronunciation and meaning.

Publishers
A word that appears in the opening chapter of The Great English Short-Story Writers, Volume 1; the reader can tap it to hear it and see its dictionary entry.
Authors
A word that appears in the opening chapter of The Great English Short-Story Writers, Volume 1; the reader can tap it to hear it and see its dictionary entry.
Courteously
A word that appears in the opening chapter of The Great English Short-Story Writers, Volume 1; the reader can tap it to hear it and see its dictionary entry.
Permitted
A word that appears in the opening chapter of The Great English Short-Story Writers, Volume 1; the reader can tap it to hear it and see its dictionary entry.