Excerpt from Grey and Gold Let me try to describe it. The features were tolerably regular, but hard, and far too strongly marked to be agree able in youth the complexion was very dark and colourless the mouth firmly set; the lips compressed; the chin re solute, and even obstinate; the cheek-bones showed pain fully, and there were hollows in the temples, all the more visible because the dark, abundant hair was drawn, or rather strained, tightly back from the forehead, and fastened in a Slovenly, ungraceful knot at the back of the head. But the head itself was finely formed a phrenologist would have been enraptured with it the intellectual organs were so beautifully developed - or, rather, in a state to be de veloped, if only somebody would take a little trouble with them; but up to this time certainly no one had ever given himself, or herself, any trouble in the matter. Meanwhile, the massiveness Of the brow gave one only the idea Of heaviness and sullenness, which was in no wise an im provement to the singular, unprepossessing face. The eyes were grey, of a soft, shadowy hue many persons thought they were black, as they glanced out, sometimes in wrath, and sometimes in weary scorn, from the fringes of long, dark, curled eyelashes but they were not black, or brown, or blue, but veritable, clear, full grey Which Byron de clared was, after all, the only really expressive colour for eyes I think, in default Of any other Simile, I would call this girl's eyes iron-grey. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.