gray eyes,” “steel-gray eyes,” and “displeased gray eyes;” also “grave eyes,” “sparkling eyes,” “clear eyes,” “blazing eyes,” “proud eyes,” “great eyes,” “aching eyes,” “large bright eyes,” “drooped eyes,” “eager young eyes,” “angry eyes,” “steel-colored eyes.” “sad, leave-taking eyes,” “flashing eyes,” and “proud, dewy eyes.”  Upon one occasion she “lifts the fair stars of her gray eyes” into her lover’s face; on another, she scorches him badly with “gray eyes like furious fires.”  The hero himself, a most quiet, commonplace young doctor, is not above a little eye-work on his own account.  He has alternately “serious eyes,” “cross eyes,” “quiet, shrewd eyes,” “coldly just, bright eyes,” “steady eyes,” “calm eyes,” “fiery eyes,” “town-tired eyes,”—­which is quite a novelty in the list,—­and “eyes of burning choler,” to say nothing of eyes that “burn like fire,” while he “grows pale as ashes,” which must have given him the effect of a conflagration, especially as he stands once “all beflamed with sunset.”

Next to the supreme question of eyes we hear most about Gillian’s “blonde head,” and her “flaxen head,” her “flax head,” her “bowed flax head,” her “tossed head,” her “wilful head,” her “fair head,” and her “well-poised head,” while to match these maidenly attributes she has a “fair Sphinx face,” a “tragic pale face,” a “serious face,” a “humiliated white face,” a “flaming face,” a “hotly-flushed face,” a “sweetly apologetic face,” and a “flower-textured face.”  Moreover, being a very remarkable girl, she is endowed with a “severe young figure,” and a “gracious figure,” whatever that may mean, while her “lily-fair” and “delicate-cold” hands have “satiny backs,” and are “small and capable” as well.  She is never merely pretty like other women, but she has “ripe June beauty.” and a “robust yet delicate beauty.”  If she loses her temper, which happens rather often in the course of the story, she manifests the same by the “red scorn of her look,” or by her “beautiful vexed eyes,” which resemble a “sudden angry gray arrow,”—­imagine an angry gray arrow,—­or by “flaming out into crimson anger,” or “with wreathed neck and flaming cheek,” or “with enkindled eye and vermeil cheek,” both of which expressions we would recommend to lovers of simplicity.

If she is sad, however, she “lifts the drowned stars of her impatient, suffering eyes,” or lowers them with a “moist look;” or she strays in “confused red misery,” or in a “passionate scarlet hurry,” which is as extraordinary in its way as an angry gray arrow.  When her father dies, she stands “long and craped,” with a “black elbow” resting on the chimney-place; while her various methods of blushing take up half the volume.  Never, indeed, was there a heroine who blushed so much about so little.  Sometimes it is merely a matter of “flaming cheeks,” or of the “young roses of her cheeks,” or of the “mortified carmine of her cheeks,” or of her “hot bloom,” or of her “beautiful hot red roses.”  Sometimes it is the “deep