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"I should think it a long journey," says Mona, shaking her head. "I'll take it," says Nicholas; "but, even if you did, I should still owe you a debt of gratitude for bringing Doatie here thirty minutes before we hoped for her." She excuses her unwonted drowsiness with a little laugh, natural and friendly, and begs them "not to betray her." Clothed in all this sweetness she drops a word or two meant to crush Mona; but that hapless young woman hears her not, being bent on explaining to Mrs. Carson that, as a rule, the Irish peasantry do not go about dressed only in glass beads, like the gay and festive Zulus, and that petticoats and breeches are not utterly unknown..
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"I will, darlin', shurely," says Bridget, who adores the ground she walks on; and then, turning, she leaves her. Mona lays her hand on Geoffrey's arm. "I mean, some of them dress uncommon badly," he says, with much mendacity and more bad grammar. "What is it?" she says, fearfully, and then, "Your coat is wet—I feel it. Oh Geoffrey, look at your shirt. It is blood!" Her tone is full of horror. "What have they done to you?" she says, pitifully. "You are hurt, wounded!" "Thomas has plainly taken to hieroglyphics,—if it be Thomas," he says. "I can fancy his pressing his young woman's right hand, but her 'top corner' baffles me. If I were Thomas, I shouldn't hanker after a girl with a 'top corner;' but there is no accounting for tastes. It really is curious, though, isn't it?" As he speaks he looks at Mona; but Mona, though seemingly returning his gaze, is for the first time in her life absolutely unmindful of his presence..
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