Two conversations took place shortly after the scene in the ballroom¹, and to these we now draw attention. The first was in the hotel—in the private apartment of Colonel Marchbanks.

 

Having got rid of the ladies, the fiery² man of war led his victim—if we may so style him—into the apartment referred to, and shut the door. Without asking Lawrence to be seated, he stalked into the middle of the room.

 

“Now, senhor,” he said, wheeling round suddenly, and confronting Lawrence with a tremendous frown, “what do you mean by this?”

 

The look and the tone were such as the youth would in ordinary circumstances have resented, but he was far removed from ordinary circumstances just then. He was a victim! As such he looked at his questioner with perplexity in his countenance³, and said—

 

“I beg pardon?”

 

“What do you mean by your conduct, I say?” repeated the colonel, fiercely; for he mistook and was rendered more irritable⁴ by the youth’s apparent stupidity. “You have insulted my daughter in the ballroom—”

 

“Your daughter?” said Lawrence, with the air of a man whose eyes are dazzled by some sudden burst of strong light which he does not quite understand.

 

“Yes, sir. You know quite well what I mean,” cried the colonel, waxing angrier. “It may be true, for all I know or care, that you have saved her life more than once, as Pedro tells me, but—”

 

“I saved the life of an Indian girl,” interrupted Lawrence, gently, and gazing wistfully in the colonel’s angry face, as if he saw a distant landscape of marvellous beauty through it, “the daughter of a great chief, and a descendant of the Incas.”

 

“A descendant of the Hottentots, sir!” exclaimed the colonel, becoming furious, for he now thought the young man was attempting to jest; “the fact that my daughter—my daughter, sir, was persuaded to assume that useless and ridiculous disguise, and the fact that you rendered her assistance when so disguised, gives you no right to—to insult her in public, and—and—I have heard, sir, from Manuela herself, that—”

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