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The ready tears spring into Mona's eyes. She is more deeply, passionately grateful to him for this small speech than he will ever know. "Now he is thinking of that horrid lawsuit again," says Nolly, regretfully, who is a really good sort all round. "Let us go to him." "I felt nothing, nothing, but the one thing that I was powerless to help you," says Mona, passionately; "that was bitter.".
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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. They have reached the farm again by this time, and Geoffrey, taking up the guns he had left behind the hall door,—or what old Scully is pleased to call the front door in contradistinction to the back door, through which he is in the habit of making his exits and entrances,—holds out his hand to bid her good-by. "Promise me you will not go back to Coolnagurtheen to-night?" she says, earnestly. "At the inn, down in the village, they will give you a bed." But, though "lost to sight," to memory he is most unpleasantly "dear." Standing alone in the middle of the deserted field, Mona pulls to pieces, in a jerky, fretful fashion, a blade of grass she has been idly holding during the late warm discussion. She is honestly very much frightened at what she has done, but obstinately declines to acknowledge it even to her own heart. In a foolish but natural manner she tries to deceive herself into the belief that what has happened has been much to her own advantage, and it will be a strict wisdom to rejoice over it..
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