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Her tone is only too significant. His face has grown black again. A heavy frown sits on his brow. "Mrs. Rodney will not mind wasting a quarter of an hour on an old woman," says the duchess, equably. "Of the last time I heard any one sing," returns he, slowly. "I was comparing that singer very unfavorably with you. Your voice is so unlike what one usually hears in drawing-rooms.".
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Rodney, with the boy at his side, is covering ground in a state of blissful uncertainty. He may be a mile from home, or ten miles, for all he knows, and the boy seems none the wiser. "Oh, I dare say. Yes, sometimes: but—" she hesitates, and this time the expression of her face cannot be misunderstood: dejection betrays itself in every line—"but it is not so with you, is it? No aunt has left you anything?" "Not even to you," very gravely. There is reproof in her tone. They are standing somewhat apart, and her eyes have been turned from him. Now, as she says this, she changes her position slightly, and looks at him very earnestly. From the distant ballroom the sound of the dying music comes sadly, sweetly; a weeping fountain in a corner mourns bitterly, as it seems to Mona, tear by tear, perhaps for some lost nymph. In manner he is somewhat indolent, silent, perhaps lazy. But there is about him a subtle charm that endears him to all who know him. Perhaps it is his innate horror of offending the feelings of any one, be he great or small, and perhaps it is his inborn knowledge of humanity, and the power he possesses (with most other sensitive people) of being able to read the thoughts of those with whom he comes in contact, that enables him to avoid all such offence. Perhaps it is his honesty, and straightforwardness, and general, if inactive, kindliness of disposition..
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