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"Oh, that I could believe so!" says Mona, forgetful of manners, courtesy, everything, but the desire to see those she loves restored to peace. "I have no card but my name is Geoffrey Rodney," says the young man, turning to his companion. "Yes, we have indeed," says the same sweet voice again, which is the merriest and softest voice imaginable, "and in very good time too, as it seems. Nolly and I have been here for fully five minutes, and have been so delighted with what we have seen that we positively could not stir. Dear Lady Rodney, how d'ye do?".

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"Good gracious, Mona, whom do you mean?" asks he, aghast both at her look and tone. It is a very pretty room, filled with a subdued light, and with a blazing fire at one end. All bespeaks warmth, and home, and comfort, but to Mona in her present state it is desolation itself. The three occupants of the room rise as she enters, and Mona's heart dies within her as a very tall statuesque woman, drawing herself up languidly from a lounging-chair, comes leisurely up to her. There is no welcoming haste in her movements, no gracious smile, for which her guest is thirsting, upon her thin lips. Mona, in spite of her haste, stoops to pluck a bunch of violets and place them in her breast, as she goes upon her way. Up to this the beauty of the early spring day has drawn her out of herself, and compelled her to forget her errand. But as she comes near to the place appointed for the interview, a strange repugnance to go forward and face Paul Rodney makes her steps slower and her eyes heavy. And even as she comprehends how strongly she shrinks from the meeting with him, she looks up and sees the chestnut-tree in front of her, and the stream rushing merrily to the ocean, and Paul Rodney standing in his favorite attitude with his arms folded and his sombre eyes fixed eagerly upon her. "Better not remember it," says Violet, but she smiles as she calls to mind Jack's apt quotation..