IN WHICH A SHORT-SIGHTED TAXIDERMIST FROM TANGIER MAKES A DISCOVERY UPON ROSEVEAR.
PRESENTS THE HERO IN THE UNHEROIC ATTITUDE OF A SPECTATOR.
TREATS OF A GENTLEMAN WITH AN AGREEABLE COUNTENANCE AND OF A WOMAN'S FACE IN A MIRROR.
TREATS OF THE FIRST MEETING BETWEEN CHARNOCK AND MIRANDA.
WHEREIN CHARNOCK AND MIRANDA IMPROVE THEIR ACQUAINTANCESHIP IN A BALCONY.
WHILE CHARNOCK BUILDS CASTLES IN SPAIN, MIRANDA RETURNS THERE.
IN WHICH MAJOR WILBRAHAM DESCRIBES THE STEPS BY WHICH HE ATTAINED HIS MAJORITY AND GIVES MIRANDA SOME PARTICULAR INFORMATION.
EXPLAINS THE MYSTERY OF THE "TARIFA'S" CARGO.
SHOWS THE USE WHICH A BLIND MAN MAY MAKE OF A DARK NIGHT.
M. FOURNIER EXPOUNDS THE ADVANTAGES WHICH EACH SEX HAS OVER THE OTHER.
IN WHICH MIRANDA ADOPTS A NEW LINE OF CONDUCT AND THE MAJOR EXPRESSES SOME DISCONTENT.
THE HERO, LIKE ALL HEROES, FINDS HIMSELF IN A FOG.
WHEREIN THE HERO'S PERPLEXITIES INCREASE.
MIRANDA PROFESSES REGRET FOR A PRACTICAL JOKE.
IN WHICH THE MAJOR LOSES HIS TEMPER AND RECOVERS IT.
EXPLAINS WHY CHARNOCK SAW MIRANDA'S FACE IN HIS MIRROR.
SHOWS HOW A TOMBSTONE MAY CONVINCE WHEN ARGUMENTS FAIL.
IN WHICH THE TAXIDERMIST AND A BASHA PREVAIL OVER A BLIND MAN.
TELLS OF CHARNOCK'S WANDERINGS IN MOROCCO AND OF A WALNUT-WOOD DOOR.
CHARNOCK, LIKE THE TAXIDERMIST, FINDS WARRINER ANYTHING BUT A COMFORTABLE COMPANION.
COMPLETES THE JOURNEYINGS OF THIS INCONGRUOUS COUPLE.
IN WHICH CHARNOCK ASTONISHES RALPH WARRINER.
RELATES A SECOND MEETING BETWEEN CHARNOCK AND MIRANDA.
A MIST IN THE CHANNEL ENDS, AS IT BEGAN, THE BOOK.
