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She lifts her luminous eyes to his, and regards him fixedly as she speaks, full of hopeful excitement. Her eyes have always a peculiar fascination of their own, apart from the rest of her face. Once looking at her, as though for the first time impressed with this idea, Geoffrey had said to her, "I never look at your eyes that I don't feel a wild desire to close them with a kiss." To which she had made answer in her little, lovable way, and with a bewitching glance from the lovely orbs in question, "If that is how you mean to do it, you may close them just as often as ever you like.",

"That is Mona's voice," says Doatie. "I must go. Finish your letters, and come for me then, and we can go into the garden and talk it all over again. Come in, Mona; I am here.",

Her eyes are large and blue, with a shade of green in them; her lips are soft and mobile; her whole expression is debonnaire, yet full of tenderness. She is brightness itself; each inward thought, be it of grief or gladness, makes itself outwardly known in the constant changes of her face. Her hair is cut above her forehead, and is quite golden, yet perhaps it is a degree darker than the ordinary hair we hear described as yellow. To me, to think of Dorothy Darling's head is always to remind myself of that line in Milton's "Comus," where he speaks of,

They have entered the cottage by this time, and are standing in the tiny hall.

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The man kept on and travelled a long distance. At last, after many days, he came to a lodge—a strange lodge, for it was made of stone. Just like any other lodge it looked, only it was made of stone. This was the home of the Raven chief. The man entered.,

As for the Australian, he has grown pale indeed, but is quite self-possessed, and the usual insolent line round his mouth has deepened. The dogs have by no means relaxed their vigil, but still crouch before him, ready for their deadly spring at any moment. It is a picture, almost a lifeless one, so motionless are all those that help to form it. The fading fire, the brilliant lamp, the open window with the sullen night beyond, Paul Rodney standing upon the hearthrug with folded arms, his dark insolent face lighted up with the excitement of what is yet to come, gazing defiantly at his cousin, who is staring back at him, pale but determined. And then Mona, in her soft white gown, somewhat in the foreground, with one arm (from which the loose sleeve of the dressing-gown has fallen back, leaving the fair rounded flesh to be seen) thrown around her husband's neck, is watching Rodney with an expression on her face that is half haughtiness, half nervous dread. Her hair has loosened, and is rippling over her shoulders, and down far below her waist; with her disengaged hand she is holding it back from her ear, hardly knowing how picturesque and striking is her attitude, and how it betrays each perfect curve of her lovely figure.,

She leans back in her chair, and brings her fingers together, clasping them so closely that her very nails grow white. Her thin nostrils dilate a little, and her breath comes quickly, but no angry word escapes her. How can her lips give utterance to a speech that may wound the mother of the man she loves!,

CHAPTER XXI.