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When he had said this he lifted Mīka´pi in his arms and took him to a place where there was thick mud, and there he took great handfuls of the mud and plastered it on the wounds, and while he was putting on the mud he sang a medicine song. Then he carried Mīka´pi to a place where there were many service berries, and he broke off great branches of the fruit and gave them to him, saying, "Eat; my brother, eat." He kept breaking off branches full of large, ripe berries until Mīka´pi was full and could eat no more. "All that is morbid," says Mona: "you should try to conquer it. It is not healthy." This is fortunate. Every one feels that Nicholas is not only clever, but singularly lucky..
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And by degrees, beneath her influence, Mona grows pale and distrait and in many respects unlike her old joyous self. Each cold, reproving glance and sneering word,—however carefully concealed—falls like a touch of ice upon her heart, chilling and withering her glad youth. Up to this she has led a bird's life, gay, insouciant, free and careless. Now her song seems checked, her sweetest notes are dying fast away through lack of sympathy. She is "cribbed, cabined, and confined," through no fault of her own, and grows listless and dispirited in her captivity. This is a betise of the first water. And Lady Rodney, who can hear—and is listening to—every word, almost groans aloud. By this time they have reached Dorothy's room, and now, sitting down, gaze mournfully at each other. Mona is so truly grieved that any one might well imagine this misfortune, that is rendering the very air heavy, in her own, rather than another's. And this wholesale sympathy, this surrendering of her body and mind to a grief that does not touch herself, is inexpressibly sweet to her poor little friend. "It is, miss; I know it, sir; but if the old man comes out an' finds the mare widout her bed, there'll be all the world to pay, an' he'll be screechin' mad.".
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