had really meant when she said to her mother, "I know what sort of man I want to marry. I know exactly." She had meant, quite without knowing it, that it must be a man like Jean de Cyon . . . charming, romantic and a little wild.
She had not forgotten him, though there were moments at the school in Saint-Cloud when she had believed she would never see him again—moments when she was swept by a delicious sense of hopeless melancholy in which she believed that her whole life had been blighted, and which led her to make long and romantic entries in the diary that was kept hidden beneath her mattress. And so as she grew more hopeless, the aura of romance surrounding him took on colors deeper and more varied and intense. She had grown so pale that Mademoiselle Vernueil took to dosing her, and Thérèse accused her abruptly of having fallen in love, a thing she denied vaguely and with overtones of romantic mystery.
And then with the return to Pentlands (a return advised by her mother on account of Jack's health) the image dimmed a little in the belief that even by the wildest flights of imagination there was no chance of her seeing him again. It became a hopeless passion; she prepared herself to forget him and, in the wisdom of her young mind, grow accustomed to the idea of marrying one of the tame young men who were so much more suitable and whom her family had always known. She had watched her admirers carefully, weighing them always against the image of the young man with red hair, dressed in the black and silver of the cuirassiers, and beside that image they had seemed to her—even the blond, good-looking Mannering boy—like little boys, rather naughty and not half so old and wise as herself. She had reconciled herself secretly and with gravity to the idea of making one of the matches common in her world—a marriage determined by property and the fact that her fiancé would be "the right sort of person."
