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Mona shivers. Getting up from her lowly position, she draws back the curtains of her window and looks out upon the night. It is brilliant with moonlight, clear as day, full of that hallowed softness, that peaceful serenity, that belongs alone to night. "No, it couldn't be helped," says little Doatie. But their intervention only appears to add fuel to the fire of Lady Rodney's wrath. "Or like the 'sweet little cherub that sits up aloft.' There is something cherubic about you, do you know Nolly, when one comes to think of it. But finish your tale.".
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But, though "lost to sight," to memory he is most unpleasantly "dear." Standing alone in the middle of the deserted field, Mona pulls to pieces, in a jerky, fretful fashion, a blade of grass she has been idly holding during the late warm discussion. She is honestly very much frightened at what she has done, but obstinately declines to acknowledge it even to her own heart. In a foolish but natural manner she tries to deceive herself into the belief that what has happened has been much to her own advantage, and it will be a strict wisdom to rejoice over it. All these faults, and others of even less weight, are an abomination in the eyes of Lady Rodney, who has fallen into a prim mould, out of which it would now be difficult to extricate her. He moves towards the door with "pride in his port, defiance in his eye," as Goldsmith would say. "Well, mother?" says Geoffrey, when he has gained her room and received her kiss, which is not exactly all it ought to be after a five months' separation. He is her son, and of course she loves him, but—as she tells herself—there are some things hard to forgive..
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