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"Bonuvs," says Mona, mildly, going back naturally to the Irish term for those interesting babies. "I think the days are lengthening," says Violet, quietly, defending Mona unconsciously, and almost without knowing why. Yet in her heart—against her will as it were—she is making room for this Irish girl, who, with her great appealing eyes and tender ways, is not to be resisted. "Quite too late," acquiesces his mother, meaningly. "It is, to say the least of it, very strange, very unseemly. Out at this hour, and alone,—if, indeed, she is alone!".
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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. Altogether she is a picture, which, if slightly suggestive of artificiality, is yet very nearly perfection. Mona is therefore agreeably surprised, and, being—as all her nation is—susceptible to outward beauty, feels drawn towards this odd young woman in sickly green, with her canine friend beside her. She beckons to them, and, rising slowly, they advance towards Rodney, who involuntarily moves back a little. And in truth they are formidable foes, with their bloodshot eyes, and bristling coats, and huge jaws that, being now parted, show the gleaming teeth within. The painters were told what to do long, long ago, "in about the second generation after the first people.".
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