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"You may as well call it a train; people like it better," says Geoffrey. "I'm sure I don't know why, but perhaps it sounds better." "Through the window. I was passing, and found it open." There is some note in his voice that might well be termed mocking. "Violet, play us something," says Geoffrey, who has quite entered into the spirit of the thing, and who doesn't mind his mothers "horrors" in the least, but remembers how sweet Mona used to look when going slowly and with that quaint solemn dignity of hers "through her steps.".
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"An' a nate color too," says this woman, who is bare-footed, beneath her breath, regarding with admiration the yellow tint of the object on which she is engaged. Two pullets, feathered like a partridge, are creeping stealthily into the dairy, their heads turned knowingly on one side, their steps slow and cautious; not even the faintest chirrup escapes them, lest it be the cause of their instant dismissal. There is no sound anywhere but the soft music that falls from Mona's lips. "Oh, no," says Geoffrey, hastily, recovering himself just in time; "she's all right, you know, my mother; and you'll like her awfully when—when you know her, and when—when she knows you." "Listen to me," he goes on, in a lower key, and with some slight signs of exhaustion. "I am glad to die,—unfeignedly glad: therefore rejoice with me! Why should you waste a tear on such as I am? Do you remember how I told you (barely two hours ago) that my life had come to an end where other fellows hope to begin theirs? I hardly knew myself how prophetic my words would prove." As he makes this last extraordinary remark he looks over his left shoulder, as though fearful of being overheard..
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