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"Well," asked the old woman, "for whom are you mourning?" "You are not well, are you, Mrs. Geoffrey?" he says, sympathetically, getting up from his own chair to lean tenderly over the back of hers. Nolly is nothing if not affectionate, where women are concerned. It gives him no thought or trouble to be attentive to them, as in his soul he loves them all,—in the abstract,—from the dairymaid to the duchess, always provided they are pretty. "To love such a woman as that, and be beloved by her, how it would change a man's whole nature, no matter how low he may have sunk," he says, slowly. "It would mean salvation! But as it is—No, I cannot draw back now: it is too late.".
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So saying, he embraces her warmly, and, running downstairs, jumps into the dog-cart, and drives away behind the "vicious Black Bess." "It is like a fairy-tale," says Violet, with unwonted excitement. "Oh, Mona, tell us how you managed it." "Then I will sing you a song I was sent last week," says Mona, and forthwith sings him "Years Ago," mournfully, pathetically, and with all her soul, as it should be sung. Then she gives him "London Bridge," and then "Rose-Marie," and then she takes her fingers from the piano and looks at him with a fond hope that he will see fit to praise her work. "How you remember that, now!" says Mona, with a heavenly smile, and a faint pressure of the fingers that still rest in his. "Yes, I should like to be sure before I marry you that—that—fashionable clothes would become me. But of course," regretfully, "you will understand I haven't a gown of that sort. I once sat in Lady Crighton's room while her maid dressed her for dinner: so I know all about it.".
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