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The short daylight fades; the wind grows higher; the whole scene is curious, and very nearly fantastical. The pretty girl in her clinging satin gown, and her gleaming neck and arms, bare and soft and white, and the tiny lace-fringed cap that crowns her fairness. The gaunt trees branching overhead that are showering down upon her all their fading wealth of orange and crimson and russet-colored leaves, that serve to throw out the glories of her dress. The brown-green sward is beneath her, the river runs with noiseless mirth beside her, rushing with faint music over sand and pebble to the ocean far below. Standing before her is her lover, gazing at her with adoring eyes. He turns, as though by an irrepressible impulse, to look keenly at her. His scrutiny endures only for an instant. Then he says, with admirable indifference,— "My mother is a real good sort when you know her," he says, evasively; "but she's rather rough on strangers. However, she is always all there, you know, so far as manners go, and that.".

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One o'clock chimes the tiny timepiece on the mantelshelf; outside the sound is repeated somewhere in the distance in graver, deeper tones. The teapot, meanwhile, is calmly ignoring its rage, and is positively turning up its nose at it. It is a very proud old teapot, and is looking straight before it, in a very dignified fashion, at a martial row of cups and saucers that are drawn up in battle-array and are only waiting for the word of command to march upon the enemy. The woman went on and got the water, and when she came back she took the stone and gave it to her husband, telling him about the song and what the stone had said. "It is true," puts in Mona. "How could he tell when the coast was clear for his escape, unless he took a little peep?".