nothing whatever of the kind. Not that Octavius's admiration is in any
way ridiculous or discreditable. Ann is a well formed creature, as far
as that goes; and she is perfectly ladylike, graceful, and comely, with
ensnaring eyes and hair. Besides, instead of making herself an eyesore,
like her mother, she has devised a mourning costume of black and
violet silk which does honor to her late father and reveals the family
tradition of brave unconventionality by which Ramsden sets such store.

But all this is beside the point as an explanation of Ann's charm.
Turn up her nose, give a cast to her eye, replace her black and violet
confection by the apron and feathers of a flower girl, strike all the
aitches out of her speech, and Ann would still make men dream. Vitality
is as common as humanity; but, like humanity, it sometimes rises to
genius; and Ann is one of the vital geniuses. Not at all, if you please,
an oversexed person: that is a vital defect, not a true excess. She is
a perfectly respectable, perfectly self-controlled woman, and looks
it; though her pose is fashionably frank and impulsive. She inspires
confidence as a person who will do nothing she does not mean to do; also
some fear, perhaps, as a woman who will probably do everything she means
to do without taking more account of other people than may be necessary
and what she calls right. In short, what the weaker of her own sex
sometimes call a cat.

Nothing can be more decorous than her entry and her reception by
Ramsden, whom she kisses. The late Mr Whitefield would be gratified
almost to impatience by the long faces of the men (except Tanner, who is
fidgety), the silent handgrasps, the sympathetic placing of chairs, the
sniffing of the widow, and the liquid eye of the daughter, whose heart,
apparently, will not let her control her tongue to speech. Ramsden and
Octavius take the two chairs from the wall, and place them for the two