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"Poor Mona!" says Geoffrey; "don't tell her about it, as remorse may sadden her." At this instant a soft ringing laugh, that once heard is not easily forgotten, comes from an inner room, that is carefully curtained and delicately lighted, and smites upon their ears. "I am spinning flax for Betty, because she has rheumatism in her poor shoulder, and can do nothing, and this much flax must be finished by a certain time. I have nearly got through my portion now," says Mona; "and then we can go home.".

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"Well, just then it made little difference to us, as, shortly after my grandfather went off the hooks, we received what we believed to be authenticated tidings of my uncle's death." As for the Australian, he has grown pale indeed, but is quite self-possessed, and the usual insolent line round his mouth has deepened. The dogs have by no means relaxed their vigil, but still crouch before him, ready for their deadly spring at any moment. It is a picture, almost a lifeless one, so motionless are all those that help to form it. The fading fire, the brilliant lamp, the open window with the sullen night beyond, Paul Rodney standing upon the hearthrug with folded arms, his dark insolent face lighted up with the excitement of what is yet to come, gazing defiantly at his cousin, who is staring back at him, pale but determined. And then Mona, in her soft white gown, somewhat in the foreground, with one arm (from which the loose sleeve of the dressing-gown has fallen back, leaving the fair rounded flesh to be seen) thrown around her husband's neck, is watching Rodney with an expression on her face that is half haughtiness, half nervous dread. Her hair has loosened, and is rippling over her shoulders, and down far below her waist; with her disengaged hand she is holding it back from her ear, hardly knowing how picturesque and striking is her attitude, and how it betrays each perfect curve of her lovely figure. "Is but a vain and doubtful good, At this Mona, being a creature of impulse, grows once more pale and troubled..