Melincourt : $b or, Sir Oran Haut-Ton — John Shaqi
Melincourt : $b or, Sir Oran Haut-TonPeacock, Thomas Love
General
Melincourt : $b or, Sir Oran Haut-Ton
Peacock, Thomas Love
English fiction -- 19th century; Orangutans -- Fiction; Satire
mais on ne voyage pas._ Strenuous idleness drives us on the wings of
steam in boats and trains, seeking the art of enjoying life, which,
after all, is in the regulation of the mind, and not in the whisking
about of the body.[3] Of the disputants whose opinions and public
characters (for I never trespassed on private life) were shadowed in
some of the persons of the story, almost all have passed from the
diurnal scene. Many of the questions, discussed in the dialogues, have
more of general than of temporary application, and have still their
advocates on both sides: and new questions have arisen, which furnish
abundant argument for similar conversations, and of which I may yet,
perhaps, avail myself on some future occasion.
THE AUTHOR OF ‘HEADLONG HALL.’
_March 1856._
[Illustration: _Both Irishmen and clergymen._]
CHAPTER I
ANTHELIA
Anthelia Melincourt, at the age of twenty-one, was mistress of herself
and of ten thousand a year, and of a very ancient and venerable castle
in one of the wildest valleys in Westmoreland. It follows of course,
without reference to her personal qualifications, that she had a very
numerous list of admirers, and equally of course that there were both
Irishmen and clergymen among them. The young lady nevertheless possessed
sufficient attractions to kindle the flames of disinterested passion;
and accordingly we shall venture to suppose that there was at least one
in the number of her sighing swains with whom her rent-roll and her old
castle were secondary considerations; and if the candid reader should
esteem this supposition too violent for the probabilities of daily
experience in this calculating age, he will at least concede it to that
degree of poetical licence which is invariably accorded to a tale
founded on facts.
Public-domain text, read in full here on John Shaqi.
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