“Immalee, whose eyes were averted, did not see this expression, and she replied, “I know not, but you have taught me the joy of grief; before I saw you I only smiled, but since I saw you, I weep, and my tears are delicious. Oh! they are far different from those I shed for the setting sun, or the faded rose! And yet I know not--” And the poor Indian, oppressed by emotions she could neither understand or express, clasped her hands on her bosom, as if to hide the secret of its new palpitations, and, with the instinctive diffidence of her purity, signified the change of her feelings, by retiring a few steps from her companion, and casting on the earth eyes which could contain their tears no longer. The stranger appeared troubled,--an emotion new to himself agitated him for a moment,--then a smile of self-disdain curled his lip, as if he reproached himself for the indulgence of human feeling even for a moment. Again his features relaxed, as he turned to the bending and averted form of Immalee, and he seemed like one conscious of agony of soul himself, yet inclined to sport with the agony of another’s. This union of inward despair and outward levity is not unnatural. Smiles are the legitimate offspring of happiness, but laughter is often the misbegotten child of madness, that mocks its parent to her face. With such an expression he turned towards her, and asked, “But what is your meaning, Immalee?”--A long pause followed this question, and at length the Indian answered, “I know not,” with that natural and delicious art which teaches the sex to disclose their meaning in words that seem to contradict it. “I know not,” means, “I know too well.” Her companion understood this, and enjoyed his anticipated triumph. “And why do your tears flow, Immalee?”--“I know not,” said the poor Indian, and her tears flowed faster at the question.