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"Will that take her long?" asks Mona, somewhat wistfully, feeling, without understanding, some want in his voice.,

"Now, sir speak," she says, at length in rather tremulous tones growing fearful of the lengthened silence. There is a dangerous vibration in the arm that Geoffrey has round her, that gives her warning to make some change in the scene as soon as possible.,

Having assured herself that the panel selected is the one she requires, she presses her fingers steadily against the upper corner on the side farthest from the fire. Expectation lies in every line of her face, yet she is doomed to disappointment. No result attends her nervous pressure, but distinct defeat. The panel is inexorable. Nothing daunted, she moves her hand lower down, and tries again. Again failure crushes her; after which she makes one last attempt, and, touching the very uppermost corner, presses hard.,

"If you have Jenkins on your side you are pretty safe," says Geoffrey. "My mother is more afraid of Jenkins than you would be of a land-leaguer. Well, good-by again. I must be off."

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Her eyes are large and blue, with a shade of green in them; her lips are soft and mobile; her whole expression is debonnaire, yet full of tenderness. She is brightness itself; each inward thought, be it of grief or gladness, makes itself outwardly known in the constant changes of her face. Her hair is cut above her forehead, and is quite golden, yet perhaps it is a degree darker than the ordinary hair we hear described as yellow. To me, to think of Dorothy Darling's head is always to remind myself of that line in Milton's "Comus," where he speaks of,

"Yes; but you have been crying, darling! What has happened?",

Next morning they caught their dogs and harnessed them to the travois and took their loads on their backs and set out. It was still winter, and they travelled slowly. Besides, they were weak from hunger and could go only a short distance in a day. The fourth night came, and they sat in their lodge, tired and hungry. No one spoke, for people who are hungry do not care to talk. Suddenly, outside, the dogs began to bark, and soon the door was pushed aside and a young man entered.,

It is Mona's laugh. Raising their eyes, both mother and son turn their heads hastily (and quite involuntarily) and gaze upon the scene beyond. They are so situated that they can see into the curtained chamber and mark the picture it contains. The duke is bending over Mona in a manner that might perhaps be termed by an outsider slightly empresse, and Mona is looking up at him, and both are laughing gayly,—Mona with all the freshness of unchecked youth, the duke with such a thorough and wholesome sense of enjoyment as he has not known for years.