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On the right side of the fireplace, lying along the wall, is a rude stretcher,—or what appears to be such,—on which, shrouded decently in a white cloth, lies something that chills with mortal fear the heart, as it reminds it of that to which we all some day must come. Beneath the shroud the murdered man lies calmly sleeping, his face smitten into the marble smile of death.,

"Eh?" says Lady Rodney.,

Any demonstration on her part just now may make a scene, and scenes are ever abhorrent. And might she not yet further widen the breach between mother and son by an ill-timed show of affection for the latter?,

CHAPTER XXVIII.

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and so on.,

The dhudheen is an institution, no doubt, but the owner of it, as a rule, is not to be found seated on a five-barred gate, with a shamrock pinned in his hat and a straw in his mouth, singing "Rory O'More" or "Paddy O'Rafferty," as the case may be. On the contrary, poor soul, he is found by Geoffrey either digging up his potatoes or stocking his turf for winter use.,

When she has finished, Geoffrey says "thank you" in a low tone. He is thinking of the last time when some one else sang to him, and of how different the whole scene was from this. It was at the Towers, and the hour with its dying daylight, rises before him. The subdued light of the summer eve, the open window, the perfume of the drowsy flowers, the girl at the piano with her small drooping head and her perfectly trained and very pretty voice, the room, the soft silence, his mother leaning back in her crimson velvet chair, beating time to the music with her long jewelled, fingers,—all is remembered.,

Mona calls off the dogs. They rise unwillingly, and, walking into a distant corner, sit there, as though still awaiting a chance of taking some active part in the coming fray. After which Mona, in a few words, explains the situation to Geoffrey.