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"I'm off, miss," says the miscreant, and, true to his word, darts through the hedge again like a shaft from a bow, and, scurrying through the fields, is soon lost to sight. "What a shame!" says Mona, angrily. Then she changes her note, and says, with a soft, low, mocking laugh, "How I pity you!" Whereupon he goes "without," which means to his own hall-door that always stands wide open, and there acknowledges the presence of Mickey or Dinny, as the case may be, with a gracious nod. Mickey instantly removes his caubeen and tells "his honor" (regardless of the fact that his honor can tell this for himself) that "it is a gran' fine day," which as a rule is the first thing an Irish person will always say on greeting you, as though full of thankfulness to the powers above, in that sweet weather has been given..

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Whenever these lines come to me I think of Mona. Still she hesitates, though betraying no vulgar awkwardness or silly mauvaise honte. Indeed, the only sign of emotion she does show is a soft slow blush, that, mounting quickly, tips even her little ears with pink. As for the Australian, he has grown pale indeed, but is quite self-possessed, and the usual insolent line round his mouth has deepened. The dogs have by no means relaxed their vigil, but still crouch before him, ready for their deadly spring at any moment. It is a picture, almost a lifeless one, so motionless are all those that help to form it. The fading fire, the brilliant lamp, the open window with the sullen night beyond, Paul Rodney standing upon the hearthrug with folded arms, his dark insolent face lighted up with the excitement of what is yet to come, gazing defiantly at his cousin, who is staring back at him, pale but determined. And then Mona, in her soft white gown, somewhat in the foreground, with one arm (from which the loose sleeve of the dressing-gown has fallen back, leaving the fair rounded flesh to be seen) thrown around her husband's neck, is watching Rodney with an expression on her face that is half haughtiness, half nervous dread. Her hair has loosened, and is rippling over her shoulders, and down far below her waist; with her disengaged hand she is holding it back from her ear, hardly knowing how picturesque and striking is her attitude, and how it betrays each perfect curve of her lovely figure. "Come on," he says, with a low furious laugh, that has no mirth in it, but is full of reckless defiance. "But first," to Ryan, "I'll square accounts with you.".