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"Neither could I," puts in Geoffrey. "But it was hard on you, my darling." Mona is sitting in the morning-room, the faithful and ever lively Nolly at her side. According to his lights, she is "worth a ship-load of the whole lot," and as such he haunts her. But to-day she fails him. She is absent, depressed, weighed down with thought,—anything but congenial. She forgets to smile in the right place, says, "Yes" when courtesy requires "No," and is deaf to his gayest sallies. "What is it?" she says, fearfully, and then, "Your coat is wet—I feel it. Oh Geoffrey, look at your shirt. It is blood!" Her tone is full of horror. "What have they done to you?" she says, pitifully. "You are hurt, wounded!".
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Conrad
Mona, not attempting to reason with her again, shakes her head despondingly, and leaves the cabin with Geoffrey at her side. Geoffrey coming to the farm somewhat early in the evening, Mona takes him round to the yard, where two dogs, hitherto unseen by Geoffrey, lie chained. They are two splendid bloodhounds, that, as she approaches, rise to their feet, and, lifting their massive heads, throw out into the night-air a deep hollow bay that bespeaks welcome. "Who are they waiting for?" says Mona, anxiously. Nolly is especially and oppressively cheerful. He is blind to the depression that marks Mona and Geoffrey for its own, and quite outdoes himself in geniality and all-round amiability..
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