Patrick went up to him, and, 'Give us a hug,' he said, and the hug was
given.

They were of an equal height, tall young men, alert, nervously braced
from head to foot, with the differences between soldier and civilian
marked by the succintly military bearing of the elder brother, whose
movements were precise and prompt, and whose frame was leopardlike in
indolence. Beside him Patrick seemed cubbish, though beside another he
would not have appeared so. His features were not so brilliantly
regular, but were a fanciful sketch of the same design, showing a wider
pattern of the long square head and the forehead, a wavering at the dip
of the nose, livelier nostrils: the nostrils dilated and contracted, and
were exceeding alive. His eyelids had to do with the look of his eyes,
and were often seen cutting the ball. Philip's eyes were large on the
pent of his brows, open, liquid, and quick with the fire in him. Eyes of
that quality are the visible mind, animated both to speak it and to
render it what comes within their scope. They were full, unshaded
direct, the man himself, in action. Patrick's mouth had to be studied
for an additional index to the character. To symbolise them, they were
as a sword-blade lying beside book.

Men would have thought Patrick the slippery one of the two: women would
have inclined to confide in him the more thoroughly; they bring feeling
to the test, and do not so much read a print as read the imprinting on
themselves; and the report that a certain one of us is true as steel,
must be unanimous at a propitious hour to assure them completely that the
steel is not two-edged in the fully formed nature of a man whom they have
not tried. They are more at home with the unformed, which lends itself
to feeling and imagination. Besides Patrick came nearer to them; he
showed sensibility. They have it, and they deem it auspicious of