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"I don't know, sir." "Oh, yes, I am quite ready," says Mona, starting somewhat guiltily. And then they pass out through the big yard-gate, with the two dogs at their heels, and their attendant squire, who brings up the rear with a soft whistle that rings through the cool night-air and tells the listening stars that the "girl he loves is his dear," and his "own, his artless Nora Creana." Geoffrey does not hear her. Paul does. And as his own name, coming from her lips, falls upon his ear, a great change passes over his face. It is ashy pale; his lips are bloodless; his eyes are full of rage and undying hatred: but at her voice it softens, and something that is quite indescribable, but is perhaps pain and grief and tenderness and despair combined, comes into it. Her lips—the purest and sweetest under heaven—have deigned to address him as one not altogether outside the pale of friendship,—of common fellowship. In her own divine charity and tenderness she can see good in others who are not (as he acknowledges to himself with terrible remorse) worthy to touch the very hem of her white skirts..
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"Yet I think Warden knows more than he cares to tell," says Mona, at a venture. Why, she herself hardly knows. "'7—4,'" murmurs she, absently, still staring intently at the wall. This fond coloring, suiting the exigencies of the moment suits her likewise. Never before has she looked so entirely pretty. Her lips tremble, her eyes grow pathetic. And Captain Rodney, already deeply in love, grows one degree more impressed with the fact of his own good fortune in having secured so enviable a bride. "Now come and see my own room," says Mona, going up to Rodney, and, slipping her hand into his in a little trustful fashion that is one of her many, loving ways, she leads him along the hall to a door opposite the kitchen. This she opens, and with conscious pride draws him after her across its threshold. So holding him, she might at this moment have drawn him to the world's end,—wherever that may be!.
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