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"Troth I am, sir. I see him goin' wid me own two eyes not an hour ago, in the gig an' the white horse, wid the wan eye an' the loose tail,—that looks for all the world as if it was screwed on to him. An' 'tisn't Norry is callin' for him nayther (though I don't say but she'll be on the way), but Larry Moloney the sweep. 'Tis a stitch he got this morning, an' he's gone intirely this time, the people say. An' more's the pity too, for a dacent sowl he was, an' more nor a mortial sweep." 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. says Mr. Rodney, airing his bit of Dryden with conscious pride, in that it fits in so nicely. "At all events, you can't call it,.

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"It won't trouble us, not a bit," says Mrs. Geoffrey, rising with alacrity. "I shall love it, the floor is so nice and slippery. Can any one whistle?" Miss Darling blushes. It is so long since she has given way to this weakness that now she does it warmly and generously, as though to make up for other opportunities neglected. She scrambles down off the chair, and, going up to Mona, surprises that heroine of the hour by bestowing upon her a warm though dainty hug. "That is what I am afraid of always," says Mona, a little wistfully. "I know that," says the man, sullenly. "But what of him?" pointing to Rodney, the ruffianly look still on his face. "The Englishman, I mane. Is he sure? It's a life, for a life afther all, when everything is towld.".