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"Father," said Kŭt-o-yĭs´, "have you no arrows?" But Mona in such a case as this prefers being "taken in" (though she may object to the phrase), and in process of time grows positively fond of Lady Rodney. The old man went to the camp and told his daughters of the meat that their husband had killed, and they went down to the killing ground. Then he went to his own lodge and said to his wife, "Hurry, now, put the stone kettle on the fire. I have brought home something from the killing.".

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"But surely until then Mona may lay claim to the title," says Violet, quickly. Mona, in spite of her haste, stoops to pluck a bunch of violets and place them in her breast, as she goes upon her way. Up to this the beauty of the early spring day has drawn her out of herself, and compelled her to forget her errand. But as she comes near to the place appointed for the interview, a strange repugnance to go forward and face Paul Rodney makes her steps slower and her eyes heavy. And even as she comprehends how strongly she shrinks from the meeting with him, she looks up and sees the chestnut-tree in front of her, and the stream rushing merrily to the ocean, and Paul Rodney standing in his favorite attitude with his arms folded and his sombre eyes fixed eagerly upon her. Of all this Mona is unaware; though even were it otherwise I doubt if a lie could come trippingly to her lips, or a nice evasion be balanced there at a moment's notice. Such foul things as untruths are unknown to her, and have no refuge in her heart. It is indeed fortunate that on this occasion she knows no reason why her reply should differ from the truth, because in that case I think she would stand still, and stammer sadly, and grow uncomfortably red, and otherwise betray the fact that she would lie if she knew how. "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.".