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Mona, sitting down to the piano, plays a few chords in a slow, plaintive fashion, and then begins. Paul Rodney has come to the doorway, and is standing there gazing at her, though she knows it not. The ballroom is far distant, so far that the sound of the band does not break upon the silence of the room in which they are assembled. A hush falls upon the listeners as Mona's fresh, pathetic, tender voice rises into the air. And Violet says, "Yes," obediently, and then the tears come into her eyes, and a smile is born upon her lips, so sweet, so new, as compels Doatie to whisper to Mona, a little later on, that she "didn't think it was in Violet to look like that." "Why not?" in a surprised tone..

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"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." "Well, it always is on her head," says Mr. Rodney, at which ridiculous joke they both laugh as gayly as though it were a bon-mot of the first water. That "life is thorny, and youth is vain" has not as yet occurred to either of these two. Nay, more, were you even to name this thought to them, they would rank it as flat blasphemy, and you a false prophet—love and laughter being, up to this, the burden of their song. Nicholas, who had left the room again, returns now, bringing with him a glass of wine, which he compels her to swallow, and then, pale and frightened, but calmer than she was before, she leaves the house, and starts with Geoffrey for the gamekeeper's lodge, where lies the man they had so dreaded, impotent in the arms of death. In a doorway, somewhat out of the crush, Sir Nicholas is standing. His eyes are fixed on Dorothy, who is laughing with a gay and gallant plunger in the distance. He is looking depressed and melancholy; a shadow seems to have fallen into his dark eyes..