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"Don't be long," he says, impulsively, as she disappears down a passage. "What on earth is a shin?" puts in Geoffrey, sotto voce. When she is gone, Geoffrey walks impatiently up and down the small hall, conflicting emotions robbing him of the serenity that usually attends his footsteps. He is happy, yet full of a secret gnawing uneasiness that weighs upon him daily, hourly. Near Mona—when in her presence—a gladness that amounts almost to perfect happiness is his; apart from her is unrest. Love, although he is but just awakening to the fact, has laid his chubby hands upon him, and now holds him in thrall; so that no longer for him is that most desirable thing content,—which means indifference. Rather is he melancholy now and then, and inclined to look on life apart from Mona as a doubtful good..

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"Nicholas, what is the meaning of this?" says Geoffrey, a few moments later, coming up with a darkening brow to where Nicholas is leaning against a wall. "What has possessed Mona to give that fellow a dance? She must be mad, or ignorant, or forgetful of everything. She was with you: why did you not prevent it?" "While you still lived? While I might be of some use to you? No!" says Mona, her eyes gleaming. "To myself I said, there will be time enough for that later on." Then, with a little dry sob, "There will be time to die later on." She is plainly very much in earnest, and has fixed her large expressive eyes—lovely as loving—with calm expectancy upon the duchess. She has altogether forgotten that she is a duchess (perhaps, indeed, has never quite grasped the fact), and that she is an imposing and portly person not accustomed to exercise of any description. "Yes, they are pretty, but insignificant," says the Æsthete, contemptuously. "Paltry children of the earth, not to be compared with the lenten or the tiger lily, or the fiercer beauty of the sunflower, or the hues of the unsurpassable thistle!".