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Nicholas, going into the outer hall, cross-examines the boy who has brought the melancholy tidings, and, having spoken to him for some time, goes back to the library with a face even graver than it was before. "There is hardly any taste so charming or so engrossing as that for flowers," says Geoffrey, making this trite little speech, that sounds like a copy-book, in his most engaging style. "My mother and cousin do a great deal of that sort of thing when at home." "Then thank you, and I shall go with you, if you will allow me," says Geoffrey, hurriedly, as he sees her disappearing..
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"No one can say we are not in time," says Jack, gayly. "It is exactly"—examining closely the ormolu-clock upon the mantelpiece—"one hour before we can reasonably expect dinner." "Like that? Not a bit of it," says Geoffrey, who had given her two kisses for her one: "you mustn't expect it. She isn't in the least like that. She will meet you probably as though she saw you yesterday, and say, 'How d'ye do? I'm afraid you have had a very long and cold drive.' And then you will say——" "You are Sir Nicholas?" questions she at last, gaining courage to speak, and raising her eyes to his full of entreaty, and just a touch of that pathos that seems of right to belong to the eyes of all Irishwomen. Mere beauty of form and feature will fade indeed, but Mona's beauty lies not altogether in nose or eyes or mouth, but rather in her soul, which compels her face to express its lightest meaning. It is in her expression, which varies with each passing thought, changing from "grave to gay, from lively to severe," as the soul within speaks to it, that her chief charm dwells. She is never quite the same for two minutes running,—which is the surest safeguard against satiety. And as her soul is pure and clean, and her face is truly the index to her mind, all it betrays but endears her to and makes richer him who reads it..
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