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By this time they have reached Dorothy's room, and now, sitting down, gaze mournfully at each other. Mona is so truly grieved that any one might well imagine this misfortune, that is rendering the very air heavy, in her own, rather than another's. And this wholesale sympathy, this surrendering of her body and mind to a grief that does not touch herself, is inexpressibly sweet to her poor little friend. "'Top corner,—right hand,'" goes on Mona, taking no heed of him, and speaking in the same low, mysterious, far-off tone. There was a poor young man. He was very poor. His father, his mother, and all his relations were dead. He had no lodge, no wife to tan his robes or make his moccasins. His clothes were always old and worn. He had no home. To-day he stopped in one lodge; then to-morrow he ate and slept in another. Thus he lived. He had a good face, but on his cheek was a bad scar..

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Perhaps, just at first, surprise is too great to permit of his feeling either astonishment or indignation. He looks from Paul Rodney to Mona, and then from Mona back to Rodney. After that his gaze does not wander again. Mona, running to him, throws herself into his arms, and there he holds her closely, but always with his eyes fixed upon the man he deems his enemy. "But, as I said to Lady Rodney, suppose I haven't a headache," retorts Mona, triumphantly. Sir Nicholas, just moving his glass from one eye to the other, says "Good evening" to him, bending his head courteously, nay, very civilly, though without a touch, or suspicion of friendliness. He does not put out his hand, however, and Paul Rodney, having acknowledged his salutation by a bow colder and infinitely more distant than his own, turns to Mona. To-day is cool, and calm, and bright. Almost one fancies the first faint breath of spring has touched one's cheek, though as yet January has not wended to its weary close, and no smallest sign of growth or vegetation makes itself felt..