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The old man turned away, leaning heavily upon Doña Rita, the wife of the administrador, who led him tenderly away, and a few minutes later he was sitting smiling at her side, while without were heard the farewell cries of the women. “May God go with you, Niña! May you soon return! Adios, Niña! more beautiful than our patron saint! Adios, and joy be with thee!” And in the midst of such good wishes, as Herlinda still leaned from the window, a smile upon her lip, her hand waving a farewell, the carriage drove away and the people dispersed; leaving Pedro, the gate-keeper, standing motionless in the shadow of the great door-post, his eyes riveted on the sands at his feet, but seeing still the glance of agony, of warning, of entreaty, which had darted from Herlinda’s eyes, and seemed to scorch his own.

VII.

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Upon the death of Mademoiselle La Croix, or rather perhaps from the time of her return to the hacienda after her ineffectual quest, Doña Feliz had virtually become the duenna of Herlinda. Not that such an office was formally recognized or required in the seclusion of Tres Hermanos, but it was nevertheless true that Herlinda had seldom found herself alone, even in the walled garden. Though she paced its narrow paths without companionship, she had been aware that her mother or Doña Feliz lingered near; and it was this consciousness that had steeled her outwardly, and forced her to restrain the passionate despair that under other circumstances would have burst forth to relieve the tension of mind and brain. When she at last roused from the apathy of despair, her days became periods of speechless agony, but sometimes at night, when she had believed that Feliz—who, since Carmen’s departure, had occupied the adjacent room—was asleep, for a few brief moments she had yielded to the demands of her grief, and given way to sobs and tears, to throw herself finally prostrate before the little altar, where she kept the lamp constantly burning before the Mother of Sorrows. Thence Feliz at times had raised her, and led her to her bed,—chill, unresisting, more dead than alive, yet putting aside the arm that would have supported her, and by mute gestures entreating to be left to her misery.

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