Summary

Portrait of Israel Zangwill Israel Zangwill The Grey Wig (collection) — Chassé-Croisé (1903)

It was not his conception of the strong man that he must needs become as water at some woman's touch and go dancing and babbling like a sylvan brook. Women were the light of life—he was willing enough to admit it, but one must be able to switch the light on and off at will. All these were reasons for not falling in love—they were not reasons for not marrying. And so, Amber being determined to marry him, there was really less difficulty than if it had been necessary for him to fall in love with her.
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Portrait of Israel Zangwill Israel Zangwill The Grey Wig (collection) — Chassé-Croisé (1903)

But even the prospect of staring at Amber more comfortably did not reconcile him to displacement. "It's so awkward meeting a fellow who's had a tumble," he grumbled. "It's like having to condole with a man fresh from a funeral."
"There doesn't seem much black about Walter Bassett," Amber laughed. And at this moment—the dull end of a "maiden over"—the radiant personage in question turned his head, and perceiving Lady Chelmer's massive smile, acknowledged her recognition with respectful superiority, whereupon her Ladyship beckoned him with her best parasol manner.
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Portrait of Israel Zangwill Israel Zangwill The Grey Wig (collection) — Chassé-Croisé (1903)

Lady Chelmer gasped. "Then you still have hopes of Highmead!"
"I won a moral victory there each time, Lady Chelmer."
"How so, sir?" put in the Marquis. "Your opponent increased the Government majority—"
"And my reputation. A tiresome twaddler. Unfortunately," and he smiled again, "two moral victories are as bad as a defeat. On the other hand, a defeat at a bye-election equals a victory at a general. You play a solo—and on your own trumpet."
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