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"He was the Duke of Lauderdale," says Mona, simply. "Here is his card." "It is really hardly worth talking about," she says, grandly. "I was foolish to lay so great a stress on such a trifling matter. It doesn't signify, not in the least. But—but," the blood mounting to her brow, "if ever you speak of it again,—if ever you even mention the word 'heather,'—I shall hate you!" The son-in-law did not know whether to believe this, and sent his oldest wife to ask the same question. When she came back and told him the same thing he believed that it was really a girl. Then he was glad, for he said to himself, "Now, when this child has grown up, I shall have another wife." He said to his youngest wife, "Take some back fat and pemmican over to your mother; she must be well fed now that she has to nurse this child.".
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He says this quickly, yet fearfully. If she should take his proposal badly, what shall he do? He stares with flattering persistency upon a distant donkey that adorns a neighboring field, and calmly awaits fate. It is for once kind to him. Mona, it is quite evident, fails to see any impropriety in his speech. "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." Lights are blazing, fiddles are sounding; all the world is abroad to-night. Even still, though the ball at the Towers has been opened long since by Mona and the Duke of Lauderdale, the flickering light of carriage-lamps is making the roads bright, by casting tiny rays upon the frosted ground. "Except that my hair is rolled up, and is too dark, isn't it? I have read about her, and I once saw a picture of Marguerite in the Gallery in Dublin, and it was very beautiful. I remember it brought tears to my eyes, and Aunt Anastasia said I was too fanciful to be happy. Her story is a very sad one, isn't it?".
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