"Next morning (Sunday 8th) I rose early, and, on approaching the room, heard the dear child's voice as strong, I thought, as usual; but on entering, I saw death plainly in her face. When I asked her how she had slept, she said 'Pretty well,' in her usual courteous manner; but her voice had a sort of hollow and distant softness, not to be described. When I took her hand on leaving her, she said (I thought significantly), 'Good-bye, papa.' I will not attempt to tell what I felt at all this. I went occasionally to listen at the door of the room, but did not go in, as Bessy, knowing what an effect (through my whole future life) such a scene would have on me, implored me not to be present at it.... In about three quarters of an hour or less, she called for me, and I came and took her hand for a few seconds, during which Bessy leaned down her head between the poor dying child and me, that I might not see her countenance. As I left the room, too, agonised as her own mind was, my sweet thoughtful Bessy ran anxiously after me, and, giving me a smelling-bottle, exclaimed, 'For God's sake, don't you get ill.' In about a quarter of an hour afterwards, she came to me, and I saw that all was over. I could no longer restrain myself; the feelings I had been so long suppressing found vent, and a fit of loud violent sobbing seized me, in which I felt as if my chest were coming asunder." Avoiding, after his habit, the actual sensations of horror, Moore took his wife out for a drive while the funeral was going on. There is no doubt, as I have said already, something unmasculine in all this shrinking from the physical impression, and one may trace something of the luxury of grief in the detailed recital. But the note with which it closes has the true accent of tragedy:-- "And such is the end of so many years of fondness and of hope; and nothing is left us but the dream (which may God in his mercy realise), that we shall see our pure child again in a world more worthy of her."