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In the house of Rodney there is mourning and woe. Horror has fallen upon it, and something that touches on disgrace. Lady Rodney, leaning back in her chair with her scented handkerchief pressed close to her eyes, sobs aloud and refuses to be comforted. She smiles again. Lady Rodney, watching her intently, tells herself if this is acting it is the most perfectly done thing she ever saw in her life, either on the stage or off it. "Well, just after luncheon Letitia, your maid, brought me a note. I opened it. It was from Paul Rodney, asking me to meet him at three o'clock, as he had something of importance to say that concerned not me but those I loved. When he said that," says Mona, looking round upon them all with a large, soft, comprehensive glance, and a sweet smile, "I knew he meant you. So I went. I got into my coat and hat, and ran all the way to the spot he had appointed,—the big chestnut-tree near the millstream: you know it, Geoff, don't you?".
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"You will be near too, Geoffrey?" murmurs Mona, falteringly. "Yes, but we are all so different from the English. We have no pretty fair hair in Ireland, or at least very little of it." The Australian seems particularly struck with this fact. He stares in a thoughtful fashion at the wall with the small panels, seeming blind to the other beauties of the room. "No, I haven't, if that's romance. Of course there was nothing for it but to shut my eyes again and resign myself to my fate. I wonder I'm not dead," says Nolly, pathetically. "I never put in such a time in my life. Well, another quarter of an hour went by, and then I cautiously opened my eyes and looked again, and—would you believe it?"—indignantly,—"there they were still!".
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