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"She is not a lady," says Lady Rodney, as though that should terminate the argument. He tells Mona she is very welcome, and, still holding her hand, draws her over to the fire, and moves a big arm-chair in front of it, in which he ensconces her, bidding her warm herself, and make herself (as he says with a kindly smile that has still kinder meaning in it) "quite at home." "I thought I did," says Geoffrey, waking slowly to a sense of the situation..
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Another pause. Mona is on thorns. Will the branching path, that may give her a chance of escaping a further tete-a-tete with him, never be reached? As Mona advances to his side, through the gathering gloom of fast approaching night, pale almost as he is, and trembling in every limb, this miserable anxiety dies out of his face, leaving behind it a rest and peace unutterable. No one is forgotten by him; though once "he is dead and laid in grave" he is forgotten by most. 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.
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