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"Must you really go, Geoffrey?—really?" asks Mona, miserably, looking the very personification of despair. She has asked the same question in the same tone ever since early dawn, and it is now four o'clock. "Yes; I stopped there for two or three days on my way down here. Well—and—your brother?" He cannot to himself explain the interest he feels in this story. "Why make a fool of me?" the poor man asked. "My heart is sad. I am crying." He covered his head with his robe and wept..

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"What is it?" she says, fearfully, and then, "Your coat is wet—I feel it. Oh Geoffrey, look at your shirt. It is blood!" Her tone is full of horror. "What have they done to you?" she says, pitifully. "You are hurt, wounded!" To this name, given to her in such an unkindly spirit, Mona clings with singular pertinacity. Once when Nolly has called her by it in Lady Rodney's hearing, the latter raises her head, and a remorseful light kindles in her eyes; and when Mr. Darling has taken himself away she turns entreatingly to Mona, and, with a warm accession of coloring, says, earnestly,— "To Rome," says Mona. "But do you mean it? Can you afford it? Italy seems so far away." Then, after a thoughtful silence, "Mr. Rodney——" "Nicholas, what is the meaning of this?" says Geoffrey, a few moments later, coming up with a darkening brow to where Nicholas is leaning against a wall. "What has possessed Mona to give that fellow a dance? She must be mad, or ignorant, or forgetful of everything. She was with you: why did you not prevent it?".