lunes, 20 de septiembre de 2021

The Middle Toe of the Right Foot - Ambrose Bierce - Horror

The Middle Toe of the Right Foot

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés de miedo, suspense, halloween

The Middle Toe of the Right Foot - Ambrose Bierce - Horror

It is well known that the old Manton house is haunted. In all the rural district near about, and even in the town of Marshall, a mile away, not one person of unbiased mind entertains a doubt of it; incredulity is confined to those opinionated persons who will be called 'cranks' as soon as the useful word shall have penetrated the intellectual demesne of the Marshall Advance. The evidence that the house is haunted is of two kinds: the testimony of disinterested witnesses who have had ocular proof, and that of the house itself. The former may be disregarded and ruled out on any of the various grounds of objection which may be urged against it by the ingenious; but facts within the observation of all are material and controlling.

In the first place, the Manton house has been unoccupied by mortals for more than ten years, and with its outbuildings is slowly falling into decay - a circumstance which in itself the judicious will hardly venture to ignore. It stands a little way off the loneliest reach of the Marshall and Harriston road, in an opening which was once a farm and is still disfigured with strips of rotting fence and half covered with brambles overrunning a stony and sterile soil long unacquainted with the plough. The house itself is in tolerably good condition, though badly weather-stained and in dire need of attention from the glazier, the smaller male population of the region having attested in the manner of its kind its disapproval of dwelling without dwellers. It is two stories in height, nearly square, its front pierced by a single doorway flanked on each side by a window boarded up to the very top. Corresponding windows above, not protected, serve to admit light and rain to the rooms of the upper floor. Grass and weeds grow pretty rankly all about, and a few shade trees, somewhat the worse for wind, and leaning all in one direction, seem to be making a concerted effort to run away. In short, as the Marshall town humorist explained in the columns of the Advance, 'the proposition that the Manton house is badly haunted is the only logical conclusion from the premises.' The fact that in this dwelling Mr. Manton thought it expedient one night some ten years ago to rise and cut the throats of his wife and two small children, removing at once to another part of the country, has no doubt done its share in directing public attention to the fitness of the place for supernatural phenomena.
To this house, one summer evening, came four men in a wagon. Three of them promptly alighted, and the one who had been driving hitched the team to the only remaining post of what had been a fence. The fourth remained seated in the wagon. 'Come,' said one of his companions, approaching him, while the others moved away in the direction of the dwelling - 'this is the place.'

The man addressed did not move. 'By God!' he said harshly, 'this is a trick, and it looks to me as if you were in it.'

'Perhaps I am,' the other said, looking him straight in the face and speaking in a tone which had something of contempt in it. 'You will remember, however, that the choice of place was with your own assent left to the other side. Of course if you are afraid of spooks -- '

'I am afraid of nothing,' the man interrupted with another oath, and sprang to the ground. The two then joined the others at the door, which one of them had already opened with some difficulty, caused by rust of lock and hinge. All entered. Inside it was dark, but the man who had unlocked the door produced a candle and matches and made a light. He then unlocked a door on their right as they stood in the passage. This gave them entrance to a large, square room that the candle but dimly lighted. The floor had a thick carpeting of dust, which partly muffled their footfalls. Cobwebs were in the angles of the walls and depended from the ceiling like strips of rotting lace, making undulatory movements in the disturbed air. The room had two windows in adjoining sides, but from neither could anything be seen except the rough inner surfaces of boards a few inches from the glass. There was no fireplace, no furniture; there was nothing: besides the cobwebs and the dust, the four men were the only objects there which were not a part of the structure.

Strange enough they looked in the yellow light of the candle. The one who had so reluctantly alighted was especially spectacular - he might have been called sensational. He was of middle age, heavily built, deep-chested and broad-shouldered. Looking at his figure, one would have said that he had a giant's strength; at his features, that he would use it like a giant. He was clean-shaven, his hair rather closely cropped and grey. His low forehead was seamed with wrinkles above the eyes, and over the nose these became vertical. The heavy black brows followed the same law, saved from meeting only by an upward turn at what would otherwise have been the point of contact. Deeply sunken beneath these glowed in the obscure light a pair of eyes of uncertain colour, but obviously enough too small. There was something forbidding in their expression, which was not bettered by the cruel mouth and wide jaw. The nose was well enough, as noses go; one does not expect much of noses. All that was sinister in the man's face seemed accentuated by an unnatural pallor - he appeared altogether bloodless.
The appearance of the other men was sufficiently commonplace: they were such persons as one meets and forgets that he met. All were younger than the man described, between whom and the eldest of the others, who stood apart, there was apparently no kindly feeling. They avoided looking at each other.

'Gentlemen,' said the man holding the candle and keys,' I believe everything is right. Are you ready, Mr. Rosser?'

The man standing apart from the group bowed and smiled.

'And you, Mr. Grossmith?'

The heavy man bowed and scowled.

'You will be pleased to remove your outer clothing.'

Their hats, coats, waistcoats and neckwear were soon removed and thrown outside the door, in the passage. The man with the candle now nodded, and the fourth man - he who had urged Grossmith to leave the wagon - produced from the pocket of his overcoat two long, murderous-looking bowie-knives, which he drew now from their leather scabbards.

'They are exactly alike,' he said, presenting one to each of the two principals - for by this time the dullest observer would have understood the nature of this meeting. It was to be a duel to the death.

Each combatant took a knife, examined it critically near the candle and tested the strength of blade and handle across his lifted knee. Their persons were then searched in turn, each by the second of the other.

'If it is agreeable to you, Mr. Grossmith,' said the man holding the light,' you will place yourself in that corner.'

He indicated the angle of the room farthest from the door, whither Grossmith retired, his second parting from him with a grasp of the hand which had nothing of cordiality in it. In the angle nearest the door Mr. Rosser stationed himself, and after a whispered consultation his second left him, joining the other near the door. At that moment the candle was suddenly extinguished, leaving all in profound darkness. This may have been done by the draught from the opened door; whatever the cause, the effect was startling.
'Gentlemen,' said a voice which sounded strangely unfamiliar in the altered condition affecting the relations of the senses - 'gentlemen, you will not move until you hear the closing of the outer door.'

A sound of trampling ensued, then the closing of the inner door; and finally the outer one closed with a concussion which shook the entire building.

A few minutes afterward a belated farmer's boy met a light wagon which was being driven furiously toward the town of Marshall. He declared that behind the two figures on the front seat stood a third, with its hands upon the bowed shoulders of the others, who appeared to struggle vainly to free themselves from its grasp. This figure, unlike the others, was clad in white, and had undoubtedly boarded the wagon as it passed the haunted house. As the lad could boast a considerable former experience with the supernatural thereabouts his word had the weight justly due to the testimony of an expert. The story (in connection with the next day's events) eventually appeared in the Advance, with some slight literary embellishments and a concluding intimation that the gentlemen referred to would be allowed the use of the paper's columns for their version of the night's adventure. But the privilege remained without a claimant.

The events that led up to this 'duel in the dark' were simple enough. One evening three young men of the town of Marshall were sitting in a quiet corner of the porch of the village hotel, smoking and discussing such matters as three educated young men of a Southern village would naturally find interesting. Their names were King, Sancher and Rosser. At a little distance, within easy hearing, but taking no part in the conversation, sat a fourth. He was a stranger to the others. They merely knew that on his arrival by the stage-coach that afternoon he had written in the hotel register the name Robert Grossmith. He had not been observed to speak to anyone except the hotel clerk. He seemed, indeed, singularly fond of his own company - or, as the personnel of the Advance expressed it, 'grossly addicted to evil associations.' But then it should be said in justice to the stranger that the personnel was himself of a too convivial disposition fairly to judge one differently gifted, and had, moreover, experienced a slight rebuff in an effort at an 'interview.'
'I hate any kind of deformity in a woman,' said King, 'whether natural or - acquired. I have a theory that any physical defect has its correlative mental and moral defect.'

'I infer, then,' said Rosser gravely, 'that a lady lacking the moral advantage of a nose would find the struggle to become Mrs. King an arduous enterprise.'

'Of course you may put it that way,' was the reply; 'but, seriously, I once threw over a most charming girl on learning quite accidentally that she had suffered amputation of a toe. My conduct was brutal if you like, but if I had married that girl I should have been miserable for life and should have made her so.'

'Whereas,' said Sancher, with a light laugh, 'by marrying a gentleman of more liberal views she escaped with a parted throat.'

'Ah, you know to whom I refer. Yes, she married Manton, but I don't know about his liberality; I'm not sure but he cut her throat because he discovered that she lacked that excellent thing in woman, the middle toe of the right foot.'

'Look at that chap!' said Rosser in a low voice, his eyes fixed upon the stranger.

'That chap' was obviously listening intently to the conversation.

'Damn his impudence!' muttered King - ' what ought we to do?'

'That's an easy one,' Rosser replied, rising. 'Sir,' he continued, addressing the stranger, 'I think it would be better if you would remove your chair to the other end of the veranda. The presence of gentlemen is evidently an unfamiliar situation to you.'

The man sprang to his feet and strode forward with clenched hands, his face white with rage. All were now standing. Sancher stepped between the belligerents.

'You are hasty and unjust,' he said to Rosser; 'this gentleman has done nothing to deserve such language.'
But Rosser would not withdraw a word. By the custom of the country and the time there could be but one outcome to the quarrel.

'I demand the satisfaction due to a gentleman,' said the stranger, who had become more calm. 'I have not an acquaintance in this region. Perhaps you, sir,' bowing to Sancher, 'will be kind enough to represent me in this matter.'

Sancher accepted the trust - somewhat reluctantly it must be confessed, for the man's appearance and manner were not at all to his liking. King, who during the colloquy had hardly removed his eyes from the stranger's face and had not spoken a word, consented with a nod to act for Rosser, and the upshot of it was that, the principals having retired, a meeting was arranged for the next evening. The nature of the arrangements has been already disclosed. The duel with knives in a dark room was once a commoner feature of south-western life than it is likely to be again. How thin a veneering of 'chivalry' covered the essential brutality of the code under which such encounters were possible we shall see.

In the blaze of a midsummer noonday the old Manton house was hardly true to its traditions. It was of the earth, earthy. The sunshine caressed it warmly and affectionately, with evident disregard of its bad reputation. The grass greening all the expanse in its front seemed to grow, not rankly, but with a natural and joyous exuberance, and the weeds blossomed quite like plants. Full of charming lights and shadows and populous with pleasant-voiced birds, the neglected shade trees no longer struggled to run away, but bent reverently beneath their burden of sun and song. Even in the glassless upper windows was an expression of peace and contentment, due to the light within. Over the stony fields the visible heat danced with a lively tremor incompatible with the gravity which is an attribute of the supernatural.

Such was the aspect under which the place presented itself to Sheriff Adams and two other men who had come out from Marshall to look at it. One of these men was Mr. King, the sheriff's deputy; the other, whose name was Brewer, was a brother of the late Mrs. Manton. Under a beneficent law of the State relating to property which had been for a certain period abandoned by an owner whose residence cannot be ascertained, the sheriff was legal custodian of the Manton farm and appurtenances thereunto belonging. His present visit was in mere perfunctory compliance with some order of a court in which Mr. Brewer had an action to get possession of the property as heir to his deceased sister. By a mere coincidence, the visit was made on the day after the night that Deputy King had unlocked the house for another and very different purpose. His presence now was not of his own choosing: he had been ordered to accompany his superior, and at the moment could think of nothing more prudent than simulated alacrity in obedience to the command.
Carelessly opening the front door, which to his surprise was not locked, the sheriff was amazed to see, lying on the floor of the passage into which it opened, a confused heap of men's apparel. Examination showed it to consist of two hats, and the same number of coats, waistcoats and scarves, all in a remarkably good state of preservation, albeit somewhat defiled by the dust in which they lay. Mr. Brewer was equally astonished, but Mr. King's emotion is not on record. With a new and lively interest in his own actions the sheriff now unlatched and pushed open the door on the right, and the three entered. The room was apparently vacant - no; as their eyes became accustomed to the dimmer light something was visible in the farthest angle of the wall. It was a human figure - that of a man crouching close in the corner. Something in the attitude made the intruders halt when they had barely passed the threshold. The figure more and more clearly defined itself. The man was upon one knee, his back in the angle of the wall, his shoulders elevated to the level of his ears, his hands before his face, palms outward, the fingers spread and crooked like claws; the white face turned upward on the retracted neck had an expression of unutterable fright, the mouth half open, the eyes incredibly expanded. He was stone dead. Yet, with the exception of a bowie-knife, which had evidently fallen from his own hand, not another object was in the room.

In thick dust that covered the floor were some confused footprints near the door and along the wall through which it opened. Along one of the adjoining walls, too, past the boarded-up windows, was the trail made by the man himself in reaching his corner. Instinctively in approaching the body the three men followed that trail. The sheriff grasped one of the out-thrown arms; it was as rigid as iron, and the application of a gentle force rocked the entire body without altering the relation of its parts. Brewer, pale with excitement, gazed intently into the distorted face. 'God of mercy!' he suddenly cried, 'it is Manton! '

'You are right,' said King, with an evident attempt at calmness: 'I knew Manton. He then wore a full beard and his hair long, but this is he.'
He might have added: 'I recognized him when he challenged Rosser. I told Rosser and Sancher who he was before we played him this horrible trick. When Rosser left this dark room at our heels, forgetting his outer clothing in the excitement, and driving away with us in his shirt sleeves - all through the discreditable proceedings we knew whom we were dealing with, murderer and coward that he was!'

But nothing of this did Mr. King say. With his better light he was trying to penetrate the mystery of the man's death. That he had not once moved from the corner where he had been stationed; that his posture was that of neither attack nor defence; that he had dropped his weapon; that he had obviously perished of sheer horror of something that he saw - these were circumstances which Mr. King's disturbed intelligence could not rightly comprehend.

Groping in intellectual darkness for a clue to his maze of doubt, his gaze, directed mechanically downward in the way of one who ponders momentous matters, fell upon something which, there, in the light of day and in the presence of living companions, affected him with terror. In the dust of years that lay thick upon the floor - leading from the door by which they had entered, straight across the room to within a yard of Manton's crouching corpse - were three parallel lines of footprints - light but definite impressions of bare feet, the outer ones those of small children, the inner a woman's. From the point at which they ended they did not return; they pointed all one way. Brewer, who had observed them at the same moment, was leaning forward in an attitude of rapt attention, horribly pale.

'Look at that!' he cried, pointing with both hands at the nearest print of the woman's right foot, where she had apparently stopped and stood. 'The middle toe is missing - it was Gertrude!'

Gertrude was the late Mrs. Manton, sister of Mr. Brewer.

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The Secret Of Macarger's Gulch - Ambrose Bierce

The Secret Of Macarger's Gulch

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés de miedo, suspense, halloween

The Secret Of Macarger's Gulch - Ambrose Bierce - Horror

Northwestwardly from Indian Hill, about nine miles as the crow flies, is Macarger's Gulch. It is not much of a gulch -- a mere depression between two wooded ridges of inconsiderable height. From its mouth up to its head -- for gulches, like rivers, have an anatomy of their own -- the distance does not exceed two miles, and the width at bottom is at only one place more than a dozen yards; for most of the distance on either side of the little brook which drains it in winter, and goes dry in the early spring, there is no level ground at all; the steep slopes of the hills, covered with an almost inpenetrable growth of manzanita and chemisal, are parted by nothing but the width of the watercourse. No one but an occasional enterprising hunter of the vicinity ever goes into Macarger's Gulch, and five miles away it is unknown, even by name. Within that distance in any direction are far more conspicuous topographical features without names, and one might try in vain to ascertain by local inquiry the origin of the name of this one.

About midway between the head and the mouth of Macarger's Gulch, the hill on the right as you ascend is cloven by another gulch, a short dry one, and at the junction of the two is a level space of two or three acres, and there a few years ago stood an old board house containing one small room. How the component parts of the house, few and simple as they were, had been assembled at that almost inaccessible point is a problem in the solution of which there would be greater satisfaction than advantage. Possibly the creek bed is a reformed road. It is certain that the gulch was at one time pretty thoroughly prospected by miners, who must have had some means of getting in with at least pack animals carrying tools and supplies; their profits, apparently, were not such as would have justified any considerable outlay to connect Macarger's Gulch with any centre of civilization enjoying the distinction of a sawmill. The house, however, was there, most of it. It lacked a door and a window frame, and the chimney of mud and stones had fallen into an unlovely heap, overgrown with rank weeds. Such humble furniture as there may once have been and much of the lower weather-boarding, had served as fuel in the camp fires of hunters; as had also, probably, the kerbing of an old well, which at the time I write of existed in the form of a rather wide but not very deep depression near by.
One afternoon in the summer of 1874, I passed up Macarger's Gulch from the narrow valley into which it opens, by following the dry bed of the brook. I was quail-shooting and had made a bag of about a dozen birds by the time I had reached the house described, of whose existence I was until then unaware. After rather carelessly inspecting the ruin I resumed my sport, and having fairly good success prolonged it until near sunset, when it occurred to me that I was a long way from any human habitation -- too far to reach one by nightfall. But in my game bag was food, and the old house would afford shelter, if shelter were needed on a warm and dewless night in the foothills of the Sierra Nevada, where one may sleep in comfort on the pine needles, without covering. I am fond of solitude and love the night, so my resolution to 'camp out' was soon taken, and by the time that it was dark I had made my bed of boughs and grasses in a corner of the room and was roasting a quail at a fire that I had kindled on the hearth. The smoke escaped out of the ruined chimney, the light illuminated the room with a kindly glow, and as I ate my simple meal of plain bird and drank the remains of a bottle of red wine which had served me all the afternoon in place of the water, which the region did not supply, I experienced a sense of comfort which better fare and accommodations do not always give.

Nevertheless, there was something lacking. I had a sense of comfort, but not of security. I detected myself staring more frequently at the open doorway and blank window than I could find warrant for doing. Outside these apertures all was black, and I was unable to repress a certain feeling of apprehension as my fancy pictured the outer world and filled it with unfriendly entities, natural and supernatural -- chief among which, in their respective classes were the grizzly bear, which I knew was occasionally still seen in that region, and the ghost, which I had reason to think was not. Unfortunately, our feelings do not always respect the law of probabilities, and to me that evening, the possible and the impossible were equally disquieting.
Every one who has had experience in the matter must have observed that one confronts the actual and imaginary perils of the night with far less apprehension in the open air than in a house with an open doorway. I felt this now as I lay on my leafy couch in a corner of the room next to the chimney and permitted my fire to die out. So strong became my sense of the presence of something malign and menacing in the place, that I found myself almost unable to withdraw my eyes from the opening, as in the deepening darkness it became more and more indistinct. And when the last little flame flickered and went out I grasped the shotgun which I had laid at my side and actually turned the muzzle in the direction of the now invisible entrance, my thumb on one of the hammers, ready to cock the piece, my breath suspended, my muscles rigid and tense. But later I laid down the weapon with a sense of shame and mortification. What did I fear, and why? -- I, to whom the night had been

a more familiar face
than that of man --

I, in whom that element of hereditary superstition from which none of us is altogether free had given to solitude and darkness and silence only a more alluring interest and charm! I was unable to comprehend my folly, and losing in the conjecture the thing conjectured of, I fell asleep. And then I dreamed.

I was in a great city in a foreign land -- a city whose people were of my own race, with minor differences of speech and costume; yet precisely what these were I could not say; my sense of them was indistinct. The city was dominated by a great castle upon an overlooking height whose name I knew, but could not speak. I walked through many streets, some broad and straight with high, modern buildings, some narrow, gloomy, and tortuous, between the gables of quaint old houses whose overhanging stories, elaborately ornamented with carvings in wood and stone, almost met above my head.

I sought some one whom I had never seen, yet knew that I should recognize when found. My quest was not aimless and fortuitous; it had a definite method. I turned from one street into another without hesitation and threaded a maze of intricate passages, devoid of the fear of losing my way.
Presently I stopped before a low door in a plain stone house which might have been the dwelling of an artisan of the better sort, and without announcing myself, entered. The room, rather sparely furnished, and lighted by a single window with small diamond-shaped panes, had but two occupants: a man and a woman. They took no notice of my intrusion, a circumstance which, in the manner of dreams, appeared entirely natural. They were not conversing; they sat apart, unoccupied and sullen.

The woman was young and rather stout, with fine large eyes and a certain grave beauty; my memory of her expression is exceedingly vivid, but in dreams one does not observe the details of faces. About her shoulders was a plaid shawl. The man was older, dark, with an evil face made more forbidding by a long scar extending from near the left temple diagonally downward into the black moustache; though in my dreams it seemed rather to haunt the face as a thing apart -- I can express it no otherwise -- than to belong to it. The moment that I found the man and woman I knew them to be husband and wife.

What followed, I remember indistinctly; all was confused and inconsistent -- made so, I think, by gleams of consciousness. It was as if two pictures, the scene of my dream, and my actual surroundings, had been blended, one overlying the other, until the former, gradually fading, disappeared, and I was broad awake in the deserted cabin, entirely and tranquilly conscious of my situation.

My foolish fear was gone, and opening my eyes I saw that my fire, not altogether burned out, had revived by the falling of a stick and was again lighting the room. I had probably slept only a few minutes, but my commonplace dream had somehow so strongly impressed me that I was no longer drowsy; and after a little while I rose, pushed the embers of my fire together, and lighting my pipe proceeded in a rather ludicrously methodical way to meditate upon my vision.

It would have puzzled me then to say in what respect it was worth attention. In the first moment of serious thought that I gave to the matter I recognized the city of my dream as Edinburgh, where I had never been; so if the dream was a memory it was a memory of pictures and description. The recognition somehow deeply impressed me; it was as if something in my mind insisted rebelliously against will and reason on the importance of all this. And that faculty, whatever it was, asserted also a control of my speech. 'Surely,' I said aloud, quite involuntarily, 'the MacGregors must have come here from Edinburgh.'
At the moment, neither the substance of this remark nor the fact of my making it surprised me in the least; it seemed entirely natural that I should know the name of my dreamfolk and something of their history. But the absurdity of it all soon dawned upon me: I laughed aloud, knocked the ashes from my pipe and again stretched myself upon my bed of boughs and grass, where I lay staring absently into my failing fire, with no further thought of either my dream or my surroundings. Suddenly the single remaining flame crouched for a moment, then, springing upward, lifted itself clear of its embers and expired in air. The darkness was absolute.

At that instant -- almost, it seemed, before the gleam of the blaze had faded from my eyes -- there was a dull, dead sound, as of some heavy body falling upon the floor, which shook beneath me as I lay. I sprang to a sitting posture and groped at my side for my gun; my notion was that some wild beast had leaped in through the open window. While the flimsy structure was still shaking from the impact I heard the sound of blows, the scuffling of feet upon the floor, and then -- it seemed to come from almost within reach of my hand, the sharp shrieking of a woman in mortal agony. So horrible a cry I had never heard nor conceived; it utterly unnerved me; I was conscious for a moment of nothing but my own terror! Fortunately my hand now found the weapon of which it was in search, and the familiar touch somewhat restored me. I leaped to my feet, straining my eyes to pierce the darkness. The violent sounds had ceased, but more terrible than these, I heard, at what seemed long intervals, the faint intermittent gasping of some living, dying thing!

As my eyes grew accustomed to the dim light of the coals in the fireplace, I saw first the shapes of the door and window looking blacker than the black of the walls. Next, the distinction between wall and floor became discernible, and at last I was sensible to the form and full expanse of the floor from end to end and side to side. Nothing was visible and the silence was unbroken.
With a hand that shook a little, the other still grasping my gun, I restored my fire and made a critical examination of the place. There was nowhere any sign that the cabin had been entered. My own tracks were visible in the dust covering the floor, but there were no others. I relit my pipe, provided fresh fuel by ripping a thin board or two from the inside of the house -- I did not care to go into the darkness out of doors -- and passed the rest of the night smoking and thinking, and feeding my fire; not for added years of life would I have permitted that little flame to expire again.

Some years afterward I met in Sacramento a man named Morgan, to whom I had a note of introduction from a friend in San Francisco. Dining with him one evening at his home I observed various 'trophies' upon the wall, indicating that he was fond of shooting. It turned out that he was, and in relating some of his feats he mentioned having been in the region of my adventure.

'Mr. Morgan,' I asked abruptly, 'do you know a place up there called Macarger's Gulch? '

'I have good reason to,' he replied; 'it was I who gave to the newspapers, last year, the accounts of the finding of the skeleton there."

I had not heard of it; the accounts had been published, it appeared, while I was absent in the East.

'By the way,' said Morgan, 'the name of the gulch is a corruption; it should have been called "MacGregor's." My dear,' he added, speaking to his wife, 'Mr. Elderson has upset his wine.'

That was hardly accurate -- I had simply dropped it, glass and all.

'There was an old shanty once in the gulch,' Morgan resumed when the ruin wrought by my awkwardness had been repaired, 'but just previously to my visit it had been blown down, or rather blown away, for its debris was scattered all about, the very floor being parted, plank from plank. Between two of the sleepers still in position I and my companion observed the remnant of a plaid shawl, and examining it found that it was wrapped about the shoulders of the body of a woman; of course but little remained besides the bones, partly covered with fragments of clothing, and brown dry skin. But we will spare Mrs. Morgan,' he added with a smile. The lady had indeed exhibited signs of disgust rather than sympathy.
'It is necessary to say, however,' he went on, 'that the skull was fractured in several places, as by blows of some blunt instrument; and that instrument itself -- a pick-handle, still stained with blood -- lay under the boards near by.'

Mr. Morgan turned to his wife. 'Pardon me, my dear,' he said with affected solemnity, 'for mentioning these disagreeable particulars, the natural though regrettable incidents of a conjugal quarrel -- resulting, doubtless, from the luckless wife's insubordination.'

'I ought to be able to overlook it,' the lady replied with composure; 'you have so many times asked me to in those very words.'

I thought he seemed rather glad to go on with his story.

'From these and other circumstances,' he said, 'the coroner's jury found that the deceased, Janet MacGregor, came to her death from blows inflicted by some person to the jury unknown; but it was added that the evidence pointed strongly to her husband, Thomas MacGregor, as the guilty person. But Thomas MacGregor has never been found nor heard of. It was learned that the couple came from Edinburgh, but not -- my dear, do you not observe that Mr. Elderson's bone-plate has water in it?'

I had deposited a chicken bone in my finger bowl.

'In a little cupboard I found a photograph of MacGregor, but it did not lead to his capture.'

'Will you let me see it?' I said.

The picture showed a dark man with an evil face made more forbidding by a long scar extending from near the temple diagonally downward into the black moustache.

'By the way, Mr. Elderson,' said my affable host, 'may I know why you asked about "Macarger's Gulch"?'

'I lost a mule near there once,' I replied, 'and the mischance has -- has quite -- upset me.'
'My dear,' said Mr. Morgan, with the mechanical intonation of an interpreter translating, 'the loss of Mr. Elderson's mule has peppered his coffee.'

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domingo, 19 de septiembre de 2021

Los verbos Auxiliares en inglés - Auxiliary Verbs

Cómo usar los verbos auxiliares en inglés: be, have, do

En esta lección aprenderás los fundamentos de los auxiliares en inglés. Son muy útiles y se utilizan mucho, tanto que no se puede prescindir de ellos al hablar en inglés. Si quieres hacer una pregunta, por ejemplo, necesitarás un auxiliar.

Have, Do and Be - Auxiliary Verbs

Los tres auxiliares más comunes en inglés son HAVE, DO y BE.

Ten en cuenta que estas palabras también son verbos: have es el verbo tener, do es el verbo hacer y be es el verbo ser.

Por lo tanto, son palabras que tienen un doble propósito. Por un lado, pueden ser verbos y, por otro, pueden ser auxiliares.

En esta ocasión, sólo nos centraremos en su función auxiliar.

¿Cuál es la finalidad de los auxiliares?

Tienen tres funciones principales. Los dos primeros son para construir:

  • La forma interrogativa
  • La forma negativa

La tercera función, que sólo concierne a HAVE y BE, es la de formar los tiempos compuestos, como la forma progresiva (por ejemplo: I am going; se utiliza el auxiliar be) o el presente y el pasado perfectos (por ejemplo: I have heard to this song; aquí se utiliza el auxiliar have).

En resumen, los auxiliares se utilizan para construir

  • la forma interrogativa (HAVE, DO o BE),
  • la forma negativa (HAVE not, DO not o BE not), y
  • los tiempos compuestos (sólo para HAVE y BE).

¿Qué formas adoptan los auxiliares?

La forma cambia según el tiempo de la frase y el sujeto utilizado. Para resumir todo esto y facilitar el aprendizaje, aquí tiens un resumen:

Presente

Auxiliaire: HAVE - DO - BE

I: HAVE - DO - AM
He She It: HAS - DOES - IS
We: HAVE - DO - ARE
You: HAVE - DO - ARE
They: HAVE - DO - ARE

Pretérito

Auxiliaire: HAVE - DO - BE

I: HAD - DID - WAS
He She It: HAD - DID - WAS
We: HAD - DID - WERE
You: HAD- DID - WERE
They: HAD - DID - WERE

Por ejemplo, la pregunta:

Do you go to the work? - ¿Vas al trabajo?

se convierte en el pretérito:

Did you go to the work? - ¿Fuiste al trabajo?

La forma negativa sería:

No I don’t (do not)

y en el pretérito:

No I didn’t (did not)

Contracciones de la forma negativa

Have se convierte en Have not o haven’t

Has se convierte en has not o hasn’t

Do se convierte en do not o don’t

Does se convierte en does not o doesn’t

I am se convierte en I am not

Is se convierte en is not o isn’t

Are se convierte en are not o aren’t

Had se convierte en had not o hadn’t

Did se convierte en did not o didn’t

Was se convierte en was not o wasn’t

Were se convierte en were not o weren’t

¿Cómo saber qué auxiliar elegir, entre Do, Have y Be?

  • En el presente simple: DO, excepto el verbo TO BE
    En el presente simple, cuando se trata de una pregunta o de una forma negativa, y no se utiliza el verbo to BE, se utiliza DO.

Cuando existe el verbo to BE, utilizamos to BE como auxiliar para formular la pregunta o hacer la negación.

  • Presente continuo: BE
  • En el tiempo pretérito : DID, excepto el verbo TO BE
  • Presente perfecto: HAVE
  • Pretérito continuo: BE

🔆 También te puede interesar:

  • Cómo preguntar y expresar la posesión en inglés
  • Cómo usar May y might - Verbos modales
  • Conditionals in English - El condicional en Inglés
  • Adjetivos y pronombres demostrativos en Inglés
  • Pronombres Posesivos en inglés - Possessive Pronouns
  • Adjetivos Posesivos en Inglés - Possessive adjectives
  • ¿Cómo aprender inglés fácil y desde casa?
  • Plural de los sustantivos en inglés
  • Many more, a lot more y Much more. Usos en inglés
  • ¿Qué son los phrasal verbs en inglés? Los más usados
  • Cómo expresar opiniones en inglés
  • Uso de whose en inglés - Pronombres relativos
  • Who, which y that - Pronombres Relativos en inglés
  • Was going to - El futuro en el pasado
  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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Presente simple y presente continuo

¿Cómo saber si es present continuous? ¿Cuándo utilizar Present Continuous? ¿Cuándo se utiliza el present simple?

Diferencia entre Present Simple y Present Continuous

Existen dos tiempos presentes en inglés: el presente simple y el presente continuo (o progresivo).

Y sí, en inglés distinguimos entre el tiempo presente (o presente simple) y el presente inmediato (también llamado presente continuo).

Recuerda:

Si estás hablando de una acción que realizas regularmente, utiliza el hábito presente, o presente simple. (ejemplo: I read...)

Si estás hablando de una acción que estás realizando, utiliza el presente continuo. (ejemplo: I am reading...)

Presente simple

Construcción:

La construcción del presente simple es muy simple. La construcción no cambia nunca, excepto en el caso de la tercera persona del singular, donde hay que poner "S" o "ES" al final del verbo. Tomemos por ejemplo el verbo comer:

  • I eat
  • You eat
  • he/she/it eats (fíjate en la S en la tercera persona del singular)
  • we eat
  • you eat
  • they eat

¿Cómo se utiliza el presente simple?

El presente simple se utiliza como tiempo presente. El presente de hábito es simplemente el tiempo que utilizamos cuando hablamos de un hábito o rutina. Por ejemplo, si vas al trabajo todas las mañanas (hábito) dirías: I go to work every morning.

Por otro lado, si quieres decir que es excepcional, y que vas a trabajar esta mañana, utilizarías el tiempo presente progresivo: I am going to work this morning.

Presente continuo (o presente progresivo)

Construcción:

Para construir el tiempo presente continuo, necesitamos el auxiliar BE. A continuación, añadimos ING al final del verbo que queremos utilizar.

Por ejemplo, para el verbo comer:

  • I am eating
  • You are eating
  • He/she/it is eating
  • We are eating
  • You are eating
  • They are eating

¿Cómo se utiliza el presente continuo?

El presente continuo se utiliza cuando se quiere hablar de una acción que está teniendo lugar mientras se habla.

Ejemplo:

Estás en la cocina cocinando. Dirías: "I am cooking". Estoy cocinando.

Sin embargo, si quieres decir que cocinas todos los días (hábito) dirías "I cook everyday". (presente simple)

🔆 También te puede interesar:

  • Cómo preguntar y expresar la posesión en inglés
  • Cómo usar May y might - Verbos modales
  • Conditionals in English - El condicional en Inglés
  • Adjetivos y pronombres demostrativos en Inglés
  • Pronombres Posesivos en inglés - Possessive Pronouns
  • Adjetivos Posesivos en Inglés - Possessive adjectives
  • ¿Cómo aprender inglés fácil y desde casa?
  • Plural de los sustantivos en inglés
  • Many more, a lot more y Much more. Usos en inglés
  • ¿Qué son los phrasal verbs en inglés? Los más usados
  • Cómo expresar opiniones en inglés
  • Uso de whose en inglés - Pronombres relativos
  • Who, which y that - Pronombres Relativos en inglés
  • Was going to - El futuro en el pasado
  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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Todo lo que necesitas saber sobre la coma en inglés

Puntuación en inglés - Uso de la coma

Cuando se trata de aprender un idioma extranjero, es importante expresarse correctamente, respetar la ortografía de las palabras, pero también tener en cuenta los signos de puntuación.

En este artículo de gramática te presentaremos la coma (,) y sus diferentes usos en inglés. Céntrate en nuestros consejos y ejemplos para el uso correcto de este signo de puntuación. Estamos seguros de que aprenderás nuevas reglas. Toma notas.

Cómo usar la coma correctamente en inglés: Algunas reglas generales.

Sobre todo, para saber cuándo poner una coma en los textos ingleses, hay que entender la estructura de la frase. La coma está sujeta a reglas estrictas.

Puede colocarse libremente, dependiendo del significado que se quiera dar a la frase, o puede colocarse en un lugar específico, sin posibilidad de desplazarla.

Ejemplos del uso de la coma en inglés

La coma para separar sustantivos, verbos o adjetivos

La coma en inglés se utilizará para separar los diferentes elementos de una enumeración:

  • En una serie de sustantivos comunes o propios: For breakfast, I had orange juice, coffee, marmelade and French baguette. Para el desayuno, tomé jugo de naranja, café, mermelada y baguette.
  • En una serie de verbos: The little boy ran, fell, hurt, and cried. El niño corrió, se cayó, se lastimó y lloró.
  • En una serie de adjetivos: My neighbour is honest, kind, helpful, and intelligent. Mi vecino es honesto, amable, servicial e inteligente.

Cuando hay al menos tres elementos, la coma que separa los dos últimos se llama "coma de Oxford". Mira el ejemplo a continuación:

  • During our holidays, we have visited France, Italy, and Spain. Durante nuestras vacaciones, hemos visitado Francia, Italia y España.

El lugar de la coma en inglés en las propuestas independientes

En las oraciones en las que dos proposiciones independientes están unidas por una conjunción coordinada, las dos partes están separadas por una coma, colocada como aquí:

  • You can spend your money in new clothes, or you can enjoy a beautiful travel. Puedes gastar tu dinero en ropa nueva, o puedes disfrutar de un hermoso viaje.

La coma entre comillas en inglés

Aquí, hay necesariamente una coma antes de una cita entre comillas. Como en este ejemplo:

  • Nelson Mandela said, ‘‘I never lose. I either win or learn. Nelson Mandela dijo, "Nunca pierdo". O gano o aprendo".

La coma en inglés también se usa en los números

En inglés, se colocará para separar los millares, según el ejemplo siguiente:

En inglés = 15,000

Y lo mismo ocurre con los números más grandes:

En inglés = 8,245,526

Indispensable en las etiquetas de las preguntas

Las etiquetas de preguntas son las preguntas que pondremos al final de la frase, equivalentes a nuestro "¿no es así?".

Excepto que, en inglés, la etiqueta de la pregunta usa el mismo auxiliar. Si la frase es negativa, la etiqueta de la pregunta será afirmativa, y viceversa. Cuando se usa una frase en inglés que contiene una etiqueta de pregunta, la coma es obligatoria, como en los ejemplos de abajo:

  • You are English, aren’t you? - You are French, aren't you? - Usted es inglés, ¿verdad? Usted es francés, ¿no?
  • You won't be able to eat the whole pizza, will you? You won't be able to eat the whole pizza, will you? - No podrás comerte toda la pizza, ¿verdad? No podrás comerte toda la pizza, ¿verdad?

¿Qué hay del punto y coma en inglés?

El punto y coma en inglés, se usará para indicar la separación entre dos partes de una frase. La interrupción es más acentuada que con la coma, pero menos que con el punto. Se usa menos que la coma. Recuerda que la palabra que sigue al punto y coma comienza con una letra minúscula.

🔆 También te puede interesar:

  • Cómo preguntar y expresar la posesión en inglés
  • Cómo usar May y might - Verbos modales
  • Conditionals in English - El condicional en Inglés
  • Adjetivos y pronombres demostrativos en Inglés
  • Pronombres Posesivos en inglés - Possessive Pronouns
  • Adjetivos Posesivos en Inglés - Possessive adjectives
  • ¿Cómo aprender inglés fácil y desde casa?
  • Plural de los sustantivos en inglés
  • Many more, a lot more y Much more. Usos en inglés
  • ¿Qué son los phrasal verbs en inglés? Los más usados
  • Cómo expresar opiniones en inglés
  • Uso de whose en inglés - Pronombres relativos
  • Who, which y that - Pronombres Relativos en inglés
  • Was going to - El futuro en el pasado
  • DO y MAKE en inglés ¿Cuáles son las diferencias?
  • Cuándo usar Since, For, Ago: ¿Cuáles son las diferencias?
  • The Gerund - El gerundio en inglés
  • El Imperativo en Inglés - Imperative
  • El comparativo y el superlativo en inglés
  • Preguntas con WH-Questions 01 - What, where, why, who
  • Preguntas con WH-Questions 02 - When, Which, Whose, How
  • Cómo expresar cantidades en inglés
  • Adjectives - Los Adjetivos en Inglés
  • Uso de some / any acompañando nombres contables/incontables
  • Modal verbs - Verbos modales en inglés
  • El tiempo futuro en inglés
  • Present Perfect Progressive - Presente perfecto progresivo
  • Present perfect - El presente perfecto inglés
  • Pretérito progresivo o continuo en inglés
  • Simple past - El pretérito o pasado simple en inglés
  • Presente continuo - Forma Afirmativa - English grammar
  • Presente continuo - Forma Negativa
  • Puntuación en inglés - All about punctuation in English
  • Los verbos Auxiliares en inglés - Auxiliary Verbs
  • Verbos irregulares en inglés, la lista que debes conocer
  • Cómo decir la fecha en inglés - How to say the date in English
  • Construir frases simples - To build a simple sentence
  • Nombres contables e incontables en inglés
  • Presente continuo - Forma Interrogativa
  • Cómo Preguntar y decir el precio en inglés

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viernes, 17 de septiembre de 2021

Autumn song - Canciones para Niños en Inglés

Autumn song - Canciones para Niños en Inglés

Canciones para Niños en Inglés: Estaciones del año, Otoño - Songs for Children in English: Seasons, Autumn

Autumn song

Autumn leaves are falling,
Falling to the ground.
Autumn leaves are falling:
Yellow, red, and brown.

Falling, falling, falling
To the ground.
Falling, falling:
Yellow, red, and brown.

Pick them up and gather
In a pretty bunch,
Autumn leaves are falling
In the parks they crunch.

Falling, falling, falling
To the ground.
Falling, falling:
Yellow, red, and brown.

Canciones para niños en inglés sobre las estaciones del año, en este caso otoño. Ideales para favorecer el aprendizaje del idioma, adquirir vocabulario, practicar la pronunciación, etc.

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How Many Leaves? - Canciones para Niños en Inglés

How Many Leaves? - Canciones para Niños en Inglés

Canciones para Niños en Inglés: Estaciones del año, Otoño - Songs for Children in English: Seasons, Autumn

How Many Leaves?

Look. Up there. In the tree.
How many leaves do you see?

How many leaves do you see?
How many leaves in the tree?
Let's all count them...1,2,3
How many leaves do you see?
1...2...3

I see one leaf in the tree.
I see two leaves in the tree.
I see three leaves in the tree.

What colors do you see?
What color leaves do you see?
What color leaves are in the tree?
Let's all count them 1, 2, 3.
What color leaves do you see?

Red, Orange, Yellow

I see a red leaf in the tree.
I see an orange leaf in the tree.
I see a yellow leaf in the tree.
Red, Orange, Yellow, 1,2,3.

The leaves are falling down.
How many leaves are falling down?
How many leaves are on the ground?
Let's all count them 1,2,3.
How many leaves do you see?

Red, Orange, Yellow
I see a red leaf falling down.
I see a orange leaf falling down.
I see a yellow leaf falling down.
Red, Orange Yellow, on the ground.

Canciones para niños en inglés sobre las estaciones del año, en este caso otoño. Ideales para favorecer el aprendizaje del idioma, adquirir vocabulario, practicar la pronunciación, etc.

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