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And Lady Rodney is very willing that it should be obliterated. Just now, indeed, it is a favorite theory of hers that she could never have been really uncivil to dear Mona (she is always "dear Mona" of late days) but for the terrible anxiety that lay upon her, caused by the Australian and the missing will, and the cruel belief that soon Nicholas would be banished from the home where he had reigned so long as master. Had things gone happily with her, her mind would not have been so warped, and she would have learned at once to understand and appreciate the sweetness of the dear girl's character! And so on. "She is all your fancy could possibly paint her; she is lovely and divine. Don't try to analyze her charms, my dear Geoff. She is just the prettiest and sweetest woman I ever met. She is young, in the 'very May morn of delight,' yet there is nothing of that horrid shyness—that mauvaise honte—about her that, as a rule, belongs to the 'freshness of morning.' Her laugh is so sweet, so full of enjoyment." "But why should night produce melancholy?" says Nicholas, dreamily. "It is but a reflection of the greater light, after all. What does Richter call it? 'The great shadow and profile of day.' It is our own morbid fancies that make us dread it.".

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"Wi' the auld moon in hir arme," "At home," returns he. He is gazing out of the window, with his hands clasped behind his back, and does not pay so much attention to her words as is his wont. "No; I have not forgotten you," says Mona, shrinking away from him. As she speaks she looks nervously at Nicholas. Perhaps Longfellow has more cleverly—and certainly more tenderly—than any other poet described the earlier approaches of the god of Love, when he says,—.