In which a couple of lines will be read which came, perhaps, from the Evil One.
In which the reader learns that this story is told not from forethought, but through a common chance of life.
In which are contained divers reasons why a man should not write in a hurry.
In which the author makes small progress in his journey; but wherein he endeavours to make amends in other ways.
In which the polite reader may very possibly find an image of himself; and concluding with a piece of advice especially intended to go round the upper circles.
In which a fairy in a cotton-print dress is introduced.
In which the affection of a humble friend manifests itself.
In which comes a wind which blows nobody good.
In which ‘misfortunes never come singly.’
In which some light is thrown upon some circumstances which were before rather mysterious.
In which we change the scene, and the sex of our performers.
In which a point of some delicacy is started.
In which much is developed.
In which a radical change of atmosphere is at once noticed.
In which there is much joy and some work.
In which the reader assists at some religious services, intermixed with dancing and sundry recreations.
In which we enjoy three courses and a dessert.
In which the party receives a new impetus.
In which a sudden stop is put to the music.
In which a heavenly witness appears who cannot be cross-examined, and before which the defense utterly breaks down.
In which the reader will perceive that in some cases madness is catching.
In which the last act of a comedy takes the place of the first.
In which the readerkin will, if he has an ounce of brains, begin to catch the inevitable denoumong of the imbroglio.
In which the author himself makes his appearance on the stage.
In which post-mortem processions are spoken of.
In which is shewn how the torch of hope blazes to the last, and makes around it an atmosphere of light and life.
In which the author became convinced that he was no longer upon the earth.
In which the Sphinx sleeps forever.

1 Cosette, 1862, Victor Hugo, trans. Charles K. Wilbour.
2 Lady Beauty, or Charming to Her Latest Day, 1882, Alan Muir.
3 A History of New-York, from the Beginning of the World to the End of the Dutch Dynasty, 1821, Washington Irving.
4 Rambles in the Footsteps of Don Quixote, 1837, Henry D. Inglis.
5 Adventures of Bilberry Thurland, 1836, Charles Hooton.
6 Jessie Trim, 1874, Benjamin Leopold Farjeon.
7 Margaret Ravenscroft, or Second Love, 1835, James Augustus St John.
8 Vagabondia, 1884, Frances Hodgson Burnett.
9 Otterstone Hall, 1884, Urquhart Atwell Forbes.
10 Henrietta Temple, 1837, Benjamin Disraeli.
11 Snarleyyow, or the Dog Fiend, 1837, Frederick Marryat.
12 The Life and Adventures of George St Julian, the Prince of Swindlers, 1844, Henry Cockton.
13 Was He Successful?, 1863, Richard B. Kimball.
14 The Little Red Chimney, Being the Love Story of a Candy Man, 1914, Mary Finley Leonard.
15 Julia Ried, 1872, Isabella Macdonald Alden.
16 Asmodeus in New-York, 1868, Ferdinand Longchamp.
17 Vanity Fair, 1848, William Makepeace Thackeray.
18 His Lordship’s Leopard, 1900, David Dwight Wells.
19 Haunted Hearts, 1864, Maria Susanna Cummins.
20 Sevenoaks, a Story of Today, 1875, Josiah Gilbert Holland.
21 Sir Launcelot Greaves, 1760, Tobias Smollett.
22 The Ordeal of Richard Feverel, 1859, George Meredith.
23 The Green Overcoat, 1912, Hilaire Belloc.
24 The History of Tom Jones, a Foundling, 1749, Henry Fielding.
25 Sense, or Saturday-Night Musings and Thoughtful Papers, 1868, Brick Pomeroy.
26 Tom Bowling, 1841, Frederick Chamier.
27 Armata: A Fragment, 1817, Thomas Erskine.
28 The House of the Sphinx, 1907, Henry Ridgely Evans.

Erik Kennedy