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Copyright © 2013 Pearson Education, Inc. publishing as Prentice Hall
1
Chapter 7: ATTITUDES AND PERSUASION
CHAPTER OBJECTIVES
When students have finished reading this chapter, they should understand why:
1. It is important for consumer researchers to understand the nature and power of attitudes.
2. Attitudes are more complex than they first appear.
3. We form attitudes in several ways.
4. A need to maintain consistency among all our attitudinal components motivates us to alter
one or more of them.
5. We use attitude models to identify specific components and combine them to predict a
consumer’s overall attitude toward a product or brand.
6. The communications model identifies several important components for marketers when they
try to change consumers’ attitudes toward products and services.
7. The consumer who processes a message is not necessarily the passive receiver of information
marketers once believed him to be.
8. Several factors influence the effectiveness of a message source.
9. The way a marketer structures his message determines how persuasive it will be.
10. Audience characteristics help to determine whether the nature of the source or the message
itself will be relatively more effective.
CHAPTER SUMMARY
It is important for consumer researchers to understand the nature and power of attitudes.
An attitude is a predisposition to evaluate an object or product positively or negatively. We form
attitudes toward products and services that often determine whether we will purchase them or
not.
Attitudes are more complex than they first appear.
Three components make up an attitude: beliefs, affect, and behavioral intentions.

Section 2: Consumers as Individuals
2
We form attitudes several ways.
Attitude researchers traditionally assumed that we learn attitudes in a fixed sequence: First, we
form beliefs (cognitions) about an attitude object, then we evaluate that object (affect), and then
we take some action (behavior). Depending on the consumer’s level of involvement and the
circumstances, though, his attitudes can result from other hierarchies of effects as well. A key to
attitude formation is the function the attitude holds for the consumer (e.g., is it utilitarian or ego
defensive?).
A need to maintain consistency among all of our attitudinal components motivates us to alter one
or more of them.
One organizing principle of attitude formation is the importance of consistency among attitudinal
components—that is, we alter some parts of an attitude to be in line with others. Such theoretical
approaches to attitudes as cognitive dissonance theory, self-perception theory, and balance
theory stress the vital role of our need for consistency.
We use attitude models to identify specific components and combine them to predict a
consumer’s overall attitude toward a product or brand.
Multi-attribute attitude models underscore the complexity of attitudes—they specify that we
identify and combine a set of beliefs and evaluations to predict an overall attitude. Researchers
integrate factors such as subjective norms and the specificity of attitude scales into attitude
measures to improve predictability.
The communications model identifies several important components for marketers when they try
to change consumers’ attitudes toward products and services.
Persuasion refers to an attempt to change consumers’ attitudes. The communications model
specifies the elements marketers need to transmit meaning. These include a source, a message, a
medium, a receiver, and feedback.
The consumer who processes a message is not necessarily the passive receiver of information
marketers once believed him or her to be.
The traditional view of communications regards the perceiver as a passive element in the
process. New developments in interactive communications highlight the need to consider the
active roles a consumer plays when he or she obtains product information and builds a
relationship with a company. Advocates of permission marketing argue that it is more effective
to send messages to consumers who have already indicated an interest in learning about a
product than trying to hit people “cold” with these solicitations.
Several factors influence the effectiveness of a message source.
Two important characteristics that determine the effectiveness of a source are its attractiveness
and credibility. Although celebrities often serve this purpose, their credibility is not always as
strong as marketers hope. Marketing messages that consumers perceive as buzz (those that are
authentic and consumer generated) tend to be more effective than those categorized as hype
(those that are inauthentic, biased, and company generated).
The way a marketer structures his or her message determines how persuasive it will be.
Some elements of a message that help to determine its effectiveness include the following: The

Chapter 7: Attitudes and Persuasion
3
marketer conveys the message in words or pictures; the message employs an emotional or a
rational appeal; how often it’s repeated; whether it draws a conclusion; whether it presents both
sides of the argument; and whether the message includes fear, humor, or sexual references.
Advertising messages often incorporate elements from art or literature, such as dramas, lectures,
metaphors, allegories, and resonance.
Audience characteristics help to determine whether the nature of the source or the message itself
will be relatively more effective.
The relative influence of the source versus the message depends on the receiver’s level of
involvement with the communication. The elaboration likelihood model (ELM) specifies that
source effects are more likely to sway a less-involved consumer, whereas a more-involved
consumer will be more likely to attend to and process components of the actual message.
CHAPTER OUTLINE
I. The Power of Attitudes
A. An attitude is a lasting, general evaluation of people (including oneself), objects,
advertisements, or issues.
1. Anything that one has an attitude toward is called an attitude object (Ao).
2. An attitude is lasting – it tends to endure over time and is general – it applies to more
than a momentary event.
Discussion Opportunity—Ask the class to brainstorm all the ways the term attitude is used in our
society. List them on the board.
3. The functional theory of attitudes was initially developed by psychologist Daniel
Katz to explain how attitudes facilitate social behavior. The following attitude
functions were identified by Katz:
a. Utilitarian function—based on reward and punishment; straightforward product
benefits.
b. Value-expressive function—goes to the consumer’s central values or self-
concept.
c. Ego-defensive function—protects the person from external threats or internal
feelings.
d. Knowledge function—the need for order, meaning, and structure.
Discussion Opportunity—Ask students to bring in advertisements that display each of the attitude
functions.
B. The ABC Model of Attitudes
1. An attitude has three components: affect, behavior, and cognition.
a. Affect refers to the way a consumer feels about an attitude object.

4
b. Behavior involves the person’s intentions to do something with regard to an
attitude object (this intention always results in behavior).
c. Cognition refers to the beliefs a consumer has about an attitude object.
2. The ABC model emphasizes the interrelationships among knowing, feeling and
doing.
Discussion Opportunity—Construct an example to illustrate each of the components of the ABC
model of attitudes.
Discussion Opportunity—Ask: Which of the three components of the ABC model of attitudes do
you believe is the most common explanation of attitudes? Why?
C. Hierarchies of Effects
1. Attitude researchers have developed the concept of a hierarchy of effects to explain
the relative impact of the three components of attitudes.
Discussion Opportunity—Ask: As far as you are concerned, which of the ABCs (in the
hierarchy of effects model) do you believe has the strongest influence over you when you
want to buy a CD player? When you take a special friend out to lunch? When you take this
same friend out to dinner? When you buy a soft drink? When you turn on the radio and the
Rush Limbaugh or Howard Stern program is on? Explain your reasoning in each case.
2. The three hierarchies are:
• The standard learning hierarchy—Think→ Feel → Do: (CAB) this is a problem-
solving process, so it assumes the consumer is highly involved, motivated to seek
out information, weigh alternatives and come to a thoughtful decision.
• The low-involvement hierarchy—Do → Feel → Think: (BAC) consumer acts on
limited knowledge and forms an evaluation after she buys the product.
• The experiential hierarchy—Feel → Do → Think: (ABC) consumer acts based
on emotional reactions. (this is correct in the diagram right now but incorrect in
the text of the chapter, where it says Feel → Think → Do)
*****Use Figure 7.1 Here*****
Discussion Opportunity—Give an illustration of the three different hierarchy of effect models.
Ask students how each of them apply to consumer behavior?
Discussion Opportunity—Ask: How can the three different hierarchy of effects models be applied
to e-commerce and shopping on the Internet? Give illustrations of how marketers might use this
information to make better decisions.
II. How Do We Form Attitudes?
A. Attitudes can form through:
1. Classical conditioning—e.g. pairing an attitude object (brand name) with a jingle.

5
2. Instrumental conditioning—use of the attitude object is reinforced.
3. Leaning through complex cognitive processes—e.g. one learns what to do in social
situations by modeling the behavior of friends and media endorsers.
Discussion Opportunity—Pick one area and demonstrate how you think you learned an attitude.
Give examples to illustrate. How could a marketer have influenced you?
B. All Attitudes Are Not Created Equal
1. Consumers vary in their commitment to an attitude; the degree of commitment is
related to their level of involvement with the attitude object.
2. There are three levels of commitment:
a. Compliance means that we form an attitude because it helps us to gain rewards or
avoid punishment; this type of commitment requires the lowest level of
involvement.
b. Identification occurs when we form an attitude to conform to another person or
group’s expectations (e.g. imitating the behavior or desirable models).
c. Internalization means that deep-seated attitudes have become part of our value
system.
Discussion Opportunity—Give an illustration of how attitudes were formed by you in each of the
three ways (levels of commitment). Which were the stronger attitudes? Which were eventually
replaced?
C. The Consistency Principle
1. According to the principle of cognitive consistency, consumers value harmony
among their thoughts, feelings, and behaviors, and they are motivated to maintain
uniformity among these elements. People will change thoughts, feelings or behaviors
to remain consistent with prior experiences.
2. The theory of cognitive dissonance states that when a person is confronted with
inconsistencies among attitudes or behaviors, he or she will take some action to
resolve this “dissonance,” perhaps by changing an attitude or modifying a behavior.
People seek to reduce dissonant behavior or feelings.
a. The theory focuses on situations in which two cognitive elements clash. A
cognitive element can be something a person believes about himself, a
behavior he performs, or an observation about his surroundings.
b. The magnitude of dissonance depends on the importance and number of
dissonant elements, so dissonance is more likely in high involvement
situations where there is more pressure to reduce inconsistencies.
c. Eliminating, adding, or changing elements can reduce dissonance.
d. Dissonance theory can help to explain why evaluations of a product tend to
increase after we buy the product (in response to post purchase dissonance).
e. Marketers can provide customers with additional reinforcement after they
purchase to help customers justify the decisions after the fact.

6
*****Use Consumer Behavior Challenge Here *****
Apply #1
Discussion Opportunity—Ask students to demonstrate when the principle of cognitive
consistency has occurred in their purchase decisions. Repeat the question for the theory of
cognitive dissonance. Ask them if they ever catch themselves reading ads (e.g., for a car) for
products that they have already purchased?
Discussion Opportunity—Find an advertisement that illustrates the theory of cognitive
dissonance and the principle of cognitive consistency. Show them to the class and ask how the
advertisers use these theories in their ads. How effective is each ad?
D. Self-Perception Theory
1. Self-perception theory provides an alternative explanation of dissonance effects. It
assumes that people use observations of their own behavior to determine what their
attitudes are. We maintain consistency as we infer we have a positive attitude toward
an object if we bought/consumed it in the past.
2. Self-perception theory helps to explain the effectiveness of a strategy called the foot-
in-the-door technique. This technique explains that people are more likely to comply
with a big request if they agree to a smaller one.
3. Recent research suggests when consumers are asked to make a series of cognitively
demanding choices, they deplete resources needed to monitor behavior and opt for
easier decisions. This may result in a consumer saying yes to a salesperson instead of
looking for reasons to say no.
Discussion Opportunity—Ask: Think of an illustration when someone has used the foot-in-the-
door approach on you. Did you buy the product? Why or why not?
E. Social Judgment Theory
1. Social judgment theory stipulates that (like self-perception theory) people assimilate
information in light of what they know or feel. The initial attitude acts as a frame of
reference, and new information is categorized in terms of this existing standard.
2. People find information to be acceptable or unacceptable. They form latitudes of
acceptance and rejection around an attitude standard.
3. Messages that fall within the latitude of acceptance tend to be seen as more consistent
with one’s position than they actually are (the assimilation effect), and messages
within the latitude of rejection tend to be seen even farther from one’s own position
than they actually are (the contrast effect).
Discussion Opportunity—Create a demonstration that illustrates the latitudes of acceptance and
rejection for some product category as evidenced by your attitudes toward the object. Ask
students if they can think of marketing activities that illustrate the topic.

7
Discussion Opportunity—Have students apply the concept of latitudes of acceptance and
rejection to shopping on the Internet. Have them explain what they did and why the concept
might apply.
F. Balance theory
1. Balance theory considers relations among elements a person might perceive as
belonging together. A person alters attitudes to ensure these relationships remain
consistent/balanced.
2. This perspective includes triads. Each contains:
a. A person and his or her perceptions.
b. An attitude object.
c. Some other person or object.
3. Elements are linked by a unit relation (we think the person is connected to an attitude
object; like a belief) or a sentiment relation (a person expresses liking or disliking for
an attitude object).
4. Perceptions (under balance theory) are either positive or negative. Perceptions are
altered to make them consistent. When we have balanced perceptions, attitudes are
stable.
*****Use Figure 7.2 Here*****
Discussion Opportunity—Ask students to think of a consumer behavior situation where balance
theory would seem to be operating.
III. Attitude Models
Attitude models specify and explore the different elements that affect attitudes.
A. Multi-attribute attitude models assume a consumer’s attitude toward an attitude object
depends on the beliefs she has about several of its attributes, which can be identified and
used to derive a measure of overall attitude.
1. Basic multi-attribute models specify attributes (characteristics of the Ao), beliefs
(cognitions about the specific Ao), and importance weights (the relative priority
of an attribute to the consumer).
Discussion Opportunity—Create a brief illustration of a basic multi-attribute model. Explain
your reasoning.
2. The Fishbein Model is the most influential multi -attribute model and measures three
components of attitude: salient beliefs (beliefs about the object a person considers
during evaluation); object-attribute linkages (probability that a particular object has
an important attribute); and evaluation of each of the important attributes. Attitudes
are equal to the sum of the beliefs about each attribute multiplied times the
importance of each attribute.

8
*****Use Table 7.1 Here *****
3. Strategic applications of the multi-attribute model would include:
a. Capitalize on relative advantage.
b. Strengthen perceived product/attribute linkages.
c. Add a new attribute.
d. Influence competitors’ ratings.
Apply #3
Discussion Opportunity—Create an illustration to apply to the Fishbein model. Then, using the
material and formula from the chapter, have the students work through this application.
B. Do Attitudes Predict Behavior?
A person’s attitude is not a very good predictor of behavior.
1. The Extended Fishbein model is called the theory of reasoned action. Additions
include:
a. Intentions versus behavior—strongly held attitudes are distinguished from weakly
held attitudes; past behavior is a better predictor of future behavior than
intentions.
b. Social pressure—others have a strong influence on behavior, including what we
think others would like us to do. Subjective norms account for the effects of
what we believe other people think we should do. They have two factors:
1. Intensity of normative belief that others believe we should take or not take
some action.
2. The motivation to comply with that belief (the degree to which the consumer
takes others’ anticipated reactions into account when she evaluates a
purchase).
c. Attitude toward buying—attitude toward the act of buying (Aact) focuses on
perceived consequences of purchase.
Discussion Opportunity—Ask: Who are some people who tend to have a strong influence on your
behavior? Can you think of anyone whose behavior you have influenced? What was the result?
Discussion Opportunity—Ask: Can you think of something you bought that you really did not
want to buy? Do you know why you bought it anyway?
2. There are certain obstacles to predicting behavior (the improved Fishbein model):
a. It was designed to deal with actual behavior—not outcomes of behavior.
b. Some outcomes are beyond the consumer’s control.
c. Behavior is not always intentional (impulsive actions; situation changes, novelty
seeking).

9
d. Measures of attitudes do not always correspond with the behavior they are
supposed to predict. It is very important to match the level of specificity between
the attitude and the behavioral intention.
e. A problem can exist with respect to the time frame of the attitude measure.
f. Direct personal experience is stronger than indirect exposure (through an
advertisement). The problem of personal experiences versus receiving
information such as advertising (attitude accessibility perspective).
g. There are also cultural roadblocks, which limit the universality of the theory of
reasoned action.
1. Some acts are not voluntary, and the model predicts the performance of a
voluntary act.
2. The relative impact of subjective norms may vary across cultures.
3. The model presupposes consumers are thinking ahead, while not all cultures
subscribe to the linear perspective on time.
4. Some (more fatalistic) cultures do not believe the consumer controls his/her
actions.
C. Trying to Consume
1. The multiple pathway anchoring and adjustment model (MPAA) emphasizes
multiple pathways to attitude formation, including outside-in and inside-out
pathways.
2. There is another way of looking at consumers’ goals and trying to attain them. The
theory of trying states that the criterion of behavior is the reasoned action model that
should be replaced with trying to reach a goal. It recognizes barriers that might arise.
*****Use Figure 7.3 Here *****
IV. How Do Marketers Change Attitudes?
A. Persuasion involves an active attempt to change attitudes.
B. Some psychological principles that function in the persuasion process are:
1. Reciprocity – we are more likely to give if we receive.
2. Scarcity – items are more attractive when they are not available.
3. Authority – we believe authoritative sources more readily than non-authoritative
sources.
4. Consistency – people try not to contradict themselves in terms of what they say and
do about an issue.
5. Liking – we agree with those we like/admire.
6. Consensus - We consider what others do before we decide what to do.
Discussion Opportunity—Have the class think of an attitude that one or both of their parents
have. Ask them to think of a way that they could persuade them to change the attitude.
C. Tactical Communications Options - To craft persuasive messages that might change
attitudes, a number of questions must be answered:
1. Who is featured in the ad that seeks to change an attitude? Given the circumstances,
who would be best?
2. How should the message be constructed?

10
3. What media should be used to transmit the message?
4. What characteristics of the target market might influence the ad’s acceptance?
D. The Elements of Communication
1. Marketers and advertisers have traditionally relied on the communications model to
understand how marketing messages can change consumers’ attitudes by thinking in
terms of the communications model that specifies that a number of elements are
necessary for communications to be achieved.
2. The basic model can be perceived as having five parts:
a. The source—where the communication originates.
b. This meaning must be put in the form of a message.
c. The message must be transmitted via a medium.
d. One or more receivers then decode the message.
e. Feedback must be received by the source.
*****Use Figure 7.4 Here; Use Consumer Behavior Challenge Here *****
Discuss #9
Discussion Opportunity—Provide an illustration of the communications model described in the
chapter. What are the strengths and weaknesses of this model? How can the source be a better
communicator?
E. An Updated View: Interactive Communications
1. In permission marketing, consumers agree to allow marketers to send them
promotional information.
2. The traditional broadcasting, where the information is transferred and then repeated
before the buyer buys, is outdated with the advent of narrowcasting (finely tuning
messages to suite very small groups of receivers).
3. Consumers are partners in the communications process.
Discussion Opportunity—Ask students to think of examples of how they are passive and active in
information acquisition. Ask how they interact with the media to receive information.
Discussion Opportunity—Ask: How are you attempting to control your own Web or Internet
environment?
F. New Message Formats
1. M-commerce (mobile commerce) involves wireless devices including smartphones,
PDAs, iPods, and tablets such as iPads.
2. Social media applications include Facebook, Twitter and LinkedIn.
3. Blogging and vlogging (video blogging) is where people post messages to the Web in
diary form.

11
4. Podcasting—You can create your own radio show that people can listen to either on
their computers or iPods.
5. Virtual worlds—Immersive 3-D digital environments (e.g., Second Life).
6. Twitter—Postings limited to 140 characters.
7. Widgets—Small programs that users can download onto their desktops, or embed in
their blogs or profile pages, that import some form of live content.
8. Transmedia formats – new platforms mix to allow consumers to express themselves
and participate in campaigns.
a. Transmedia storytelling includes blogs, websites, email, graffiti messages
b. Alternate reality games are one type of transmedia storytelling where
thousands of people participate in a fictional story or competition to solve a
mystery.
Discuss #5
G. The Source
1. Regardless of how a message is received, the same words uttered or written by
different people can have very different effects, also known as source effects.
2. Under most conditions, the source of a message can have a big impact on the
likelihood the message will be accepted.
3. Two very important source characteristics are credibility and attractiveness.
4. A match between the needs of the recipient and the rewards the source offers
increases the recipient’s motivation to process the message (e.g. attractive source
effective for receiver who is sensitive about social acceptance).
5. Source credibility refers to a source’s perceived expertise, objectivity, or trust-
worthiness.
a. Sincerity is important when a company tries to publicize its corporate social
responsibility (CSR) activities that benefit the community.
b. Expert or celebrity endorsements can affect stock returns and can help
differentiate similar products.
c. Negative sources can also change attitudes because people forget the negative
source (sleeper effect).
Discuss #7
Discussion Opportunity—Ask students to think of a specific illustration of the sleeper effect.
d. Credibility can be enhanced if the source’s qualifications are perceived as
somehow relevant to the product being endorsed.
e. A consumer’s beliefs about a product’s attributes will weaken if s/he perceives
that the source is biased.
i. Knowledge bias – source’s knowledge is not accurate

12
ii. Reporting bias – source has the required knowledge but is not willing to
convey it accurately
Discussion Opportunity—Ask: What celebrity sources do you perceive as being most credible? Is
this in specific product or service categories or across the board?
6. Source attractiveness refers to the source’s perceived social value.
a. This quality can emanate from the person’s physical appearance, personality,
social status, or similarity to the receiver (we like to listen to people who are like
us).
b. A halo effect often occurs when persons of high rank on one dimension are
assumed to excel on others as well.
Discussion Opportunity—Ask students to give an example of the “halo effect.”
c. The social adaptation perspective assumes that the perceiver will more heavily
weight information seen to be instrumental in forming an attitude.
7. Star Power: Celebrities as Communications Sources
a. Celebrities embody cultural meanings (e.g. status, social class, gender, age,
personality) to the general society.
b. The advertiser chooses a celebrity who embodies the desired meaning the product
should convey so the meaning transfers from the manufacturer to the consumer
via the star.
Discussion Opportunity—Ask students to give an example of a celebrity that they perceive to be
an illustration of the match-up hypothesis.
Discussion Opportunity—As a means of contrasting credibility with attractiveness, ask students
to give examples of products where they would want to make sure their source is credible;
examples where their source is attractive.
8. Nonhuman Endorsers
a. At times, the image of celebrity endorsers can damage the image of a company or
brand. For this reason, companies may seek animated characters or fictitious
mascots as endorsers.
b. Spokescharacters (e.g. Pillsbury Doughboy, Chester the Cheetah) can boost
viewers’ recall of ad claims and increase brand attitudes.
c. A more current trend sees companies utilizing endorsers in the form of an avatar,
or cyber-character that can be changed in real time is cost effective, can handle
multiple customers at one time, and is not limited by geography.
Discussion Opportunity—Ask: Can you think of company spokespersons that fit the company or
the product image? Who do not fit? What should the company do about this? Give an example of
a celebrity whose image has really hurt a company’s marketing effort.

13
Discussion Opportunity—Ask: Name an avatar that a company currently uses in association with
a product, service, or website.
H. The Message
1. The single most important feature of the message is whether the communication
stresses a unique attribute or benefit of the product.
2. Some messages are offensive or annoying, including those:
a. That show a sensitive product and emphasize its usage
b. With a contrived or over-dramatized situation
c. That put down a person in terms of appearance, knowledge or sophistication
d. That threaten an important relationship
e. That show physical discomfort
f. That create tension via an argument or antagonistic character
g. That portray an unattractive or unsympathetic character
h. That include a sexually suggestive scene
i. That have poor casting or execution
3. How the message is said is important as well as what is said.
4. When creating a message, marketers must address these questions:
a. Should she convey the message in words or pictures?
b. How often should she repeat the message?
c. Should it draw a conclusion or should this be left up to the listener?
d. Should it present both sides of an argument?
e. Should it explicitly compare the product to competitors?
f. Should it include a blatant sexual appeal?
g. Should it arouse negative emotions such as fear?
h. How concrete or vivid should the arguments and imagery be?
i. Should it be funny?
*****Use Table 7.2 Here *****
5. How do we send the message?
a. Advertisers often rely on vivid illustrations or photography because visuals are very
effective, especially at influencing emotional responses.
b. A picture is not always as effective as text when it communicates facts. Verbal ads
affect ratings on the utilitarian aspects of a product whereas the visual ads affect
aesthetic evaluations.
c. Verbal elements are more effective when an accompanying picture reinforces them,
especially if they frame the illustration (the message in the picture strongly relates to
the copy). Framing is easier with an accompanying image.
d. Visual images allow the receiver to chunk information at the time of encoding.
e. Verbal messages are best for high-involvement situations and visual messages for low
involvement.
f. Vivid images tend to activate mental imagery and strongly embed in memory;
abstract stimuli inhibit mental imagery.

14
g. Concrete discussion of product attributes in ad copy influence the importance of the
attribute because it draws more attention.
h. Repetition can lead to liking because people like things that are more familiar to them
(mere exposure) or it can cause habituation such that the consumer no longer pays
attention to the stimulus because of fatigue or boredom.
i. The two-factory theory explains the fine line between boredom and familiarity. It
proposes that two separate psychological processes operate when we repeatedly show
an ad to a viewer. Figure 7.6 depicts the pattern. Overcome by:
1. Limiting exposure per repetition (15 second ads)
2. Varying content of ads over time (different versions of same theme)
Discussion Opportunity—Ask students to think of examples when words, pictures, and both
would be the best suggestions for influencing attitudes.
6. How do we structure the argument?
a. The way the argument is presented is important.
b. The supportive argument is one sided and most often used.
c. Two-sided messages give positive and negative information. This seems most
effective when the audience is well educated.
d. Refutational arguments raise a negative issue and then dismiss it. They
enhance source credibility because of the reduced chance of reporting bias.
Skeptical people may be more receptive to a balanced argument.
Discussion Opportunity—Ask students to give an illustration of a supportive argument, a two-
sided argument, and a refutational argument. Find an example of each in a print media form.
e. Should the argument draw conclusions? The response to this depends on the
consumer’s motivation to process the ad and the complexity of the arguments.
f. Comparative advertising compares two specifically named products and
seems to be effective for products that have a positive brand image, but may
be lower in believability and stir up source derogation (consumer may doubt
the credibility of a biased presentation).
Discuss #8
Discussion Opportunity—Ask: What do you think of comparative advertising? Are the arguments
more believable? Do you ever find yourself defending the “against product”?
I. Types of Message Appeals
1. Emotional appeals try to bond the consumer with the product.
2. The effectiveness of appeals to the head vs. heart depends on the nature of the
product and the type of relationship consumers have with it.

15
a. Recall of ad content tends to be better for thinking ads than feeling ads
b. Conventional measures of ad effectiveness may not be effective to
measure cumulative effects of emotional ads; feeling reactions are not as
easy to articulate as thinking reactions
3. Sex appeals include various levels of erotic suggestions.
a. Female nudity generates negative feelings and tension among female
consumers; it generates positive reactions among men. Men dislike nude
males; females respond well to undressed males that are not nude and like
sexual themes in the context of a committed relationship.
b. Erotic content draws attention but can be counterproductive, making
consumers less likely to buy the product or distracting attention from other
ad contents.
c. Sex appeals as an attention-getting device are more effective when the
product is related to sex.
4. Humorous appeals can get attention, but may not affect recall or product
attitudes.
a. Funny ads can provide a distraction.
b. Funny ads can inhibit counterarguing (where the consumer thinks about
reasons s/he disagrees).
c. Humor is more effective when the ad clearly identifies the brand and the
funny material does not overwhelm the message.
d. Subtle humor that does not make fun of the consumer and is appropriate to
the product image is best.
5. Fear appeals emphasize negative consequences that occur unless the
consumer changes a behavior or an attitude and are most effective when the
advertisers use only a moderate threat and when the ad presents a solution to
the problem.
Discuss #4
Discussion Opportunity—Ask students to think of situations when a rational appeal works best
and when an emotional appeal works best. What is the effectiveness dependent on?
J. The Message as Art Form: Metaphors Be with You
1. Many ads take the form of an allegory (a story told about an abstract trait or concept
that has been personified as a person, animal, or vegetable).
2. A metaphor involves placing two dissimilar objects into a close relationship such
that “A is B,” whereas a simile compares two objects, “A is like B.” Metaphors allow
the marketer to activate meaningful images and apply them to everyday events.
3. Resonance is another literary device that is frequently used in advertising to form a
presentation that combines play on words with a relevant picture.
*****Use Table 7.3 Here; Use Consumer Behavior Challenge Here *****
Apply #10

16
Discussion Opportunity—Give an illustration or bring in an ad that displays a metaphor or
resonance in advertising.
4. Advertisers can structure commercials like other art forms, including structures as a
drama or a lecture.
5. In transformational advertising, the customer associates the experience of product
usage with some subjective sensation.
Discussion Opportunity—Find an ad where a story is being told. Show or read it to the class.
Ask: Do you ever catch yourself reading an ad just to see how the story ends?
Discussion Opportunity—Give an illustration of transformational advertising. Ask the class to
evaluate how well the ad applies the technique.
K. The Source Versus the Message: Sell the Steak or the Sizzle?
1. The elaboration likelihood model (ELM) assumes that once a consumer receives a
message, he or she begins to process it. Depending on the personal relevance of this
information, one of two routes to persuasion will be followed.
a. Under conditions of high involvement, a consumer takes the central route to
persuasion. In the central route to processing, the consumer will determine if the
message is relevant. The person will engage in cognitive processing to evaluate
the arguments presented and generate either positive (supporting) responses or
negative responses (counterarguments).
b. Under conditions of low involvement where the consumer is not motivated to
think about the argument, a peripheral route is taken. The consumer uses other
cues in deciding on the suitability of the message.
Discussion Opportunity—Illustrate the elaboration likelihood model by bringing in a series of
print ads that illustrate either the central route or the peripheral route. Show them to the class
and ask the class to identify which route is more dominant. Also, ask students to point out
cognitive cues and peripheral cues in either type of ad.
Discussion Opportunity—Ask: If you were the producer of a product that was being examined by
the consumer in a peripheral way, what strategies could you suggest for dealing with this? In
what instances would this not be bad for the producer?

17
End-of-Chapter Support Material
SUMMARY OF SPECIAL FEATURE BOXES
1. Marketing Opportunity
Consumers like to publicize their connections with successful people or organizations. It is called
basking in reflected glory. As a result, many colleges with strong athletic organizations reap
huge revenues by licensing their school’s name and logo.
2. Marketing Pitfall
The gap between consumer stated attitudes and behavior is evident in sales of environmentally
friendly products, where consumers say they want green products but do not want to pay extra
for them. The result is stagnant sales for environmentally friendly products.
3. Marketing Opportunity
Social pressure can motivate consumers to engage in socially responsible behaviors. Social
appeals were more effective than functional appeals and comparisons with directly relevant
others were more effective than general group appeals in experiments where hotels encouraged
guests to reuse towels.
4. The Tangled Web
Sock puppeting refers to a company executive or agent posing as someone else to tout the
organization in social media communities. Paid influencer programs are also called sock
puppeting. These are essentially sponsored conversations. The FTC updated its truth-in-
advertising policy to require paid communicators to disclose their relationship to the audience.
Western actors like George Clooney resist many television commercials in the U.S. but endorse
products in Japan. Visit japander.com to see such commercials.
A series of funny ads created by Grey Germany was upsetting to some people. The campaign
suggested that if more people wore condoms, the world might not have experienced such people
as Adolf Hitler.
7. CB As I See It
Professor McQuarrie discusses that wordplay in advertisements gets consumers attention and
causes them to spend more time on the ad and/or to associate the ad with pleasure. He also notes
visual ambiguity can be increase ad effectiveness because the reader has to generate more
inferences to comprehend the ad.

18
REVIEW QUESTIONS
Individual
1. How can an attitude play an ego-defensive function?
Either attitudes we form to protect ourselves from external threats or internal feelings
perform an ego-defensive function. An early marketing study indicated that housewives in
the 1950s resisted the use of instant coffee because it threatened their conception of
themselves as capable homemakers.
(5 minutes, Chapter Objective 1, AACSB: Reflective Thinking, Course Learning Outcome 9)
2. Describe the ABC model of attitudes.
Most researchers agree that an attitude has three components: affect, behavior, and
cognition. Affect refers to the way a consumer feels about an attitude object. Behavior
involves the person’s intentions to do something with regard to an attitude object (but, as
we will discuss at a later point, an intention does not always result in an actual
behavior). Cognition refers to the beliefs a consumer has about an attitude object. We
can remember these three components of an attitude as the ABC model of attitudes.
3. List the three hierarchies of attitudes, and describe the major differences among them.
The three hierarchies are: 1) the Standard Learning Hierarchy (beliefs/affect/behavior),
2) the Low-Involvement Hierarchy (beliefs/behavior/affect), and 3) the Experiential
Hierarchy (affect/behavior/beliefs). The differences are in the order the consumer
processes information, evaluate feelings and experiences the product. The standard
learning hierarchy is most likely to be used in high involvement purchase situations,
while the experiential hierarchy is more likely to be associated with impulse purchases.
4. How do levels of commitment to an attitude influence the likelihood it will become part
of the way we think about a product in the long-term?
Consumers vary in their commitment to an attitude; the degree of commitment is related
to their level of involvement with the attitude object. Consumers are more likely to
consider brands that engender strong positive attitudes.
5. We sometimes enhance our attitude toward a product after we buy it. How does the
theory of cognitive dissonance explain this change?
The theory of cognitive dissonance states that when a person is confronted with
inconsistencies among attitudes or behaviors, he or she will take some action to resolve
this “dissonance,” perhaps by changing an attitude or modifying a behavior. The theory
has important ramifications for attitudes, because people are often confronted with
situations in which there is some conflict between their attitudes and behaviors. Thus, if a
person encounters negative information about a product after purchasing it, they may
discount that information and focus on positive information that would reaffirm their
reasons for having purchased.

19
6. What is the foot-in-the-door technique? How does self-perception theory relate to this
effect?
Self-perception theory helps to explain the effectiveness of a sales strategy called the
foot-in-the-door technique that is based on the observation that a consumer is more likely
to comply with a request if he or she has first agreed to comply with a smaller request.
This relates to self-perception theory because the consumer examines his/her behavior to
determine what his/her attitudes are. If the consumer has said yes to a small request,
s/he may assume that his/her attitude is favorable and comply with a bigger request.
7. What are latitudes of acceptance and rejection? How does a consumer’s level of
involvement with a product affect his latitude of acceptance?
People form latitudes of acceptance and rejection around an attitude standard. Ideas that
fall within latitude will be favorably received, but those falling outside of this zone will
not be favorably received.
8. According to balance theory, how can we tell if a triad is balanced or unbalanced? How
can consumers restore balance to an unbalanced triad?
Components of a triad can be either positive or negative. More importantly, people alter
these components in order to make relations among them consistent. The theory specifies
that people desire relations among elements in a triad to be harmonious, or balanced. If
they are not, a state of tension will result until somehow the person changes his
perceptions and restores balance.
9. Describe a multi-attribute attitude model, listing its key components.
A multiattribute model assumes that a consumer’s attitude (evaluation) toward an
attitude object (Ao) depends upon the beliefs he or she has about several or many
attributes of the object and the importance of those attributes. The use of a multi-attribute
model implies that identifying these specific beliefs and combining them to derive a
measure of the consumer’s overall attitude can predict an attitude toward a product or
brand.
10. “Do as I say, not as I do.” How does this statement relate to attitude models?
Many studies have obtained a very low correlation between a person’s reported attitude
toward something and his or her actual behavior toward it. Some researchers have been
so discouraged that they have questioned whether attitudes are of any use at all in
understanding behavior.
11. What is a subjective norm, and how does it influence our attitudes?

20
The value of SN is arrived at by including two factors: (1) the intensity of a normative
belief (NB) that others believe an action should be taken or not taken, and (2) the
motivation to comply (MC) with that belief (i.e., the degree to which the consumer takes
others’ anticipated reactions into account when evaluating a course of action or a
purchase). It influences attitudes because consumers are likely to be more comfortable
with attitudes that are consistent with subjective norms.
12. What are three obstacles to predicting behavior even if we know a person’s attitudes?
Some outcomes are beyond the consumer’s control; behavior is not always intentional
(impulsive actions; situation changes, novelty seeking); the measures of attitudes may not
be specific enough to behavioral intentions; the time frame when the attitude was
measured may have been too far removed from the behavior; personal experience may be
more powerful than attitudes formed from advertising; and cultural roadblocks (e.g.
involuntary acts, the impact of subjective norms, non-linear perspectives on time,
fatalistic cultures) may interfere.
13. Describe the theory of reasoned action. Why might it not be equally valuable when it is
applied to non-Western cultures?
The theory of reasoned action has primarily been applied in Western settings. Certain
assumptions inherent in the model may not necessarily apply to consumers from other
cultures. Several cultural roadblocks diminish the universality of the theory of reasoned
action:
• Some acts are not voluntary, and the model predicts the performance of a voluntary
act.
• The relative impact of subjective norms may vary across cultures.
• The model presupposes consumers are thinking ahead, while not all cultures
subscribe to the linear perspective on time.
• Some (more fatalistic) cultures do not believe the consumer controls his/her actions.
(20 minutes, Chapter Objective 5, AACSB: Reflective Thinking and Multicultural and Diversity
Understanding, Course Learning Outcome 9)
14. List three psychological principles related to persuasion.
The psychological principles include reciprocity, scarcity, authority, consistency, liking,
and consensus.
(3 minutes, Chapter Objective 5, Course Learning Outcome 9)
15. Describe the elements of the traditional communications model, and tell how the updated
model differs.
The traditional model of communication includes the components of source, channel,
message, receiver, and feedback. The updated model (interactive model) recognizes that
there are multiple senders and multiple receivers, all sending and receiving information
simultaneously through a central medium. It also recognizes the importance of
permission marketing.

Another Random Scribd Document
with Unrelated Content

"Charley, I will not listen to another word," cried Nathalie,
imperiously. "Your infatuation seems to have changed your very
nature. Why, oh why, has this girl crossed your path? If you wanted
to marry, why could you not have chosen some one else? Why could
you not have chosen Miss Rose?"
Charley smiled under cover of the darkness. The question was
absurd. Why could she not have chosen any of her other suitors, all
good and honorable men? Why could she not have chosen Captain
Locksley, young, handsome, rich, and the soul of integrity. He did
not say so, however, and neither spoke again till the gate of Redmon
was reached.
"Good night," Nathalie briefly said, her voice full of inward pain.
"Good night, Natty," Charley replied, "and God bless you and,"
lowering his voice as he turned away "keep you from ever becoming
the wife of Captain Cavendish!"
He walked on and entered the Nettleby cottage, where he found
Cherrie in the parlor alone, bending over a novel. Cherrie's welcome
to her lover was uncommonly cordial, for she was ennuied nearly to
death. She had expected Captain Cavendish all the afternoon, and
had been disappointed. Had she known that officer was making
arrangements for their speedy nuptials, she might perhaps have
forgiven him; and at that very moment, whilst talking to Charley of
the time when she should be Mrs. Marsh, everything was arranged
for her becoming, the very next week, Mrs. Captain George
Cavendish.
About five o'clock of that foggy July afternoon, Mr. Val Blake sat in
his private room, in the office of the Speckport Spouter, his shirt-
collar limp and wilted with the heat, his hair wildly disheveled, and
his expression altogether bewildered and distracted. The table at
which he sat was, as usual, heaped with MS., letters, books, buff
envelopes, and newspapers; and Mr. Blake was poring over some
sheets of white ruled foolscap, closely written in a very cramp and

spidery hand. It was a story from "the fascinating pen of our gifted
and talented contributor 'Incognita,' whose previous charming
productions have held spellbound hosts of readers," as the Spouter
said, in announcing it the following week, and the title of the
fascinating production was the "Ten Daughters of Dives." Miss Laura
Blair had just finished reading the "Seven Loves of Mammon," by Mr.
George Augustus Sala; hence the title and the quaint style in which
the thing was written. So extremely quaint and original indeed was
the style, that it soared totally beyond the comprehension of all
ordinary intellects, beginning in the most disconcertingly abrupt
manner, and ending with a jerk, while you were endeavoring to
make out what it was all about.
"It's of no use trying," he murmured, pensively, "the thing is beyond
me altogether. I'll put it in, hit or miss, or Laura will never forgive
me; and I dare say the women will make out what it means, though
I can't make top or tail of it."
There was a tap at the door as he arrived at this conclusion, and
Master Bill Blair, in a state of ink, and with a paper cap on his head,
labeled with the startling word "Devil" made his appearance, and
announced that Captain Cavendish was in the office and wanted to
see him.
"Tell him to come in," said Val, rather glad than otherwise of a chat
by way of relaxation after his late severe mental labor.
The captain accordingly came in, smoking a cigar, and presented his
cigar-case the first thing to Val. That gentleman helped himself, and
the twain puffed in concert, and discussed the foggy state of the
weather and the prospects of the "Spouter." As this desultory
conversation began to flag, and the weed smoked out, Mr. Blake
remembered he was in a hurry.
"I say, captain, you'll excuse me, won't you, if I tell you I haven't
much time to spare this evening. We go to press to-morrow, and I
shall have to get to work."

Captain Cavendish came out of a brown study he had fallen into,
and lit another cigar.
"I won't detain you long, Val. I know you're a good fellow, and
would do me a favor if you could."
Val nodded and lit a cigar also.
"I want you to do me the greatest service, and I shall be forever
your debtor."
"Right," said Val; "let us hear what it is."
"You won't faint, will you? I am going to be married."
"Are you?" said Mr. Blake, no way discomposed. "To whom?"
"To Cherrie Nettleby."
Val did start this time, and stared with all his eyes.
"To what? You're joking, ain't you? To Cherrie Nettleby!"
"Yes, to Cherrie Nettleby, but on the cross you know, not on the
square. Do you comprehend?"
"Not a bit of it. I thought you were after Natty Marsh all the time."
Captain Cavendish laughed.
"You dear old daisy, you're as innocent as a new-born babe. I'm not
going to marry Cherrie in earnest, only sham a marriage, and I
cannot do it without your help. The girl is ready to run away with me
any day; but to make matters smooth for her, I want her to think,
for a while at least, she is my wife. You understand now?"
"I understand," said Val, betraying, I regret to say, not the slightest
particle of emotion at this exposé of villainy; "but it's an ugly-looking
job, Cavendish."

"Not as bad as if she ran away with me in cold blood—for her I
mean—and she is sure to do it. You know the kind of girl pretty little
Cherrie is, Blake; so you will be doing her rather a service than
otherwise in helping me on. If you won't help, you know I can easily
get some one who will, and I trust to your honor to keep silent. But
come, like a good fellow, help me out."
"What do you want me to do? Not to play clergyman?"
"No; but to get some one—a stranger to Cherrie and I—
consequently a stranger in Speckport, who will tie the knot, and on
whose discretion you may depend. You shall play witness."
Val put his hands in his pockets and mused.
"Well," he said, after a pause, "it's a horrid shame, but rather than
that she should run off with you, without any excuse at all, I'll do it.
How soon do you want the thing to come off?"
"As early as possible next week—say Tuesday night. It will be better
after night, she won't be so apt to notice deficiencies."
Val mused again.
"Cherrie's a Methodist herself; at least, she sits under the teaching
of the Reverend Mr. Drone, who used to be rather an admirer of hers
before he got married. The chapel is in an out-of-the-way street, and
I can feign an excuse for getting the key from Drone. Suppose it
takes place there?"
Captain Cavendish grasped his hand, and gave it a friendly vise-like
grasp.
"Val, you're a trump! You shall have my everlasting gratitude for
this."
"Next Tuesday night, then," responded Val, taking the officer's
rapture stoically enough. "And now I must beg you to leave me, for I
have bushels of work on hand."

Captain Cavendish, expressing his gratitude once more, lounged into
the drear and foggy night. How lucky for the peace of the
community at large, we cannot read each other's thoughts. The
young captain's ran something after this fashion:
"I always knew Blake was a spoon, but I never thought he was such
an infernal scoundrel as this. Why, he is worse than I am; for I really
am in love with the girl, and he does his rascality without a single
earthly motive. Well, it's all the better for me. I'll have Cherrie as
sure as a gun."
Mr. Blake, in the seclusion of his room, leaned back in his chair, and
indulged himself in a low and quiet laugh, before commencing work.
"I said I owed you one," he soliloquized, throwing away the stump
of his second cigar, "for leading Charley Marsh astray, and now's the
time to pay you. If I don't serve you out this go, Captain Cavendish,
my name's not Valentine Blake!"

CHAPTER XII.
IN WHICH THE WEDDING COMES OFF.
The foggy day had ended in a stormy night. Black clouds had hurried
wildly over the troubled face of the sky; a dull peal of thunder,
booming in the distance, had been its herald. Rain, and thunder, and
lightning had it all its own way until about midnight, when the sullen
clouds had drifted slowly, and the moon showed her fair, sweet face
in her place. A day of brightest sunshine, accompanied by a high
wind, had been the result; and in its morning refulgence, Captain
Cavendish was sauntering along the Redmon road. Not going to the
big brick house, surely: Nathalie had told him the picnic day of Mrs.
Leroy's growing dislike to visitors, and the hint had been taken.
Perhaps it was only for a constitutional, or to kill time; but there he
was, lounging in the teeth of the gale, and whistling an opera air as
he went. The Nettleby cottage, fairly overrun with its luxuriance of
sweetbrier, and climbing roses, and honeysuckle, was a pretty sight,
and well worth looking at, and perhaps that was the reason Captain
Cavendish stood still to admire it. The windows, all wreathed with
crimson and pink roses, were open; and at one sat Cherrie, in all her
beauty, like a picture in a frame. The crimson July roses about her
were not brighter than her cheeks at the sight of him, and her starry
eyes flashed a welcome few men would not have coveted. How
prettily she was dressed, too—knowing well he would come, the
gypsy!—in pink muslin; her bare neck and arms rising plump and
rounded out of the gauziness; all her shining jetty curls flashing
about, and sprays of rosebuds twisted through them. How the pale,
blue-eyed, snowy-skinned, fair-haired prettiness of Nathalie dimmed
in the young officer's ardent imagination beside this tropical,
gorgeous loveliness of the sunny South. He opened the little gate,
and was at the window before she arose.

"My black-eyed fairy? You look perfectly dazzling this morning. Who
is in?"
"No one," said Cherrie, showing her pearl-white teeth in her
deepening smile. "The boys are off fishing; father's up working in
Lady Leroy's garden, and Ann's gone to town for groceries."
"Allah be praised! I may come in, then, my darling, may I not?"
Cherrie's answer was to throw the door wide open; and the young
officer entered and took a seat, screened from the view of passers-
by by the green gloom of the vines. That green twilight of roses and
honeysuckles was just the thing for lovers to talk in; and Captain
Cavendish had a great deal to say to Cherrie, and to all he said
Cherrie had nothing to give but rapturous assents, and was
altogether in the seventh heaven, not to say a few miles beyond that
lofty elysium. It was all arranged at last as the young gentleman
wished, and, lolling easily on the sofa, he went off on another tack.
"Are you often up in Redmon House, Cherrie?" he asked, stringing
the black ringlets about his fingers.
Cherrie, seated on a low stool beside his couch, nestled luxuriously,
with her head on his knee.
"Pretty often, George." It had come to that, you see. "Why?"
"Because—because I think you might find out something for me. I
have a fancy, do you know, that the old lady doesn't over and above
like me."
"I know she don't," said Cherrie, decidedly. "She can't bear you, nor
Midge either. They scold Miss Natty like sixty every time you go
there."
"The deuce they do? Suppose she fancied—mind, I only say fancied
—I wanted to marry Miss Natty, do you suppose she would
consent?"

"Consent! She'd pack Miss Natty bag and baggage out of the house,
more likely. She'd die before she'd give in, would Mrs. Leroy."
Captain Cavendish fell to musing, and mused so long that Cherrie
glanced up from under her black lashes, wondering what made his
handsome face look so grave.
"What are you thinking about?" she pouted; "Miss Natty, I suppose."
"No, my little black-eye. I was thinking how you could do something
for me."
"What is it?"
"Couldn't you listen; couldn't you manage to hear sometimes what
Mrs. Leroy says to Natty, when they are talking of me?"
Miss Nettleby was not at all shocked at this proposal; but I suppose
the reader is. I know very well it is disgraceful in one calling himself
a gentleman, and altogether dishonorable; but Captain Cavendish's
ideas of honor, and yours and mine, are rather different. Had any
one called him a liar or a swindler, or thrown a decanter at his head,
or a tumbler of wine in his face, at the mess-table, or elsewhere, he
would have considered his honor forfeited forever, if he did not stand
up to shoot and be shot at by the offending party, as soon as
possible afterward. In one word, not to mince matters, Captain
Cavendish, handsome and elegant as he was, was an infidel and a
villain, and you may as well know it first as last.
"I dare say I can," was Cherrie's reply to his proposal. "I am up
there often enough, and I know all the ins and outs of the place. I'll
do what I can."
Captain Cavendish rewarded her, as lovers do reward one another, I
am told, and shortly after arose to take his leave. Miss Nettleby
escorted him to the gate.
"You won't forget Tuesday night, Cherrie," he said, turning to go.

"It's not very likely," said Cherrie; "but I'll see you again before that
—won't I, George?"
"Of course, my darling! Take care of yourself, and good-bye."
He sauntered up the road at an easy pace; and Cherrie lingered at
the gate, admiring his tall and elegant figure, and thinking, with an
exultant heart beating, what a happy and lucky girl she was. Forget
Tuesday night! the night that was to make her his bride. She quite
laughed aloud at the thought, in the glee of her heart. He was still in
sight, this Adonis of hers, and she still lingered at the gate watching
him. Lingering there, she saw something not quite so pleasant as
she could wish. Miss Nathalie Marsh, in a dress of blue barege, a
black silk mantle, and a pretty white hat trimmed with azure ribbon,
its long white plume tipped with blue, and set jauntily on her flowing
sunny curls; came down the avenue from the house, opened the
gate, and stepped into the road, and confronted her (Cherrie's)
beloved. Cherrie saw him start eagerly forward, but could not hear
what he said, and perhaps for her peace of mind it was just as well.
"My darling Nathalie! the fortunate chance I have been wishing for
has come then! Are you going to town?"
Nathalie, smiling and blushing, shyly held out her hand.
"Good morning, Captain Cavendish! I——" but he interposed
reproachfully.
"Captain Cavendish, from you, Nathalie; I thought you knew my
name."
"Perhaps I have forgotten it," she laughed. "What are you doing up
here, George," a little hesitatingly, though, and with a vivid flush, not
half so glibly as Miss Nettleby had uttered it ten minutes before.
"Were you going to call?"
"Hardly—remembering the hint you gave me the other day. But
though I could not storm the castle of my fairy-princess, it was
pleasant, at least, to reconnoiter the outside, and I hoped, too, for

the lucky chance that has arrived. Am I to have the happy privilege
of escorting you into town?"
Nathalie cast a half-apprehensive glance behind, but Midge was not
on the watch. Had she known how dearly she was to pay for that
walk—for that escort, rather—she had hardly answered with that
happy, careless laugh.
"Yes, you may have that happy privilege! What did you do with
yourself all day yesterday in the fog?" Cavendish thought of what he
had been doing in Val's office, but he did not tell Miss Marsh. Cherrie
was still standing by the cottage gate, and they were passing it now,
looking like a black-eyed queen, under the arches of scarlet runners
and morning-glories.
"A pretty place," said Captain Cavendish, "and that girl at the gate
has a beautiful face. They tell me she has turned half the heads in
Speckport."
Nathalie's fair brow contracted; not in jealousy, she never thought of
that, but at the recollection of Charley. She made no answer. Her
attention was attracted by a lady who was coming toward them. A
young lady, nicely dressed, who stepped mincingly along, with a
sweet smile on her sullen face.
"What brings Catty Clowrie up this way, I wonder?" exclaimed
Nathalie, bowing as she passed, while the captain lifted his hat. "It is
ever so long since I have seen her on this road before. I hope she is
not going to Redmon."
But Miss Clowrie was going to Redmon. She had not started with
that idea; it had never entered her head until she met the lovers;
but she turned and looked after them with a smile of evil menace on
her face.
"I hate her!" was her thought. "I hate her! But for her I might have
had him once. Now he is that Nettleby girl's beyond hope. I wish
Miss Marsh joy of her sister-in-law."

"That Nettleby girl" still stood at the gate. Miss Clowrie bestowed the
light of her smile upon her in passing, still deep in thought. "They
say in Speckport Lady Leroy has forbidden Captain Cavendish the
house, and threatens to disinherit Natty if she keeps his company.
Perhaps she does not know of this. I think I'll go up and tell her. One
good turn deserves another."
Midge answered the young lady's knock, and admitted her to the
presence of Lady Leroy. That mummy she found in her usual state of
wrappings, and very ready for a little gossip.
"Why don't you go out more, Mrs. Leroy," insinuated Catty; "it would
do you good, I am sure."
"No, it wouldn't!" snapped the old lady. "It does me harm. I hain't
got over that picnic yet."
"But I should think you would find it very lonely here, with Nathalie
away so much. I hear she spends most of her time in town of late."
"So she does," Lady Leroy screamed. "She will go in spite of me. If it
ain't the school, it's a party or a picnic—something or other; but
she's gallivanting all the time."
"I met her just now," remarked Catty, in a careless way, "with
Captain Cavendish. He had been waiting for her, I think, at the
gate."
"What?" shrieked Lady Leroy, "who with, or who did you say?"
"Captain Cavendish," repeated Miss Clowrie, looking surprised. "I
thought you said they were engaged! At least, every one says they
are."
Lady Leroy fell back, gasping, clawing the air in her struggle with her
ten talon-like fingers. Catty, quite alarmed, started up to assist her.
Lady Leroy grasped her by the wrist with a fierce grip.

"You're sure of this? You're sure of this?" she huskily whispered, still
gasping. "You're sure she was walking with him? You're sure she is
engaged to him?"
"I am sure she was walking with him," said Catty; "and every one
says she is engaged to him; and what every one says must be true.
It's very strange you did not know it."
Lady Leroy "grinned horribly a ghastly smile." "I do know it now! I
told her not to go with him—I told her not to go with him—and this
is the way she obeys me!"
She fell to clawing the air again, in a manner so very uncomfortable
to look at, that Miss Clowrie arose, with some precipitation, to go.
"They say he is a fortune-hunter and very extravagant, and goes
after her because she is your heiress; but I'm sure I don't know.
Good morning, Mrs. Leroy. I am glad to see you looking so well."
With which the fair Miss Clowrie bowed herself out, smiling more
than Midge had ever seen her before, and quite laughing, in fact,
when she got out of doors.
"I think I have paid a little of my debt, Miss Natty," she thought. "I'll
pay it all, my dear, I hope, before either of us die."
In the silent solitude of her lonely room, Lady Leroy had ample time
to nurse her wrath before the return of her ward. It was nearly noon
before that young lady reached home, her pretty face glowing with
her rapid walk.
"Midge," was her first breathless question, "has Catty Clowrie been
here this morning?"
Midge answered in the affirmative, and Nathalie's heart sank. All the
way up-stairs she was preparing herself for a violent outburst of
wrath; but, to her astonishment, Lady Leroy was quite tranquil. She
glanced very hard at her, it is true, and her fingers were clawing
empty air very viciously, but her voice was not loud nor angry.

"You're very late, aren't you?" she said. "What kept you?"
"I ran down to see mamma. Miss Rose told me she was not very
well; but I hurried home as fast as I could. I'll make out those bills
now."
"Let the bills wait awhile," said the old lady. "I have something to tell
you."
This was an ominous commencement, and Nathalie looked at her in
some dread.
"Who was it you walked into town with this morning?" she asked,
glaring harder than ever.
Catty had told, then. All the blood in Nathalie's body seemed blazing
in her face, as she answered:
"It was Captain Cavendish. I chanced to meet him near the gate,
and I could not very well help his walking back to town with me."
"Didn't you promise me," said Lady Leroy, still speaking with
astonishing calmness, but clawing the air fiercely with both hands,
"when I forbade you going with him, that you would walk with him
no more?"
"No," said Nathalie. "I said he would come here no more, and
neither he shall."
"Until I am dead, I suppose," said the old woman, with a laugh that
was very unpleasant to hear, "and you have all my money. Answer
me one question, Natty. Are you engaged to him? Don't tell a lie."
"No," said Nathalie, proudly, "I am not in the habit of telling
deliberate lies. I am!"
Lady Leroy gave a shrill gasp, her fingers working convulsively, but
the spasm was over in a moment. She sat up again; and Nathalie,
hurriedly and imploringly, went on:

"Dear Mrs. Leroy, don't be angry! Indeed, you misjudge Captain
Cavendish; he is a good and honorable man, and respects you
much. Dear Mrs. Leroy, consent to our engagement and I will be the
happiest girl in the world!"
She went over and put her arms round the mummy's neck, kissing
the withered face. The old woman pushed her away with another of
her unpleasant laughs.
"There—there, child! do as you please. I knew you would do it
anyway, only I won't have him here—mind. I won't have him here!
Now, get to work at them bills. What's the matter with your
mother?"
"Sick headache," said Nathalie, chilled, she scarcely knew why, by
the old woman's manner. "She wanted me to stay with her this
afternoon; but I told her I was afraid you could not spare me."
Mrs. Leroy mused a few moments, while Nathalie wrote, and then
looked up.
"I'll spare you this afternoon, Natty, since your mother is sick. You
can take the bills in with you and collect them. If you are back by
nine, it will do."
Nathalie was so amazed, she dropped her pen and sat staring, quite
unable to return a word of thanks, and not quite certain she was not
dreaming.
"Get on, get on!" exclaimed Lady Leroy, in her customary testy tone.
"You'll never have the bills done at that rate."
Nathalie finished the bills mechanically, and with a mind far
otherwise absorbed. Then she went to her room, and put on her hat
and mantle for another walk to Speckport; but all the time that
uneasy feeling of doubt and uncertainty remained. Mrs. Leroy had
acted so strangely, had been so ominously quiet and unlike herself,
and had not consented. Nathalie came in dressed for town, and bent
over her, until her long bright curls swept the yellow old face.

"Dear Mrs. Leroy!" she pleadingly said, "I cannot feel satisfied until
you actually say you agree to this engagement. Do—do, if you love
your Natty, for all my happiness depends upon it. Do say you
consent, and I will never offend you again as long as I live?"
Lady Leroy glared up at her with green, and glittering, and wicked
old eyes.
"If I don't consent, will you break off, Natty?"
"You know I cannot. I love him with all my heart. Oh, Mrs. Leroy!
remember you were once young yourself, and don't be hard!"
Looking at that dry and withered old antediluvian, it was hard to
imagine her ever young—harder still to imagine her knowing
anything about the fever called love. She pushed Nathalie
impatiently away.
"Get along with you, and don't bother!" was her cry. "I told you to
have your way, and you ought to be satisfied. You won't give in to
me, but you'd like me to give in to you—wouldn't you? Go along,
and don't torment me!"
When Mrs. Leroy's cracked voice grew shrill and piercing, and her
little eyes gleamed greenish flame, Nathalie knew better than to
irritate her by disobedience. She turned to go, with a strange sinking
of the heart.
"I will be back by nine," she said, simply, as she quitted the room.
Miss Nettleby, seated at her cottage door, under the roses and
sweetbrier, industriously stitching on some gossamer article to be
worn next Tuesday evening, looked up in some surprise at sight of
Miss Marsh on her way to Speckport, for the second time that day.
"Going back to town, Miss Natty?" she called out, familiarly.
Miss Natty's answer was a cold and formal bow, as she passed on.
Cherrie dropped her work and started up.

"I'll go to the house and have a talk with Granny Grumpy herself
before she comes back. Perhaps I may find out something. I wonder
what sort of humor she is in."
Lady Leroy was in uncommonly serene humor for her. Before
Nathalie had been ten minutes gone, she had shouted for Midge;
and that household treasure appearing, with sleeves rolled up over
her elbows, and in a very soapy and steamy state, had desired her
to array herself in other garments, and go right away into Speckport.
"Go into Speckport!" cried Midge, in shrill indignation. "I'll see you
boiled alive first, ma'am, and that's the long and short of it. Go into
town, wash-day, indeed! What do you want in town, ma'am?"
"I want Mr. Darcy—that's what I want!" vehemently replied her
mistress. "I want Mr. Darcy, you ugly little imp; and if you don't go
straight after him, I'll heave this at your head, I will!"
"This" was a huge black case bottle, which trifle of glass the lady of
Redmon brandished in a manner that made even Midge draw back a
few paces in alarm.
"I want Mr. Darcy on important business, I do!" screamed Lady
Leroy. "And tell him not to let the grass grow under his feet on the
way. Be off, will you?"
"Why didn't you tell Miss Natty?" sulkily said Midge.
"Because she isn't coming back till nine o'clock, that's why; and I
can't wait. Well, what do you want, young woman?"
This last polite interrogation was addressed to Miss Nettleby, who
stood smiling in the doorway, in all the splendor of her charms.
"I just ran up to see how you were," said Cherrie. "If you want any
errand done in the town, Mrs. Leroy, I'll go. I can walk faster than
Midge, you know."
"So she can," cried Midge; "let her go, ma'am; I won't."

With which Midge waddled off, making the hall quake with her airy
tread. Mrs. Leroy looked with unusual graciousness at the young
lady.
"Will you go, Cherrie, and be quick about it. Tell Darcy to hurry; you
can drive back with him, you know."
Cherrie wanted nothing better, and was off like a dart, scenting a
secret, and determined to get at the bottom of it.
"What does she want with her lawyer, I wonder?" soliloquized
Cherrie, on the road. "I'll find out. Miss Natty's out of the way, and
Midge will be down in the kitchen. I'll find out."
Mr. Darcy was one of the best lawyers in the town, and was Lady
Leroy's man of business ever since her advent in Speckport. Cherrie
found him in his office—a handsome and gentlemanly old man, with
gray hair, whiskers, and mustache, and a clear, bright eye.
"What can the old lady want?" he wondered, aloud, putting on his
hat; "she didn't tell you, I suppose? Will you drive back with me,
Miss Cherrie?"
Miss Cherrie consented, and they had a very pleasant drive together,
the old gentleman chaffing her about her beaux, and wanting to
know when she was going to stop breaking hearts, and get married.
Cherrie did not say "next Tuesday," she only laughed, and desired to
be set down at her own gate.
There she watched the lawyer out of sight, and then went
deliberately after him. Not to the front door, however, but to a back
window she knew of, easily lifted, through it, up-stairs on tiptoe, and
into Nathalie's room, which she locked on the inside. Nathalie's room
adjoined Lady Leroy's, and the wall being thin, the conversation of
the lawyer and the old woman was distinctly audible. Cherrie sat
down on the floor, with her ear glued to the wall, and listened. It
was a prolonged and excited talk, the lawyer angrily protesting, Mrs.
Leroy angrily determined; and it ended in Mr. Darcy's yielding, but

grumblingly, and still under protest. Cherrie had fairly held her
breath while listening—astonishment and delight pictured on her
face.
There was a long silence; Mr. Darcy was writing. In half an hour his
task was completed, and he read it aloud to the mistress of Redmon.
"That will do," said Lady Leroy, "I'm glad it's over."
"Do you want that paper witnessed? Call Midge."
Mr. Darcy opened the door, and shouted through the darkness for
Midge, as Captain Cavendish had once done before. Midge made her
appearance, as soapy and steamy as ever.
"Write your name here," said Mr. Darcy, abruptly pointing to the
place.
"What is it?" inquired Midge.
"That's no affair of yours, is it? Sign it, will you?"
Midge took the pen as if it weighed half a ton or so, set her head
very much on one side, thrust her tongue a little out of one corner
of her mouth, and with much labor and painstaking, affixed a blotted
autograph—Priscilla Short.
"That will do," said Mr. Darcy; "we want another. Call in old Nettleby
—he can write."
Midge, casting a parting look, of much complacence at her
performance, departed on her errand, and old Nettleby coming in
shortly after, affixed another blotted signature. Mr. Darcy dispatched
him about his business, folded the document, put it in his pocket-
book, and took his hat and cane to go. On the threshold he paused.
"This has been done under the influence of anger, Mrs. Leroy," he
said; "and you will think better of it, and send me word to destroy it
before long. I consider it most unjust—exceedingly unjust—
altogether unjustifiable! Good afternoon, ma'am."

Cherrie waited in her hiding-place until she heard the hall door close
after him, then stole noiselessly out, down-stairs, through the
window, and gained her own home, unobserved.
What had she heard? Her face was flushed, her eyes bright, her
whole manner strangely excited. She could not keep still—she
walked ceaselessly to and from the gate, straining her eyes in the
direction of Speckport.
"Why don't he come! Why don't he come!" she kept repeating,
hurriedly. "Oh, what will he say to this?"

CHAPTER XIII.
AFTER THE WEDDING.
Ann Nettleby, busy in the culinary department, never remembered
seeing her restless sister so exceedingly restless as on this
afternoon. When the clock struck six, and old Mr. Nettleby plodded
home from his day's work, and the two young Mr. Nettleby's came
whistling from town, and tea was ready, Ann came out to call her to
partake. But Cherrie impatiently declined to partake; and still waited
and watched, while the sunset was burning itself out of the purple
sky, and the cinnamon roses drooped in the evening wind. The last
amber and crimson flush was paling behind the blue western hills,
when he, so long waited for, came up the dusty road, twirling a cane
in his hand, and smoking a cigar. The unspeakable beauty and
serenity of the summer twilight was no more to him than to her who
watched at the vine-wreathed gate. A handsome man and a pretty
girl—each was far more to the taste of the other than all the beauty
of sky and earth.
Right opposite the cottage were the dark, silent cedar woods. The
moment he came in sight, Cherrie opened the gate, motioning him
to follow, struck into the narrow footpath, winding among the
woods. Captain Cavendish followed, and found her sitting on a little
knoll, under the tree.
"I have been watching for you this ever so long," she breathlessly
began; "I thought you would never come! I have something to tell
you, and I daren't tell you in the house, for father and the boys are
there."
Captain Cavendish leaned against a tree, puffed his cigar, and looked
lazily down at her.

"Well, petite, what is it?"
"Oh, it's something dreadfully important. It's about Miss Marsh."
The young captain threw away his cigar, and took a seat beside
Cherrie, interested at once. He put his arm round her waist, too, but
this is by-the-way.
"About Miss Marsh? Have you been listening?"
Cherrie gave him an account how she had gone for Mr. Darcy, and
hidden afterward in Nathalie's room.
"My clever little darling! And what did you hear?"
"You never could guess! O my goodness," cried Cherrie, clasping her
hands, "won't Miss Natty be in a passion, when she finds it out."
"Will she, though? Let us hear it, Cherrie."
"Well," said Cherrie, "you know Miss Natty was to be heiress of
Redmon, and have all Lady Leroy's money when she dies?"
"Yes! well?"
"Well, she isn't to be any longer! Lady Leroy made a new will this
afternoon, and Miss Natty is disinherited!"
Captain Cavendish started with something like an oath.
"Cherrie! are you sure of this?"
"Certain sure!" said Cherrie, with a look and tone there was no
doubting. "I heard every word of it—her telling him so first, and him
reading the will afterward and father and Midge signed it!"
"The—devil!" said Captain Cavendish between his teeth; "but what
put such a freak in the old hag's head?"
"You!" said Cherrie.
"I!"

"Yes—just you! She told Mr. Darcy Natty was engaged to you, and
would not give you up, all she could say; so she meant to disinherit
her. She said Nathalie should never know, unless she married you
before she was dead—if she didn't, she shouldn't find it out until she
was in her grave, and then you would desert her when you found
out she was poor, and Nathalie would be rewarded for her
disobedience!"
Captain Cavendish's handsome face wore a scowl so black, and the
oath he swore was so dreadful, that even Cherrie shrank away in
something like terror.
"The old hag! I could throttle her if I had her here! Cherrie, who did
she leave her money to?"
"To her brother—or, in case of his death, to his heirs; and five
pounds to Natty to buy a mourning ring."
"Did you hear her brother's name?"
"Yes, but I forget! It was Harrington, or Harrison, or something like
that. Mr. Darcy scolded like everything, and said it was unjust; but
Lady Leroy didn't seem to mind him. Isn't it good I listened?"
"Cherrie! Cherrie! Cherrie!" called Ann Nettleby, "Where are you,
Cherrie? There's somebody in the house wants you!"
"I must go!" said Cherrie, rising. "You stay here, so Ann won't see
you. Will you be up to-morrow?"
"Yes," said Captain Cavendish; and Cherrie flitted away rapidly in the
growing dusk. For once he was glad to be rid of Cherrie—glad to be
calm and think, and the late-rising moon was high in the sky before
he left the wood, and walked back to Speckport.
Cherrie's visitor turned out to be Charley Marsh, who received the
reverse of a cordial welcome from his fickle-minded lady-love, who
was more than a little provoked at his shortening her interview with
one she liked better. She seated herself by the window, with her

eyes fixed on the cedar wood, rapidly blackening now, waiting for
her lover to emerge; but when his tall dark figure did at length stride
out through the dark path, night had fairly fallen, and it was too late
to see what expression his face wore.
Whatever the young Englishman's state of mind had been on leaving
the wood that night, it was serene as mood could be when, next
morning, Sunday, Miss Nettleby, en grande tenue, gold chain and all,
made her appearance in Speckport, and met him as she turned out
of Redmon road. Miss Nettleby was going to patronize the cathedral
this morning, confirmation was to take place, with all the
magnificent and poetical ceremonies of the Catholic Church, and
Cherrie would not have missed it for the world. Neither would
Captain Cavendish, who went partly from curiosity, partly to kill time,
partly to show himself in full uniform, and partly to hear Nathalie
Marsh play and sing. Out of the great organ she was drawing such
inspiring strains as Captain Cavendish thought he had never heard
before; rolling out in volumes of harmony over the ears of people
below, and grand and grateful were the notes the instrument gave
forth to her master-hand. In front of the altar all the youthful
aspirants for confirmation were seated, the girls robed in snowy
white, and wearing vails and wreaths on their bowed heads, like
young brides. But now the bishop, in mitre and chasuble, with a
throng of attendant priests, in splendid vestments, preceded by a
score of acolytes in scarlet soutanes, and white lace surplices,
bearing candles and crozier, are all on the altar, and the choir have
burst forth as with one voice, into the plaintive cry "Kyrie Eleison,"
and pontifical high mass has begun. High over all that swelling choir,
high, clear and sweet, one soprano voice arises, the voice of the
golden-haired organist: "Gloria in Excelsis!" Something in the deep
solemnity of the scene, in the inspiring music, in the white-robed
and flower-crowned girls, in the silent devotion of the thousands
around him, stirred a feeling in the soul of the man, that he had
never felt since, in early boyhood, before he knew Eton or Voltaire,
he had knelt at his mother's knee, and learned there his childish
prayers. He forgot, for a brief while, his wickedness and his

worldliness, forgot the black-eyed girl by his side, and the blue-eyed
girl whose voice vibrated through those lofty aisles, and, with
dreamy eyes, and a heart that went back to that old time, listened to
the sermon of the aged and white-haired priest, grown gray in the
service of that God whom he, a poor atom of the dust, dared deride.
It was one of those moments in which the great Creator, in his
infinite compassion for his lost sheep, goes in search of us to lead us
back to the fold, in which our good angel flutters his white wings
about us, and tries to lift us out of the slime in which we are
wallowing. But the sermon was over, the benediction given, the last
voluntary was playing, and the vast crowd were pouring out. Captain
Cavendish took his hat and went out with the rest; and before he
had fairly passed through the cathedral gates was his old, worldly,
infidel self again, and was pouring congratulations and praise into
the too-willing ears of Nathalie Marsh, on her admirable
performances, while Charley went home with Cherrie.
All that day, and the next, and the next, Captain Cavendish never
came near Redmon, or the pretty cottage where the roses and
sweetbriers grew; but Mr. Johnston, a pleasant-spoken and dapper
young cockney, without an h in his alphabet, and the captain's
confidential valet, came back and forth with messages, and took all
trouble and suspicion off his master. Neither had Miss Nettleby made
her appearance in Speckport; she had spent the chief part of her
time about the red-brick house, but had learned nothing further by
all her eavesdropping. In a most restless and excited state of mind
had the young lady been ever since Monday morning, in a sort of
inward fever that grew worse and worse with every passing hour.
She got up and sat down, and wandered in and out, and tried to
read, and sew, and net, and play the accordion, and threw down
each impatiently, after a few moments' trial. She sat down to her
meals and got up without eating anything; her cheeks burned with a
deep, steady fever-red, her eyes had the unnatural brightness of the
same disease, and Ann stared at her, and opined she was losing her
wits.

In rain and gloom the wedding-day dawned at last. Cherrie's fever
was worse—she wandered from room to room of the cottage all day
long, the fire in her eyes and the hectic on her cheek more brilliant
than ever. The sky was like lead, the wind had a warning wail in its
voice, and the rain fell sullenly and ceaselessly. But the rain could
not keep the girl in-doors; she went out and wandered around in it
all, returning dripping wet, three or four times, to change her
drenched clothes. The girls had the cottage to themselves; old
Nettleby was out in the shed, mending his gardening-tools, and the
boys were in Speckport. The dull day was ending in a duller and
rainier twilight, and Ann Nettleby was bustling about the tidy
kitchen, getting tea, and wondering if Cherrie had gone to bed in her
room up-stairs, she had been so quiet for the last half-hour. She did
not go up to see; but set the tea to draw, laid the table, and lit the
lamp. The wet twilight had now closed in, in a black and dismal
night, when Ann heard a carriage stop at the gate, and, a moment
after, a loud knock at the front door. Before she could open it, some
person without did so, and Ann saw Mr. Val Blake, wrapped in a
mackintosh, and waiting at the gate a cab, with a lighted lamp.
"How are you, Ann?" inquired Mr. Blake. "Is Cherrie in?"
"Yes, here I am!" a voice called out, and Cherrie herself came
running down stairs, her heart beating so fast and thick she could
hardly speak.
"I thought you would like a drive this evening, Cherrie," said Val;
"it's wet, but you won't mind it in the cab, and I'll fetch you back
before ten. Run and wrap up and come along."
It was not the first time Ann Nettleby had heard such impromptu
invitations given and accepted, and it was none of her business to
interfere. Cherrie was off like a flash, and down again directly, in
out-door dress, her vail down, to hide her flushed and excited face.
Ann Nettleby, standing in the cottage-door, watched the cab drive
away through the rainy night, and then, closing the door, went back

to the kitchen, to give her father his tea. She took her own with him,
setting the teapot back on the stove, to keep hot for her brothers.
Old Nettleby fell asleep immediately after tea, with his pipe in his
mouth, and Ann went back to her netting, wondering once more
what Cherrie was about, and wishing she could have such fine times
as her elder sister. Could she only have seen in some magic mirror
what was at that moment going on in a humble little Wesleyan
chapel in a retired street of the town! The building dimly lighted by
one flickering candle; a minister, or what looked like one, in white
neckcloth and clerical suit of black; the tall and distinguished man,
wearing a shrouding cloak, and the little girl, who trembled and
quivered so fearfully, standing before him, while he pronounced
them man and wife; and that other tall young man, with his hands in
his coat-pockets, listening and looking on! Could Ann Nettleby only
have seen it all, and known that her pretty sister was that very night
a bride!
Val Blake was certainly the soul of punctuality. As the clock on the
kitchen-mantel was striking ten, the cab stopped once more at the
cottage-door, and she heard his unceremonious voice bidding
Cherrie good-night. Ann opened the door, and Cherrie, her vail still
down, brushed past her without saying a word, and flitted up the
staircase to her own room.
It was half an hour later when Ann Nettleby's two brothers came,
dripping like water-dogs, home from town; and Ann having admitted
them, went yawningly up-stairs to bed.
"I say, father," said Rob Nettleby, pulling off his wet jacket, "was
there company up at Redmon to-day?"
"No," replied the old man. "Why?"
"Oh, because we met a carriage tearing by just now, as if Old Nick
was driving. I wonder what it was about?"

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