This "melancholy almost suffering expression of countenance" she thus described was evidently once a marked characteristic of M. Héger's physiognomy. A reference to it occurs in M. Sue's _Miss Mary_, in the French and "adapted" version, where we find M. de Morville, whom I identify as a phase of M. Héger, sitting in a reverie:-- ... l'expression de légère souffrance habituelle à sa physionomie, d'ailleurs si ouverte, s'est compliquée d'une sorte de contrainte lorsqu'il se trouve au milieu de sa famille. Seul, et ne subissant pas cette contrainte ... M. de Morville semble profondément attristé. Thus, of Yorke Hunsden in _The Professor_, we read:-- His general bearing intimated complete ... satisfaction, ... yet, at times, an indescribable shade passed like an eclipse over his countenance, and seemed to me like the sign of a sudden and strong inward doubt of himself, ... an energetic discontent, ... perhaps ... it might only be a bilious caprice. And again of Hunsden, in the same vein:-- I discerned ... there would be contrasts between his inward and outward man; contentions too.... Perhaps in these incompatibilities of the "physique" with the "morale" lay the secret of that fitful gloom; he _would_ but _could_ not, and the athletic mind scowled scorn on its more fragile companion, ... his features ... character had set a stamp upon ... expression re-cast them at her pleasure, and strange metamorphoses she wrote, giving him now the mien of a morose bull, and anon, that of an ... arch girl. Regarding these facial metamorphoses Charlotte Brontë wrote similarly concerning M. Héger.[49] I remark that M. Héger's harshness evidently had impressed Charlotte Brontë considerably at first, and thus reflects her thoughts on this point in the introduction of the phases she gives of him in her books. So we read of Yorke Hunsden, of Heathcliffe, and of Rochester:-- _The Professor._ _Wuthering Heights._ _Jane Eyre._