Cecil Castlemaines Gage Lady Marabouts Troubles And Other Stories

"Cecil Castlemaine's Gage, Lady Marabout's Troubles, and Other Stories" by Ouida. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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Cecil Castlemaine was the beauty of her county and her line, the handsomest of all the handsome women that had graced her race, when she moved, a century and a half ago, down the stately staircase, and through the gilded and tapestried halls of Lilliesford. The Town had run mad after her, and her face levelled politics, and was cited as admiringly by the Whigs at St. James's as by the Tories at the Cocoa-tree, by the beaux and Mohocks at Garraway's as by the alumni at the Grecian, by the wits at Will's as by the fops at Ozinda's.

Reproduction of the original: Cecil Castlemaine ́s Gage, Lady Marabout ́s Troubles, and Other Stories by Louise de la Ramée

Cecil Castlemaines Gage, Lady Marabouts Troubles, and Other Stories: Large Print By Ouida Cecil Castlemaine's Gage, And, Lady Marabout's Troubles: And Other Stories ( by Ouida excerpt from Cecil Castlemaine's Gage, And, Lady Marabout's Troubles: And Other Stories Cecil Castlemaine was the beauty of the Town: when she sat at Drury Lane on the Tory side of the house, the devoutest admirer of Oldfield or Mrs. Porter scarcely heard a word of the Heroic Daughter, or the Amorous Widow, and the beau fullest of his own dear self for got his silver-fringed gloves, his medallion snuff-box, his knotted cravat, his clouded cane, the slaughter that he planned to do, from gazing at her where she sat as though she were reigning sovereign at St. J ames's, the Castle maine diamonds flashing crescent-like above her brow. At church and court, at park and assembly, there were none who could eclipse that haughty gentlewoman; there fore her fond women friends who had caressed her so warmly and so gracefully, and pulled her to pieces behind her back, if they could, so eagerly over their dainty cups of tea in an afternoon visit, were glad, one and all, when on Barnabybright, Anglice, the 22d (then the 11th) of June, the great Castlemaine chariot, with its three herons blazoned on its coroneted panels, its laced liveries and gilded harness, rolled over the heavy, ill-made roads down into the country in almost princely pomp, the peas ants pouring out from the wayside cottages to stare at my lord's coach We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

Maria Louise Ramé (1839-1908) was an English author. She wrote under the pen name Ouida. She wrote more than 40 novels, children's books and collections of short stories and essays. She was an animal rights activist and animal rescuer, and at times owned as many as thirty dogs. Her work went through several phases during her career. In her early period, her novels were a hybrid of the sensationalism of the 1860s and the proto-adventure novels dubbed "muscular fiction" that were emerging in part as a romanticization of imperial expansion. Later her work was more along the lines of historical romance, though she never stopped commenting on contemporary society. Sympathetic portraits of tragic painters and singers fill her later novels.