what could he do he caught up everything which would betray him and he rushed into your bedroom to conceal himself

wʌt kʊd hiː duː hiː kɑːt ʌp ɛvriːθɪŋ wɪtʃ wʊd bɪtreɪ hɪm ənd hiː rʌʃt ɪntuː jɔr bɛdruːm tuː kənsiːl hɪmsɛlf


i understand you to say that there are three students who use this stair and are in the habit of passing your door yes there are

aɪ əndɝstænd juː tuː seɪ ðæt ðɛr ɑːr θriː stuːdənts huː juːs ðɪs stɛr ənd ɑːr ɪn ðə hæbət ʌv pæsɪŋ jɔr dɔr jɛs ðɛr ɑːr


and they are all in for this examination yes

ənd ðeɪ ɑːr ɔl ɪn fɔr ðɪs ɪgzæməneɪʃən jɛs


one hardly likes to throw suspicion where there are no proofs

wʌn hɑːrdli laɪks tuː θroʊ səspɪʃən wɛr ðɛr ɑːr noʊ pruːfs


let us hear the suspicions i will look after the proofs

lɛt ʌs hiːr ðə səspɪʃənz aɪ wɪl lʊk æftɝ ðə pruːfs


my scholar has been left very poor but he is hard working and industrious he will do well

maɪ skɑːlɝ hæz bɪn lɛft vɛri puːr bʌt hiː ɪz hɑːrd wɝːkɪŋ ənd ɪndʌstriːəs hiː wɪl duː wɛl


the top floor belongs to miles mc laren


i dare not go so far as that but of the three he is perhaps the least unlikely

aɪ dɛr nɑːt goʊ soʊ fɑːr æz ðæt bʌt ʌv ðə θriː hiː ɪz pɝhæps ðə liːst ənlaɪkli


he was still suffering from this sudden disturbance of the quiet routine of his life

hiː wɑːz stɪl sʌfɝɪŋ frʌm ðɪs sʌdən dɪstɝːbəns ʌv ðə kwaɪət ruːtiːn ʌv hɪz laɪf


but i have occasionally done the same thing at other times

bʌt aɪ hæv ɔkeɪʒənəliː dʌn ðə seɪm θɪŋ æt ʌðɝ taɪmz


did you look at these papers on the table

dɪd juː lʊk æt ðiːz peɪpɝz ɑːn ðə teɪbəl


how came you to leave the key in the door


anyone in the room could get out yes sir


i really don't think he knew much about it mister holmes

aɪ rɪli dɑːnt θɪŋk hiː nuː mʌtʃ əbaʊt ɪt mɪstɝ hoʊmz


only for a minute or so


oh i would not venture to say sir


you haven't seen any of them no sir


it was the indian whose dark silhouette appeared suddenly upon his blind

ɪt wɑːz ðə ɪndiːən huːz dɑːrk sɪləwɛt əpɪrd sʌdənli əpɑːn hɪz blaɪnd


he was pacing swiftly up and down his room

hiː wɑːz peɪsɪŋ swɪftli ʌp ənd daʊn hɪz ruːm


this set of rooms is quite the oldest in the college and it is not unusual for visitors to go over them

ðɪs sɛt ʌv ruːmz ɪz kwaɪt ðə oʊldəst ɪn ðə kɑːlɪdʒ ənd ɪt ɪz nɑːt ənjuːʒuːəl fɔr vɪzɪtɝz tuː goʊ oʊvɝ ðɛm


no names please said holmes as we knocked at gilchrist's door

noʊ neɪmz pliːz sɛd hoʊmz æz wiː nɑːkt æt gɪlkrɪsts dɔr


of course he did not realize that it was i who was knocking but none the less his conduct was very uncourteous and indeed under the circumstances rather suspicious

ʌv kɔrs hiː dɪd nɑːt riːəlaɪz ðæt ɪt wɑːz aɪ huː wɑːz nɑːkɪŋ bʌt nʌn ðə lɛs hɪz kɑːndəkt wɑːz vɛri ənkɔrːʃəs ənd ɪndiːd ʌndɝ ðə sɝːkəmstænsəz ræðɝ səspɪʃəs


that is very important said holmes


you don't seem to realize the position


to morrow is the examination

tuː mɑːroʊ ɪz ðə ɪgzæməneɪʃən


i cannot allow the examination to be held if one of the papers has been tampered with the situation must be faced

aɪ kænɑːt əlaʊ ðə ɪgzæməneɪʃən tuː biː hɛld ɪf wʌn ʌv ðə peɪpɝz hæz bɪn tæmpɝd wɪð ðə sɪtʃuːeɪʃən mʌst biː feɪst


it is possible that i may be in a position then to indicate some course of action

ɪt ɪz pɑːsəbəl ðæt aɪ meɪ biː ɪn ə pəzɪʃən ðɛn tuː ɪndəkeɪt sʌm kɔrs ʌv ækʃən


i will take the black clay with me also the pencil cuttings good bye

aɪ wɪl teɪk ðə blæk kleɪ wɪð miː ɔlsoʊ ðə pɛnsəl kʌtɪŋz gʊd baɪ


when we were out in the darkness of the quadrangle we again looked up at the windows

wɛn wiː wɝː aʊt ɪn ðə dɑːrknəs ʌv ðə kwɑːdræŋgəl wiː əgɛn lʊkt ʌp æt ðə wɪndoʊz


the foul mouthed fellow at the top

ðə faʊl maʊðd fɛloʊ æt ðə tɑːp


he is the one with the worst record

hiː ɪz ðə wʌn wɪð ðə wɝːst rəkɔrd


why bannister the servant what's his game in the matter

waɪ bænəstɝ ðə sɝːvənt wəts hɪz geɪm ɪn ðə mætɝ


he impressed me as being a perfectly honest man

hiː ɪmprɛst miː æz biːɪŋ ə pɝːfəktli ɑːnəst mæn


my friend did not appear to be depressed by his failure but shrugged his shoulders in half humorous resignation

maɪ frɛnd dɪd nɑːt əpɪr tuː biː dɪprɛst baɪ hɪz feɪljɝ bʌt ʃrʌgd hɪz ʃoʊldɝz ɪn hæf hjuːmɝəs rɛzəgneɪʃən


no good my dear watson


i think so you have formed a conclusion


yes my dear watson i have solved the mystery

jɛs maɪ dɪr wɑːtsən aɪ hæv sɑːlvd ðə mɪstɝi


look at that he held out his hand


on the palm were three little pyramids of black doughy clay

ɑːn ðə pɑːm wɝː θriː lɪtəl pɪrəmɪdz ʌv blæk doʊi kleɪ


and one more this morning


in a few hours the examination would commence and he was still in the dilemma between making the facts public and allowing the culprit to compete for the valuable scholarship

ɪn ə fjuː aʊɝz ðə ɪgzæməneɪʃən wʊd kəmɛns ənd hiː wɑːz stɪl ɪn ðə dɪlɛmə bɪtwiːn meɪkɪŋ ðə fækts pʌblɪk ənd əlaʊɪŋ ðə kʌlprɪt tuː kəmpiːt fɔr ðə væljəbəl skɑːlɝʃɪp


he could hardly stand still so great was his mental agitation and he ran towards holmes with two eager hands outstretched thank heaven that you have come

hiː kʊd hɑːrdli stænd stɪl soʊ greɪt wɑːz hɪz mɛntəl ædʒəteɪʃən ənd hiː ræn təwɔrdz hoʊmz wɪð tuː iːgɝ hændz aʊtstrɛtʃt θæŋk hɛvən ðæt juː hæv kʌm


you know him i think so


if this matter is not to become public we must give ourselves certain powers and resolve ourselves into a small private court martial

ɪf ðɪs mætɝ ɪz nɑːt tuː bɪkʌm pʌblɪk wiː mʌst gɪv aʊɝsɛlvz sɝːtən paʊɝz ənd riːzɑːlv aʊɝsɛlvz ɪntuː ə smɔl praɪvət kɔrt mɑːrʃəl


no sir certainly not


there was no man sir

ðɛr wɑːz noʊ mæn sɝː


his troubled blue eyes glanced at each of us and finally rested with an expression of blank dismay upon bannister in the farther corner

hɪz trʌbəld bluː aɪz glænst æt iːtʃ ʌv ʌs ənd faɪnəli rɛstəd wɪð æn ɪksprɛʃən ʌv blæŋk dɪsmeɪ əpɑːn bænəstɝ ɪn ðə fɑːrðɝ kɔrnɝ


just close the door said holmes


we want to know mister gilchrist how you an honourable man ever came to commit such an action as that of yesterday

wiː wɑːnt tuː noʊ mɪstɝ gɪlkrɪst haʊ juː æn ɑːnɝəbəl mæn ɛvɝ keɪm tuː kəmɪt sʌtʃ æn ækʃən æz ðæt ʌv jɛstɝdeɪ


for a moment gilchrist with upraised hand tried to control his writhing features

fɔr ə moʊmənt gɪlkrɪst wɪð əpreɪzd hænd traɪd tuː kəntroʊl hɪz raɪðɪŋ fiːtʃɝz


come come said holmes kindly it is human to err and at least no one can accuse you of being a callous criminal

kʌm kʌm sɛd hoʊmz kaɪndli ɪt ɪz hjuːmən tuː ɛr ənd æt liːst noʊ wʌn kæn əkjuːz juː ʌv biːɪŋ ə kæləs krɪmənəl


well well don't trouble to answer listen and see that i do you no injustice

wɛl wɛl dɑːnt trʌbəl tuː ænsɝ lɪsən ənd siː ðæt aɪ duː juː noʊ ɪndʒʌstɪs


he could examine the papers in his own office

hiː kʊd ɪgzæmɪn ðə peɪpɝz ɪn hɪz oʊn ɔfəs


the indian i also thought nothing of

ðə ɪndiːən aɪ ɔlsoʊ θɔt nʌθɪŋ ʌv


when i approached your room i examined the window

wɛn aɪ əproʊtʃt jɔr ruːm aɪ ɪgzæmənd ðə wɪndoʊ


no one less than that would have a chance


i entered and i took you into my confidence as to the suggestions of the side table

aɪ ɛntɝd ənd aɪ tʊk juː ɪntuː maɪ kɑːnfədɛns æz tuː ðə sədʒɛstʃənz ʌv ðə saɪd teɪbəl


he returned carrying his jumping shoes which are provided as you are aware with several sharp spikes

hiː rɪtɝːnd kæriːɪŋ hɪz dʒʌmpɪŋ ʃuːz wɪtʃ ɑːr prəvaɪdəd æz juː ɑːr əwɛr wɪð sɛvɝəl ʃɑːrp spaɪks


no harm would have been done had it not been that as he passed your door he perceived the key which had been left by the carelessness of your servant

noʊ hɑːrm wʊd hæv bɪn dʌn hæd ɪt nɑːt bɪn ðæt æz hiː pæst jɔr dɔr hiː pɝsiːvd ðə kiː wɪtʃ hæd bɪn lɛft baɪ ðə kɛrlɛsnəs ʌv jɔr sɝːvənt


a sudden impulse came over him to enter and see if they were indeed the proofs

ə sʌdən ɪmpəls keɪm oʊvɝ hɪm tuː ɛntɝ ənd siː ɪf ðeɪ wɝː ɪndiːd ðə pruːfs


he put his shoes on the table


gloves said the young man


suddenly he heard him at the very door there was no possible escape

sʌdənli hiː hɝːd hɪm æt ðə vɛri dɔr ðɛr wɑːz noʊ pɑːsəbəl ɪskeɪp


have i told the truth mister gilchrist


i have a letter here mister soames which i wrote to you early this morning in the middle of a restless night

aɪ hæv ə lɛtɝ hiːr mɪstɝ soʊmz wɪtʃ aɪ roʊt tuː juː ɝːli ðɪs mɔrnɪŋ ɪn ðə mɪdəl ʌv ə rɛstləs naɪt


it will be clear to you from what i have said that only you could have let this young man out since you were left in the room and must have locked the door when you went out

ɪt wɪl biː klɪr tuː juː frʌm wʌt aɪ hæv sɛd ðæt oʊnli juː kʊd hæv lɛt ðɪs jʌŋ mæn aʊt sɪns juː wɝː lɛft ɪn ðə ruːm ənd mʌst hæv lɑːkt ðə dɔr wɛn juː wɛnt aʊt


it was simple enough sir if you only had known but with all your cleverness it was impossible that you could know

ɪt wɑːz sɪmpəl ɪnʌf sɝː ɪf juː oʊnli hæd noʊn bʌt wɪð ɔl jɔr klɛvɝnəs ɪt wɑːz ɪmpɑːsəbəl ðæt juː kʊd noʊ


if mister soames saw them the game was up


you will find me continually speaking of four men titian holbein turner and tintoret in almost the same terms

juː wɪl faɪnd miː kəntɪnjuːəli spiːkɪŋ ʌv fɔr mɛn tɪʃən hoʊlbaɪn tɝːnɝ ənd tɪntɝət ɪn ɔlmoʊst ðə seɪm tɝːmz


they unite every quality and sometimes you will find me referring to them as colorists sometimes as chiaroscurists

ðeɪ juːnaɪt ɛvɝi kwɑːləti ənd səmtaɪmz juː wɪl faɪnd miː rɪfɝːɪŋ tuː ðɛm æz kʌlɝɪsts səmtaɪmz æz kaɪɝɑːskjɝɪsts


by being studious of color they are studious of division and while the chiaroscurist devotes himself to the representation of degrees of force in one thing unseparated light the colorists have for their function the attainment of beauty by arrangement of the divisions of light

baɪ biːɪŋ stuːdiːəs ʌv kʌlɝ ðeɪ ɑːr stuːdiːəs ʌv dɪvɪʒən ənd waɪl ðə kaːɝɑːskjɝɪst dɪvoʊts hɪmsɛlf tuː ðə rɛprəzɛnteɪʃən ʌv dɪgriːz ʌv fɔrs ɪn wʌn θɪŋ ənsɛpɝeɪtɪd laɪt ðə kʌlɝɪsts hæv fɔr ðɛr fʌŋkʃən ðə əteɪnmənt ʌv bjuːti baɪ ɝeɪndʒmənt ʌv ðə dɪvɪʒənz ʌv laɪt


my first and principal reason was that they enforced beyond all resistance on any student who might attempt to copy them this method of laying portions of distinct hue side by side

maɪ fɝːst ənd prɪnsəpəl riːzən wɑːz ðæt ðeɪ ɛnfɔrst bɪɑːnd ɔl rɪzɪstəns ɑːn ɛni stuːdənt huː maɪt ətɛmpt tuː kɑːpi ðɛm ðɪs mɛθəd ʌv leɪɪŋ pɔrʃənz ʌv dɪstɪŋkt hjuː saɪd baɪ saɪd


some of the touches indeed when the tint has been mixed with much water have been laid in little drops or ponds so that the pigment might crystallize hard at the edge

sʌm ʌv ðə tʌtʃəz ɪndiːd wɛn ðə tɪnt hæz bɪn mɪkst wɪð mʌtʃ wɔtɝ hæv bɪn leɪd ɪn lɪtəl drɑːps ɔr pɑːndz soʊ ðæt ðə pɪgmɛnt maɪt krɪstəlaɪz hɑːrd æt ðə ɛdʒ


it is the head of a parrot with a little flower in his beak from a picture of carpaccio's one of his series of the life of saint george

ɪt ɪz ðə hɛd ʌv ə pɛrət wɪð ə lɪtəl flaʊɝ ɪn hɪz biːk frʌm ə pɪktʃɝ ʌv kɑːrpɑːtʃiːoʊz wʌn ʌv hɪz sɪriːz ʌv ðə laɪf ʌv seɪnt dʒɔrdʒ


then he comes to the beak of it


the brown ground beneath is left for the most part one touch of black is put for the hollow two delicate lines of dark gray define the outer curve and one little quivering touch of white draws the inner edge of the mandible

ðə braʊn graʊnd bɪniːθ ɪz lɛft fɔr ðə moʊst pɑːrt wʌn tʌtʃ ʌv blæk ɪz pʊt fɔr ðə hɑːloʊ tuː dɛləkət laɪnz ʌv dɑːrk greɪ dɪfaɪn ðə aʊtɝ kɝːv ənd wʌn lɪtəl kwɪvɝɪŋ tʌtʃ ʌv waɪt drɔz ðə ɪnɝ ɛdʒ ʌv ðə mændəbəl


for believe me the final philosophy of art can only ratify their opinion that the beauty of a cock robin is to be red and of a grass plot to be green and the best skill of art is in instantly seizing on the manifold deliciousness of light which you can only seize by precision of instantaneous touch

fɔr bɪliːv miː ðə faɪnəl fəlɑːsəfi ʌv ɑːrt kæn oʊnli rætəfaɪ ðɛr əpɪnjən ðæt ðə bjuːti ʌv ə kɑːk rɑːbən ɪz tuː biː rɛd ənd ʌv ə græs plɑːt tuː biː griːn ənd ðə bɛst skɪl ʌv ɑːrt ɪz ɪn ɪnstəntli siːzɪŋ ɑːn ðə mænəfoʊld dɪlɪʃəsnəs ʌv laɪt wɪtʃ juː kæn oʊnli siːz baɪ priːsɪʒən ʌv ɪnstəntæniːəs tʌtʃ


now you will see in these studies that the moment the white is inclosed properly and harmonized with the other hues it becomes somehow more precious and pearly than the white paper and that i am not afraid to leave a whole field of untreated white paper all round it being sure that even the little diamonds in the round window will tell as jewels if they are gradated justly

naʊ juː wɪl siː ɪn ðiːz stʌdiːz ðæt ðə moʊmənt ðə waɪt ɪz ɪnkloʊzd prɑːpɝli ənd hɑːrmənaɪzd wɪð ðə ʌðɝ hjuːz ɪt bɪkʌmz sʌmhaʊ mɔr prɛʃəs ənd pɝːli ðæn ðə waɪt peɪpɝ ənd ðæt aɪ æm nɑːt əfreɪd tuː liːv ə hoʊl fiːld ʌv əntriːtɪd waɪt peɪpɝ ɔl raʊnd ɪt biːɪŋ ʃʊr ðæt iːvɪn ðə lɪtəl daɪməndz ɪn ðə raʊnd wɪndoʊ wɪl tɛl æz dʒuːəlz ɪf ðeɪ ɑːr greɪdeɪtɪd dʒʌstli


but in this vignette copied from turner you have the two principles brought out perfectly

bʌt ɪn ðɪs vɪnjɛt kɑːpiːd frʌm tɝːnɝ juː hæv ðə tuː prɪnsəpəlz brɔt aʊt pɝːfəktli


they are beyond all other works that i know existing dependent for their effect on low subdued tones their favorite choice in time of day being either dawn or twilight and even their brightest sunsets produced chiefly out of gray paper

ðeɪ ɑːr bɪɑːnd ɔl ʌðɝ wɝːks ðæt aɪ noʊ ɪgzɪstɪŋ dɪpɛndənt fɔr ðɛr ɪfɛkt ɑːn loʊ səbduːd toʊnz ðɛr feɪvɝɪt tʃɔɪs ɪn taɪm ʌv deɪ biːɪŋ iːðɝ dɔn ɔr twaɪlaɪt ənd iːvɪn ðɛr braɪtəst sʌnsɛts prəduːst tʃiːfli aʊt ʌv greɪ peɪpɝ


it may be that a great colorist will use his utmost force of color as a singer his full power of voice but loud or low the virtue is in both cases always in refinement never in loudness

ɪt meɪ biː ðæt ə greɪt kʌlɝɪst wɪl juːs hɪz ʌtmoʊst fɔrs ʌv kʌlɝ æz ə sɪŋɝ hɪz fʊl paʊɝ ʌv vɔɪs bʌt laʊd ɔr loʊ ðə vɝːtʃuː ɪz ɪn boʊθ keɪsəz ɔlweɪz ɪn rəfaɪnmənt nɛvɝ ɪn laʊdnəs


it must remember be one or the other

ɪt mʌst rɪmɛmbɝ biː wʌn ɔr ðə ʌðɝ


do not therefore think that the gothic school is an easy one

duː nɑːt ðɛrfɔr θɪŋk ðæt ðə gɑːθɪk skuːl ɪz æn iːzi wʌn


the law of that school is that everything shall be seen clearly or at least only in such mist or faintness as shall be delightful and i have no doubt that the best introduction to it would be the elementary practice of painting every study on a golden ground

ðə lɔ ʌv ðæt skuːl ɪz ðæt ɛvriːθɪŋ ʃæl biː siːn klɪrli ɔr æt liːst oʊnli ɪn sʌtʃ mɪst ɔr feɪntnəs æz ʃæl biː dɪlaɪtfəl ənd aɪ hæv noʊ daʊt ðæt ðə bɛst ɪntrədʌkʃən tuː ɪt wʊd biː ðə ɛləmɛntri præktɪs ʌv peɪntɪŋ ɛvɝi stʌdi ɑːn ə goʊldən graʊnd


this at once compels you to understand that the work is to be imaginative and decorative that it represents beautiful things in the clearest way but not under existing conditions and that in fact you are producing jeweler's work rather than pictures

ðɪs æt wʌns kəmpɛlz juː tuː əndɝstænd ðæt ðə wɝːk ɪz tuː biː ɪmædʒənətɪv ənd dɛkrətɪv ðæt ɪt rɛprəzɛnts bjuːtəfəl θɪŋz ɪn ðə klɪrɪst weɪ bʌt nɑːt ʌndɝ ɪgzɪstɪŋ kəndɪʃənz ənd ðæt ɪn fækt juː ɑːr prəduːsɪŋ dʒuːəlɝz wɝːk ræðɝ ðæn pɪktʃɝz


that a style is restrained or severe does not mean that it is also erroneous

ðæt ə staɪl ɪz riːstreɪnd ɔr səvɪr dʌz nɑːt miːn ðæt ɪt ɪz ɔlsoʊ ɛroʊniːəs


in all early gothic art indeed you will find failure of this kind especially distortion and rigidity which are in many respects painfully to be compared with the splendid repose of classic art

ɪn ɔl ɝːli gɑːθɪk ɑːrt ɪndiːd juː wɪl faɪnd feɪljɝ ʌv ðɪs kaɪnd əspɛʃli dɪstɔrʃən ənd rɪdʒɪdəti wɪtʃ ɑːr ɪn mɛni rɪspɛkts peɪnfəli tuː biː kəmpɛrd wɪð ðə splɛndɪd riːpoʊz ʌv klæsɪk ɑːrt


the large letter contains indeed entirely feeble and ill drawn figures that is merely childish and failing work of an inferior hand it is not characteristic of gothic or any other school

ðə lɑːrdʒ lɛtɝ kənteɪnz ɪndiːd ɪntaɪɝli fiːbəl ənd ɪl drɔn fɪgjɝz ðæt ɪz mɪrli tʃaɪldɪʃ ənd feɪlɪŋ wɝːk ʌv æn ɪnfɪriːɝ hænd ɪt ɪz nɑːt kɛrɪktɝɪstɪk ʌv gɑːθɪk ɔr ɛni ʌðɝ skuːl


but observe you can only do this on one condition that of striving also to create in reality the beauty which you seek in imagination

bʌt əbzɝːv juː kæn oʊnli duː ðɪs ɑːn wʌn kəndɪʃən ðæt ʌv straɪvɪŋ ɔlsoʊ tuː kriːeɪt ɪn riːælətiː ðə bjuːti wɪtʃ juː siːk ɪn ɪmædʒəneɪʃən


it will be wholly impossible for you to retain the tranquillity of temper and felicity of faith necessary for noble purist painting unless you are actively engaged in promoting the felicity and peace of practical life

ɪt wɪl biː hoʊli ɪmpɑːsəbəl fɔr juː tuː rɪteɪn ðə træŋkwɪlɪti ʌv tɛmpɝ ənd fɪlɪsəti ʌv feɪθ nɛsəsɛri fɔr noʊbəl pjʊrɪst peɪntɪŋ ənlɛs juː ɑːr æktɪvli ɪngeɪdʒd ɪn prəmoʊtɪŋ ðə fɪlɪsəti ənd piːs ʌv præktɪkəl laɪf


you must look at him in the face fight him conquer him with what scathe you may you need not think to keep out of the way of him

juː mʌst lʊk æt hɪm ɪn ðə feɪs faɪt hɪm kɑːŋkɝ hɪm wɪð wʌt skeɪð juː meɪ juː niːd nɑːt θɪŋk tuː kiːp aʊt ʌv ðə weɪ ʌv hɪm


the colorist says first of all as my delicious paroquet was ruby so this nasty viper shall be black and then is the question can i round him off even though he is black and make him slimy and yet springy and close down clotted like a pool of black blood on the earth all the same

ðə kʌlɝɪst sɛz fɝːst ʌv ɔl æz maɪ dɪlɪʃəs pɛrəkeɪ wɑːz ruːbi soʊ ðɪs næsti vaɪpɝ ʃæl biː blæk ənd ðɛn ɪz ðə kwɛstʃən kæn aɪ raʊnd hɪm ɔf iːvɪn ðoʊ hiː ɪz blæk ənd meɪk hɪm slaɪmi ənd jɛt sprɪŋi ənd kloʊs daʊn klɑːtəd laɪk ə puːl ʌv blæk blʌd ɑːn ðə ɝːθ ɔl ðə seɪm


nothing will be more precious to you i think in the practical study of art than the conviction which will force itself on you more and more every hour of the way all things are bound together little and great in spirit and in matter

nʌθɪŋ wɪl biː mɔr prɛʃəs tuː juː aɪ θɪŋk ɪn ðə præktɪkəl stʌdi ʌv ɑːrt ðæn ðə kənvɪkʃən wɪtʃ wɪl fɔrs ɪtsɛlf ɑːn juː mɔr ənd mɔr ɛvɝi aʊɝ ʌv ðə weɪ ɔl θɪŋz ɑːr baʊnd təgɛðɝ lɪtəl ənd greɪt ɪn spɪrət ənd ɪn mætɝ


you know i have just been telling you how this school of materialism and clay involved itself at last in cloud and fire

juː noʊ aɪ hæv dʒʌst bɪn tɛlɪŋ juː haʊ ðɪs skuːl ʌv mətɪriːəlɪzəm ənd kleɪ ɪnvɑːlvd ɪtsɛlf æt læst ɪn klaʊd ənd faɪɝ


here is an equally typical greek school landscape by wilson lost wholly in golden mist the trees so slightly drawn that you don't know if they are trees or towers and no care for color whatever perfectly deceptive and marvelous effect of sunshine through the mist apollo and the python

hiːr ɪz æn iːkwəli tɪpəkəl griːk skuːl lændskeɪp baɪ wɪlsən lɔst hoʊli ɪn goʊldən mɪst ðə triːz soʊ slaɪtli drɔn ðæt juː dɑːnt noʊ ɪf ðeɪ ɑːr triːz ɔr taʊɝz ənd noʊ kɛr fɔr kʌlɝ wətɛvɝ pɝːfəktli dɪsɛptɪv ənd mɑːrvələs ɪfɛkt ʌv sʌnʃaɪn θruː ðə mɪst əpɑːloʊ ənd ðə paɪθɑːn


now here is raphael exactly between the two trees still drawn leaf by leaf wholly formal but beautiful mist coming gradually into the distance

naʊ hiːr ɪz rɑːfaɪɛl ɪgzæktli bɪtwiːn ðə tuː triːz stɪl drɔn liːf baɪ liːf hoʊli fɔrməl bʌt bjuːtəfəl mɪst kʌmɪŋ grædʒuːəli ɪntuː ðə dɪstəns


well then last here is turner's greek school of the highest class and you define his art absolutely as first the displaying intensely and with the sternest intellect of natural form as it is and then the envelopment of it with cloud and fire

wɛl ðɛn læst hiːr ɪz tɝːnɝz griːk skuːl ʌv ðə haɪəst klæs ənd juː dɪfaɪn hɪz ɑːrt æbsəluːtli æz fɝːst ðə dɪspleɪɪŋ ɪntɛnsli ənd wɪð ðə stɝːnəst ɪntəlɛkt ʌv nætʃɝəl fɔrm æz ɪt ɪz ənd ðɛn ðə ɪnvɛləpmənt ʌv ɪt wɪð klaʊd ənd faɪɝ


only there are two sorts of cloud and fire

oʊnli ðɛr ɑːr tuː sɔrts ʌv klaʊd ənd faɪɝ


he knows them both


there's one and there's another the dudley and the flint

ðɛrz wʌn ənd ðɛrz ənʌðɝ ðə dʌdli ənd ðə flɪnt


it is only a pencil outline by edward burne jones in illustration of the story of psyche it is the introduction of psyche after all her troubles into heaven

ɪt ɪz oʊnli ə pɛnsəl aʊtlaɪn baɪ ɛdwɝd bɝːn dʒoʊnz ɪn ɪləstreɪʃən ʌv ðə stɔri ʌv saɪki ɪt ɪz ðə ɪntrədʌkʃən ʌv saɪki æftɝ ɔl hɝː trʌbəlz ɪntuː hɛvən


every plant in the grass is set formally grows perfectly and may be realized completely

ɛvɝi plænt ɪn ðə græs ɪz sɛt fɔrməli groʊz pɝːfəktli ənd meɪ biː riːəlaɪzd kəmpliːtli


exquisite order and universal with eternal life and light this is the faith and effort of the schools of crystal and you may describe and complete their work quite literally by taking any verses of chaucer in his tender mood and observing how he insists on the clearness and brightness first and then on the order

ɛkskwəzət ɔrdɝ ənd juːnəvɝːsəl wɪð ɪtɝːnəl laɪf ənd laɪt ðɪs ɪz ðə feɪθ ənd ɛfɝt ʌv ðə skuːlz ʌv krɪstəl ənd juː meɪ dɪskraɪb ənd kəmpliːt ðɛr wɝːk kwaɪt lɪtɝəli baɪ teɪkɪŋ ɛni vɝːsɪz ʌv tʃɔsɝ ɪn hɪz tɛndɝ muːd ənd əbzɝːvɪŋ haʊ hiː ɪnsɪsts ɑːn ðə klɪrnəs ənd braɪtnəs fɝːst ənd ðɛn ɑːn ðə ɔrdɝ


thus in chaucer's dream


in both these high mythical subjects the surrounding nature though suffering is still dignified and beautiful

ɪn boʊθ ðiːz haɪ mɪθəkəl sʌbdʒɪkts ðə sɝaʊndɪŋ neɪtʃɝ ðoʊ sʌfɝɪŋ ɪz stɪl dɪgnəfaɪd ənd bjuːtəfəl


every line in which the master traces it even where seemingly negligent is lovely and set down with a meditative calmness which makes these two etchings capable of being placed beside the most tranquil work of holbein or duerer

ɛvɝi laɪn ɪn wɪtʃ ðə mæstɝ treɪsəz ɪt iːvɪn wɛr siːmɪŋli nɛglədʒənt ɪz lʌvli ənd sɛt daʊn wɪð ə mɛdəteɪtɪv kɑːmnəs wɪtʃ meɪks ðiːz tuː ɛtʃɪŋz keɪpəbəl ʌv biːɪŋ pleɪst bɪsaɪd ðə moʊst træŋkwəl wɝːk ʌv hoʊlbaɪn ɔr dʊrɝ


but now here is a subject of which you will wonder at first why turner drew it at all

bʌt naʊ hiːr ɪz ə səbdʒɛkt ʌv wɪtʃ juː wɪl wʌndɝ æt fɝːst waɪ tɝːnɝ druː ɪt æt ɔl


it has no beauty whatsoever no specialty of picturesqueness and all its lines are cramped and poor

ɪt hæz noʊ bjuːti wətsoʊɛvɝ noʊ spɛʃəlti ʌv pɪktʃɝəskwnəs ənd ɔl ɪts laɪnz ɑːr kræmpt ənd puːr


the crampness and the poverty are all intended

ðə kræmpnɪs ənd ðə pɑːvɝti ɑːr ɔl ɪntɛndɪd


it is a gleaner bringing down her one sheaf of corn to an old watermill itself mossy and rent scarcely able to get its stones to turn

ɪt ɪz ə gliːnɝ brɪŋɪŋ daʊn hɝː wʌn ʃiːf ʌv kɔrn tuː æn oʊld wɔtɝmɪl ɪtsɛlf mɔsi ənd rɛnt skɛrsli eɪbəl tuː gɛt ɪts stoʊnz tuː tɝːn


the scene is absolutely arcadian


see that your lives be in nothing worse than a boy's climbing for his entangled kite

siː ðæt jɔr lɪvz biː ɪn nʌθɪŋ wɝːs ðæn ə bɔɪz klaɪmɪŋ fɔr hɪz ɛntæŋgəld kaɪt


it will be well for you if you join not with those who instead of kites fly falcons who instead of obeying the last words of the great cloud shepherd to feed his sheep live the lives how much less than vanity of the war wolf and the gier eagle

ɪt wɪl biː wɛl fɔr juː ɪf juː dʒɔɪn nɑːt wɪð ðoʊz huː ɪnstɛd ʌv kaɪts flaɪ fælkənz huː ɪnstɛd ʌv oʊbeɪɪŋ ðə læst wɝːdz ʌv ðə greɪt klaʊd ʃɛpɝd tuː fiːd hɪz ʃiːp laɪv ðə lɪvz haʊ mʌtʃ lɛs ðæn vænəti ʌv ðə wɔr wʊlf ənd ðə dʒɪr iːgəl


the analysis of knowledge will occupy us until the end of the thirteenth lecture and is the most difficult part of our whole enterprise

ðə ænælɪsɪs ʌv nɑːlədʒ wɪl ɑːkjəpaɪ ʌs əntɪl ðə ɛnd ʌv ðə θɝːtiːnθ lɛktʃɝ ənd ɪz ðə moʊst dɪfəkəlt pɑːrt ʌv aʊɝ hoʊl ɛntɝpraɪz


what is called perception differs from sensation by the fact that the sensational ingredients bring up habitual associates images and expectations of their usual correlates all of which are subjectively indistinguishable from the sensation

wʌt ɪz kɔld pɝsɛpʃən dɪfɝz frʌm sɛnseɪʃən baɪ ðə fækt ðæt ðə sɛnseɪʃənəl ɪngriːdiːənts brɪŋ ʌp həbɪtʃuːəl əsoʊsiːəts ɪmədʒəz ənd ɛkspɛkteɪʃənz ʌv ðɛr juːʒəwəl kɔrələts ɔl ʌv wɪtʃ ɑːr səbdʒɛktɪvli ɪndɪstɪŋgwɪʃəbəl frʌm ðə sɛnseɪʃən


whether or not this principle is liable to exceptions everyone would agree that is has a broad measure of truth though the word exactly might seem an overstatement and it might seem more correct to say that ideas approximately represent impressions

wɛðɝ ɔr nɑːt ðɪs prɪnsəpəl ɪz laɪəbəl tuː ɪksɛpʃənz ɛvriːwən wʊd əgriː ðæt ɪz hæz ə brɔd mɛʒɝ ʌv truːθ ðoʊ ðə wɝːd ɪgzæktli maɪt siːm æn oʊvɝsteɪtmənt ənd ɪt maɪt siːm mɔr kɝɛkt tuː seɪ ðæt aɪdiːəz əprɑːksəmətli rɛprəzɛnt ɪmprɛʃənz


and what sort of evidence is logically possible

ənd wʌt sɔrt ʌv ɛvədəns ɪz lɑːdʒɪkli pɑːsəbəl


there is no logical impossibility in the hypothesis that the world sprang into being five minutes ago exactly as it then was with a population that remembered a wholly unreal past

ðɛr ɪz noʊ lɑːdʒɪkəl ɪmpɔsɪbɪlɪti ɪn ðə haɪpɑːθəsəs ðæt ðə wɝːld spræŋ ɪntuː biːɪŋ faɪv mɪnəts əgoʊ ɪgzæktli æz ɪt ðɛn wɑːz wɪð ə pɑːpjəleɪʃən ðæt rɪmɛmbɝd ə hoʊli ənriːl pæst


all that i am doing is to use its logical tenability as a help in the analysis of what occurs when we remember

ɔl ðæt aɪ æm duːɪŋ ɪz tuː juːs ɪts lɑːdʒɪkəl tɛnəbɪləti æz ə hɛlp ɪn ðə ænælɪsɪs ʌv wʌt əkɝːz wɛn wiː rɪmɛmbɝ


the behaviourist who attempts to make psychology a record of behaviour has to trust his memory in making the record

ðə bɪheɪvjɝɪst huː ətɛmpts tuː meɪk saɪkɑːlədʒi ə rəkɔrd ʌv bɪheɪvjɝ hæz tuː trʌst hɪz mɛmɝi ɪn meɪkɪŋ ðə rəkɔrd


habit is a concept involving the occurrence of similar events at different times if the behaviourist feels confident that there is such a phenomenon as habit that can only be because he trusts his memory when it assures him that there have been other times

hæbət ɪz ə kɑːnsɛpt ɪnvɑːlvɪŋ ðə əkɝːəns ʌv sɪməlɝ ɪvɛnts æt dɪfɝənt taɪmz ɪf ðə bɪheɪvjɝɪst fiːlz kɑːnfədənt ðæt ðɛr ɪz sʌtʃ ə fənɑːmənɑːn æz hæbət ðæt kæn oʊnli biː bɪkɔz hiː trʌsts hɪz mɛmɝi wɛn ɪt əʃʊrz hɪm ðæt ðɛr hæv bɪn ʌðɝ taɪmz


but i do not think such an inference is warranted

bʌt aɪ duː nɑːt θɪŋk sʌtʃ æn ɪnfɝəns ɪz wɔrəntɪd


our confidence or lack of confidence in the accuracy of a memory image must in fundamental cases be based upon a characteristic of the image itself since we cannot evoke the past bodily and compare it with the present image

aʊɝ kɑːnfədɛns ɔr læk ʌv kɑːnfədɛns ɪn ðə ækjɝəsi ʌv ə mɛmɝi ɪmədʒ mʌst ɪn fəndəmɛntəl keɪsəz biː beɪst əpɑːn ə kɛrɪktɝɪstɪk ʌv ðə ɪmədʒ ɪtsɛlf sɪns wiː kænɑːt ɪvoʊk ðə pæst bɑːdəli ənd kəmpɛr ɪt wɪð ðə prɛzənt ɪmədʒ


we sometimes have images that are by no means peculiarly vague which yet we do not trust for example under the influence of fatigue we may see a friend's face vividly and clearly but horribly distorted

wiː səmtaɪmz hæv ɪmədʒəz ðæt ɑːr baɪ noʊ miːnz pɪkjuːljɝli veɪg wɪtʃ jɛt wiː duː nɑːt trʌst fɔr ɪgzæmpəl ʌndɝ ðə ɪnfluːəns ʌv fətiːg wiː meɪ siː ə frɛndz feɪs vɪvədli ənd klɪrli bʌt hɔrəbli dɪstɔrtəd


some images like some sensations feel very familiar while others feel strange

sʌm ɪmədʒəz laɪk sʌm sɛnseɪʃənz fiːl vɛri fəmɪljɝ waɪl ʌðɝz fiːl streɪndʒ


familiarity is a feeling capable of degrees

fəmɪljɛrəti ɪz ə fiːlɪŋ keɪpəbəl ʌv dɪgriːz


in an image of a well known face for example some parts may feel more familiar than others when this happens we have more belief in the accuracy of the familiar parts than in that of the unfamiliar parts

ɪn æn ɪmədʒ ʌv ə wɛl noʊn feɪs fɔr ɪgzæmpəl sʌm pɑːrts meɪ fiːl mɔr fəmɪljɝ ðæn ʌðɝz wɛn ðɪs hæpənz wiː hæv mɔr bɪliːf ɪn ðə ækjɝəsi ʌv ðə fəmɪljɝ pɑːrts ðæn ɪn ðæt ʌv ðə ənfəmɪljɝ pɑːrts


i come now to the other characteristic which memory images must have in order to account for our knowledge of the past

aɪ kʌm naʊ tuː ðə ʌðɝ kɛrɪktɝɪstɪk wɪtʃ mɛmɝi ɪmədʒəz mʌst hæv ɪn ɔrdɝ tuː əkaʊnt fɔr aʊɝ nɑːlədʒ ʌv ðə pæst


they must have some characteristic which makes us regard them as referring to more or less remote portions of the past

ðeɪ mʌst hæv sʌm kɛrɪktɝɪstɪk wɪtʃ meɪks ʌs rəgɑːrd ðɛm æz rɪfɝːɪŋ tuː mɔr ɔr lɛs rɪmoʊt pɔrʃənz ʌv ðə pæst


in actual fact there are doubtless various factors that concur in giving us the feeling of greater or less remoteness in some remembered event

ɪn æktʃəwəl fækt ðɛr ɑːr daʊtləs vɛriːəs fæktɝz ðæt kənkɝː ɪn gɪvɪŋ ʌs ðə fiːlɪŋ ʌv greɪtɝ ɔr lɛs riːmoʊtnəs ɪn sʌm rɪmɛmbɝd ɪvɛnt


there may be a specific feeling which could be called the feeling of pastness especially where immediate memory is concerned

ðɛr meɪ biː ə spəsɪfɪk fiːlɪŋ wɪtʃ kʊd biː kɔld ðə fiːlɪŋ ʌv pæstnəs əspɛʃli wɛr ɪmiːdiːət mɛmɝi ɪz kənsɝːnd


there is of course a difference between knowing the temporal relation of a remembered event to the present and knowing the time order of two remembered events

ðɛr ɪz ʌv kɔrs ə dɪfɝəns bɪtwiːn noʊɪŋ ðə tɛmpɝəl riːleɪʃən ʌv ə rɪmɛmbɝd ɪvɛnt tuː ðə prɛzənt ənd noʊɪŋ ðə taɪm ɔrdɝ ʌv tuː rɪmɛmbɝd ɪvɛnts


it would seem that only rather recent events can be placed at all accurately by means of feelings giving their temporal relation to the present but it is clear that such feelings must play an essential part in the process of dating remembered events

ɪt wʊd siːm ðæt oʊnli ræðɝ riːsənt ɪvɛnts kæn biː pleɪst æt ɔl ækjɝətli baɪ miːnz ʌv fiːlɪŋz gɪvɪŋ ðɛr tɛmpɝəl riːleɪʃən tuː ðə prɛzənt bʌt ɪt ɪz klɪr ðæt sʌtʃ fiːlɪŋz mʌst pleɪ æn ɛsɛnʃəl pɑːrt ɪn ðə prɑːsɛs ʌv deɪtɪŋ rɪmɛmbɝd ɪvɛnts


if we had retained the subject or act in knowledge the whole problem of memory would have been comparatively simple

ɪf wiː hæd rɪteɪnd ðə səbdʒɛkt ɔr ækt ɪn nɑːlədʒ ðə hoʊl prɑːbləm ʌv mɛmɝi wʊd hæv bɪn kəmpærətɪvliː sɪmpəl


remembering has to be a present occurrence in some way resembling or related to what is remembered

rɪmɛmbɝɪŋ hæz tuː biː ə prɛzənt əkɝːəns ɪn sʌm weɪ rɪzɛmbəlɪŋ ɔr rɪleɪtɪd tuː wʌt ɪz rɪmɛmbɝd


some points may be taken as fixed and such as any theory of memory must arrive at

sʌm pɔɪnts meɪ biː teɪkən æz fɪkst ənd sʌtʃ æz ɛni θɪri ʌv mɛmɝi mʌst ɝaɪv æt


in this case as in most others what may be taken as certain in advance is rather vague

ɪn ðɪs keɪs æz ɪn moʊst ʌðɝz wʌt meɪ biː teɪkən æz sɝːtən ɪn ədvæns ɪz ræðɝ veɪg


the first of our vague but indubitable data is that there is knowledge of the past

ðə fɝːst ʌv aʊɝ veɪg bʌt ɪnduːbətəbəl deɪtə ɪz ðæt ðɛr ɪz nɑːlədʒ ʌv ðə pæst


we might provisionally though perhaps not quite correctly define memory as that way of knowing about the past which has no analogue in our knowledge of the future such a definition would at least serve to mark the problem with which we are concerned though some expectations may deserve to rank with memory as regards immediacy

wiː maɪt prəvɪʒənəli ðoʊ pɝhæps nɑːt kwaɪt kɝɛktli dɪfaɪn mɛmɝi æz ðæt weɪ ʌv noʊɪŋ əbaʊt ðə pæst wɪtʃ hæz noʊ ænəlɔg ɪn aʊɝ nɑːlədʒ ʌv ðə fjuːtʃɝ sʌtʃ ə dɛfənɪʃən wʊd æt liːst sɝːv tuː mɑːrk ðə prɑːbləm wɪð wɪtʃ wiː ɑːr kənsɝːnd ðoʊ sʌm ɛkspɛkteɪʃənz meɪ dɪzɝːv tuː ræŋk wɪð mɛmɝi æz rɪgɑːrdz ɪmiːdiːəsi


this distinction is vital to the understanding of memory but it is not so easy to carry out in practice as it is to draw in theory

ðɪs dɪstɪŋkʃən ɪz vaɪtəl tuː ðə əndɝstændɪŋ ʌv mɛmɝi bʌt ɪt ɪz nɑːt soʊ iːzi tuː kæri aʊt ɪn præktɪs æz ɪt ɪz tuː drɔ ɪn θɪri


a gramophone by the help of suitable records might relate to us the incidents of its past and people are not so different from gramophones as they like to believe

ə græməfoʊn baɪ ðə hɛlp ʌv suːtəbəl rəkɔrdz maɪt rɪleɪt tuː ʌs ðə ɪnsədənts ʌv ɪts pæst ənd piːpəl ɑːr nɑːt soʊ dɪfɝənt frʌm græməfoʊnz æz ðeɪ laɪk tuː bɪliːv


i can set to work now to remember things i never remembered before such as what i had to eat for breakfast this morning and it can hardly be wholly habit that enables me to do this

aɪ kæn sɛt tuː wɝːk naʊ tuː rɪmɛmbɝ θɪŋz aɪ nɛvɝ rɪmɛmbɝd bɪfɔr sʌtʃ æz wʌt aɪ hæd tuː iːt fɔr brɛkfəst ðɪs mɔrnɪŋ ənd ɪt kæn hɑːrdli biː hoʊli hæbət ðæt ɛneɪbəlz miː tuː duː ðɪs


the fact that a man can recite a poem does not show that he remembers any previous occasion on which he has recited or read it

ðə fækt ðæt ə mæn kæn rəsaɪt ə poʊəm dʌz nɑːt ʃoʊ ðæt hiː rɪmɛmbɝz ɛni priːviːəs əkeɪʒən ɑːn wɪtʃ hiː hæz rəsaɪtəd ɔr rɛd ɪt


semon's two books mentioned in an earlier lecture do not touch knowledge memory at all closely

sɛmənz tuː bʊks mɛnʃənd ɪn æn ɝːliːɝ lɛktʃɝ duː nɑːt tʌtʃ nɑːlədʒ mɛmɝi æt ɔl kloʊsli


they give laws according to which images of past occurrences come into our minds but do not discuss our belief that these images refer to past occurrences which is what constitutes knowledge memory

ðeɪ gɪv lɔz əkɔrdɪŋ tuː wɪtʃ ɪmədʒəz ʌv pæst əkɝːənsɪz kʌm ɪntuː aʊɝ maɪndz bʌt duː nɑːt dɪskʌs aʊɝ bɪliːf ðæt ðiːz ɪmədʒəz rəfɝː tuː pæst əkɝːənsɪz wɪtʃ ɪz wʌt kɑːnstətuːts nɑːlədʒ mɛmɝi


it is this that is of interest to theory of knowledge

ɪt ɪz ðɪs ðæt ɪz ʌv ɪntərɛst tuː θɪri ʌv nɑːlədʒ


it is by no means always reliable almost everybody has at some time experienced the well known illusion that all that is happening now happened before at some time

ɪt ɪz baɪ noʊ miːnz ɔlweɪz rɪlaɪəbəl ɔlmoʊst ɛvriːbɑːdi hæz æt sʌm taɪm ɪkspɪriːənst ðə wɛl noʊn ɪluːʒən ðæt ɔl ðæt ɪz hæpənɪŋ naʊ hæpənd bɪfɔr æt sʌm taɪm


whenever the sense of familiarity occurs without a definite object it leads us to search the environment until we are satisfied that we have found the appropriate object which leads us to the judgment this is familiar

wɛnɛvɝ ðə sɛns ʌv fəmɪljɛrəti əkɝːz wɪθaʊt ə dɛfənət ɑːbdʒɛkt ɪt liːdz ʌs tuː sɝːtʃ ðə ɪnvaɪrənmənt əntɪl wiː ɑːr sætəsfaɪd ðæt wiː hæv faʊnd ðə əproʊpriːət ɑːbdʒɛkt wɪtʃ liːdz ʌs tuː ðə dʒʌdʒmənt ðɪs ɪz fəmɪljɝ


thus no knowledge as to the past is to be derived from the feeling of familiarity alone

ðʌs noʊ nɑːlədʒ æz tuː ðə pæst ɪz tuː biː dɝaɪvd frʌm ðə fiːlɪŋ ʌv fəmɪljɛrəti əloʊn


a further stage is recognition

ə fɝːðɝ steɪdʒ ɪz rɛkəgnɪʃən


recognition in this sense does not necessarily involve more than a habit of association the kind of object we are seeing at the moment is associated with the word cat or with an auditory image of purring or whatever other characteristic we may happen to recognize in the cat of the moment

rɛkəgnɪʃən ɪn ðɪs sɛns dʌz nɑːt nɛsəsɛrəli ɪnvɑːlv mɔr ðæn ə hæbət ʌv əsoʊsiːeɪʃən ðə kaɪnd ʌv ɑːbdʒɛkt wiː ɑːr siːɪŋ æt ðə moʊmənt ɪz əsoʊsiːeɪtəd wɪð ðə wɝːd kæt ɔr wɪð æn ɔdɪtɔri ɪmədʒ ʌv pɝːɪŋ ɔr wətɛvɝ ʌðɝ kɛrɪktɝɪstɪk wiː meɪ hæpən tuː rɛkəgnaɪz ɪn ðə kæt ʌv ðə moʊmənt


we are of course in fact able to judge when we recognize an object that we have seen it before but this judgment is something over and above recognition in this first sense and may very probably be impossible to animals that nevertheless have the experience of recognition in this first sense of the word

wiː ɑːr ʌv kɔrs ɪn fækt eɪbəl tuː dʒʌdʒ wɛn wiː rɛkəgnaɪz æn ɑːbdʒɛkt ðæt wiː hæv siːn ɪt bɪfɔr bʌt ðɪs dʒʌdʒmənt ɪz sʌmθɪŋ oʊvɝ ənd əbʌv rɛkəgnɪʃən ɪn ðɪs fɝːst sɛns ənd meɪ vɛri prɑːbəbliː biː ɪmpɑːsəbəl tuː ænəməlz ðæt nɛvɝðəlɛs hæv ðə ɪkspɪriːəns ʌv rɛkəgnɪʃən ɪn ðɪs fɝːst sɛns ʌv ðə wɝːd


this knowledge is memory in one sense though in another it is not

ðɪs nɑːlədʒ ɪz mɛmɝi ɪn wʌn sɛns ðoʊ ɪn ənʌðɝ ɪt ɪz nɑːt


there are however several points in which such an account of recognition is inadequate to begin with it might seem at first sight more correct to define recognition as i have seen this before than as this has existed before

ðɛr ɑːr haʊɛvɝ sɛvɝəl pɔɪnts ɪn wɪtʃ sʌtʃ æn əkaʊnt ʌv rɛkəgnɪʃən ɪz ɪnædəkwət tuː bɪgɪn wɪð ɪt maɪt siːm æt fɝːst saɪt mɔr kɝɛkt tuː dɪfaɪn rɛkəgnɪʃən æz aɪ hæv siːn ðɪs bɪfɔr ðæn æz ðɪs hæz ɪgzɪstəd bɪfɔr


the definition of my experience is difficult broadly speaking it is everything that is connected with what i am experiencing now by certain links of which the various forms of memory are among the most important

ðə dɛfənɪʃən ʌv maɪ ɪkspɪriːəns ɪz dɪfəkəlt brɔdli spiːkɪŋ ɪt ɪz ɛvriːθɪŋ ðæt ɪz kənɛktɪd wɪð wʌt aɪ æm ɪkspɪriːənsɪŋ naʊ baɪ sɝːtən lɪŋks ʌv wɪtʃ ðə vɛriːəs fɔrmz ʌv mɛmɝi ɑːr əmʌŋ ðə moʊst ɪmpɔrtənt


thus if i recognize a thing the occasion of its previous existence in virtue of which i recognize it forms part of my experience by definition recognition will be one of the marks by which my experience is singled out from the rest of the world

ðʌs ɪf aɪ rɛkəgnaɪz ə θɪŋ ðə əkeɪʒən ʌv ɪts priːviːəs ɛgzɪstəns ɪn vɝːtʃuː ʌv wɪtʃ aɪ rɛkəgnaɪz ɪt fɔrmz pɑːrt ʌv maɪ ɪkspɪriːəns baɪ dɛfənɪʃən rɛkəgnɪʃən wɪl biː wʌn ʌv ðə mɑːrks baɪ wɪtʃ maɪ ɪkspɪriːəns ɪz sɪŋgəld aʊt frʌm ðə rɛst ʌv ðə wɝːld


of course the words this has existed before are a very inadequate translation of what actually happens when we form a judgment of recognition but that is unavoidable words are framed to express a level of thought which is by no means primitive and are quite incapable of expressing such an elementary occurrence as recognition

ʌv kɔrs ðə wɝːdz ðɪs hæz ɪgzɪstəd bɪfɔr ɑːr ə vɛri ɪnædəkwət trænzleɪʃən ʌv wʌt æktʃuːəli hæpənz wɛn wiː fɔrm ə dʒʌdʒmənt ʌv rɛkəgnɪʃən bʌt ðæt ɪz ənəvɔɪdəbəl wɝːdz ɑːr freɪmd tuː ɪksprɛs ə lɛvəl ʌv θɔt wɪtʃ ɪz baɪ noʊ miːnz prɪmətɪv ənd ɑːr kwaɪt ɪnkeɪpəbəl ʌv ɪksprɛsɪŋ sʌtʃ æn ɛləmɛntri əkɝːəns æz rɛkəgnɪʃən


chapter seven on the races of man


in determining whether two or more allied forms ought to be ranked as species or varieties naturalists are practically guided by the following considerations namely the amount of difference between them and whether such differences relate to few or many points of structure and whether they are of physiological importance but more especially whether they are constant

ɪn dɪtɝːmənɪŋ wɛðɝ tuː ɔr mɔr əlaɪd fɔrmz ɔt tuː biː ræŋkt æz spiːʃiːz ɔr vɝaɪətiːz nætʃɝəlɪsts ɑːr præktɪkəli gaɪdəd baɪ ðə fɑːloʊɪŋ kənsɪdɝeɪʃənz neɪmli ðə əmaʊnt ʌv dɪfɝəns bɪtwiːn ðɛm ənd wɛðɝ sʌtʃ dɪfɝənsɪz rɪleɪt tuː fjuː ɔr mɛni pɔɪnts ʌv strʌktʃɝ ənd wɛðɝ ðeɪ ɑːr ʌv fɪziːəlɑːdʒɪkəl ɪmpɔrtəns bʌt mɔr əspɛʃli wɛðɝ ðeɪ ɑːr kɑːnstənt


at another time harald asked


what is your country olaf have you always been a thrall the thrall's eyes flashed

wʌt ɪz jɔr kʌntri oʊlɑːf hæv juː ɔlweɪz bɪn ə θrɔl ðə θrɔlz aɪz flæʃt


two hundred warriors feasted in his hall and followed him to battle

tuː hʌndrəd wɔriːɝz fiːstɪd ɪn hɪz hɔl ənd fɑːloʊd hɪm tuː bætəl


the rest of you off a viking he had three ships

ðə rɛst ʌv juː ɔf ə vaɪkɪŋ hiː hæd θriː ʃɪps


these he gave to three of my brothers


but i stayed that spring and built me a boat

bʌt aɪ steɪd ðæt sprɪŋ ənd bɪlt miː ə boʊt


i made her for only twenty oars because i thought few men would follow me for i was young fifteen years old

aɪ meɪd hɝː fɔr oʊnli twɛnti ɔrz bɪkɔz aɪ θɔt fjuː mɛn wʊd fɑːloʊ miː fɔr aɪ wɑːz jʌŋ fɪftiːn jɪrz oʊld


at the prow i carved the head with open mouth and forked tongue thrust out

æt ðə praʊ aɪ kɑːrvd ðə hɛd wɪð oʊpən maʊθ ənd fɔrkt tʌŋ θrʌst aʊt


i painted the eyes red for anger


there stand so i said and glare and hiss at my foes

ðɛr stænd soʊ aɪ sɛd ənd glɛr ənd hɪs æt maɪ foʊz


in the stern i curved the tail up almost as high as the head

ɪn ðə stɝːn aɪ kɝːvd ðə teɪl ʌp ɔlmoʊst æz haɪ æz ðə hɛd


there she sat on the rollers as fair a ship as i ever saw

ðɛr ʃiː sæt ɑːn ðə roʊlɝz æz fɛr ə ʃɪp æz aɪ ɛvɝ sɔ


then i will get me a farm and will winter in that land now who will follow me

ðɛn aɪ wɪl gɛt miː ə fɑːrm ənd wɪl wɪntɝ ɪn ðæt lænd naʊ huː wɪl fɑːloʊ miː


he is but a boy the men said

hiː ɪz bʌt ə bɔɪ ðə mɛn sɛd


thirty men one after another raised their horns and said

θɝːdiː mɛn wʌn æftɝ ənʌðɝ reɪzd ðɛr hɔrnz ənd sɛd


as our boat flashed down the rollers into the water i made this song and sang it

æz aʊɝ boʊt flæʃt daʊn ðə roʊlɝz ɪntuː ðə wɔtɝ aɪ meɪd ðɪs sɔŋ ənd sæŋ ɪt


so we harried the coast of norway


we ate at many men's tables uninvited


my dragon's belly is never full and on board went the gold

maɪ drægənz bɛli ɪz nɛvɝ fʊl ənd ɑːn bɔrd wɛnt ðə goʊld


oh it is better to live on the sea and let other men raise your crops and cook your meals

oʊ ɪt ɪz bɛtɝ tuː laɪv ɑːn ðə siː ənd lɛt ʌðɝ mɛn reɪz jɔr krɑːps ənd kʊk jɔr miːlz


a house smells of smoke a ship smells of frolic

ə haʊs smɛlz ʌv smoʊk ə ʃɪp smɛlz ʌv frɑːlɪk


up and down the water we went to get much wealth and much frolic

ʌp ənd daʊn ðə wɔtɝ wiː wɛnt tuː gɛt mʌtʃ wɛlθ ənd mʌtʃ frɑːlɪk


what of the farm olaf not yet i answered viking is better for summer

wʌt ʌv ðə fɑːrm oʊlɑːf nɑːt jɛt aɪ ænsɝd vaɪkɪŋ ɪz bɛtɝ fɔr sʌmɝ


it was so dark that i could see nothing but a few sparks on the hearth

ɪt wɑːz soʊ dɑːrk ðæt aɪ kʊd siː nʌθɪŋ bʌt ə fjuː spɑːrks ɑːn ðə hɑːrθ


i stood with my back to the wall for i wanted no sword reaching out of the dark for me

aɪ stʊd wɪð maɪ bæk tuː ðə wɔl fɔr aɪ wɔntɪd noʊ sɔrd riːtʃɪŋ aʊt ʌv ðə dɑːrk fɔr miː


come come i called when no one obeyed a fire

kʌm kʌm aɪ kɔld wɛn noʊ wʌn oʊbeɪd ə faɪɝ


my men laughed yes a stingy host


he acts as though he had not expected us

hiː ækts æz ðoʊ hiː hæd nɑːt ɪkspɛktəd ʌs


on a bench in a far corner were a dozen people huddled together

ɑːn ə bɛntʃ ɪn ə fɑːr kɔrnɝ wɝː ə dʌzən piːpəl hʌdəld təgɛðɝ


bring in the table we are hungry


the thralls were bringing in a great pot of meat

ðə θrɔlz wɝː brɪŋɪŋ ɪn ə greɪt pɑːt ʌv miːt


they set up a crane over the fire and hung the pot upon it and we sat and watched it boil while we joked at last the supper began

ðeɪ sɛt ʌp ə kreɪn oʊvɝ ðə faɪɝ ənd hʌŋ ðə pɑːt əpɑːn ɪt ənd wiː sæt ənd wɑːtʃt ɪt bɔɪl waɪl wiː dʒoʊkt æt læst ðə sʌpɝ bɪgæn


the farmer sat gloomily on the bench and would not eat and you cannot wonder for he saw us putting potfuls of his good beef and basket loads of bread into our big mouths

ðə fɑːrmɝ sæt gluːməli ɑːn ðə bɛntʃ ənd wʊd nɑːt iːt ənd juː kænɑːt wʌndɝ fɔr hiː sɔ ʌs pʌtɪŋ pɑːtfəlz ʌv hɪz gʊd biːf ənd bæskət loʊdz ʌv brɛd ɪntuː aʊɝ bɪg maʊðz


you would not eat with us you cannot say no to half of my ale i drink this to your health

juː wʊd nɑːt iːt wɪð ʌs juː kænɑːt seɪ noʊ tuː hæf ʌv maɪ eɪl aɪ drɪŋk ðɪs tuː jɔr hɛlθ


then i drank half of the hornful and sent the rest across the fire to the farmer he took it and smiled saying

ðɛn aɪ dræŋk hæf ʌv ðə hɔrnfəl ənd sɛnt ðə rɛst əkrɔs ðə faɪɝ tuː ðə fɑːrmɝ hiː tʊk ɪt ənd smaɪld seɪɪŋ


did you ever have such a lordly guest before i went on

dɪd juː ɛvɝ hæv sʌtʃ ə lɔrdliː gɛst bɪfɔr aɪ wɛnt ɑːn


so i will give out this law that my men shall never leave you alone

soʊ aɪ wɪl gɪv aʊt ðɪs lɔ ðæt maɪ mɛn ʃæl nɛvɝ liːv juː əloʊn


hakon there shall be your constant companion friend farmer

hækən ðɛr ʃæl biː jɔr kɑːnstənt kəmpænjən frɛnd fɑːrmɝ


he shall not leave you day or night whether you are working or playing or sleeping

hiː ʃæl nɑːt liːv juː deɪ ɔr naɪt wɛðɝ juː ɑːr wɝːkɪŋ ɔr pleɪɪŋ ɔr sliːpɪŋ


i named nine others and said


and these shall follow your thralls in the same way

ənd ðiːz ʃæl fɑːloʊ jɔr θrɔlz ɪn ðə seɪm weɪ


so i set guards over every one in that house

soʊ aɪ sɛt gɑːrdz oʊvɝ ɛvɝi wʌn ɪn ðæt haʊs


so no tales got out to the neighbors besides it was a lonely place and by good luck no one came that way

soʊ noʊ teɪlz gɑːt aʊt tuː ðə neɪbɝz bɪsaɪdz ɪt wɑːz ə loʊnli pleɪs ənd baɪ gʊd lʌk noʊ wʌn keɪm ðæt weɪ


their eyes danced big thorleif stood up and stretched himself

ðɛr aɪz dænst bɪg θɔrliːf stʊd ʌp ənd strɛtʃt hɪmsɛlf


i am stiff with long sitting he said i itch for a fight i turned to the farmer

aɪ æm stɪf wɪð lɔŋ sɪtɪŋ hiː sɛd aɪ ɪtʃ fɔr ə faɪt aɪ tɝːnd tuː ðə fɑːrmɝ


this is our last feast with you i said


by the beard of odin i cried you have taken our joke like a man

baɪ ðə bɪrd ʌv oʊdən aɪ kraɪd juː hæv teɪkən aʊɝ dʒoʊk laɪk ə mæn


my men pounded the table with their fists


by the hammer of thor shouted grim here is no stingy coward

baɪ ðə hæmɝ ʌv θɔr ʃaʊtəd grɪm hiːr ɪz noʊ stɪndʒi kaʊɝd


here friend take it and he thrust it into the farmer's hand

hiːr frɛnd teɪk ɪt ənd hiː θrʌst ɪt ɪntuː ðə fɑːrmɝz hænd


may you drink heart's ease from it for many years

meɪ juː drɪŋk hɑːrts iːz frʌm ɪt fɔr mɛni jɪrz


and with it i leave you a name sif the friendly i shall hope to drink with you sometime in valhalla

ənd wɪð ɪt aɪ liːv juː ə neɪm sːf ðə frɛndli aɪ ʃæl hoʊp tuː drɪŋk wɪð juː sʌmtaɪm ɪn vælhælə


here is a ring for sif the friendly and here is a bracelet a sword would not be ashamed to hang at your side

hiːr ɪz ə rɪŋ fɔr sːf ðə frɛndli ənd hiːr ɪz ə breɪslət ə sɔrd wʊd nɑːt biː əʃeɪmd tuː hæŋ æt jɔr saɪd


i took five great bracelets of gold from our treasure chest and gave them to him

aɪ tʊk faɪv greɪt breɪslɪts ʌv goʊld frʌm aʊɝ trɛʒɝ tʃɛst ənd geɪv ðɛm tuː hɪm


that is the best way to decide for the spear will always point somewhere and one thing is as good as another

ðæt ɪz ðə bɛst weɪ tuː dɪsaɪd fɔr ðə spɪr wɪl ɔlweɪz pɔɪnt sʌmwɛr ənd wʌn θɪŋ ɪz æz gʊd æz ənʌðɝ


that time it pointed us into your father's ships

ðæt taɪm ɪt pɔɪntɪd ʌs ɪntuː jɔr fɑːðɝz ʃɪps


here they said is a rascal who has been harrying our coasts

hiːr ðeɪ sɛd ɪz ə ræskəl huː hæz bɪn hɛriːɪŋ aʊɝ koʊsts


we sunk his ship and men but him we brought to you

wiː sʌŋk hɪz ʃɪp ənd mɛn bʌt hɪm wiː brɔt tuː juː


a robber viking said the king and scowled at me

ə rɑːbɝ vaɪkɪŋ sɛd ðə kɪŋ ənd skaʊld æt miː


yes and with all your fingers it took you a year to catch me the king frowned more angrily

jɛs ənd wɪð ɔl jɔr fɪŋgɝz ɪt tʊk juː ə jɪr tuː kætʃ miː ðə kɪŋ fraʊnd mɔr æŋgrəli


take him out thorkel and let him taste your sword

teɪk hɪm aʊt θɔrkəl ənd lɛt hɪm teɪst jɔr sɔrd


your mother the queen was standing by


now she put her hand on his arm and smiled and said

naʊ ʃiː pʊt hɝː hænd ɑːn hɪz ɑːrm ənd smaɪld ənd sɛd


and would he not be a good gift for our baby

ənd wʊd hiː nɑːt biː ə gʊd gɪft fɔr aʊɝ beɪbi


your father thought a moment then looked at your mother and smiled

jɔr fɑːðɝ θɔt ə moʊmənt ðɛn lʊkt æt jɔr mʌðɝ ənd smaɪld


soft heart he said gently to her then to thorkel well let him go thorkel

sɑːft hɑːrt hiː sɛd dʒɛntli tuː hɝː ðɛn tuː θɔrkəl wɛl lɛt hɪm goʊ θɔrkəl


then he turned to me again frowning


but young sharp tongue now that we have caught you we will put you into a trap that you cannot get out of

bʌt jʌŋ ʃɑːrp tʌŋ naʊ ðæt wiː hæv kɑːt juː wiː wɪl pʊt juː ɪntuː ə træp ðæt juː kænɑːt gɛt aʊt ʌv


so i lived and now am your tooth thrall well it is the luck of war

soʊ aɪ lɪvd ənd naʊ æm jɔr tuːθ θrɔl wɛl ɪt ɪz ðə lʌk ʌv wɔr


it is manifest that man is now subject to much variability

ɪt ɪz mænəfɛst ðæt mæn ɪz naʊ səbdʒɛkt tuː mʌtʃ vɛriːəbɪlɪti


so it is with the lower animals

soʊ ɪt ɪz wɪð ðə loʊɝ ænəməlz


the variability of multiple parts


but this subject will be more properly discussed when we treat of the different races of mankind

bʌt ðɪs səbdʒɛkt wɪl biː mɔr prɑːpɝli dɪskʌst wɛn wiː triːt ʌv ðə dɪfɝənt reɪsəz ʌv mænkaɪnd


effects of the increased use and disuse of parts

ɪfɛkts ʌv ðə ɪnkriːst juːs ənd dɪsjuːs ʌv pɑːrts


it was one of the masterly and charming stories of dumas the elder

ɪt wɑːz wʌn ʌv ðə mæstɝli ənd tʃɑːrmɪŋ stɔriːz ʌv duːməz ðə ɛldɝ


in five minutes i was in a new world and my melancholy room was full of the liveliest french company

ɪn faɪv mɪnəts aɪ wɑːz ɪn ə nuː wɝːld ənd maɪ mɛlənkɑːli ruːm wɑːz fʊl ʌv ðə laɪvliːəst frɛntʃ kʌmpəniː


the sound of an imperative and uncompromising bell recalled me in due time to the regions of reality

ðə saʊnd ʌv æn ɪmpɛrətɪv ənd ənkɑːmprəmaɪzɪŋ bɛl rɪkɔld miː ɪn duː taɪm tuː ðə riːdʒənz ʌv riːælətiː


ambrose met me at the bottom of the stairs and showed me the way to the supper room

æmbroʊz mɛt miː æt ðə bɑːtəm ʌv ðə stɛrz ənd ʃoʊd miː ðə weɪ tuː ðə sʌpɝ ruːm


she signed to me with a ghostly solemnity to take the vacant place on the left of her father

ʃiː saɪnd tuː miː wɪð ə goʊstli səlɛmnəti tuː teɪk ðə veɪkənt pleɪs ɑːn ðə lɛft ʌv hɝː fɑːðɝ


the door opened again while i was still studying the two brothers without i honestly confess being very favorably impressed by either of them

ðə dɔr oʊpənd əgɛn waɪl aɪ wɑːz stɪl stʌdiːɪŋ ðə tuː brʌðɝz wɪθaʊt aɪ ɑːnəstli kənfɛs biːɪŋ vɛri feɪvɝəbli ɪmprɛst baɪ iːðɝ ʌv ðɛm


a new member of the family circle who instantly attracted my attention entered the room

ə nuː mɛmbɝ ʌv ðə fæməli sɝːkəl huː ɪnstəntli ətræktəd maɪ ətɛnʃən ɛntɝd ðə ruːm


a little cracked that in the popular phrase was my impression of the stranger who now made his appearance in the supper room

ə lɪtəl krækt ðæt ɪn ðə pɑːpjəlɝ freɪz wɑːz maɪ ɪmprɛʃən ʌv ðə streɪndʒɝ huː naʊ meɪd hɪz əpɪrəns ɪn ðə sʌpɝ ruːm


mister meadowcroft the elder having not spoken one word thus far himself introduced the newcomer to me with a side glance at his sons which had something like defiance in it a glance which as i was sorry to notice was returned with the defiance on their side by the two young men

mɪstɝ mɛdoʊkrɔft ðə ɛldɝ hævɪŋ nɑːt spoʊkən wʌn wɝːd ðʌs fɑːr hɪmsɛlf ɪntrəduːst ðə nuːkəmɝ tuː miː wɪð ə saɪd glæns æt hɪz sʌnz wɪtʃ hæd sʌmθɪŋ laɪk dɪfaɪəns ɪn ɪt ə glæns wɪtʃ æz aɪ wɑːz sɑːri tuː noʊtəs wɑːz rɪtɝːnd wɪð ðə dɪfaɪəns ɑːn ðɛr saɪd baɪ ðə tuː jʌŋ mɛn


philip lefrank this is my overlooker mister jago said the old man formally presenting us

fɪləp lɛfræŋk ðɪs ɪz maɪ oʊvɝlʊkɝ mɪstɝ jɑːgoʊ sɛd ðə oʊld mæn fɔrməli prɪzɛntɪŋ ʌs


he is not well he has come over the ocean for rest and change of scene

hiː ɪz nɑːt wɛl hiː hæz kʌm oʊvɝ ðə oʊʃən fɔr rɛst ənd tʃeɪndʒ ʌv siːn


mister jago is an american philip


make acquaintance with mister jago sit together

meɪk əkweɪntəns wɪð mɪstɝ jɑːgoʊ sɪt təgɛðɝ


they pointedly drew back from john jago as he approached the empty chair next to me and moved round to the opposite side of the table

ðeɪ pɔɪntɪdliː druː bæk frʌm dʒɑːn jɑːgoʊ æz hiː əproʊtʃt ðə ɛmpti tʃɛr nɛkst tuː miː ənd muːvd raʊnd tuː ðə ɑːpəzɪt saɪd ʌv ðə teɪbəl


a pretty girl and so far as i could judge by appearances a good girl too describing her generally i may say that she had a small head well carried and well set on her shoulders bright gray eyes that looked at you honestly and meant what they looked a trim slight little figure too slight for our english notions of beauty a strong american accent and a rare thing in america a pleasantly toned voice which made the accent agreeable to english ears

ə prɪti gɝːl ənd soʊ fɑːr æz aɪ kʊd dʒʌdʒ baɪ əpɪrənsəz ə gʊd gɝːl tuː dɪskraɪbɪŋ hɝː dʒɛnɝəli aɪ meɪ seɪ ðæt ʃiː hæd ə smɔl hɛd wɛl kæriːd ənd wɛl sɛt ɑːn hɝː ʃoʊldɝz braɪt greɪ aɪz ðæt lʊkt æt juː ɑːnəstli ənd mɛnt wʌt ðeɪ lʊkt ə trɪm slaɪt lɪtəl fɪgjɝ tuː slaɪt fɔr aʊɝ ɪŋglɪʃ noʊʃənz ʌv bjuːti ə strɔŋ əmɛrɪkən əksɛnt ənd ə rɛr θɪŋ ɪn əmɛrɪkə ə plɛzəntli toʊnd vɔɪs wɪtʃ meɪd ðə əksɛnt əgriːəbəl tuː ɪŋglɪʃ ɪrz


our first impressions of people are in nine cases out of ten the right impressions

aʊɝ fɝːst ɪmprɛʃənz ʌv piːpəl ɑːr ɪn naɪn keɪsəz aʊt ʌv tɛn ðə raɪt ɪmprɛʃənz


for once in a way i proved a true prophet

fɔr wʌns ɪn ə weɪ aɪ pruːvd ə truː prɑːfət


the only cheerful conversation was the conversation across the table between naomi and me

ðə oʊnli tʃɪrfəl kɑːnvɝseɪʃən wɑːz ðə kɑːnvɝseɪʃən əkrɔs ðə teɪbəl bɪtwiːn neɪoʊmi ənd miː


he looked up at naomi doubtingly from his plate and looked down again slowly with a frown

hiː lʊkt ʌp æt neɪoʊmi daʊtɪŋli frʌm hɪz pleɪt ənd lʊkt daʊn əgɛn sloʊli wɪð ə fraʊn


when i addressed him he answered constrainedly

wɛn aɪ ədrɛst hɪm hiː ænsɝd kənstreɪnədli


a more dreary and more disunited family party i never sat at the table with

ə mɔr drɪri ənd mɔr dɪsjunaɪtəd fæməli pɑːrti aɪ nɛvɝ sæt æt ðə teɪbəl wɪð


envy hatred malice and uncharitableness are never so essentially detestable to my mind as when they are animated by a sense of propriety and work under the surface but for my interest in naomi and my other interest in the little love looks which i now and then surprised passing between her and ambrose i should never have sat through that supper

ɛnvi heɪtrəd mæləs ənd əntʃɛrətəbəlnəs ɑːr nɛvɝ soʊ ɛsɛnʃəli dɪtɛstəbəl tuː maɪ maɪnd æz wɛn ðeɪ ɑːr ænəmeɪtɪd baɪ ə sɛns ʌv prəpraɪəti ənd wɝːk ʌndɝ ðə sɝːfəs bʌt fɔr maɪ ɪntərɛst ɪn neɪoʊmi ənd maɪ ʌðɝ ɪntərɛst ɪn ðə lɪtəl lʌv lʊks wɪtʃ aɪ naʊ ənd ðɛn sɝpraɪzd pæsɪŋ bɪtwiːn hɝː ənd æmbroʊz aɪ ʃʊd nɛvɝ hæv sæt θruː ðæt sʌpɝ


i wish you good night she laid her bony hands on the back of mister meadowcroft's invalid chair cut him short in his farewell salutation to me and wheeled him out to his bed as if she were wheeling him out to his grave

aɪ wɪʃ juː gʊd naɪt ʃiː leɪd hɝː boʊni hændz ɑːn ðə bæk ʌv mɪstɝ mɛdoʊkrɔfts ɪnvələd tʃɛr kʌt hɪm ʃɔrt ɪn hɪz fɛrwɛl sæljuːteɪʃən tuː miː ənd wiːld hɪm aʊt tuː hɪz bɛd æz ɪf ʃiː wɝː wiːlɪŋ hɪm aʊt tuː hɪz greɪv


you were quite right to say no ambrose began never smoke with john jago his cigars will poison you

juː wɝː kwaɪt raɪt tuː seɪ noʊ æmbroʊz bɪgæn nɛvɝ smoʊk wɪð dʒɑːn jɑːgoʊ hɪz sɪgɑːrz wɪl pɔɪzən juː


naomi shook her forefinger reproachfully at them as if the two sturdy young farmers had been two children

neɪoʊmi ʃʊk hɝː fɔrfɪŋgɝ riproʊtʃfəli æt ðɛm æz ɪf ðə tuː stɝːdi jʌŋ fɑːrmɝz hæd bɪn tuː tʃɪldrən


silas slunk away without a word of protest ambrose stood his ground evidently bent on making his peace with naomi before he left her seeing that i was in the way i walked aside toward a glass door at the lower end of the room

saɪləs slʌŋk əweɪ wɪθaʊt ə wɝːd ʌv proʊtɛst æmbroʊz stʊd hɪz graʊnd ɛvədəntli bɛnt ɑːn meɪkɪŋ hɪz piːs wɪð neɪoʊmi bɪfɔr hiː lɛft hɝː siːɪŋ ðæt aɪ wɑːz ɪn ðə weɪ aɪ wɔkt əsaɪd təwɔrd ə glæs dɔr æt ðə loʊɝ ɛnd ʌv ðə ruːm


socrates begins the timaeus with a summary of the republic

sɑːkrətiːz bɪgɪnz ðə tɪmiəs wɪð ə sʌmɝi ʌv ðə riːpʌblək


and now he desires to see the ideal state set in motion he would like to know how she behaved in some great struggle

ənd naʊ hiː dɪzaɪɝz tuː siː ðə aɪdiːl steɪt sɛt ɪn moʊʃən hiː wʊd laɪk tuː noʊ haʊ ʃiː bɪheɪvd ɪn sʌm greɪt strʌgəl


and therefore to you i turn timaeus citizen of locris who are at once a philosopher and a statesman and to you critias whom all athenians know to be similarly accomplished and to hermocrates who is also fitted by nature and education to share in our discourse

ənd ðɛrfɔr tuː juː aɪ tɝːn tɪmiəs sɪtəzən ʌv loʊkrɪs huː ɑːr æt wʌns ə fəlɑːsəfɝ ənd ə steɪtsmən ənd tuː juː krɪʃəz huːm ɔl æθiːniːənz noʊ tuː biː sɪməlɝli əkɑːmplɪʃt ənd tuː hɝːməkreɪts huː ɪz ɔlsoʊ fɪtəd baɪ neɪtʃɝ ənd ɛdʒəkeɪʃən tuː ʃɛr ɪn aʊɝ dɪskɔrs


i will if timaeus approves i approve


listen then socrates to a tale of solon's who being the friend of dropidas my great grandfather told it to my grandfather critias and he told me

lɪsən ðɛn sɑːkrətiːz tuː ə teɪl ʌv soʊlənz huː biːɪŋ ðə frɛnd ʌv drɑpːdəs maɪ greɪt grændfɑːðɝ toʊld ɪt tuː maɪ grændfɑːðɝ krɪʃəz ənd hiː toʊld miː


some poems of solon were recited by the boys

sʌm poʊəmz ʌv soʊlən wɝː rəsaɪtəd baɪ ðə bɔɪz


and what was the subject of the poem said the person who made the remark

ənd wʌt wɑːz ðə səbdʒɛkt ʌv ðə poʊəm sɛd ðə pɝːsən huː meɪd ðə rɪmɑːrk


the subject was a very noble one he described the most famous action in which the athenian people were ever engaged

ðə səbdʒɛkt wɑːz ə vɛri noʊbəl wʌn hiː dɪskraɪbd ðə moʊst feɪməs ækʃən ɪn wɪtʃ ðə æθiːniːən piːpəl wɝː ɛvɝ ɪngeɪdʒd


but the memory of their exploits has passed away owing to the lapse of time and the extinction of the actors

bʌt ðə mɛmɝi ʌv ðɛr ɛksplɔɪts hæz pæst əweɪ oʊɪŋ tuː ðə læps ʌv taɪm ənd ðə ɪkstɪŋkʃən ʌv ðə æktɝz


tell us said the other the whole story and where solon heard the story

tɛl ʌs sɛd ðə ʌðɝ ðə hoʊl stɔri ənd wɛr soʊlən hɝːd ðə stɔri


but in egypt the traditions of our own and other lands are by us registered for ever in our temples

bʌt ɪn iːdʒəpt ðə trədɪʃənz ʌv aʊɝ oʊn ənd ʌðɝ lændz ɑːr baɪ ʌs rɛdʒɪstɝd fɔr ɛvɝ ɪn aʊɝ tɛmpəlz


the genealogies which you have recited to us out of your own annals solon are a mere children's story

ðə dʒiːniːɑːlədʒiːz wɪtʃ juː hæv rəsaɪtəd tuː ʌs aʊt ʌv jɔr oʊn ænəlz soʊlən ɑːr ə mɪr tʃɪldrənz stɔri


for in the times before the great flood athens was the greatest and best of cities and did the noblest deeds and had the best constitution of any under the face of heaven

fɔr ɪn ðə taɪmz bɪfɔr ðə greɪt flʌd æθənz wɑːz ðə greɪtəst ənd bɛst ʌv sɪtiːz ənd dɪd ðə noʊblɪst diːdz ənd hæd ðə bɛst kɑːnstətuːʃən ʌv ɛni ʌndɝ ðə feɪs ʌv hɛvən


solon marvelled and desired to be informed of the particulars

soʊlən mɑːrvɛld ənd dɪzaɪɝd tuː biː ɪnfɔrmd ʌv ðə pɝtɪkjəlɝz


nine thousand years have elapsed since she founded yours and eight thousand since she founded ours as our annals record

naɪn θaʊzənd jɪrz hæv ɪlæpst sɪns ʃiː faʊndɪd jʊrz ənd eɪt θaʊzənd sɪns ʃiː faʊndɪd aʊɝz æz aʊɝ ænəlz rəkɔrd


many laws exist among us which are the counterpart of yours as they were in the olden time

mɛni lɔz ɪgzɪst əmʌŋ ʌs wɪtʃ ɑːr ðə kaʊntɝpɑːrt ʌv jʊrz æz ðeɪ wɝː ɪn ðə oʊldən taɪm


i will briefly describe them to you and you shall read the account of them at your leisure in the sacred registers

aɪ wɪl briːfli dɪskraɪb ðɛm tuː juː ənd juː ʃæl rɛd ðə əkaʊnt ʌv ðɛm æt jɔr lɛʒɝ ɪn ðə seɪkrəd rɛdʒəstɝz


observe again what care the law took in the pursuit of wisdom searching out the deep things of the world and applying them to the use of man

əbzɝːv əgɛn wʌt kɛr ðə lɔ tʊk ɪn ðə pɝsuːt ʌv wɪzdəm sɝːtʃɪŋ aʊt ðə diːp θɪŋz ʌv ðə wɝːld ənd əplaɪɪŋ ðɛm tuː ðə juːs ʌv mæn


the most famous of them all was the overthrow of the island of atlantis

ðə moʊst feɪməs ʌv ðɛm ɔl wɑːz ðə oʊvɝθroʊ ʌv ðə aɪlənd ʌv ætlæntɪs


for at the peril of her own existence and when the other hellenes had deserted her she repelled the invader and of her own accord gave liberty to all the nations within the pillars

fɔr æt ðə pɛrəl ʌv hɝː oʊn ɛgzɪstəns ənd wɛn ðə ʌðɝ hɛliːnz hæd dɪzɝːtɪd hɝː ʃiː rəpɛld ðə ɪnveɪdɝ ənd ʌv hɝː oʊn əkɔrd geɪv lɪbɝtiː tuː ɔl ðə neɪʃənz wɪðɪn ðə pɪlɝz


this is the explanation of the shallows which are found in that part of the atlantic ocean

ðɪs ɪz ðə ɛkspləneɪʃən ʌv ðə ʃæloʊz wɪtʃ ɑːr faʊnd ɪn ðæt pɑːrt ʌv ðə ətlæntɪk oʊʃən


but i would not speak at the time because i wanted to refresh my memory

bʌt aɪ wʊd nɑːt spiːk æt ðə taɪm bɪkɔz aɪ wɔntɪd tuː rɪfrɛʃ maɪ mɛmɝi


then now let me explain to you the order of our entertainment first timaeus who is a natural philosopher will speak of the origin of the world going down to the creation of man and then i shall receive the men whom he has created and some of whom will have been educated by you and introduce them to you as the lost athenian citizens of whom the egyptian record spoke

ðɛn naʊ lɛt miː ɪkspleɪn tuː juː ðə ɔrdɝ ʌv aʊɝ ɛntɝteɪnmənt fɝːst tɪmiəs huː ɪz ə nætʃɝəl fəlɑːsəfɝ wɪl spiːk ʌv ðə ɔrədʒən ʌv ðə wɝːld goʊɪŋ daʊn tuː ðə kriːeɪʃən ʌv mæn ənd ðɛn aɪ ʃæl rəsiːv ðə mɛn huːm hiː hæz kriːeɪtəd ənd sʌm ʌv huːm wɪl hæv bɪn ɛdʒəkeɪtɪd baɪ juː ənd ɪntrəduːs ðɛm tuː juː æz ðə lɔst æθiːniːən sɪtəzənz ʌv huːm ðə ɪdʒɪpʃən rəkɔrd spoʊk


he passes abruptly from persons to ideas and numbers and from ideas and numbers to persons from the heavens to man from astronomy to physiology he confuses or rather does not distinguish subject and object first and final causes and is dreaming of geometrical figures lost in a flux of sense

hiː pæsəz əbrʌptli frʌm pɝːsənz tuː aɪdiːəz ənd nʌmbɝz ənd frʌm aɪdiːəz ənd nʌmbɝz tuː pɝːsənz frʌm ðə hɛvənz tuː mæn frʌm əstrɑːnəmi tuː fɪziːɑːlədʒi hiː kənfjuːzɪz ɔr ræðɝ dʌz nɑːt dɪstɪŋgwɪʃ səbdʒɛkt ənd ɑːbdʒɛkt fɝːst ənd faɪnəl kɑːzəz ənd ɪz driːmɪŋ ʌv dʒiːəmɛtrɪkəl fɪgjɝz lɔst ɪn ə flʌks ʌv sɛns


the influence with the timaeus has exercised upon posterity is due partly to a misunderstanding

ðə ɪnfluːəns wɪð ðə tɪmiəs hæz ɛksɝsaɪzd əpɑːn pɑːstɛrəti ɪz duː pɑːrtli tuː ə mɪsəndɝstændɪŋ


in the supposed depths of this dialogue the neo platonists found hidden meanings and connections with the jewish and christian scriptures and out of them they elicited doctrines quite at variance with the spirit of plato

ɪn ðə səpoʊzd dɛpθs ʌv ðɪs daɪəlɔg ðə niːoʊ pleɪtənəsts faʊnd hɪdən miːnɪŋz ənd kənɛkʃənz wɪð ðə dʒuːɪʃ ənd krɪstʃən skrɪptʃɝz ənd aʊt ʌv ðɛm ðeɪ ɪlɪsɪtɪd dɑːktrənz kwaɪt æt vɛriːəns wɪð ðə spɪrət ʌv pleɪtoʊ


they were absorbed in his theology and were under the dominion of his name while that which was truly great and truly characteristic in him his effort to realize and connect abstractions was not understood by them at all

ðeɪ wɝː əbzɔrbd ɪn hɪz θiːɑːlədʒi ənd wɝː ʌndɝ ðə dəmɪnjən ʌv hɪz neɪm waɪl ðæt wɪtʃ wɑːz truːli greɪt ənd truːli kɛrɪktɝɪstɪk ɪn hɪm hɪz ɛfɝt tuː riːəlaɪz ənd kənɛkt æbstrækʃənz wɑːz nɑːt əndɝstʊd baɪ ðɛm æt ɔl


there is no danger of the modern commentators on the timaeus falling into the absurdities of the neo platonists

ðɛr ɪz noʊ deɪndʒɝ ʌv ðə mɑːdɝn kɑːmənteɪtɝz ɑːn ðə tɪmiəs fɑːlɪŋ ɪntuː ðə əbsɝːdətiːz ʌv ðə niːoʊ pleɪtənəsts


in the present day we are well aware that an ancient philosopher is to be interpreted from himself and by the contemporary history of thought

ɪn ðə prɛzənt deɪ wiː ɑːr wɛl əwɛr ðæt æn eɪntʃənt fəlɑːsəfɝ ɪz tuː biː ɪntɝːprətəd frʌm hɪmsɛlf ənd baɪ ðə kəntɛmpɝɛri hɪstɝi ʌv θɔt


the fancies of the neo platonists are only interesting to us because they exhibit a phase of the human mind which prevailed widely in the first centuries of the christian era and is not wholly extinct in our own day

ðə fænsiːz ʌv ðə niːoʊ pleɪtənəsts ɑːr oʊnli ɪntərɛstɪŋ tuː ʌs bɪkɔz ðeɪ ɪgzɪbɪt ə feɪz ʌv ðə hjuːmən maɪnd wɪtʃ prɪveɪld waɪdli ɪn ðə fɝːst sɛntʃɝiːz ʌv ðə krɪstʃən ɛrə ənd ɪz nɑːt hoʊli ɪkstɪŋkt ɪn aʊɝ oʊn deɪ


but they have nothing to do with the interpretation of plato and in spirit they are opposed to him

bʌt ðeɪ hæv nʌθɪŋ tuː duː wɪð ðə ɪntɝːprɪteɪʃən ʌv pleɪtoʊ ənd ɪn spɪrət ðeɪ ɑːr əpoʊzd tuː hɪm


we do not know how plato would have arranged his own dialogues or whether the thought of arranging any of them besides the two trilogies which he has expressly connected was ever present to his mind

wiː duː nɑːt noʊ haʊ pleɪtoʊ wʊd hæv ɝeɪndʒd hɪz oʊn daɪəlɔgz ɔr wɛðɝ ðə θɔt ʌv ɝeɪndʒɪŋ ɛni ʌv ðɛm bɪsaɪdz ðə tuː trɪlədʒiːz wɪtʃ hiː hæz ɛksprɛsli kənɛktɪd wɑːz ɛvɝ prɛzənt tuː hɪz maɪnd


the dialogue is primarily concerned with the animal creation including under this term the heavenly bodies and with man only as one among the animals

ðə daɪəlɔg ɪz praɪmɛrəli kənsɝːnd wɪð ðə ænəməl kriːeɪʃən ɪnkluːdɪŋ ʌndɝ ðɪs tɝːm ðə hɛvənli bɑːdiːz ənd wɪð mæn oʊnli æz wʌn əmʌŋ ðə ænəməlz


but he has not as yet defined this intermediate territory which lies somewhere between medicine and mathematics and he would have felt that there was as great an impiety in ranking theories of physics first in the order of knowledge as in placing the body before the soul

bʌt hiː hæz nɑːt æz jɛt dɪfaɪnd ðɪs ɪntɝmiːdiːɪt tɛrɪtɔri wɪtʃ laɪz sʌmwɛr bɪtwiːn mɛdəsən ənd mæθəmætɪks ənd hiː wʊd hæv fɛlt ðæt ðɛr wɑːz æz greɪt æn ɪmpaɪəti ɪn ræŋkɪŋ θɪriːz ʌv fɪzɪks fɝːst ɪn ðə ɔrdɝ ʌv nɑːlədʒ æz ɪn pleɪsɪŋ ðə bɑːdi bɪfɔr ðə soʊl


with heracleitus he acknowledges the perpetual flux like anaxagoras he asserts the predominance of mind although admitting an element of necessity which reason is incapable of subduing like the pythagoreans he supposes the mystery of the world to be contained in number

wɪð hɛrəklaɪtəs hiː æknɑːlɪdʒɪz ðə pɝpɛtʃuːəl flʌks laɪk ænæksəgɔrəz hiː əsɝːts ðə prɪdɑːmənəns ʌv maɪnd ɔlðoʊ ædmɪtɪŋ æn ɛləmənt ʌv nəsɛsəti wɪtʃ riːzən ɪz ɪnkeɪpəbəl ʌv səbduːɪŋ laɪk ðə pɪθəgɔriːənz hiː səpoʊzɪz ðə mɪstɝi ʌv ðə wɝːld tuː biː kənteɪnd ɪn nʌmbɝ


many if not all the elements of the pre socratic philosophy are included in the timaeus

mɛni ɪf nɑːt ɔl ðə ɛləmənts ʌv ðə priː səkrætɪk fəlɑːsəfi ɑːr ɪnkluːdəd ɪn ðə tɪmiəs


it is probable that the relation of the ideas to god or of god to the world was differently conceived by him at different times of his life

ɪt ɪz prɑːbəbəl ðæt ðə riːleɪʃən ʌv ðə aɪdiːəz tuː gɑːd ɔr ʌv gɑːd tuː ðə wɝːld wɑːz dɪfrəntli kənsiːvd baɪ hɪm æt dɪfɝənt taɪmz ʌv hɪz laɪf


the ideas also remain but they have become types in nature forms of men animals birds fishes

ðə aɪdiːəz ɔlsoʊ rɪmeɪn bʌt ðeɪ hæv bɪkʌm taɪps ɪn neɪtʃɝ fɔrmz ʌv mɛn ænəməlz bɝːdz fɪʃəz


the style and plan of the timaeus differ greatly from that of any other of the platonic dialogues

ðə staɪl ənd plæn ʌv ðə tɪmiəs dɪfɝ greɪtli frʌm ðæt ʌv ɛni ʌðɝ ʌv ðə plətɑːnɪk daɪəlɔgz


but plato has not the same mastery over his instrument which he exhibits in the phaedrus or symposium

bʌt pleɪtoʊ hæz nɑːt ðə seɪm mæstɝi oʊvɝ hɪz ɪnstrəmənt wɪtʃ hiː ɪgzɪbəts ɪn ðə fɛdrəs ɔr sɪmpoʊziːəm


nothing can exceed the beauty or art of the introduction in which he is using words after his accustomed manner

nʌθɪŋ kæn ɪksiːd ðə bjuːti ɔr ɑːrt ʌv ðə ɪntrədʌkʃən ɪn wɪtʃ hiː ɪz juːzɪŋ wɝːdz æftɝ hɪz əkʌstəmd mænɝ


but in the rest of the work the power of language seems to fail him and the dramatic form is wholly given up

bʌt ɪn ðə rɛst ʌv ðə wɝːk ðə paʊɝ ʌv læŋgwədʒ siːmz tuː feɪl hɪm ənd ðə drəmætɪk fɔrm ɪz hoʊli gɪvən ʌp


he could write in one style but not in another and the greek language had not as yet been fashioned by any poet or philosopher to describe physical phenomena

hiː kʊd raɪt ɪn wʌn staɪl bʌt nɑːt ɪn ənʌðɝ ənd ðə griːk læŋgwədʒ hæd nɑːt æz jɛt bɪn fæʃənd baɪ ɛni poʊət ɔr fəlɑːsəfɝ tuː dɪskraɪb fɪzɪkəl fənɑːmənə


and hence we find the same sort of clumsiness in the timaeus of plato which characterizes the philosophical poem of lucretius

ənd hɛns wiː faɪnd ðə seɪm sɔrt ʌv klʌmziːnəs ɪn ðə tɪmiəs ʌv pleɪtoʊ wɪtʃ kɛrɪktɝaɪzəz ðə fɪləsɑːfɪkəl poʊəm ʌv luːkriːtiːɪs


there is a want of flow and often a defect of rhythm the meaning is sometimes obscure and there is a greater use of apposition and more of repetition than occurs in plato's earlier writings

ðɛr ɪz ə wɑːnt ʌv floʊ ənd ɔftən ə diːfɛkt ʌv rɪðəm ðə miːnɪŋ ɪz səmtaɪmz əbskjʊr ənd ðɛr ɪz ə greɪtɝ juːs ʌv æpəzɪʃən ənd mɔr ʌv rɛpətɪʃən ðæn əkɝːz ɪn pleɪtoʊz ɝːliːɝ raɪtɪŋz


plato had not the command of his materials which would have enabled him to produce a perfect work of art

pleɪtoʊ hæd nɑːt ðə kəmænd ʌv hɪz mətɪriːəlz wɪtʃ wʊd hæv ɛneɪbəld hɪm tuː prəduːs ə pɝfɛkt wɝːk ʌv ɑːrt


the stop at queenstown the tedious passage up the mersey were things that he noted dimly through his growing impatience

ðə stɑːp æt kwiːnztaʊn ðə tiːdiːəs pæsədʒ ʌp ðə mɝːsi wɝː θɪŋz ðæt hiː noʊtəd dɪmli θruː hɪz groʊɪŋ ɪmpeɪʃəns


she blushed and smiled and fumbled his card in her confusion before she ran upstairs

ʃiː blʌʃt ənd smaɪld ənd fʌmbəld hɪz kɑːrd ɪn hɝː kənfjuːʒən bɪfɔr ʃiː ræn əpstɛrz


alexander paced up and down the hallway buttoning and unbuttoning his overcoat until she returned and took him up to hilda's living room

ælɪgzændɝ peɪst ʌp ənd daʊn ðə hɔlweɪ bʌtənɪŋ ənd ənbʌtənɪŋ hɪz oʊvɝkoʊt əntɪl ʃiː rɪtɝːnd ənd tʊk hɪm ʌp tuː hɪldəz lɪvɪŋ ruːm


the room was empty when he entered


alexander did not sit down


i felt it in my bones when i woke this morning that something splendid was going to turn up

aɪ fɛlt ɪt ɪn maɪ boʊnz wɛn aɪ woʊk ðɪs mɔrnɪŋ ðæt sʌmθɪŋ splɛndɪd wɑːz goʊɪŋ tuː tɝːn ʌp


i thought it might be sister kate or cousin mike would be happening along

aɪ θɔt ɪt maɪt biː sɪstɝ keɪt ɔr kʌzən maɪk wʊd biː hæpənɪŋ əlɔŋ


she pushed him toward the big chair by the fire and sat down on a stool at the opposite side of the hearth her knees drawn up to her chin laughing like a happy little girl

ʃiː pʊʃt hɪm təwɔrd ðə bɪg tʃɛr baɪ ðə faɪɝ ənd sæt daʊn ɑːn ə stuːl æt ðə ɑːpəzɪt saɪd ʌv ðə hɑːrθ hɝː niːz drɔn ʌp tuː hɝː tʃɪn læfɪŋ laɪk ə hæpi lɪtəl gɝːl


when did you come bartley and how did it happen you haven't spoken a word

wɛn dɪd juː kʌm bɑːrtli ənd haʊ dɪd ɪt hæpən juː hævənt spoʊkən ə wɝːd


i got in about ten minutes ago


alexander leaned forward and warmed his hands before the blaze

ælɪgzændɝ liːnd fɔrwɝd ənd wɔrmd hɪz hændz bɪfɔr ðə bleɪz


bartley bent lower over the fire


she looked at his heavy shoulders and big determined head thrust forward like a catapult in leash

ʃiː lʊkt æt hɪz hɛvi ʃoʊldɝz ənd bɪg dɪtɝːmənd hɛd θrʌst fɔrwɝd laɪk ə kætəpəlt ɪn liːʃ


i'll do anything you wish me to bartley she said tremulously

ɪl duː ɛniːθɪŋ juː wɪʃ miː tuː bɑːrtli ʃiː sɛd trɛmjələsli


i can't stand seeing you miserable


he pulled up a window as if the air were heavy

hiː pʊld ʌp ə wɪndoʊ æz ɪf ðə ɛr wɝː hɛvi


hilda watched him from her corner trembling and scarcely breathing dark shadows growing about her eyes it

hɪldə wɑːtʃt hɪm frʌm hɝː kɔrnɝ trɛmbəlɪŋ ənd skɛrsli briːðɪŋ dɑːrk ʃædoʊz groʊɪŋ əbaʊt hɝː aɪz ɪt


but it's worse now it's unbearable


i get nothing but misery out of either

aɪ gɛt nʌθɪŋ bʌt mɪzɝi aʊt ʌv iːðɝ


the world is all there just as it used to be but i can't get at it any more

ðə wɝːld ɪz ɔl ðɛr dʒʌst æz ɪt juːzd tuː biː bʌt aɪ kænt gɛt æt ɪt ɛni mɔr


it was myself i was defying hilda


hilda's face quivered but she whispered yes i think it must have been

hɪldəz feɪs kwɪvɝd bʌt ʃiː wɪspɝd jɛs aɪ θɪŋk ɪt mʌst hæv bɪn


but why didn't you tell me when you were here in the summer

bʌt waɪ dɪdnt juː tɛl miː wɛn juː wɝː hiːr ɪn ðə sʌmɝ


alexander groaned i meant to but somehow i couldn't

ælɪgzændɝ groʊnd aɪ mɛnt tuː bʌt sʌmhaʊ aɪ kʊdnt


she pressed his hand gently in gratitude


weren't you happy then at all


she closed her eyes and took a deep breath as if to draw in again the fragrance of those days

ʃiː kloʊzd hɝː aɪz ənd tʊk ə diːp brɛθ æz ɪf tuː drɔ ɪn əgɛn ðə freɪgrəns ʌv ðoʊz deɪz


he moved uneasily and his chair creaked


yes yes she hurried pulling her hand gently away from him

jɛs jɛs ʃiː hɝːiːd pʊlɪŋ hɝː hænd dʒɛntli əweɪ frʌm hɪm


please tell me one thing bartley at least tell me that you believe i thought i was making you happy

pliːz tɛl miː wʌn θɪŋ bɑːrtli æt liːst tɛl miː ðæt juː bɪliːv aɪ θɔt aɪ wɑːz meɪkɪŋ juː hæpi


yes hilda i know that he said simply


i understand bartley i was wrong


but i didn't know you've only to tell me now

bʌt aɪ dɪdnt noʊ juːv oʊnli tuː tɛl miː naʊ


what i mean is that i want you to promise never to see me again no matter how often i come no matter how hard i beg

wʌt aɪ miːn ɪz ðæt aɪ wɑːnt juː tuː prɑːməs nɛvɝ tuː siː miː əgɛn noʊ mætɝ haʊ ɔftən aɪ kʌm noʊ mætɝ haʊ hɑːrd aɪ bɛg


keep away if you wish when have i ever followed you

kiːp əweɪ ɪf juː wɪʃ wɛn hæv aɪ ɛvɝ fɑːloʊd juː


alexander rose and shook himself angrily yes i know i'm cowardly

ælɪgzændɝ roʊz ənd ʃʊk hɪmsɛlf æŋgrəli jɛs aɪ noʊ ɪm kaʊɝdli


he took her roughly in his arms do you know what i mean

hiː tʊk hɝː rʌfli ɪn hɪz ɑːrmz duː juː noʊ wʌt aɪ miːn


oh bartley what am i to do


i will ask the least imaginable but i must have something

aɪ wɪl æsk ðə liːst ɪmædʒənəbəl bʌt aɪ mʌst hæv sʌmθɪŋ


i must know about you


the sight of you bartley to see you living and happy and successful can i never make you understand what that means to me

ðə saɪt ʌv juː bɑːrtli tuː siː juː lɪvɪŋ ənd hæpi ənd səksɛsfəl kæn aɪ nɛvɝ meɪk juː əndɝstænd wʌt ðæt miːnz tuː miː


you see loving some one as i love you makes the whole world different

juː siː lʌvɪŋ sʌm wʌn æz aɪ lʌv juː meɪks ðə hoʊl wɝːld dɪfɝənt


and then you came back not caring very much but it made no difference

ənd ðɛn juː keɪm bæk nɑːt kɛrɪŋ vɛri mʌtʃ bʌt ɪt meɪd noʊ dɪfɝəns


bartley bent over and took her in his arms kissing her mouth and her wet tired eyes

bɑːrtli bɛnt oʊvɝ ənd tʊk hɝː ɪn hɪz ɑːrmz kɪsɪŋ hɝː maʊθ ənd hɝː wɛt taɪɝd aɪz


don't cry don't cry he whispered


we've tortured each other enough for tonight


hilda was very nice to him and he sat on the edge of his chair flushed with his conversational efforts and moving his chin about nervously over his high collar

hɪldə wɑːz vɛri naɪs tuː hɪm ənd hiː sæt ɑːn ðə ɛdʒ ʌv hɪz tʃɛr flʌʃt wɪð hɪz kɑːnvɝseɪʃənəl ɛfɝts ənd muːvɪŋ hɪz tʃɪn əbaʊt nɝːvəsli oʊvɝ hɪz haɪ kɑːlɝ


they asked him to come to see them in chelsea and they spoke very tenderly of hilda

ðeɪ æskt hɪm tuː kʌm tuː siː ðɛm ɪn tʃɛlsi ənd ðeɪ spoʊk vɛri tɛndɝli ʌv hɪldə


lamb wouldn't care a great deal about many of them i fancy

læm wʊdnt kɛr ə greɪt diːl əbaʊt mɛni ʌv ðɛm aɪ fænsi


when bartley arrived at bedford square on sunday evening marie the pretty little french girl met him at the door and conducted him upstairs

wɛn bɑːrtli ɝaɪvd æt bɛdfɝd skwɛr ɑːn sʌndeɪ iːvnɪŋ mɝiː ðə prɪti lɪtəl frɛntʃ gɝːl mɛt hɪm æt ðə dɔr ənd kəndʌktəd hɪm əpstɛrz


i should never have asked you if molly had been here for i remember you don't like english cookery

aɪ ʃʊd nɛvɝ hæv æskt juː ɪf mɑːli hæd bɪn hiːr fɔr aɪ rɪmɛmbɝ juː dɑːnt laɪk ɪŋglɪʃ kʊkɝi


i haven't had a chance yet to tell you what a jolly little place i think this is

aɪ hævənt hæd ə tʃæns jɛt tuː tɛl juː wʌt ə dʒɑːli lɪtəl pleɪs aɪ θɪŋk ðɪs ɪz


they are all sketches made about the villa d'este you see

ðeɪ ɑːr ɔl skɛtʃəz meɪd əbaʊt ðə vɪlə dɛst juː siː


those fellows are all very loyal even mainhall

ðoʊz fɛloʊz ɑːr ɔl vɛri lɔɪəl iːvɪn maɪnhɔl


i've managed to save something every year and that with helping my three sisters now and then and tiding poor cousin mike over bad seasons

aɪv mænədʒd tuː seɪv sʌmθɪŋ ɛvɝi jɪr ənd ðæt wɪð hɛlpɪŋ maɪ θriː sɪstɝz naʊ ənd ðɛn ənd taɪdɪŋ puːr kʌzən maɪk oʊvɝ bæd siːzənz


it's not particularly rare she said but some of it was my mother's

ɪts nɑːt pɑːrtɪkjəlɝli rɛr ʃiː sɛd bʌt sʌm ʌv ɪt wɑːz maɪ mʌðɝz


there was watercress soup and sole and a delightful omelette stuffed with mushrooms and truffles and two small rare ducklings and artichokes and a dry yellow rhone wine of which bartley had always been very fond

ðɛr wɑːz wɔtɝkrɛs suːp ənd soʊl ənd ə dɪlaɪtfəl ɑːmlɛt stʌft wɪð mʌʃruːmz ənd trʌfəlz ənd tuː smɔl rɛr dʌklɪŋz ənd ɑːrtɪtʃoʊks ənd ə draɪ jɛloʊ roʊn waɪn ʌv wɪtʃ bɑːrtli hæd ɔlweɪz bɪn vɛri fɑːnd


there is nothing else that looks so jolly

ðɛr ɪz nʌθɪŋ ɛls ðæt lʊks soʊ dʒɑːli


thank you but i don't like it so well as this

θæŋk juː bʌt aɪ dɑːnt laɪk ɪt soʊ wɛl æz ðɪs


have you been in paris much these late years

hæv juː bɪn ɪn pɛrɪs mʌtʃ ðiːz leɪt jɪrz


there are few changes in the old quarter

ðɛr ɑːr fjuː tʃeɪndʒəz ɪn ðə oʊld kwɔrtɝ


don't i though i'm so sorry to hear it how did her son turn out

dɑːnt aɪ ðoʊ ɪm soʊ sɑːri tuː hiːr ɪt haʊ dɪd hɝː sʌn tɝːn aʊt


her hair is still like flax and her blue eyes are just like a baby's and she has the same three freckles on her little nose and talks about going back to her bains de mer

hɝː hɛr ɪz stɪl laɪk flæks ənd hɝː bluː aɪz ɑːr dʒʌst laɪk ə beɪbiːz ənd ʃiː hæz ðə seɪm θriː frɛkəlz ɑːn hɝː lɪtəl noʊz ənd tɔks əbaʊt goʊɪŋ bæk tuː hɝː beɪnz diː mɛr


how jolly it was being young hilda

haʊ dʒɑːli ɪt wɑːz biːɪŋ jʌŋ hɪldə


do you remember that first walk we took together in paris

duː juː rɪmɛmbɝ ðæt fɝːst wɔk wiː tʊk təgɛðɝ ɪn pɛrɪs


come we'll have our coffee in the other room and you can smoke

kʌm wɛl hæv aʊɝ kɑːfi ɪn ðə ʌðɝ ruːm ənd juː kæn smoʊk


i think we did she answered demurely


what she wanted from us was neither our flowers nor our francs but just our youth

wʌt ʃiː wɔntɪd frʌm ʌs wɑːz niːðɝ aʊɝ flaʊɝz nɔr aʊɝ fræŋks bʌt dʒʌst aʊɝ juːθ


they were both remembering what the woman had said when she took the money god give you a happy love

ðeɪ wɝː boʊθ rɪmɛmbɝɪŋ wʌt ðə wʊmən hæd sɛd wɛn ʃiː tʊk ðə mʌni gɑːd gɪv juː ə hæpi lʌv


the strange woman and her passionate sentence that rang out so sharply had frightened them both

ðə streɪndʒ wʊmən ənd hɝː pæʃənət sɛntəns ðæt ræŋ aʊt soʊ ʃɑːrpli hæd fraɪtənd ðɛm boʊθ


bartley started when hilda rang the little bell beside her dear me why did you do that

bɑːrtli stɑːrtəd wɛn hɪldə ræŋ ðə lɪtəl bɛl bɪsaɪd hɝː dɪr miː waɪ dɪd juː duː ðæt


it was very jolly he murmured lazily as marie came in to take away the coffee

ɪt wɑːz vɛri dʒɑːli hiː mɝːmɝd læzəli æz mɝiː keɪm ɪn tuː teɪk əweɪ ðə kɑːfi


have i told you about my new play


when she finished alexander shook himself out of a reverie

wɛn ʃiː fɪnɪʃt ælɪgzændɝ ʃʊk hɪmsɛlf aʊt ʌv ə rɛvɝi


nonsense of course i can't really sing except the way my mother and grandmother did before me

nɑːnsɛns ʌv kɔrs aɪ kænt rɪli sɪŋ ɪksɛpt ðə weɪ maɪ mʌðɝ ənd grændməðɝ dɪd bɪfɔr miː


it's really too warm in this room to sing don't you feel it

ɪts rɪli tuː wɔrm ɪn ðɪs ruːm tuː sɪŋ dɑːnt juː fiːl ɪt


alexander went over and opened the window for her

ælɪgzændɝ wɛnt oʊvɝ ənd oʊpənd ðə wɪndoʊ fɔr hɝː


there just in front


he stood a little behind her and tried to steady himself as he said it's soft and misty see how white the stars are

hiː stʊd ə lɪtəl bɪhaɪnd hɝː ənd traɪd tuː stɛdi hɪmsɛlf æz hiː sɛd ɪts sɑːft ənd mɪsti siː haʊ waɪt ðə stɑːrz ɑːr


for a long time neither hilda nor bartley spoke

fɔr ə lɔŋ taɪm niːðɝ hɪldə nɔr bɑːrtli spoʊk


he felt a tremor run through the slender yellow figure in front of him

hiː fɛlt ə trɛmɝ rʌn θruː ðə slɛndɝ jɛloʊ fɪgjɝ ɪn frʌnt ʌv hɪm


bartley leaned over her shoulder without touching her and whispered in her ear you are giving me a chance yes

bɑːrtli liːnd oʊvɝ hɝː ʃoʊldɝ wɪθaʊt tʌtʃɪŋ hɝː ənd wɪspɝd ɪn hɝː iːr juː ɑːr gɪvɪŋ miː ə tʃæns jɛs


alexander unclenched the two hands at his sides

ælɪgzændɝ ənklɛntʃt ðə tuː hændz æt hɪz saɪdz


mainhall liked alexander because he was an engineer

maɪnhɔl laɪkt ælɪgzændɝ bɪkɔz hiː wɑːz æn ɛndʒənɪr


he had preconceived ideas about everything and his idea about americans was that they should be engineers or mechanics

hiː hæd priːkənsiːvd aɪdiːəz əbaʊt ɛvriːθɪŋ ənd hɪz aɪdiːə əbaʊt əmɛrɪkənz wɑːz ðæt ðeɪ ʃʊd biː ɛndʒənɪrz ɔr məkænɪks


it's tremendously well put on too


it's been on only two weeks and i've been half a dozen times already

ɪts bɪn ɑːn oʊnli tuː wiːks ənd aɪv bɪn hæf ə dʌzən taɪmz ɔlrɛdi


do you know alexander mainhall looked with perplexity up into the top of the hansom and rubbed his pink cheek with his gloved finger do you know i sometimes think of taking to criticism seriously myself

duː juː noʊ ælɪgzændɝ maɪnhɔl lʊkt wɪð pɝplɛksəti ʌp ɪntuː ðə tɑːp ʌv ðə hænsəm ənd rʌbd hɪz pɪŋk tʃiːk wɪð hɪz glʌvd fɪŋgɝ duː juː noʊ aɪ səmtaɪmz θɪŋk ʌv teɪkɪŋ tuː krɪtɪsɪzəm sɪriːəsli maɪsɛlf


she saves her hand too she's at her best in the second act

ʃiː seɪvz hɝː hænd tuː ʃɛz æt hɝː bɛst ɪn ðə sɛkənd ækt


he's been wanting to marry hilda these three years and more

hɛz bɪn wɑːntɪŋ tuː mɛri hɪldə ðiːz θriː jɪrz ənd mɔr


she doesn't take up with anybody you know


irene burgoyne one of her family told me in confidence that there was a romance somewhere back in the beginning

aɪriːn bɝgɔɪn wʌn ʌv hɝː fæməli toʊld miː ɪn kɑːnfədɛns ðæt ðɛr wɑːz ə roʊmæns sʌmwɛr bæk ɪn ðə bɪgɪnɪŋ


mainhall vouched for her constancy with a loftiness that made alexander smile even while a kind of rapid excitement was tingling through him

maɪnhɔl vaʊtʃt fɔr hɝː kɑːnstənsi wɪð ə lɔftiːnəs ðæt meɪd ælɪgzændɝ smaɪl iːvɪn waɪl ə kaɪnd ʌv ræpəd ɪksaɪtmənt wɑːz tɪŋgəlɪŋ θruː hɪm


he's another who's awfully keen about her let me introduce you

hɛz ənʌðɝ ɑːz ɔfəli kiːn əbaʊt hɝː lɛt miː ɪntrəduːs juː


sir harry towne mister bartley alexander the american engineer

sɝː hɛri taʊn mɪstɝ bɑːrtli ælɪgzændɝ ðə əmɛrɪkən ɛndʒənɪr


i say sir harry the little girl's going famously to night isn't she

aɪ seɪ sɝː hɛri ðə lɪtəl gɝːlz goʊɪŋ feɪməsli tuː naɪt ɪznt ʃiː


do you know i thought the dance a bit conscious to night for the first time

duː juː noʊ aɪ θɔt ðə dæns ə bɪt kɑːnʃəs tuː naɪt fɔr ðə fɝːst taɪm


westmere and i were back after the first act and we thought she seemed quite uncertain of herself

wɛstmɪr ənd aɪ wɝː bæk æftɝ ðə fɝːst ækt ənd wiː θɔt ʃiː siːmd kwaɪt ənsɝːtən ʌv hɝsɛlf


a little attack of nerves possibly


he was beginning to feel a keen interest in the slender barefoot donkey girl who slipped in and out of the play singing like some one winding through a hilly field

hiː wɑːz bɪgɪnɪŋ tuː fiːl ə kiːn ɪntərɛst ɪn ðə slɛndɝ bɛrfʊt dɑːŋki gɝːl huː slɪpt ɪn ənd aʊt ʌv ðə pleɪ sɪŋɪŋ laɪk sʌm wʌn waɪndɪŋ θruː ə hɪli fiːld


one night when he and winifred were sitting together on the bridge he told her that things had happened while he was studying abroad that he was sorry for one thing in particular and he asked her whether she thought she ought to know about them

wʌn naɪt wɛn hiː ənd wɪnɪfrɪd wɝː sɪtɪŋ təgɛðɝ ɑːn ðə brɪdʒ hiː toʊld hɝː ðæt θɪŋz hæd hæpənd waɪl hiː wɑːz stʌdiːɪŋ əbrɔd ðæt hiː wɑːz sɑːri fɔr wʌn θɪŋ ɪn pɝtɪkjəlɝ ənd hiː æskt hɝː wɛðɝ ʃiː θɔt ʃiː ɔt tuː noʊ əbaʊt ðɛm


she considered a moment and then said no i think not though i am glad you ask me

ʃiː kənsɪdɝd ə moʊmənt ənd ðɛn sɛd noʊ aɪ θɪŋk nɑːt ðoʊ aɪ æm glæd juː æsk miː


after that it was easy to forget actually to forget

æftɝ ðæt ɪt wɑːz iːzi tuː fɝgɛt æktʃuːəli tuː fɝgɛt


of course he reflected she always had that combination of something homely and sensible and something utterly wild and daft

ʌv kɔrs hiː rəflɛktəd ʃiː ɔlweɪz hæd ðæt kɑːmbəneɪʃən ʌv sʌmθɪŋ hoʊmli ənd sɛnsəbəl ənd sʌmθɪŋ ʌtɝli waɪld ənd dæft


she must care about the theatre a great deal more than she used to

ʃiː mʌst kɛr əbaʊt ðə θiːətɝ ə greɪt diːl mɔr ðæn ʃiː juːzd tuː


i'm glad she's held her own since


after all we were awfully young

æftɝ ɔl wiː wɝː ɔfəli jʌŋ


i shouldn't wonder if she could laugh about it with me now

aɪ ʃʊdnt wʌndɝ ɪf ʃiː kʊd læf əbaʊt ɪt wɪð miː naʊ


he passed through henley saint albans and came so near to london as harrow on the hill

hiː pæst θruː hɛnli seɪnt ælbænz ənd keɪm soʊ nɪr tuː lʌndən æz hæroʊ ɑːn ðə hɪl


the scottish generals and commissioners affected great surprise on the appearance of the king and though they paid him all the exterior respect due to his dignity they instantly set a guard upon him under color of protection and made him in reality a prisoner

ðə skɑːtɪʃ dʒɛnɝəlz ənd kəmɪʃənɝz əfɛktɪd greɪt sɝpraɪz ɑːn ðə əpɪrəns ʌv ðə kɪŋ ənd ðoʊ ðeɪ peɪd hɪm ɔl ðə ɪkstɪriːɝ rɪspɛkt duː tuː hɪz dɪgnəti ðeɪ ɪnstəntli sɛt ə gɑːrd əpɑːn hɪm ʌndɝ kʌlɝ ʌv prətɛkʃən ənd meɪd hɪm ɪn riːælətiː ə prɪzənɝ


they informed the english parliament of this unexpected incident and assured them that they had entered into no private treaty with the king

ðeɪ ɪnfɔrmd ðə ɪŋglɪʃ pɑːrləmɛnt ʌv ðɪs ənɪkspɛktɪd ɪnsədənt ənd əʃʊrd ðɛm ðæt ðeɪ hæd ɛntɝd ɪntuː noʊ praɪvət triːti wɪð ðə kɪŋ


or hath he given us any gift


and the men of israel answered the men of judah and said we have ten parts in the king and we have also more right in david than ye why then did ye despise us that our advice should not be first had in bringing back our king

ənd ðə mɛn ʌv ɪzriːəl ænsɝd ðə mɛn ʌv dʒuːdə ənd sɛd wiː hæv tɛn pɑːrts ɪn ðə kɪŋ ənd wiː hæv ɔlsoʊ mɔr raɪt ɪn deɪvɪd ðæn jiː waɪ ðɛn dɪd jiː dɪspaɪz ʌs ðæt aʊɝ ædvaɪs ʃʊd nɑːt biː fɝːst hæd ɪn brɪŋɪŋ bæk aʊɝ kɪŋ


another preacher after reproaching him to his face with his misgovernment ordered this psalm to be sung

ənʌðɝ priːtʃɝ æftɝ riːproʊtʃɪŋ hɪm tuː hɪz feɪs wɪð hɪz mɪsgʌvɝnmənt ɔrdɝd ðɪs sɑːlm tuː biː sʌŋ


the king stood up and called for that psalm which begins with these words

ðə kɪŋ stʊd ʌp ənd kɔld fɔr ðæt sɑːlm wɪtʃ bɪgɪnz wɪð ðiːz wɝːdz


have mercy lord on me i pray for men would me devour

hæv mɝːsi lɔrd ɑːn miː aɪ preɪ fɔr mɛn wʊd miː dɪvaʊɝ


the good natured audience in pity to fallen majesty showed for once greater deference to the king than to the minister and sung the psalm which the former had called for

ðə gʊd neɪtʃɝd ɑːdiːəns ɪn pɪti tuː fɑːlən mædʒəsti ʃoʊd fɔr wʌns greɪtɝ dɛfɝəns tuː ðə kɪŋ ðæn tuː ðə mɪnəstɝ ənd sʌŋ ðə sɑːlm wɪtʃ ðə fɔrmɝ hæd kɔld fɔr


the parliament and the scots laid their proposals before the king

ðə pɑːrləmɛnt ənd ðə skɑːts leɪd ðɛr prəpoʊzəlz bɪfɔr ðə kɪŋ


before the settlement of terms the administration must be possessed entirely by the parliaments of both kingdoms and how incompatible that scheme with the liberty of the king is easily imagined

bɪfɔr ðə sɛtəlmənt ʌv tɝːmz ðə ædmɪnɪstreɪʃən mʌst biː pəzɛst ɪntaɪɝli baɪ ðə pɑːrləmɛnts ʌv boʊθ kɪŋdəmz ənd haʊ ɪnkəmpætəbəl ðæt skiːm wɪð ðə lɪbɝtiː ʌv ðə kɪŋ ɪz iːzəli ɪmædʒənd


the english it is evident had they not been previously assured of receiving the king would never have parted with so considerable a sum and while they weakened themselves by the same measure have strengthened a people with whom they must afterwards have so material an interest to discuss

ðə ɪŋglɪʃ ɪt ɪz ɛvədənt hæd ðeɪ nɑːt bɪn priːviːəsli əʃʊrd ʌv rəsiːvɪŋ ðə kɪŋ wʊd nɛvɝ hæv pɑːrtəd wɪð soʊ kənsɪdɝəbəl ə sʌm ənd waɪl ðeɪ wiːkənd ðɛmsɛlvz baɪ ðə seɪm mɛʒɝ hæv strɛŋθənd ə piːpəl wɪð huːm ðeɪ mʌst æftɝwɝdz hæv soʊ mətɪriːəl æn ɪntərɛst tuː dɪskʌs


if any still retained rancor against him in his present condition they passed in silence while his well wishers more generous than prudent accompanied his march with tears with acclamations and with prayers for his safety

ɪf ɛni stɪl rɪteɪnd ræŋkɝ əgɛnst hɪm ɪn hɪz prɛzənt kəndɪʃən ðeɪ pæst ɪn saɪləns waɪl hɪz wɛl wɪʃɝz mɔr dʒɛnɝəs ðæn pruːdənt əkʌmpəniːd hɪz mɑːrtʃ wɪð tɛrz wɪð ækləmeɪʃənz ənd wɪð prɛrz fɔr hɪz seɪfti


his death in this conjuncture was a public misfortune

hɪz dɛθ ɪn ðɪs kɑːndʒəŋktʃɝ wɑːz ə pʌblɪk mɪsfɔrtʃən


though thrown into prison for this enterprise and detained some time he was not discouraged but still continued by his countenance and protection to infuse spirit into the distressed royalists

ðoʊ θroʊn ɪntuː prɪzən fɔr ðɪs ɛntɝpraɪz ənd dɪteɪnd sʌm taɪm hiː wɑːz nɑːt dɪskɝːɪdʒd bʌt stɪl kəntɪnjuːd baɪ hɪz kaʊntənəns ənd prətɛkʃən tuː ɪnfjuːz spɪrət ɪntuː ðə dɪstrɛst rɔɪəlɪsts


among other persons of distinction who united themselves to him was lord napier of merchiston son of the famous inventor of the logarithms the person to whom the title of a great man is more justly due than to any other whom his country ever produced

əmʌŋ ʌðɝ pɝːsənz ʌv dɪstɪŋkʃən huː juːnaɪtəd ðɛmsɛlvz tuː hɪm wɑːz lɔrd neɪpiːɝ ʌv mɝːtʃɪstɑːn sʌn ʌv ðə feɪməs ɪnvɛntɝ ʌv ðə lɑːgɝɪðəmz ðə pɝːsən tuː huːm ðə taɪtəl ʌv ə greɪt mæn ɪz mɔr dʒʌstli duː ðæn tuː ɛni ʌðɝ huːm hɪz kʌntri ɛvɝ prəduːst


while the former foretold that the scottish covenanters were secretly forming a union with the english parliament and inculcated the necessity of preventing them by some vigorous undertaking the latter still insisted that every such attempt would precipitate them into measures to which otherwise they were not perhaps inclined

waɪl ðə fɔrmɝ fɔrtoʊld ðæt ðə skɑːtɪʃ kʌvənəntɝz wɝː siːkrɪtli fɔrmɪŋ ə juːnjən wɪð ðə ɪŋglɪʃ pɑːrləmɛnt ənd ɪŋkəlkeɪtəd ðə nəsɛsəti ʌv prɪvɛntɪŋ ðɛm baɪ sʌm vɪgɝəs ʌndɝteɪkɪŋ ðə lætɝ stɪl ɪnsɪstəd ðæt ɛvɝi sʌtʃ ətɛmpt wʊd prɪsɪpɪteɪt ðɛm ɪntuː mɛʒɝz tuː wɪtʃ ʌðɝwaɪz ðeɪ wɝː nɑːt pɝhæps ɪnklaɪnd


the king's ears were now open to montrose's counsels who proposed none but the boldest and most daring agreeably to the desperate state of the royal cause in scotland

ðə kɪŋz ɪrz wɝː naʊ oʊpən tuː mɑːntroʊzɪz kaʊnsəlz huː prəpoʊzd nʌn bʌt ðə boʊldɪst ənd moʊst dɛrɪŋ əgriːəbli tuː ðə dɛsprɪt steɪt ʌv ðə rɔɪəl kɑːz ɪn skɑːtlənd


five hundred men more who had been levied by the covenanters were persuaded to embrace the royal cause and with this combined force he hastened to attack lord elcho who lay at perth with an army of six thousand men assembled upon the first news of the irish invasion

faɪv hʌndrəd mɛn mɔr huː hæd bɪn lɛviːd baɪ ðə kʌvənəntɝz wɝː pɝsweɪdəd tuː ɛmbreɪs ðə rɔɪəl kɑːz ənd wɪð ðɪs kəmbaɪnd fɔrs hiː heɪsənd tuː ətæk lɔrd ɛltʃoʊ huː leɪ æt pɝːθ wɪð æn ɑːrmi ʌv sɪks θaʊzənd mɛn əsɛmbəld əpɑːn ðə fɝːst nuːz ʌv ðə aɪrɪʃ ɪnveɪʒən


dreading the superior power of argyle who having joined his vassals to a force levied by the public was approaching with a considerable army montrose hastened northwards in order to rouse again the marquis of huntley and the gordons who having before hastily taken arms had been instantly suppressed by the covenanters

drɛdɪŋ ðə suːpɪriːɝ paʊɝ ʌv ɑːrgaɪl huː hævɪŋ dʒɔɪnd hɪz væsəlz tuː ə fɔrs lɛviːd baɪ ðə pʌblɪk wɑːz əproʊtʃɪŋ wɪð ə kənsɪdɝəbəl ɑːrmi mɑːntroʊz heɪsənd nɔrθwɝdz ɪn ɔrdɝ tuː raʊs əgɛn ðə mɑːrkiː ʌv hʌntli ənd ðə gɔrdənz huː hævɪŋ bɪfɔr heɪstəli teɪkən ɑːrmz hæd bɪn ɪnstəntli səprɛst baɪ ðə kʌvənəntɝz


this nobleman's character though celebrated for political courage and conduct was very low for military prowess and after some skirmishes in which he was worsted he here allowed montrose to escape him

ðɪs noʊbəlmənz kɛrɪktɝ ðoʊ sɛləbreɪtɪd fɔr pəlɪtəkəl kɝːɪdʒ ənd kɑːndəkt wɑːz vɛri loʊ fɔr mɪlətɛri praʊəs ənd æftɝ sʌm skɝːmɪʃɪz ɪn wɪtʃ hiː wɑːz wɝːstɪd hiː hiːr əlaʊd mɑːntroʊz tuː ɪskeɪp hɪm


by quick marches through these inaccessible mountains that general freed himself from the superior forces of the covenanters

baɪ kwɪk mɑːrtʃɪz θruː ðiːz ɪnəksɛsəbəl maʊntənz ðæt dʒɛnɝəl friːd hɪmsɛlf frʌm ðə suːpɪriːɝ fɔrsɪz ʌv ðə kʌvənəntɝz


with these and some reenforcements of the atholemen and macdonalds whom he had recalled montrose fell suddenly upon argyle's country and let loose upon it all the rage of war carrying off the cattle burning the houses and putting the inhabitants to the sword

wɪð ðiːz ənd sʌm riːɪnfɔrsmənts ʌv ðə æθoʊlmɛn ənd məkdɑːnəldz huːm hiː hæd rɪkɔld mɑːntroʊz fɛl sʌdənli əpɑːn ɑːrgaɪlz kʌntri ənd lɛt luːs əpɑːn ɪt ɔl ðə reɪdʒ ʌv wɔr kæriːɪŋ ɔf ðə kætəl bɝːnɪŋ ðə haʊsəz ənd pʌtɪŋ ðə ɪnhæbɪtənts tuː ðə sɔrd


this severity by which montrose sullied his victories was the result of private animosity against the chieftain as much as of zeal for the public cause argyle collecting three thousand men marched in quest of the enemy who had retired with their plunder and he lay at innerlochy supposing himself still at a considerable distance from them

ðɪs sɪvɛrɪti baɪ wɪtʃ mɑːntroʊz sʌliːd hɪz vɪktɝiːz wɑːz ðə rɪzʌlt ʌv praɪvət ænəmɑːsəti əgɛnst ðə tʃiːftən æz mʌtʃ æz ʌv ziːl fɔr ðə pʌblɪk kɑːz ɑːrgaɪl kəlɛktɪŋ θriː θaʊzənd mɛn mɑːrtʃt ɪn kwɛst ʌv ðə ɛnəmi huː hæd rɪtaɪrd wɪð ðɛr plʌndɝ ənd hiː leɪ æt ɪnɝləki səpoʊzɪŋ hɪmsɛlf stɪl æt ə kənsɪdɝəbəl dɪstəns frʌm ðɛm


by a quick and unexpected march montrose hastened to innerlochy and presented himself in order of battle before the surprised but not affrightened covenanters

baɪ ə kwɪk ənd ənɪkspɛktɪd mɑːrtʃ mɑːntroʊz heɪsənd tuː ɪnɝləki ənd priːzɛntəd hɪmsɛlf ɪn ɔrdɝ ʌv bætəl bɪfɔr ðə sɝpraɪzd bʌt nɑːt əfraɪtənd kʌvənəntɝz


his conduct and presence of mind in this emergence appeared conspicuous

hɪz kɑːndəkt ənd prɛzəns ʌv maɪnd ɪn ðɪs ɪmɝːdʒəns əpɪrd kənspɪkjuːəs


montrose weak in cavalry here lined his troops of horse with infantry and after putting the enemy's horse to rout fell with united force upon their foot who were entirely cut in pieces though with the loss of the gallant lord gordon on the part of the royalists

mɑːntroʊz wiːk ɪn kævəlri hiːr laɪnd hɪz truːps ʌv hɔrs wɪð ɪnfəntri ənd æftɝ pʌtɪŋ ðə ɛnəmiːz hɔrs tuː raʊt fɛl wɪð juːnaɪtəd fɔrs əpɑːn ðɛr fʊt huː wɝː ɪntaɪɝli kʌt ɪn piːsəz ðoʊ wɪð ðə lɔs ʌv ðə gælənt lɔrd gɔrdən ɑːn ðə pɑːrt ʌv ðə rɔɪəlɪsts


from the same men new regiments and new companies were formed different officers appointed and the whole military force put into such hands as the independents could rely on

frʌm ðə seɪm mɛn nuː rɛdʒəmənts ənd nuː kʌmpəniːz wɝː fɔrmd dɪfɝənt ɔfəsɝz əpɔɪntəd ənd ðə hoʊl mɪlətɛri fɔrs pʊt ɪntuː sʌtʃ hændz æz ðə ɪndɪpɛndənts kʊd rɪlaɪ ɑːn


besides members of parliament who were excluded many officers unwilling to serve under the new generals threw up their commissions and unwarily facilitated the project of putting the army entirely into the hands of that faction

bɪsaɪdz mɛmbɝz ʌv pɑːrləmɛnt huː wɝː ɪkskluːdəd mɛni ɔfəsɝz ənwɪlɪŋ tuː sɝːv ʌndɝ ðə nuː dʒɛnɝəlz θruː ʌp ðɛr kəmɪʃənz ənd ənwɛrəli fəsɪləteɪtɪd ðə prɑːdʒɛkt ʌv pʌtɪŋ ðə ɑːrmi ɪntaɪɝli ɪntuː ðə hændz ʌv ðæt fækʃən


though the discipline of the former parliamentary army was not contemptible a more exact plan was introduced and rigorously executed by these new commanders

ðoʊ ðə dɪsəplən ʌv ðə fɔrmɝ pɑːrləmɛntɝi ɑːrmi wɑːz nɑːt kəntɛmptəbəl ə mɔr ɪgzækt plæn wɑːz ɪntrəduːst ənd rɪgɝəsli ɛksəkjuːtɪd baɪ ðiːz nuː kəmændɝz


valor indeed was very generally diffused over the one party as well as the other during this period discipline also was attained by the forces of the parliament but the perfection of the military art in concerting the general plans of action and the operations of the field seems still on both sides to have been in a great measure wanting

vælɝ ɪndiːd wɑːz vɛri dʒɛnɝəli dɪfjuːzd oʊvɝ ðə wʌn pɑːrti æz wɛl æz ðə ʌðɝ dʊrɪŋ ðɪs pɪriːəd dɪsəplən ɔlsoʊ wɑːz əteɪnd baɪ ðə fɔrsɪz ʌv ðə pɑːrləmɛnt bʌt ðə pɝfɛkʃən ʌv ðə mɪlətɛri ɑːrt ɪn kənsɝːtɪŋ ðə dʒɛnɝəl plænz ʌv ækʃən ənd ðə ɑːpɝeɪʃənz ʌv ðə fiːld siːmz stɪl ɑːn boʊθ saɪdz tuː hæv bɪn ɪn ə greɪt mɛʒɝ wɑːntɪŋ


historians at least perhaps from their own ignorance and inexperience have not remarked any thing but a headlong impetuous conduct each party hurrying to a battle where valor and fortune chiefly determined the success

hɪstɔriːənz æt liːst pɝhæps frʌm ðɛr oʊn ɪgnɝəns ənd ɪnɪkspɪriːəns hæv nɑːt rɪmɑːrkt ɛni θɪŋ bʌt ə hɛdlɔŋ ɪmpɛtʃwəs kɑːndəkt iːtʃ pɑːrti hɝːiːɪŋ tuː ə bætəl wɛr vælɝ ənd fɔrtʃən tʃiːfli dɪtɝːmənd ðə səksɛs


here she would stay comforted and soothed among the lovely plants and rich exotics rejoicing the heart of old turner the gardener who since polly's first rapturous entrance had taken her into his good graces for all time

hiːr ʃiː wʊd steɪ kʌmfɝtɪd ənd suːðd əmʌŋ ðə lʌvli plænts ənd rɪtʃ ɛgzɑːtɪks rɪdʒɔɪsɪŋ ðə hɑːrt ʌv oʊld tɝːnɝ ðə gɑːrdənɝ huː sɪns pɑːliːz fɝːst ræptʃɝəs ɛntrəns hæd teɪkən hɝː ɪntuː hɪz gʊd greɪsɪz fɔr ɔl taɪm


every chance she could steal after practice hours were over and after the clamorous demands of the boys upon her time were fully satisfied was seized to fly on the wings of the wind to the flowers

ɛvɝi tʃæns ʃiː kʊd stiːl æftɝ præktɪs aʊɝz wɝː oʊvɝ ənd æftɝ ðə klæmɝəs dɪmændz ʌv ðə bɔɪz əpɑːn hɝː taɪm wɝː fʊli sætəsfaɪd wɑːz siːzd tuː flaɪ ɑːn ðə wɪŋz ʌv ðə waɪnd tuː ðə flaʊɝz


then dear said missus whitney you must be kinder to her than ever think what it would be for one of you to be away from home even among friends

ðɛn dɪr sɛd mɪsɪz wɪtni juː mʌst biː kaɪndɝ tuː hɝː ðæn ɛvɝ θɪŋk wʌt ɪt wʊd biː fɔr wʌn ʌv juː tuː biː əweɪ frʌm hoʊm iːvɪn əmʌŋ frɛndz


somehow of all the days when the home feeling was the strongest this day it seemed as if she could bear it no longer

sʌmhaʊ ʌv ɔl ðə deɪz wɛn ðə hoʊm fiːlɪŋ wɑːz ðə strɔŋgəst ðɪs deɪ ɪt siːmd æz ɪf ʃiː kʊd bɛr ɪt noʊ lɔŋgɝ


if she could only see phronsie for just one moment

ɪf ʃiː kʊd oʊnli siː frɑːnzi fɔr dʒʌst wʌn moʊmənt


oh she's always at the piano said van she must be there now somewhere and then somebody laughed

oʊ ʃɛz ɔlweɪz æt ðə piːænoʊ sɛd væn ʃiː mʌst biː ðɛr naʊ sʌmwɛr ənd ðɛn sʌmbɑːdi læft


at this the bundle opened suddenly and out popped phronsie

æt ðɪs ðə bʌndəl oʊpənd sʌdənli ənd aʊt pɑːpt frɑːnzi


but polly couldn't speak and if jasper hadn't caught her just in time she would have tumbled over backward from the stool phronsie and all

bʌt pɑːli kʊdnt spiːk ənd ɪf dʒæspɝ hædnt kɑːt hɝː dʒʌst ɪn taɪm ʃiː wʊd hæv tʌmbəld oʊvɝ bækwɝd frʌm ðə stuːl frɑːnzi ənd ɔl


asked phronsie with her little face close to polly's own

æskt frɑːnzi wɪð hɝː lɪtəl feɪs kloʊs tuː pɑːliːz oʊn


now you'll stay cried van say polly won't you

naʊ jʌʊl steɪ kraɪd væn seɪ pɑːli woʊnt juː


oh you are the dearest and best mister king i ever saw but how did you make mammy let her come

oʊ juː ɑːr ðə dɪrəst ənd bɛst mɪstɝ kɪŋ aɪ ɛvɝ sɔ bʌt haʊ dɪd juː meɪk mæmi lɛt hɝː kʌm


isn't he splendid cried jasper in intense pride swelling up father knew how to do it

ɪznt hiː splɛndɪd kraɪd dʒæspɝ ɪn ɪntɛns praɪd swɛlɪŋ ʌp fɑːðɝ nuː haʊ tuː duː ɪt


there there he said soothingly patting her brown fuzzy head

ðɛr ðɛr hiː sɛd suːðɪŋli pætɪŋ hɝː braʊn fʌzi hɛd


i know gasped polly controlling her sobs i won't only i can't thank you

aɪ noʊ gæspt pɑːli kəntroʊlɪŋ hɝː sɑːbz aɪ woʊnt oʊnli aɪ kænt θæŋk juː


asked phronsie in intense interest slipping down out of polly's arms and crowding up close to jasper's side

æskt frɑːnzi ɪn ɪntɛns ɪntərɛst slɪpɪŋ daʊn aʊt ʌv pɑːliːz ɑːrmz ənd kraʊdɪŋ ʌp kloʊs tuː dʒæspɝz saɪd


yes all alone by himself asserted jasper vehemently and winking furiously to the others to stop their laughing he did now truly phronsie

jɛs ɔl əloʊn baɪ hɪmsɛlf əsɝːtəd dʒæspɝ viːəməntli ənd wɪŋkɪŋ fjʊriːəsli tuː ðə ʌðɝz tuː stɑːp ðɛr læfɪŋ hiː dɪd naʊ truːli frɑːnzi


oh no jasper i must go by my very own self

oʊ noʊ dʒæspɝ aɪ mʌst goʊ baɪ maɪ vɛri oʊn sɛlf


there jap you've caught it laughed percy while the others screamed at the sight of jasper's face

ðɛr dʒæp juːv kɑːt ɪt læft pɝːsi waɪl ðə ʌðɝz skriːmd æt ðə saɪt ʌv dʒæspɝz feɪs


don't mind it polly whispered jasper twasn't her fault

dɑːnt maɪnd ɪt pɑːli wɪspɝd dʒæspɝ twɑːznt hɝː fɔlt


dear me ejaculated the old gentleman in the utmost amazement and such a time as i've had to get her here too

dɪr miː ɪdʒækjuːleɪtɪd ðə oʊld dʒɛntəlmən ɪn ðə ʌtmoʊst əmeɪzmənt ənd sʌtʃ ə taɪm æz aɪv hæd tuː gɛt hɝː hiːr tuː


how did her mother ever let her go

haʊ dɪd hɝː mʌðɝ ɛvɝ lɛt hɝː goʊ


she asked impulsively i didn't believe you could persuade her father

ʃiː æskt ɪmpʌlsɪvli aɪ dɪdnt bɪliːv juː kʊd pɝsweɪd hɝː fɑːðɝ


i didn't have any fears if i worked it rightly said the old gentleman complacently

aɪ dɪdnt hæv ɛni fɪrz ɪf aɪ wɝːkt ɪt raɪtli sɛd ðə oʊld dʒɛntəlmən kəmpleɪsəntli


he cried in high dudgeon just as if he owned the whole of the peppers and could dispose of them all to suit his fancy

hiː kraɪd ɪn haɪ dʌdʒən dʒʌst æz ɪf hiː oʊnd ðə hoʊl ʌv ðə pɛpɝz ənd kʊd dɪspoʊz ʌv ðɛm ɔl tuː suːt hɪz fænsi


and the old gentleman was so delighted with his success that he had to burst out into a series of short happy bits of laughter that occupied quite a space of time

ənd ðə oʊld dʒɛntəlmən wɑːz soʊ dɪlaɪtəd wɪð hɪz səksɛs ðæt hiː hæd tuː bɝːst aʊt ɪntuː ə sɪriːz ʌv ʃɔrt hæpi bɪts ʌv læftɝ ðæt ɑːkjəpaɪd kwaɪt ə speɪs ʌv taɪm


at last he came out of them and wiped his face vigorously

æt læst hiː keɪm aʊt ʌv ðɛm ənd waɪpt hɪz feɪs vɪgɝəsli


it is sixteen years since john bergson died

ɪt ɪz sɪkstiːn jɪrz sɪns dʒɑːn bɝːgsən daɪd


his wife now lies beside him and the white shaft that marks their graves gleams across the wheat fields

hɪz waɪf naʊ laɪz bɪsaɪd hɪm ənd ðə waɪt ʃæft ðæt mɑːrks ðɛr greɪvz gliːmz əkrɔs ðə wiːt fiːldz


from the norwegian graveyard one looks out over a vast checker board marked off in squares of wheat and corn light and dark dark and light

frʌm ðə nɔrwiːdʒən greɪvjɑːrd wʌn lʊks aʊt oʊvɝ ə væst tʃɛkɝ bɔrd mɑːrkt ɔf ɪn skwɛrz ʌv wiːt ənd kɔrn laɪt ənd dɑːrk dɑːrk ənd laɪt


from the graveyard gate one can count a dozen gayly painted farmhouses the gilded weather vanes on the big red barns wink at each other across the green and brown and yellow fields

frʌm ðə greɪvjɑːrd geɪt wʌn kæn kaʊnt ə dʌzən geɪli peɪntəd fɑːrmhaʊsɪz ðə gɪldɪd wɛðɝ veɪnz ɑːn ðə bɪg rɛd bɑːrnz wɪŋk æt iːtʃ ʌðɝ əkrɔs ðə griːn ənd braʊn ənd jɛloʊ fiːldz


the air and the earth are curiously mated and intermingled as if the one were the breath of the other

ðə ɛr ənd ðə ɝːθ ɑːr kjʊriːəsli meɪtɪd ənd ɪntɝmɪŋgəld æz ɪf ðə wʌn wɝː ðə brɛθ ʌv ðə ʌðɝ


he was a splendid figure of a boy tall and straight as a young pine tree with a handsome head and stormy gray eyes deeply set under a serious brow

hiː wɑːz ə splɛndɪd fɪgjɝ ʌv ə bɔɪ tɔl ənd streɪt æz ə jʌŋ paɪn triː wɪð ə hænsəm hɛd ənd stɔrmi greɪ aɪz diːpli sɛt ʌndɝ ə sɪriːəs braʊ


that's not much of a job for an athlete here i've been to town and back

θæts nɑːt mʌtʃ ʌv ə dʒɑːb fɔr æn æθliːt hiːr aɪv bɪn tuː taʊn ənd bæk


alexandra lets you sleep late


she gathered up her reins

ʃiː gæðɝd ʌp hɝː reɪnz


please wait for me marie emil coaxed


i never see lou's scythe over here


how brown you've got since you came home i wish i had an athlete to mow my orchard

haʊ braʊn juːv gɑːt sɪns juː keɪm hoʊm aɪ wɪʃ aɪ hæd æn æθliːt tuː moʊ maɪ ɔrtʃɝd


i get wet to my knees when i go down to pick cherries

aɪ gɛt wɛt tuː maɪ niːz wɛn aɪ goʊ daʊn tuː pɪk tʃɛriːz


indeed he had looked away with the purpose of not seeing it

ɪndiːd hiː hæd lʊkt əweɪ wɪð ðə pɝːpəs ʌv nɑːt siːɪŋ ɪt


they think you're proud because you've been away to school or something

ðeɪ θɪŋk jʊr praʊd bɪkɔz juːv bɪn əweɪ tuː skuːl ɔr sʌmθɪŋ


there was something individual about the great farm a most unusual trimness and care for detail

ðɛr wɑːz sʌmθɪŋ ɪndəvɪdʒəwəl əbaʊt ðə greɪt fɑːrm ə moʊst ənjuːʒuːəl trɪmnəs ənd kɛr fɔr dɪteɪl


on either side of the road for a mile before you reached the foot of the hill stood tall osage orange hedges their glossy green marking off the yellow fields

ɑːn iːðɝ saɪd ʌv ðə roʊd fɔr ə maɪl bɪfɔr juː riːtʃt ðə fʊt ʌv ðə hɪl stʊd tɔl oʊseɪdʒ ɔrəndʒ hɛdʒɪz ðɛr glɔsi griːn mɑːrkɪŋ ɔf ðə jɛloʊ fiːldz


any one thereabouts would have told you that this was one of the richest farms on the divide and that the farmer was a woman alexandra bergson

ɛni wʌn ðɛrəbaʊts wʊd hæv toʊld juː ðæt ðɪs wɑːz wʌn ʌv ðə rɪtʃəst fɑːrmz ɑːn ðə dɪvaɪd ənd ðæt ðə fɑːrmɝ wɑːz ə wʊmən ælɛgzændrə bɝːgsən


there is even a white row of beehives in the orchard under the walnut trees

ðɛr ɪz iːvɪn ə waɪt roʊ ʌv biːhaɪvz ɪn ðə ɔrtʃɝd ʌndɝ ðə wɔlnət triːz