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"She is that. More than I can say. An' keeps things together, too. She is clever like her father, an' he was on the fair way to make a fortune. Ay, I always say it, law is the thing that pays in Ireland. A good sound fight sets them up. But I'm keeping you, sir, and your gun is waitin' for ye. If you haven't had enough of me company by this," with another jolly laugh, "I'll take ye down to a field hard by, an' show ye where I saw a fine young covey only yesternight." "Say I am quite forgiven," he pleads, earnestly, his eyes on hers. "Yes,—and miserable! you forget to add that. Now everything seems squared. In the grave neither grief nor revenge can find a place. And as for you, what have you to do with my fate?—nothing. What should you not return to me my own? and why should I not die by the weapon I had dared to level against yourself? There is a justice in it that smacks of Sadlers' Wells.".

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"I hardly like to ask her to do it," says the young man, divided between an overpowering desire to be made "comfortable," as she has expressed it, and a chivalrous fear that the sight of the nasty though harmless flesh-wound will cause her some distress. "Perhaps it will make you unhappy,—may shock you," he says to her, with some anxiety. I wish you would not take it so absurdly to heart. I haven't married an heiress, I know; but the whole world does not hinge on money." Her eyes have grown darker; her mouth is stern. To Rodney, who is watching her anxiously, she seems positively transformed. What a terrible power lies within her slight frame to feel both good and evil! What sad days may rest in store for this girl, whose face can whiten at a passing grievance, and whose hands can tremble at a woe in which only a dependant is concerned! Both sorrow and joy must be to her as giants, strong to raise or lower her to highest elevations or lowest depths. As for the Australian, he has grown pale indeed, but is quite self-possessed, and the usual insolent line round his mouth has deepened. The dogs have by no means relaxed their vigil, but still crouch before him, ready for their deadly spring at any moment. It is a picture, almost a lifeless one, so motionless are all those that help to form it. The fading fire, the brilliant lamp, the open window with the sullen night beyond, Paul Rodney standing upon the hearthrug with folded arms, his dark insolent face lighted up with the excitement of what is yet to come, gazing defiantly at his cousin, who is staring back at him, pale but determined. And then Mona, in her soft white gown, somewhat in the foreground, with one arm (from which the loose sleeve of the dressing-gown has fallen back, leaving the fair rounded flesh to be seen) thrown around her husband's neck, is watching Rodney with an expression on her face that is half haughtiness, half nervous dread. Her hair has loosened, and is rippling over her shoulders, and down far below her waist; with her disengaged hand she is holding it back from her ear, hardly knowing how picturesque and striking is her attitude, and how it betrays each perfect curve of her lovely figure..