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One hand is beneath her cheek,—that is soft and moist as a child's might be in innocent slumber,—the other is thrown above her head. She is exquisite in her abandon, but very pale, and her breath comes unevenly. "Is it possible you see nothing to admire?" says Mona, with intense disgust. But, though "lost to sight," to memory he is most unpleasantly "dear." Standing alone in the middle of the deserted field, Mona pulls to pieces, in a jerky, fretful fashion, a blade of grass she has been idly holding during the late warm discussion. She is honestly very much frightened at what she has done, but obstinately declines to acknowledge it even to her own heart. In a foolish but natural manner she tries to deceive herself into the belief that what has happened has been much to her own advantage, and it will be a strict wisdom to rejoice over it..
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"So should I," says Rodney, eagerly, but incorrectly; "at least, not myself, but you,—in something handsome, you know, open at the neck, and with your pretty arms bare, as they were the first day I saw you." "It was the last line," says Mona, in explanation, clearly ashamed of herself, yet unable wholly to subdue her merriment. "It reminded me so much of that speech about tea, that they always use at temperance meetings; they call it the beverage 'that cheers but not inebriates.' You said 'that warms but not illumines,' and it sounded exactly like it. Don't you see!" He said, "Not so; what is made law must be law. We will undo nothing that we have done. The child is dead, but it cannot be changed. People will have to die." He is now speaking with some difficulty, and is looking, not at her, but at the pattern he is drawing on the soft loam at his feet..
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