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"Don't let us quarrel," he says, lovingly. And this time she returns his caress very fondly, though she cannot lose sight of the fact that he has committed a social error not to be lightly overlooked. She says this steadily, and very proudly, with her head held high, but without looking at him; which permits Geoffrey to gaze at her exhaustively. There is an unconscious meaning in her words, quite clear to him. She is of "the people," he of a class that looks but coldly upon hers. A mighty river, called Caste, rolls between them, dividing him from her. But shall it? Some hazy thought like this floats through his brain. They walk on silently, scarcely exchanging a syllable one with the other, until they come within sight of a small thatched house built at the side of the road. It has a manure-heap just in front of it, and a filthy pool to its left, in which an ancient sow is wallowing, whilst grunting harmoniously. Thus adjured,—though in truth he requires little pressing, having been devoured with a desire since early dawn to reveal the hidden knowledge that is in his bosom,—Geoffrey relates to them the adventure of the night before. Indeed, he gives such a brilliant coloring to the tale that every one is stricken dumb with astonishment, Mona herself perhaps being the most astonished of all. However, like a good wife, she makes no comments, and contradicts his statements not at all, so that (emboldened by her evident determination not to interfere with anything he may choose to say) he gives them such a story as absolutely brings down the house,—metaphorically speaking..
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"No, my son," replied the old man, "but I still have four stone arrow points." "It is the most unhappy thing I ever heard of," begins Doatie, desperately. "What Lady Rodney can see to dislike in you, Mona, I can't imagine. But the fact is, she is hateful to you. Now, we," glancing at Violet, "who are not particularly amiable, are beloved by her, whilst you, who are all 'sweetness and light,' she detests most heartily." Mona looks up startled. The faint rays of the new-born moon are indeed rushing through the casement, and are flinging themselves languidly upon the opposite wall, but they are pale and wan, as moonlight is in its infancy, and anything but brilliant. Besides, Rodney's eyes are turned not on them, but on the door that can be seen just over Mona's head, where no beams disport themselves, however weakly. It is a light, not of stars or of moonbeams, but of a bona fide lamp, and as such is hailed by Mona, with joy. Evidently the thoughtful Jenkins has left it lighted there for Geoffrey's benefit when he returns. And very thoughtful, too, it is of him..
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