Chapter 33 of Winefred: A Story of the Chalk Cliffs is here in full — 154 sentences across 31 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter XXXIII
Chapter 33 of Winefred: A Story of the Chalk Cliffs is here in full — 154 sentences across 31 reading sections, with audio for every sentence and word.
THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?' 'I cannot sleep.' 'What disturbs you?' 'O mother! I have done wrong.
Chapter 33 of Winefred: A Story of the Chalk Cliffs is here in full — 154 sentences across 31 reading sections, with audio for every sentence and word.
Reading 1/30 · 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.
a piece of furniture that provides a place to sleep
From this reading “THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'”
a steep high face of rock
From this reading “THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'”
possessive form of “daughter” — a female human offspring
From this reading “THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'”
third-person singular of “disturb” — move deeply
From this reading “'What disturbs you?'”
Jamaican singer who popularized reggae (1945-1981)
From this reading “THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'”
a natural and periodic state of rest during which consciousness of the world is suspended
From this reading “'I cannot sleep.'”
-ing form of “toss” — throw or toss with a light motion
From this reading “THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'”
not correct; not in conformity with fact or truth
From this reading “I have done wrong.”
English keeps certain words together, and knowing the pair is worth more than knowing each word alone. Every partnership below was counted across our whole published library, and earns its place by appearing far more often than two unrelated words of the same frequency would.
Shown as this reading writes them, with the form the library counts, what kind of pairing it is, and how often it occurs.
In this reading “THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'”
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 to join words or parts of a sentence that go together
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
the form of “be” used with you, we, they, or a plural noun
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
past form of “ask” — make a request or demand for something to somebody
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
a piece of furniture that provides a place to sleep
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
inflected form of “come” — move toward, travel toward something or somebody or approach something or somebody
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading 'I cannot sleep.'
a steep high face of rock
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
possessive form of “daughter” — a female human offspring
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
no longer having or seeming to have or expecting to have life
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
third-person singular of “disturb” — move deeply
From this reading 'What disturbs you?'
having finished or arrived at completion
From this reading I have done wrong.
used with a past participle to form the perfect tenses
From this reading I have done wrong.
belonging to a woman, girl, or female animal already mentioned
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
the person speaking or writing, as the subject of the verb
From this reading 'I cannot sleep.'
inside something, or within a place, period, or state
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
Jamaican singer who popularized reggae (1945-1981)
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
a woman who has given birth to a child (also used as a term of address to your mother)
From this reading 'O mother!
the time after sunset and before sunrise while it is dark outside
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
a nonmetallic bivalent element that is normally a colorless odorless tasteless nonflammable diatomic gas; constitutes 21 percent of the atmosphere by volume; the most abundant element in the earth's crust
From this reading 'O mother!
belonging to, or connected with, somebody or something
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
a place within a region identified relative to a center or reference location
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
a natural and periodic state of rest during which consciousness of the world is suspended
From this reading 'I cannot sleep.'
for that reason; with the result that
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
used before a noun that is already known, already mentioned, or the only one of its kind
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
used before the base form of a verb to make the infinitive
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
-ing form of “toss” — throw or toss with a light motion
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
with unflagging resolve
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
used to ask for information about something
From this reading 'What disturbs you?'
a Caucasian
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
the cause or intention underlying an action or situation, especially in the phrase “the whys and wherefores”
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
not correct; not in conformity with fact or truth
From this reading I have done wrong.
the person or people being spoken to
From this reading THE WHITE CLIFF In the dead of night, Jane Marley came to the side of her daughter's bed, and asked: 'Why are you tossing so unceasingly?'
Chapter 33 of Winefred: A Story of the Chalk Cliffs by S. (Sabine) Baring-Gould holds 154 sentences, grouped into 31 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 33 holds 154 sentences of Winefred: A Story of the Chalk Cliffs, unabridged, divided into 31 reading sections.
This page carries chapter 33 of Winefred: A Story of the Chalk Cliffs by S. (Sabine) Baring-Gould exactly as it stands in the source edition, without abridgement. It runs to 154 sentences, grouped into 31 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 31 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 31 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 33 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 Winefred: A Story of the Chalk Cliffs by S. (Sabine) Baring-Gould on this page, its source edition and its audio.
Yes. All 8677 sentences of Project Gutenberg eBook #53567 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #53567, unabridged. The Project Gutenberg header, footer and licence are removed.
About 600 minutes of reading across 1736 sections of 5 sentences each, at an unhurried pace.
How to work through Winefred: A Story of the Chalk Cliffs section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 40 chapters of Winefred: A Story of the Chalk Cliffs 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 Winefred: A Story of the Chalk Cliffs, each tappable for pronunciation and meaning.
