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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. A pause. Mona mechanically but absently goes on with her work, avoiding all interchange of glances with her deceitful lover. The deceitful lover is plainly meditating a fresh attack. Presently he overturns an empty churn and seats himself on the top of it in a dejected fashion. "Who can it be?" asked the young man. "Who camps there alone, far from friends?".
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"Ay! so he had, an escape you will never know," says a hoarse voice at this moment, that makes Mona's heart almost cease to beat. An instant later, and two men jump up from the dark ditch in which they have been evidently hiding, and confront Rodney with a look of savage satisfaction upon their faces. "But why should night produce melancholy?" says Nicholas, dreamily. "It is but a reflection of the greater light, after all. What does Richter call it? 'The great shadow and profile of day.' It is our own morbid fancies that make us dread it." "Do not take her away yet,—not yet," he says, in a faint whisper. "I know why you said that about Ryan, and I thank you for it. I should not like to think it was your word had transported him.".
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