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"Thomas has plainly taken to hieroglyphics,—if it be Thomas," he says. "I can fancy his pressing his young woman's right hand, but her 'top corner' baffles me. If I were Thomas, I shouldn't hanker after a girl with a 'top corner;' but there is no accounting for tastes. It really is curious, though, isn't it?" As he speaks he looks at Mona; but Mona, though seemingly returning his gaze, is for the first time in her life absolutely unmindful of his presence. Kneeling down by her, Dorothy lays her head upon Mona's knee, and bursts out crying afresh. "Oh! haven't you heard?" cries she. "Sure the country is ringing with it. Don't you know that they tried to shoot Mr. Moore last night?".
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And Mona had marked his embarrassment, and had quickly, with all the vivacity that belongs to her race, drawn her own conclusions therefrom, which were for the most part correct. She sighs. There is pathos and sweetness and tenderness in every line of her face, and much sadness. Her lips are slightly parted, "her eyes are homes of silent prayer." Paul, watching her, feels as though he is in the presence of some gentle saint, sent for a space to comfort sinful earth. Mona has no time to hear more; pale, but collected, she walks deliberately into the room and up to Lady Rodney. And then she sings again, some old-world song of love and chivalry that awakes within one a quick longing for a worthier life. Her sweet voice rings through the room, now glad with triumph, now sad with a "lovely melancholy," as the words and music sway her. Her voice is clear and pure and full of pathos! She seems to follow no rule; an "f" here or a "p" there, on the page before her, she heeds not, but sings only as her heart dictates..
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