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Springing upon the bank that skirts the road on one side, she raises her hands to her head, and listens with all her might for the sound of wheels in the distance. "Tell me about your mother," she says, folding her hands easily in her lap. "I mean,—what is she like? Is she cold, or proud, or stand-off?" There is keen anxiety in her tone. At this moment Geoffrey comes into the room and up to Mona. He takes no notice whatever of her companion, "Mona, will you come and sing us something?" he says, as naturally as though the room is empty. "Nolly has been telling the duchess about your voice, and she wants to hear you. Anything simple, darling,"—seeing she looks a little distressed at the idea: "you sing that sort of thing best.".
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Conrad
"You will come, Mona, to oblige the duchess," says Geoffrey, in exactly as even a tone as if the other had never spoken. Not that he cares in the very least about the duchess; but he is determined to conquer here, and is also desirous that all the world should appreciate and admire the woman he loves. Her eyes are large and blue, with a shade of green in them; her lips are soft and mobile; her whole expression is debonnaire, yet full of tenderness. She is brightness itself; each inward thought, be it of grief or gladness, makes itself outwardly known in the constant changes of her face. Her hair is cut above her forehead, and is quite golden, yet perhaps it is a degree darker than the ordinary hair we hear described as yellow. To me, to think of Dorothy Darling's head is always to remind myself of that line in Milton's "Comus," where he speaks of "They certainly must be a lively lot, if all one hears is true," says Geoffrey, with a suppressed yawn. "Whilst the scritch-owl, scritching loud,.
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