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When she has finished, Geoffrey says "thank you" in a low tone. He is thinking of the last time when some one else sang to him, and of how different the whole scene was from this. It was at the Towers, and the hour with its dying daylight, rises before him. The subdued light of the summer eve, the open window, the perfume of the drowsy flowers, the girl at the piano with her small drooping head and her perfectly trained and very pretty voice, the room, the soft silence, his mother leaning back in her crimson velvet chair, beating time to the music with her long jewelled, fingers,—all is remembered. It is an hour later. Afternoon draws towards evening, yet one scarcely feels the change. It is sultry, drowsy, warm, and full of a "slow luxurious calm." He took the baby to his mother's lodge and asked her to take care of it and left it with her. Then he started away, not knowing where he was going nor what he should do..
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"By Jove, you know, it is odd," says Geoffrey, presently, speaking as one might who has for long been following out a train of thought by no means unpleasant, "his sending for her, and that: there must be something in it. Rodney didn't write to her for nothing. It must have been to——" Here he checks himself abruptly, remembering his promise to Mona to say nothing about the scene in the library. "It certainly means something," he winds up, a little tamely. "And quite right too," says Lauderdale. "You remember what Scott says: "I am so glad you are poor," says Mona. "If you were rich or even well off, I should never consent,—never!" Her companion is singularly silent. Scarce one word has escaped him since she first laid her hand upon his arm, and now again dumbness, or some hidden feeling, seals his lips..
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