Chapter 20 of The Survivor is here in full — 104 sentences across 21 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XX
Chapter 20 of The Survivor is here in full — 104 sentences across 21 reading sections, with audio for every sentence and word.
THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune. Leave young Jesson alone, Emily. He has been man enough to strike out a line for himself. Let him keep to it. Give him a chance."
Chapter 20 of The Survivor is here in full — 104 sentences across 21 reading sections, with audio for every sentence and word.
Reading 1/20 · 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.
the lowest part of the musical range
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
an artistic form of nonverbal communication
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
plural of “puppet” — a small figure of a person operated from above with strings by a puppeteer
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
refusal to accept some authority or code or convention
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
deliver a sharp blow, as with the hand, fist, or weapon
From this reading “He has been man enough to strike out a line for himself.”
a lightweight cord
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
a shaky motion
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
a succession of notes forming a distinctive sequence
From this reading “THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.”
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 He has been man enough to strike out a line for himself.
(quantifier) used with either mass or count nouns to indicate the whole number or amount of or every one of a class
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
Having no one else present.
From this reading Leave young Jesson alone, Emily.
used to join words or parts of a sentence that go together
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
the form of “be” used with you, we, they, or a plural noun
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
the lowest part of the musical range
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
the past participle of “be”
From this reading He has been man enough to strike out a line for himself.
used to introduce something that contrasts with what came before
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
a possibility due to a favorable combination of circumstances
From this reading Give him a chance."
an artistic form of nonverbal communication
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
relatively deep or strong; affecting one deeply
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading Leave young Jesson alone, Emily.
an adequate quantity; a quantity that is large enough to achieve a purpose
From this reading He has been man enough to strike out a line for himself.
intended to be given to, or used by, somebody
From this reading He has been man enough to strike out a line for himself.
cause to have, in the abstract sense or physical sense
From this reading Give him a chance."
the form of “have” used with he, she, it, or a singular noun
From this reading He has been man enough to strike out a line for himself.
used with a past participle to form the perfect tenses
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
a man, boy, or male animal already mentioned, as the subject
From this reading He has been man enough to strike out a line for himself.
the male already mentioned, as the object of a verb or preposition
From this reading Let him keep to it.
used when the man or boy doing the action is also its object
From this reading He has been man enough to strike out a line for himself.
belonging to a man, boy, or male animal already mentioned
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
a thing, animal, or idea already mentioned
From this reading Let him keep to it.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading Leave young Jesson alone, Emily.
cause to continue in a certain state, position, or activity; e.g., “keep clean”
From this reading Let him keep to it.
go away from a place
From this reading Leave young Jesson alone, Emily.
used to make a suggestion or a command including the speaker
From this reading Let him keep to it.
a formation of people or things one beside another
From this reading He has been man enough to strike out a line for himself.
an adult person who is male (as opposed to a woman)
From this reading He has been man enough to strike out a line for himself.
belonging to, or connected with, somebody or something
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
not allowed to continue to bat or run
From this reading He has been man enough to strike out a line for himself.
a strong feeling or emotion
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
plural of “puppet” — a small figure of a person operated from above with strings by a puppeteer
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
refusal to accept some authority or code or convention
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
being the one previously mentioned or spoken of
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
deliver a sharp blow, as with the hand, fist, or weapon
From this reading He has been man enough to strike out a line for himself.
a lightweight cord
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
used to introduce what somebody said, thought, or felt
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
judge or regard; look upon; judge
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
used before the base form of a verb to make the infinitive
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
make physical contact with, come in contact with
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
a shaky motion
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
a succession of notes forming a distinctive sequence
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
the distinctive quality or pitch or condition of a person's speech
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
the speaker together with one or more other people
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
in the company of; together with
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
the person or people being spoken to
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
(used of living things especially persons) in an early period of life or development or growth
From this reading Leave young Jesson alone, Emily.
belonging to the person or people being spoken to
From this reading THE REBELLION OF DREXLEY "You think," Drexley said, his deep, bass voice trembling with barely-restrained passion, "that we are all your puppets--that you have but to touch the string and we dance to your tune.
Chapter 20 of The Survivor by E. Phillips (Edward Phillips) Oppenheim holds 104 sentences, grouped into 21 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 20 holds 104 sentences of The Survivor, unabridged, divided into 21 reading sections.
This page carries chapter 20 of The Survivor by E. Phillips (Edward Phillips) Oppenheim exactly as it stands in the source edition, without abridgement. It runs to 104 sentences, grouped into 21 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 21 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 21 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 20 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 Survivor by E. Phillips (Edward Phillips) Oppenheim on this page, its source edition and its audio.
Yes. All 5163 sentences of Project Gutenberg eBook #17040 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #17040, unabridged. The Project Gutenberg header, footer and licence are removed.
About 430 minutes of reading across 1033 sections of 5 sentences each, at an unhurried pace.
How to work through The Survivor section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 39 chapters of The Survivor 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 Survivor, each tappable for pronunciation and meaning.
