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"I hardly think our dance is ended yet, Mrs. Rodney," says the Australian, defiantly, coming leisurely forward, his eyes bent somewhat insolently upon Geoffrey. "I am afraid of nothing," says Mona, simply. "I am not half so much afraid as you were a few moments since, when you could not let your eyes meet mine, and when you shrank from answering me a simple question. In my turn I tell you to pause before going too far." "Call me Geoffrey.".
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"How many hours there are in the night that we never count!" says Geoffrey, impatiently. "Good-night, Mona! To-morrow's dawn I shall call my dearest friend." "You may compel him to murder you," she says, feverishly, "or, in your present mood, you may murder him. No, you shall not stir from this to-night." "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." Of Violet Mansergh—who is still at the Towers, her father being abroad and Lady Rodney very desirous of having her with her—she knows little. Violet is cold, but quite civil, as Englishwomen will be until they know you. She is, besides, somewhat prejudiced against Mona, because—being honest herself—she has believed all the false tales told her of the Irish girl. These silly tales, in spite of her belief in her own independence of thought, weigh upon her; and so she draws back from Mona, and speaks little to her, and then of only ordinary topics, while the poor child is pining for some woman to whom she can open her mind and whom she may count as an honest friend "For talking with a friend," says Addison, "is nothing else but thinking aloud.".
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