Mrs. Le Marchant's face, as Burgoyne catches sight of it now and then, as some turn in the road reveals the inmates of the closely-following second carriage to his view, wears that uneasy and disquieted look which always disfigures it when there is any question of her being brought into personal relation with strangers. And Elizabeth, of whom he has naturally a much nearer and more continuous view, is plainly ill-at-ease. Miss Wilson has not thought it necessary to mention to her lover how strong had been the opposition to her plan on the part of the objects of it; nor, that it was only because her proposal was made _vivâ voce_, and therefore unescapable, that it had been reluctantly accepted at last. At first Burgoyne had attributed Elizabeth's evident ill-at-easeness to her separation from Byng; but he presently discovers that it is what she possesses, and not what she lacks, that is the chief source of her _malaise_. During the latter part of his own personal intercourse with her she had been, when in his company, sometimes sad, sometimes wildly merry; but always entirely natural. Strange as it may seem, it is obviously the presence of Amelia that puts constraint upon her. Before the spirit of that most unterrifying of God's creatures, Elizabeth's "stands rebuked." Once or twice he sees her inborn gaiety--that gaiety whose existence he has so often noted as it struggles up from under the mysterious weight of sorrow laid upon it--spurt into life, only to be instantly killed by the reassumption of that nervous formal manner which not all Amelia's gentle efforts can break through.