othy Vernon herself is assuredly the central
figure. For three centuries her romantic career has been a favourite
theme with minstrel, poet, and painter; and during all this time--like
the ivy which grows and clusters around the walls and nooks and
crannies of what, generations ago, were the abiding-places of kings
or nobles, scenes of splendour and animation--so, during the lapse of
time, there has grown a beautiful and romantic web of legendary lore
which clings tenaciously to every wall, window, and stone of the old
Hall, until every room and every corner of old Haddon seems to tell
the story of the beautiful maiden who, once upon a time, fell in love
with a certain plain John Manners, whom she was determined to wed, in
spite of all the obstacles that were placed in her way.

The story telling how she accomplished this has been told in many
varying forms, but in the following pages the writer has sought to
incorporate the essence of nearly all the legends, concerning not only
Dorothy, but also of Sir George Vernon. A considerable amount of fresh
matter has been introduced, and, without unduly intruding the dry
facts of history, a few of the great events and persons of the time
have been pressed into service; whilst at the same time, some of the
old English customs of the days of "Good Queen Bess" have been made to
serve the purpose of the narrative.

W.E.D.

CONTENTS.

CHAPTER. PAGE.

I.--AT FIRST SIGHT 1
II.--A JEALOUS HEART AND CRAFTY 7
III.--THE CLOSE OF THE DAY 13
IV.--DAME DURDEN'S ORDEAL 19
V.--A VISIT TO NOTTINGHAM 26
VI.--DE LA ZOUCH INDULGES IN A
LITTLE VILLAINY 32
VII.--DOROTHY OVERHEARS SOMETHING 42
VIII.--A TOURNAMENT; THE COMBAT 49
IX.--AT THE COCK TAVERN, LONDON 55
X.--IN DIRE STRAITS 63
XI.--AN UNFORTUNATE DENOUEMENT 71
XII.--A CONFESSION OF LOVE 79
XIII.--FATHER PHILIP'S ACCIDENT 88
XIV.--AN UNPLEASANT NIGHT 94
XV.--SIR GEORGE AT WESTMINSTER 101
XVI.--A NIGHT ADVENTURE 107
XVII.--A DALE ABBEY HERMIT 114
XVIII.--THE CHAMBER OF DEATH 120
XIX.--"THE COURSE OF TRUE LOVE." 126
XX.--THE TROTH-PLIGHT 133
XXI.--THE PLOT IN PROGRESS 139
XXII.--ON A FALS