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The panel is as good as a toy to them. They all open it by turns, and wonder over it, and rejoice in it. But Geoffrey, taking Mona aside, says curiously, and a little gravely,— "There is a limit to everything,—even my patience," he says, not looking at his mother. "Mona is myself, and even from you, my mother, whom I love and reverence, I will not take a disparaging word of her." "I am so glad you are poor," says Mona. "If you were rich or even well off, I should never consent,—never!".
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"You must come again very soon to see me," she says to Mona, and then goes with her all along the halls and passages, and actually stands upon the door-steps until they drive away. And Mona kisses hands gayly to her as they turn the corner of the avenue, and then tells Geoffrey that she thinks he has been very hard on Lady Lilias, because, though she is plainly quite mad, poor thing, there is certainly nothing to be disliked about her. He is now speaking with some difficulty, and is looking, not at her, but at the pattern he is drawing on the soft loam at his feet. "My dear, what I could do, I have done," says the little man, patting her hand in his kind fatherly fashion; "but he has gone beyond human skill. And now one thing: you have come here, I know, with the tender thought of soothing his last hours: therefore I entreat you to be calm and very quiet. Emotion will only distress him, and, if you feel too nervous, you know—perhaps—eh?" There was a poor young man. He was very poor. His father, his mother, and all his relations were dead. He had no lodge, no wife to tan his robes or make his moccasins. His clothes were always old and worn. He had no home. To-day he stopped in one lodge; then to-morrow he ate and slept in another. Thus he lived. He had a good face, but on his cheek was a bad scar..
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