Mrs. Geoffrey Part 17

"Oh, may I niver agin see the light," cries this excitable damsel, rushing out to Mona, "if I iver hoped to lay eyes on yer face again!

Where were ye at all, darlin'? An' I breakin' me heart wid fear for ye.

Did ye know Tim Ryan was out to-night? When I heerd tell of that from that boy of the Cantys', I thought I'd have dhropped. 'Tis no good he's up to. Come in, asth.o.r.e: you must be near kilt with the cowld."

"No; I am quite warm," says Mona, in a low, sad tone.

"'Tis I've bin prayin' for ye," says Biddy, taking her mistress's hand and kissing it fondly. "On me bended knees I was with the blessid beads for the last two hours. An' shure I've had me reward, now I see ye safe home agin. But indeed, Miss Mona, 'tis a sore time I've had uv it."

"And Uncle Brian?" asks Mona, fearfully.

"Oh, I got the ould man to bed hours ago; for I knew if he stayed up that he'd get mortial wearin', an' be the death of us if he knew ye were out so late. An' truth to say, Miss Mona," changing her tone from one of extreme joy and thankfulness to another of the deepest censure, "'twas the world an' all of bad behavior to be galavantin' out at this hour."

"The night was so lovely,--so mild," says Mona, faintly, concealment in any form being new to her, and very foreign to her truthful nature; "and I knew Mickey would tell you it was all right."

"An' what brought him home, the murdherin' scamp," says Miss Bridget, with more vehemence than politeness, "instid of stayin' wid ye to see ye came to no harm?"

"He had to see the mare made up, and the pigs fed," says Mona.

"Is that what he towld ye? Oh, the blaggard!" says Bridget. "An' nary sign did he do since his return, but sit be the fire an' smoke his dhudheen. Oh, be the powers of Moll Kelly, but I'll pay him out for his lies? He's soakin' it now, anyhow, as I sint him up to the top of the hill agin, to see what had become of ye."

"Bridget," says Mona, "will you go in and get me a cup of tea before I go to bed? I am tired."

"I will, darlin', shurely," says Bridget, who adores the ground she walks on; and then, turning, she leaves her. Mona lays her hand on Geoffrey's arm.

"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, my dearest, why? There is not the slightest danger now, and my horse is a good one, and I sha'n't be any time getting----"

"I won't hear of it!" says Mona, interrupting him vehemently. "You would have to go up _that road_ again," with a strong shudder. "I shall not go indoors until you give me your honor you will stay in the village to-night."

Seeing the poor child's terrible fear and anxiety, and that she is completely overwrought, he gives way, and lets her have the desired promise.

"Now, that is good of you," she says, gratefully, and then, as he stoops to kiss her, she throws her arms around his neck and bursts into tears.

"You are worn out, my love, my sweetheart," says Geoffrey, very tenderly, speaking to her as though she is in years the child that, in her soul, she truly is. "Come, Mona, you will not cry on this night of all others that has made me yours and you mine! If this thought made you as happy as it makes me, you _could_ not cry. Now lift your head, and let me look at you. There! you have given yourself to me, darling, and there is a good life, I trust, before us; so let us dwell on that, and forget all minor evils. Together we can defy trouble!"

"Yes, that is a thought to dry all tears," she says, very sweetly, checking her sobs and raising her face, on which is dawning an adorable smile. Then, sighing heavily,--a sigh of utter exhaustion,--"You have done me good," she says. "I shall sleep now; and you my dearest, will be safe. Good-night until to-morrow!"

"How many hours there are in the night that we never count!" says Geoffrey, impatiently. "Good-night, Mona! To-morrow's dawn I shall call my dearest friend."

CHAPTER VIII.

HOW GEOFFREY AND MONA PLAN A TRANSFORMATION SCENE.

Time, with lovers, "flies with swallows' wings;" they neither feel nor heed it as it pa.s.ses, so all too full of haste the moments seem. They are to them replete with love and happiness and sweet content. To-day is an accomplished joy, and to-morrow will dawn for no other purpose but to bring them together. So they think and so they believe.

Rodney has interviewed the old man, her uncle; has told him of his great and lasting love for this pearl among women; has described in a very few words, and without bombast, his admiration for Mona; and Brian Scully (though with sufficient national pride to suppress all undue delight at the young man's proposal) has given a hearty consent to their union, and is in reality flattered and pleased beyond measure at this match for "his girl." For, no matter how the Irish may rebel against landlordism and aristocracy in general, deep down in their hearts lies rooted an undying fealty to old blood.

To his mother, however, he has sent no word of Mona, knowing only too well how the news of his approaching marriage with this "outer barbarian" (as she will certainly deem his darling) will be received. It is not cowardice that holds his pen, as, were all the world to kneel at his feet and implore him or bribe him to renounce his love, all such pleading and bribing would be in vain. It is that, knowing argument to be useless, he puts off the evil hour that may bring pain to his mother to the last moment.

When she knows Mona she will love her,--who could help it? so he argues; and for this reason he keeps silence until such time as, his marriage being a _fait accompli_, hopeless expostulation will be of no avail, and will, therefore, be suppressed.

Meanwhile, the hours go by "laden with golden grain." Every day makes Mona dearer and more dear, her sweet and guileless nature being one calculated to create, with growing knowledge, an increasing admiration and tenderness. Indeed, each happy afternoon spent with her serves but to forge another link in the chain that binds him to her.

To-day is "so cool, so calm, so bright," that Geoffrey's heart grows glad within him as he walks along the road that leads to the farm, his gun upon his shoulder, his trusty dog at his heels.

All through the air the smell of heather, sweet and fragrant, reigns.

Far down, miles away, the waves rush inland, glinting and glistening in the sunlight.

"Blue roll the waters, blue the sky Spreads like an ocean hung on high."

The birds, as though once more led by the balmy mildness of the day into the belief that summer has not yet forsaken them, are singing in the topmost branches of the trees, from which, with every pa.s.sing breeze, the leaves fall lightly.

From the cabins pale wreaths of smoke rise slowly, scarce stirred by the pa.s.sing wind. Going by one of these small tenements, before which the inevitable pig is wallowing in an unsavory pool, a voice comes to him, fresh and joyous, and plainly full of pleasure, that thrills through his whole being. It is to him what no other voice ever has been, or ever can be again. It is Mona's voice!

Again she calls to him from within.

"Is it you?" she says. "Come in here, Geoffrey. I want you."

How sweet it is to be wanted by those we love! Geoffrey, lowering his gun, stoops and enters the lowly cabin (which, to say the truth, is rather uninviting than otherwise) with more alacrity than he would show if asked to enter the queen's palace. Yet what is a palace but the abode of a sovereign? and for the time being, at least, Rodney's sovereign is in possession of this humble dwelling. So it becomes sacred, and almost desirable, in his eyes.

She is sitting before a spinning-wheel, and is deftly drawing the wool through her fingers; brown little fingers they are, but none the less dear in his sight.

"I'm here," she cries, in the glad happy tones that have been ringing their changes in his heart all day.

An old crone is sitting over a turf fire that glows and burns dimly in its subdued fashion. Hanging over it is a three-legged pot, in which boil the "praties" for the "boys'" dinners, who will be coming home presently from their work.

"What luck to find you here," says Geoffrey, stooping over the industrious spinner, and (after the slightest hesitation) kissing her fondly in spite of the presence of the old woman, who is regarding them with silent curiosity, largely mingled with admiration. The ancient dame sees plainly nothing strange in this embrace of Geoffrey's but rather something sweet and to be approved. She smiles amiably, and nods her old head, and mumbles some quaint Irish phrase about love and courtship and happy youth, as though the very sight of these handsome lovers fills her withered breast with glad recollections of bygone days, when she, too, had her "man" and her golden hopes. For deep down in the hearts of all the sons and daughters of Ireland, whether they be young or old, is a spice of romance living and inextinguishable.

Rising, the old dame takes a chair, dusts it, and presents it to the stranger, with a courtesy and a wish that he will make himself welcome.

Then she goes back again to the chimney-corner, and taking up the bellows, blows the fire beneath the potatoes, turning her back in this manner upon the young people with a natural delicacy worthy of better birth and better education.

Mona, who has blushed rosy red at his kiss, is now beaming on her lover, and has drawn back her skirts to admit of his coming a little closer to her. He is not slow to avail himself of this invitation, and is now sitting with his arm thrown across the back of the wooden chair that holds Mona, and with eyes full of heartfelt gladness fixed upon her.

"You look like Marguerite. A very lovely Marguerite," says Geoffrey, idly, gazing at her rather dreamily.

"Except that my hair is rolled up, and is too dark, isn't it? I have read about her, and I once saw a picture of Marguerite in the Gallery in Dublin, and it was very beautiful. I remember it brought tears to my eyes, and Aunt Anastasia said I was too fanciful to be happy. Her story is a very sad one, isn't it?"

"Very. And you are not a bit like her, after all," says Geoffrey, with sudden compunction, "because you are going to be as happy as the days are long, if I can make you so."

"One must not hope for perfect happiness on this earth," says Mona, gravely; "but at least I know," with a soft and trusting glance at him, "I shall be happier than most people."

"What a darling you are!" says Rodney, in a low tone; and then something else follows, that, had she seen it, would have caused the weatherbeaten old person at the fire another thrill of tender recollection.

"What are you doing?" asks Geoffrey, presently, when they have returned to everyday life.