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"You do not understand them," returns she, sadly. "And I do. Besides, they will not harm me. There is no fear of that. I am not at all afraid of them. And—I must speak to them.",

"Oh no," said the son-in-law, and he smiled at Kŭt-o-yĭs´ in a friendly way, for he was afraid of him. "Oh no; no one thinks more of this old man than I do. I have always been very good to him.",

During the past month he has grown singularly domestic, and fond of home and its associations. Perhaps Violet has something to do with this, with her little calm thoroughbred face, and gentle manners, and voice low and trainante. Yet it would be hard to be sure of this, Captain Rodney being one of those who have "sighed to many," without even the saving clause of having "loved but one." Yet with regard to Mona there is no mistake about Jack Rodney's sentiments. He likes her well (could she but know it) in all sincerity.,

"Now carry him over the bridge and put him down there, and he must go home, whether he likes it or not," goes on Mona to her warrior, whereupon that renowned person, armed with the shrieking turkey, crosses the bridge. Having gained the other side, he places the angry bird on its mother earth, and with a final and almost tender "Shoo!" sends him scuttling along to the farmyard in the distance, where, no doubt, he is received either with open arms and kisses, or with a sounding "spank," as our American cousins would say, by his terrified mamma.

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CHAPTER XXXIII.,

As for the Australian, he has grown pale indeed, but is quite self-possessed, and the usual insolent line round his mouth has deepened. The dogs have by no means relaxed their vigil, but still crouch before him, ready for their deadly spring at any moment. It is a picture, almost a lifeless one, so motionless are all those that help to form it. The fading fire, the brilliant lamp, the open window with the sullen night beyond, Paul Rodney standing upon the hearthrug with folded arms, his dark insolent face lighted up with the excitement of what is yet to come, gazing defiantly at his cousin, who is staring back at him, pale but determined. And then Mona, in her soft white gown, somewhat in the foreground, with one arm (from which the loose sleeve of the dressing-gown has fallen back, leaving the fair rounded flesh to be seen) thrown around her husband's neck, is watching Rodney with an expression on her face that is half haughtiness, half nervous dread. Her hair has loosened, and is rippling over her shoulders, and down far below her waist; with her disengaged hand she is holding it back from her ear, hardly knowing how picturesque and striking is her attitude, and how it betrays each perfect curve of her lovely figure.,

"Very nice," she says, in answer to Violet's question, sinking into the chair that Miss Mansergh, by a small gesture, half languid, half kindly, has pushed towards her, and which is close to Violet's own. "I went up the avenue, and then out on the road for about half a mile.",

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.