She shakes herself free of him. A moment her eyes blaze into his. "No!"

she says again, trembling from head to foot. Another moment, and the door has closed behind her.

CHAPTER XIV.

"The old, old pain of earth."

It is now close upon midnight--that midnight of the warmer months when day sets its light finger on the fringes of it. There is a sighing through the woods, a murmur from the everlasting sea, and though Diana still rides high in heaven with her handmaiden Venus by her side, yet in a little while her glory will be departed, and her one rival, the sun, will push her from her throne.

The gleaming lamps among the trees-are scarcely so bright as they were an hour ago, the faint sighing of the wind that heralds the morning is shaking them to and fro. A silly bird has waked, and is chirping in a foolish fashion among the rhododendrons, where, in a secluded path, Joyce and d.i.c.ky Browne are wandering somewhat aimlessly. Before them lies a turn in the path that leads presumably into the dark wood, darkest of all at this hour, and where presumably, too, no one has ventured, though one should never presume about hidden corners.

"I can't think what you see in him," says Mr. Browne, after a big pause.

"I'd say nothing if his face wasn't so fat, but if I were you, that would condemn him in my eyes."

"I can't see that his face is fatter than yours," says Miss Kavanagh, with what she fondly believes perfect indifference.

"Neither is it," says Mr. Browne meekly, "but my dear girl, there lies the gist of my argument. You have condemned me. All my devotion has been scouted by you. I don't pretend to be the wreck still that once by your cruelty you made me, but----"

"Oh, that will do," says Joyce, unfeelingly. "As for Mr. Beauclerk, I don't know why you should imagine I see anything in him."

"Well, I confess I can't quite understand it myself. He couldn't hold a candle to--er--well, several other fellows I could name, myself not included, Miss Kavanagh, so that supercilious smile is thrown away. He may be good to look at, there is certainly plenty of him on which to feast the eye, but to fall in love with----"

"What do you mean, d.i.c.ky? What are you speaking about--do you know?

You," with a deadly desire to insult him, "must be in love yourself to--to maunder as you are doing?"

"I'm not," says Mr. Browne, "that's the queer part of it. I don't know what's the matter with me. Ever since you blighted me, I have lain fallow, as it were. I," dejectedly, "haven't been in love for quite a long, long time now. I miss it--I can't explain it. I can't be well, can I? I," anxiously, "I don't look well, do I?"

"I never saw you looking better," with unkind force.

"Ah!" sadly, "that's because you don't give your attention to me. It's my opinion that I'm fading away to the land o' the leal, like old What-you-may-call-'em."

"If that's the way he did it, it must have taken him some time. In fact, he must be still at it," says Miss Kavanagh, heartlessly.

By this time they had come to the end of the walk, and have turned the corner. Before them lies a small gra.s.s plot surrounded by evergreens, a cosy nook not to be suspected by any one until quite close upon it. It bursts upon the casual pedestrian, indeed, as a charming surprise. There is something warm, friendly, confidential about it--something safe.

Beyond lies the gloomy wood, embedded in night, but here the moonbeams play. Some one with a thoughtful care for loving souls has placed in this excellent spot for flirtation a comfortable garden seat, just barely large enough for two, sternly indicative of being far too small far the leanest three.

Upon this delightful seat four eyes now concentrate themselves. As if by one consent, although unconsciously, Mr. Browne and his companion come to a dead stop. The unoffending seat holds them in thrall.

Upon it, evidently on the best of terms with each other, are two people.

One is Miss Maliphant, the other Mr. Beauclerk. They are whispering "soft and low." Miss Maliphant is looking, perhaps, a little confused--for her--and the cause of the small confusion is transparent.

Beauclerk's hand is tightly closed over hers, and even as d.i.c.ky and Miss Kavanagh gaze spellbound at them, he lifts the ma.s.sive hand of the heiress and imprints a lingering kiss upon it.

"Come away," says d.i.c.ky, touching Joyce's arm. "Run for your life, but softly."

He and she have been standing in shadow, protected from the view of the other two by a crimson rhododendron. Joyce starts as he touches her, as one might who is roused from an ugly dream, and then follows him swiftly, but lightly, back to the path they had forsaken.

She is trembling in a nervous fashion, that angers herself cruelly, and something of her suppressed emotion becomes known to Mr. Browne.

Perhaps, being a friend of hers, it angers him, too.

"What strange freaks moonbeams play," says he, with a truly delightful air of saying nothing in particular. "I could have sworn that just then I saw Beauclerk kissing Miss Maliphant's hand."

No answer. There is a little silence, fraught with what angry grief who can tell? d.i.c.ky, who is not all froth, and is capable of a liking here and there, is conscious of, and is sorry for, the nervous tremor that shakes the small hand he has drawn within his arm; but he is so far a philosopher that he tells himself it is but a little thing in her life; she can bear it; she will recover from it; "and in time forget that she had been ever ill," says this good-natured skeptic to himself.

Joyce, who has evidently been struggling with herself, and has now conquered her first feeling, turns to him.

"You should not condemn the moonbeams unheard," says she, bravely, with the ghost of a little smile. "The evidence of two impartial witnesses should count in their favor."

"But, my dear girl, consider," says Mr. Browne, mildly. "If it had been anyone else's hand! I could then accuse the moonbeams of a secondary offense, and say that their influence alone, which we all know has a maddening effect, had driven him to so bold a deed. But not madness itself could inspire me with a longing to kiss her hand."

"She is a very good girl, and I like her," says Joyce, with a suspicious vehemence.

"So do I; so much, indeed, that I should shrink from calling her a good girl. It is very d.a.m.natory, you know. You could hardly say anything more prejudicial. It at once precludes the idea of her having any such minor virtues as grace, beauty, wit, etc. Well, granted she is 'a good girl,'

that doesn't give her pretty hands, does it? As a rule, I think that all good girls have gigantic points. I don't think I would care to kiss Miss Maliphant's hands, even if she would let me."

"She is a very honest, kind-hearted girl," says Miss Kavanagh a little heavily. It suggests itself to Mr. Browne that she has not been listening to him.

"And a very rich one."

"I never think about that when I am with her. I couldn't."

"Beauclerk could," says Mr. Browne, tersely.

There is another rather long silence, and d.i.c.ky is beginning to think he has gone a trifle too far, and that Miss Kavanagh will cut him to-morrow, when she speaks again. Her tone is composed, but icy enough to freeze him.

"It is a mistake," says she, "to discuss people towards whom one feels a natural antagonism. It leads, one, perhaps, to say more than one actually means. One is apt to grow unjust. I would never discuss Mr.

Beauclerk if I were you. You don't like him."

"Well," says Mr. Browne, thoughtfully, "since you put it to me, I confess I think he is the most rubbishy person I ever met!"

After this sweeping opinion, conversation comes to a deadlock. It is not resumed. Reaching the stone steps leading to the conservatory, they ascend them in silence, and reach that perfumed retreat to find Dysart on the threshold.

"Oh, there you are!" cries he to Miss Kavanagh. "I thought you lost for good and all!" His face has lighted up. Perhaps he feels a sense of relief at finding her with d.i.c.ky, who is warranted harmless. He looks almost handsome, better than handsome! The very soul of honesty shines, in his kind eyes.

"Oh! it is hard to lose what n.o.body wants," says Joyce in a would-be playful tone, but something in the drawn, pained lines about her mouth belies her mirth. Dysart, after a swift examination of her face, takes her hand and draws it within his arm.

"The last was our dance," says he.

"Speak kindly of the dead," says Mr. Browne, as he beats a hasty retreat.

CHAPTER XV.

"Heigh ho! sing heigh ho! unto the green holly; Most friendship is feigning, most loving is folly."