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His tone is full of sadness and longing, and something akin to fear. He has been much in the world, and has seen many of its evil ways, and this is the result of his knowledge. As he gazes on and wonders at her marvellous beauty, for an instant (a most unworthy instant) he distrusts her. Yet surely never was more groundless doubt sustained, as one might know to look upon her eyes and mouth, for in the one lies honest love, and in the other firmness. "Oh, yes, you may go," says Mona. Geoffrey says nothing. He is looking at her with curiosity, in which deep love is mingled. She is so utterly unlike all other women he has ever met, with their petty affectations and mock modesties, their would-be hesitations and their final yieldings. She has no idea she is doing anything that all the world of women might not do, and can see no reason why she should distrust her friend just because he is a man. "Don't now," says Mona, in a low, soothing tone folding her in a close embrace; "this is wrong, foolish. And when things come to the worst they mend.".
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Conrad
"What a disagreeable-looking man that is over there!" she says: "the man with the shaggy beard, I mean, and the long hair." "I don't know myself. I wandered in a desultory fashion through the wood on leaving you, not caring to return home just then, and I was thinking of—of you, of course—when I stumbled against something (they tell me it was a gnarled root that had thrust itself above ground), and then there was a report, and a sharp pang; and that was all. I remember nothing. The gamekeeper found me a few minutes later, and had me brought here." "Well, it was perfect: wasn't it, Violet?" "I should have written to you about it sooner," he says at last, apologetically, hoping half his mother's resentment arises from a sense of his own negligence, "but I felt you would object, and so put it off from day to day.".
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