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Mere beauty of form and feature will fade indeed, but Mona's beauty lies not altogether in nose or eyes or mouth, but rather in her soul, which compels her face to express its lightest meaning. It is in her expression, which varies with each passing thought, changing from "grave to gay, from lively to severe," as the soul within speaks to it, that her chief charm dwells. She is never quite the same for two minutes running,—which is the surest safeguard against satiety. And as her soul is pure and clean, and her face is truly the index to her mind, all it betrays but endears her to and makes richer him who reads it. "Yes, you, and every other man," says Mona, smiling, and raising her loving eyes to her husband. In a minute or two the whole affair proves itself a very small thing indeed, with little that can be termed tragical about it. Geoffrey comes slowly back to life, and in the coming breathes her name. Once again he is trying to reach the distant fern; once again it eludes his grasp. He has it; no, he hasn't; yet, he has. Then at last he wakes to the fact that he has indeed got it in earnest, and that the blood is flowing from a slight wound in the back of his head, which is being staunched by tender fingers, and that he himself is lying in Mona's arms..

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"Tell me about your mother," she says, folding her hands easily in her lap. "I mean,—what is she like? Is she cold, or proud, or stand-off?" There is keen anxiety in her tone. Mona, turning not to Nicholas or to Doatie or to Geoffrey but to Lady Rodney, throws the paper into her lap. "Bonuvs," says Mona, mildly, going back naturally to the Irish term for those interesting babies. "I didn't make up the mare, miss, before comin' out wid ye," he says, mildly, telling this lie without a blush..