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It is a very curious and obsolete, if singularly charming, performance, full of strange bows, and unexpected turnings, and curtseys dignified and deep. "No," said Scarface; "I supposed some one had left them there, and I did not touch them." The door of the room she is approaching is wide open, and inside, as Mona draws nearer, it becomes apparent that some one is talking very loudly, and with much emphasis, and as though determined not to be silenced. Argument is plainly the order of the hour..

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Geoffrey, moving to one side, stands where he can no longer be seen, feeling instinctively that the ebbing life before him finds its sole consolation in the thought of Mona. She is all he desires. From her he gains courage to face the coming awful moment, when he shall have to clasp the hand of Death and go forth with him to meet the great unknown. "Oh, to think Geoffrey should marry 'a good girl'!" she says, weeping sadly. "One would think you were speaking of a servant! Oh! it is too cruel!" Here she rises and makes for the door, but on the threshold pauses to confront Sir Nicholas with angry eyes. "To hope the wretched boy had married 'a good girl'!" she says, indignantly: "I never heard such an inhuman wish from one brother to another!" Her sympathy is unbounded, her temper equal to the most trying occasion, her heart open to the most petty grievances; she is to the two girls an unfailing source of comfort, a refuge where they may unrebuked pour out the indignation against their dressmakers that seems to rage unceasingly within their breasts. Mona obeys, feeling no shrinking from the kindly stout lady who is evidently bent on being "all things" to her. It does occur, perhaps, to her laughter-loving mind that there is a paucity of nose about the duchess, and a rather large amount of "too, too solid flesh;" but she smothers all such iniquitous reflections, and commences to talk with her gayly and naturally..