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The "poor Maloney" has done it. She forgives him; perhaps because—sweet soul—harshness is always far from her. Mona takes no notice of his words, but still stands by the table, with her hands folded, her long white robes clinging to her, her eyes lowered, her whole demeanor like that of some mediæval saint. So thinks Rodney, who is gazing at her as though he would forever imprint upon his brain the remembrance of a vision as pure as it is perfect. "Oh, stay?" she says, faintly, detaining him both by word and gesture..

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"Perhaps. I hope you won't get into a mess there, and make me more unhappy than I am. We are uncomfortable enough without that. You know you are always doing something bizarre,—something rash and uncommon!" From the cabins pale wreaths of smoke rise slowly, scarce stirred by the passing wind. Going by one of these small tenements, before which the inevitable pig is wallowing in an unsavory pool, a voice comes to him, fresh and joyous, and plainly full of pleasure, that thrills through his whole being. It is to him what no other voice ever has been, or ever can be again. It is Mona's voice! 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. THE OTHER SOCIETIES.