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Lady Rodney, rising hurriedly, sails with offended dignity from the room. She is clad in a snowy gown of simple cotton, that sits loosely to her lissom figure yet fails to disguise the beauty of it. A white kerchief lies softly on her neck. She has pulled up her sleeves, so that her arms are bare,—her round, soft, naked arms that in themselves are a perfect picture. She is standing with her head well thrown back, and her hands—full of corn—lifted high in the air, as she cries aloud, "Cooee! Cooee!" in a clear musical voice. "Is it?"—witheringly. Then, with some impatience, "You will be far happier in an arm-chair: do go into the parlor. There is really no reason why you should remain here.".
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So determined is her aspect that Geoffrey shows the white feather, and, crying "mea culpa," beats a hasty retreat. Two tears gather, and roll slowly down Mona's white cheeks. And then somehow her thoughts wander back to the old farmhouse at the side of the hill, with the spreading trees behind it, and to the sanded floor and the cool dairy, and the warmth of the love that abounded there, and the uncle, who, if rough, was at least ready to believe her latest action—whatever it might be—only one degree more perfect than the one that went before it. "Because I could not bear to think any one was made unhappy by me. It would seem as though some evil eye was resting on our love," says Mona, raising her thoughtful, earnest eyes to his. "It must be a sad thing when our happiness causes the misery of others." "Or like Nolly's story that he declines telling me," says Violet, with a laugh..
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