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"How can I go," he says, without daring to look at her, "until, at least, I ask for forgiveness?" He feels more nervous, more crushed in the presence of this little wounded Irish girl with her pride and her grief, than he has ever felt in the presence of an offended fashionable beauty full of airs and caprices. "Mona, love makes one cruel: I ask you to remember that, because it is my only excuse," he says, warmly. "Don't condemn me altogether; but forgive me once more." And very honestly, too, because at the time of their visits, when Lady Rodney was entertaining them in the big drawing-room and uttering platitudes and pretty lies by the score, she was deep in the recesses of the bare brown wood, roaming hither and thither in search of such few flowers as braved the wintry blasts. "Well, it was perfect: wasn't it, Violet?".
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"She took her to see the lake. Mona, you know, raves about it, when the moon lights it up. "She's the girl my mother wanted me to marry, you know," goes on Rodney, unobservant, as men always are, of the small signals of distress hung out by his companion. "Good gracious, Mona, whom do you mean?" asks he, aghast both at her look and tone. Paul Rodney, standing where she has left him, watches her retreating figure until it is quite out of sight, and the last gleam of the crimson silk handkerchief is lost in the distance, with a curious expression upon his face. It is an odd mixture of envy, hatred, and admiration. If there is a man on earth he hates with cordial hatred, it is Geoffrey Rodney who at no time has taken the trouble to be even outwardly civil to him. And to think this peerless creature is his wife! For thus he designates Mona,—the Australian being a man who would be almost sure to call the woman he admired a "peerless creature.".
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