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Mere beauty of form and feature will fade indeed, but Mona's beauty lies not altogether in nose or eyes or mouth, but rather in her soul, which compels her face to express its lightest meaning. It is in her expression, which varies with each passing thought, changing from "grave to gay, from lively to severe," as the soul within speaks to it, that her chief charm dwells. She is never quite the same for two minutes running,—which is the surest safeguard against satiety. And as her soul is pure and clean, and her face is truly the index to her mind, all it betrays but endears her to and makes richer him who reads it. At breakfast Mona betrays the fact that she has met Paul Rodney during her morning ramble, and tells all that passed between him and her,—on being closely questioned,—which news has the effect of bringing a cloud to the brow of Sir Nicholas and a frown to that of his mother. "I'm ready now, miss, if you are," says Mickey from the background, with the utmost bonhommie, and in a tone that implies he is quite willing not to be ready, if it so pleases her, for another five minutes or so, or even, if necessary, to efface himself altogether. He is a stalwart young Hibernian, with rough hair and an honest face, and gray eyes, merry and cunning, and so many freckles that he looks like a turkey-egg. A choking sensation, rising from her heart, almost stops Mona's breath; her mouth feels parched and dry; her eyes widen. A sudden fear oppresses her. How is it going to be in all the future? Is Geoffrey's—her own husband's—mother to be her enemy?.