The Tale of Chloe

George Meredith
Tale of Chloe, The

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Title: The Tale of Chloe
Author: George Meredith
Edition: 10
Language: English
Character set encoding: ASCII
Release Date: September, 2003 [Etext #4494] [Yes, we are more than
one year ahead of schedule] [This file was first posted on March 5,
2002]
The Project Gutenberg Etext of The Tale of Chloe by George Meredith
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[NOTE: There is a short list of bookmarks, or pointers, at the end of the
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THE TALE OF CHLOE AN EPISODE IN THE HISTORY OF BEAU
BEAMISH
By George Meredith

'Fair Chloe, we toasted of old, As the Queen of our festival meeting;
Now Chloe is lifeless and cold; You must go to the grave for her
greeting. Her beauty and talents were framed To enkindle the proudest
to win her; Then let not the mem'ry be blamed Of the purest that e'er
was a sinner!'
Captain Chanter's Collection.
CHAPTER I
A proper tenderness for the Peerage will continue to pass current the
illustrious gentleman who was inflamed by Cupid's darts to espouse the
milkmaid, or dairymaid, under his ballad title of Duke of Dewlap: nor
was it the smallest of the services rendered him by Beau Beamish, that
he clapped the name upon her rustic Grace, the young duchess, the very
first day of her arrival at the Wells. This happy inspiration of a wit
never failing at a pinch has rescued one of our princeliest houses from
the assaults of the vulgar, who are ever too rejoiced to bespatter and
disfigure a brilliant coat-of-arms; insomuch that the ballad, to which we
are indebted for the narrative of the meeting and marriage of the ducal
pair, speaks of Dewlap in good faith
O the ninth Duke of Dewlap I am, Susie dear!
without a hint of a domino title. So likewise the pictorial historian is

merry over 'Dewlap alliances' in his description of the society of that
period. He has read the ballad, but disregarded the memoirs of the beau.
Writers of pretension would seem to have an animus against
individuals of the character of Mr. Beamish. They will treat of the
habits and manners of highwaymen, and quote obscure broadsheets and
songs of the people to colour their story, yet decline to bestow more
than a passing remark upon our domestic kings: because they are not
hereditary, we may suppose. The ballad of 'The Duke and the
Dairymaid,' ascribed with questionable authority to the pen of Mr.
Beamish himself in a freak of his gaiety, was once popular enough to
provoke the moralist to animadversions upon an order of composition
that 'tempted every bouncing country lass to
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