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"Do you know by what name I shall always call you in my thoughts?" Mona, who has blushed rosy red at his kiss, is now beaming on her lover, and has drawn back her skirts to admit of his coming a little closer to her. He is not slow to avail himself of this invitation, and is now sitting with his arm thrown across the back of the wooden chair that holds Mona, and with eyes full of heartfelt gladness fixed upon her. "It was rather better than I anticipated, thank you," not in the haughty tone adopted by her half an hour ago, but, in an unnerved and frightened whisper..
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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. He lays his hands lightly on her arm, yet his touch seems to burn through her gown into her very flesh. He stoops towards her. At this moment they come to a high bank, and Geoffrey, having helped Mona to mount it, jumps down at the other side, and holds out his arms to assist her to descend. As she reaches the ground, and while his arms are still round her, she says, with a sudden effort, and without lifting her eyes, "There is very good snipe-shooting here at Christmas." "I shall always love you," says the girl, with sweet seriousness, "better than my life. But in that case I should always, too have a regret.".
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