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"I think she is the loveliest woman I ever saw," returns Miss Mansergh, quietly, without enthusiasm, but with decision. If cold, she is just, and above the pettiness of disliking a woman because she may be counted more worthy of admiration than herself. "You are not dancing much?" "Yes, I am pretty," she says, after a minute's pause, with a long-drawn sigh of deepest satisfaction. Then she glances at Geoffrey. "And for your sake I am glad of it Now, come here and stand beside me," she goes on, presently, holding out her hand backwards as though loath to lose sight of her own reflection. "Let me see how you look in the water.".
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Conrad
When she is gone, Geoffrey walks impatiently up and down the small hall, conflicting emotions robbing him of the serenity that usually attends his footsteps. He is happy, yet full of a secret gnawing uneasiness that weighs upon him daily, hourly. Near Mona—when in her presence—a gladness that amounts almost to perfect happiness is his; apart from her is unrest. Love, although he is but just awakening to the fact, has laid his chubby hands upon him, and now holds him in thrall; so that no longer for him is that most desirable thing content,—which means indifference. Rather is he melancholy now and then, and inclined to look on life apart from Mona as a doubtful good. "Now you are their friend forever," says Mona, in a pleased tone. "Once they do that, they mean to tell you they have adopted you. And they like very few people: so it is a compliment." The painters were told what to do long, long ago, "in about the second generation after the first people." "And why not this or any other drawer?" says Rodney, growing pale. Again jealousy, which is a demon, rises in his breast, and thrusts out all gentler feelings. Her allusion to Mr. Moore, most innocently spoken, and, later on, her reference to the students, have served to heighten within him angry suspicion..
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