CHAPTER XV
CHAPTER XV
Expression in Music—The Dappled Palfrey—Love
and Age—Competitive Examination
CHAPTER XVI
CHAPTER XVI
Miss Niphet—The Theatre—The Lake—Divided Attraction
—Infallible Safety
CHAPTER XVII
CHAPTER XVII
Horse-Taming—Love in Dilemma—Injunctions—Sonorous Vases
CHAPTER XVIII
CHAPTER XVIII
Lectures—The Power of Public Opinion—A New
Order of Chivalry
CHAPTER XIX
CHAPTER XIX
A Symposium—Transatlantic Tendencies
—After-Dinner Lectures—Education
CHAPTER XX
CHAPTER XX
Algernon and Morgana—Opportunity and Repentance
—The Forest in Winter
CHAPTER XXI
CHAPTER XXI
Skating—Pas de deux on the Ice—Congeniality
—Flints among Bones
CHAPTER XXII
CHAPTER XXII
The Seven against Thebes—A Soliloquy on Christmas
CHAPTER XXIII
CHAPTER XXIII
The two Quadrilles—Pope's Ombre—Poetical Truth to
Nature—Cleopatra
CHAPTER XXIV
CHAPTER XXIV
Progress of Sympathy—Love's Injunctions—Orlando
Innamorato
CHAPTER XXV
CHAPTER XXV
Harry and Dorothy
CHAPTER XXVI
CHAPTER XXVI
Doubts and Questions
CHAPTER XXVII
CHAPTER XXVII
Love in Memory
CHAPTER XXVIII
CHAPTER XXVIII
Aristophanes in London
CHAPTER XXIX
CHAPTER XXIX
The Bald Venus—Inez de Castro—The Unity of Love
CHAPTER XXX
A Captive Knight—Richard and Alice
CHAPTER XXXI
CHAPTER XXXI
A Twelfth-Night Ball—Pantopragmatic Cookery
—Modern Vandalism—A Bowl of Punch
CHAPTER XXXII
CHAPTER XXXII
Hopes and Fears—Compensations in Life—Athenian
Comedy—Madeira and Music—Confidences
CHAPTER XXXIII
The Conquest of Thebes
CHAPTER XXXIV
CHAPTER XXXIV
Christmas Tales—Classical Tales of Wonder—The
Host's Ghost—A Tale of a Shadow—A Tale of
a Bogle—The Legend of St. Laura
CHAPTER XXXV
Rejected Suitors—Conclusion
GRYLL GRANGE
Opinion governs all mankind,
Like the blind leading of the blind:—
And like the world, men's jobbemoles
Turn round upon their ears the poles,
And what they're confidently told
By no sense else can be controll'd.
In the following pages the New Forest is always mentioned as if it were still unenclosed. This is the only state in which the Author has been acquainted with it. Since its enclosure, he has never seen it, and purposes never to do so.
The mottoes are sometimes specially apposite to the chapters to which they are prefixed; but more frequently to the general scope, or, to borrow a musical term, the motivo of the operetta.
CHAPTER I
MISNOMERS
Ego sic semper et ubique vixi, ut ultimam quamque lucem,
