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.
"Come in for a little while and rest yourself," says Mona, hospitably, "while I get the brandy and send it up to poor Kitty."
It strikes Geoffrey as part of the innate sweetness and genuineness of her disposition that, after all the many changes of thought that have passed through her brain on their return journey, her first concern on entering her own doors is for the poor unhappy creature in the cabin up yonder.
"Don't be long," he says, impulsively, as she disappears down a passage.
"I won't, then. Sure you can live alone with yourself for one minute," returns she, in very fine Irish; and, with a parting smile, sweet as nectar and far more dangerous, she goes.
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.
For what, after all, is love, but
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