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"Oh, one at a time," says Nolly. "She couldn't do it all at once. Such a stretch of fancy requires thought." Still she hesitates, and he is not slow to notice the eloquent pause. "I am Paul Rodney," he now volunteers,—"your husband's cousin, you know. I suppose," with a darkening of his whole face, "now I have told you who I am, it will not sweeten your liking for me.".
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Conrad
"Nor I, till I see you," says Geoffrey, earnestly, actually believing what he says himself. 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. "Only!" says Mona. "Do you know, Mr. Moore has no more than that, and we think him very rich indeed! No, you have not been open with me: you should have told me. I haven't ever thought of you to myself as being a rich man. Now I shall have to begin and think of you a lover again in quite another light." She is evidently deeply aggrieved. After a little time she succeeds in partially lifting the cloud that has fallen on her brother. He has grown strangely fond of her, and finds comfort in her gentle eyes and sympathetic mouth. Like all the rest, he has gone down before Mona, and found a place for her in his heart. He is laughing at some merry absurdity of hers, and is feeling braver, more hopeful, when a little chill seems to pass over him, and, turning, he confronts a tall dark young man who has come leisurely—but with a purpose—to where he and Mona are standing..
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