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When she is gone, Geoffrey walks impatiently up and down the small hall, conflicting emotions robbing him of the serenity that usually attends his footsteps. He is happy, yet full of a secret gnawing uneasiness that weighs upon him daily, hourly. Near Mona—when in her presence—a gladness that amounts almost to perfect happiness is his; apart from her is unrest. Love, although he is but just awakening to the fact, has laid his chubby hands upon him, and now holds him in thrall; so that no longer for him is that most desirable thing content,—which means indifference. Rather is he melancholy now and then, and inclined to look on life apart from Mona as a doubtful good. "I am very glad," says Mona, in a low tone. The other smiles faintly. He is evidently glad because of Geoffrey's words, but speech is now very nearly impossible to him. His attempt to rise, to point out the imaginary moonlight to Mona, has greatly wasted his small remaining stock of life, and now but a thin partition, frail and broken, lies between him and that inexorable Rubicon we all must one day pass..

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The simple query confounds him more than might a more elaborate one put by a clever worldling. Why indeed? I forget if I described it before, but it is a room quite perfect in every respect, a beautiful room, oak-panelled from floor to ceiling, with this peculiarity about it, that whereas three of the walls have their panels quite long, without a break from top to bottom, the fourth—that is, the one in which the fireplace has been inserted—has the panels of a smaller size, cut up into pieces from about one foot broad to two feet long. Then they do the grotto, and then Lady Lilias once more leads the way indoors. "Yes; I mean to,—before I return to England.".