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"It is really hardly worth talking about," she says, grandly. "I was foolish to lay so great a stress on such a trifling matter. It doesn't signify, not in the least. But—but," the blood mounting to her brow, "if ever you speak of it again,—if ever you even mention the word 'heather,'—I shall hate you!" It seems such a direct running commentary on Mona's supposed ill deed that every one—as by a single impulse—looks up. Nolly and Jack Rodney exchange covert glances. But for the depression that reigns all round, I think these two would have given way to frivolous merriment. "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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"Nay, now," says Mona, sweetly, "do not talk like that. It grieves me. When you have formed a purpose worth living for, the whole world will undergo a change for you. What is dark now will seem light then; and death will be an enemy, a thing to battle with, to fight with desperately until one's latest breath. In the meantime," nervously, "do be cautious about that horrid weapon: won't you, now?" "No, indeed," says Mona, laughing. "But it surely wasn't English, was it? That is not the way everybody talks, surely." He has so far recovered his courage that he has taken her hand, and is now holding it in a close grasp; and Mona, though a little frown still lingers on her low, broad forehead, lets her hand so lie without a censure. "Yes. One can understand that," replies she, gravely, not heeding the closeness of his regard. "Many things affect me curiously," she goes on, dreamily,—"sad pictures and poetry and the sound of sweet music.".