Emma Bovary, « Madame Bovary » (Gustave Flaubert)

Description : Elle était pâle par­tout, blanche comme du linge ; la peau du nez se tirait vers les narines, ses yeux vous regar­daient d'une manière vague. Pour s'être décou­vert trois che­veux gris sur les tempes, elle parla beau­coup de sa vieillesse. (...) Ses pau­pières sem­blaient taillées tout exprès pour ses longs regards amou­reux où la pru­nelle se per­dait, tan­dis qu'un souffle fort écar­tait ses narines minces et rele­vait le coin charnu de ses lèvres, qu'ombrageait à la lumière un peu de duvet noir.

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Edward Rochester, « Jane Eyre » (Charlotte Brontë)

Description : Mr. Rochester, his foot sup­por­ted by the cushion; he was loo­king at Adèle and the dog: the fire shone full on his face. I knew my tra­vel­ler with his broad and jetty eye­brows; his square fore­head, made squa­rer by the hori­zon­tal sweep of his black hair. I reco­gni­sed his deci­sive nose, more remar­kable for cha­rac­ter than beauty; his full nos­trils, deno­ting, I thought, cho­ler; his grim mouth, chin, and jaw—yes, all three were very grim, and no mis­take. His shape, now dives­ted of cloak, I per­cei­ved har­mo­ni­sed in squa­re­ness with his physiognomy...My master's colour­less, olive face, square, mas­sive brow, broad and jetty eye­brows, deep eyes, strong fea­tures, firm, grim mouth.

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Humbert Humbert, « Lolita » (Vladimir Nabokov)

Description : Gloomy good looks...Clean-cut jaw, mus­cu­lar hand, deep sono­rous voice...broad shoulder...I was, and still am, des­pite mes mal­heurs, an excep­tio­nally hand­some male; slow-moving, tall, with soft dark hair and a gloomy but all the more seduc­tive cast of demea­nor. Exceptional viri­lity often reflects in the subject's dis­playable fea­tures a sul­len and conges­ted some­thing that per­tains to what he has to conceal. And this was my case...But ins­tead I am lanky, big-boned, wooly-chested Humbert Humbert, with thick black eyebrows...A cess­pool­ful of rot­ting mons­ters behind his slow boyish smile...aging ape eyes...Humbert's face might twitch with neuralgia.

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Daisy Buchanan, « Gatsby le magni­fique » (Francis Scott Fitzgerald)

Description : Her face was sad and lovely with bright things in it, bright eyes and a bright pas­sio­nate mouth...a conscien­tious expression...Slenderly, languidly...an expres­sion of unthought­ful sadness...her cheeks flushed...she loo­ked at me with an abso­lute smirk on her lovely face as if she had asser­ted her mem­ber­ship in a rather dis­tin­gui­shed secret society...a bright ecs­ta­tic smile...Aching, grie­ving beauty...the autumn-leaf yel­low of her hair... For Daisy was young and her arti­fi­cial world was redolent of orchids and plea­sant, cheer­ful snobbery...Girls were swoo­ning back­ward play­fully into men's arms, even into groups kno­wing that some one would arrest their falls—but no one swoo­ned back­ward on Gatsby and no French bob tou­ched Gatsby's shoulder.

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Sam Spade, « Le Faucon Maltais » (Dashiell Hammett)

Description : Samuel Spade's jaw was long and bony, his chin a jut­ting v under the more flexible v of his mouth. His nos­trils cur­ved back to make ano­ther, smal­ler, v. His yellow-grey eyes were hori­zon­tal. The V motif was picked up again by thi­ckish brows rising out­ward from twin creases above a hoo­ked nose, and his pale brown hair grew down—from high flat temples—in a point on his fore­head. He loo­ked rather plea­santly like a blond Satan.

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Tom Ripley, « Le Talentueux Mr Ripley » (Patricia Highsmith)

Description : ...Combed his light-brown hair neatly in front of the mir­ror, and set off for Radio City. He had always thought he had the world's dul­lest face, a tho­roughly for­get­table face with a look of doci­lity that he could not unders­tand, and a look also of vague fright that he had never been able to erase. A real conformist's face, he thought...Really it was only his dar­ker hair that was very dif­ferent from Dickie. Otherwise, his nose—or at least its gene­ral form—his nar­row jaw, his eye­brows if he held them right...He wasn't really wor­ried. Tom had at first amu­sed him­self with an eye­brow pencil—Dickie's eye­brows were lon­ger and tur­ned up a lit­tle at the outer edges—and with a touch of putty at the end of his nose to make it lon­ger and more poin­ted, but he aban­do­ned these as too likely to be noti­ced. The main thing about imper­so­na­tion, Tom thought, was to main­tain the mood and tem­pe­rament of the per­son one was imper­so­na­ting, and to assume the facial expres­sions that went with them. The rest fell into place...He might play up Tom a lit­tle more, he thought.
He could stoop a lit­tle more, he could be shyer than ever, he could even wear horn-rimmed glasses and hold his mouth in an even sad­der, droo­pier man­ner to contrast with Dickie's tenseness.

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Tess, « Tess d'Urberville » (Thomas Hardy)

Description : She was a fine and hand­some girl—not hand­so­mer than some others, possibly—but her mobile peony mouth and large inno­cent eyes added elo­quence to colour and shape... The pouted-up deep red mouth to which this syl­lable was native had hardly as yet set­tled into its defi­nite shape, and her lower lip had a way of thrus­ting the middle of her top one upward, when they clo­sed toge­ther after a word...Phases of her child­hood lur­ked in her aspect still. As she wal­ked along to-day, for all her boun­cing hand­some woman­li­ness, you could some­times see her twelfth year in her cheeks, or her ninth spark­ling from her eyes...a thick cable of twis­ted dark hair han­ging straight down her back to her waist.

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Dr. Robert Vaughan, « Crash » (J.G. Ballard)

Description : His exhaus­ted face, with its scar­red mouth...As his pock-marked jaws cham­ped on a piece of gum I had the sud­den fee­ling that he was haw­king obs­cene pic­tures around the wards...But what mar­ked him out was the scar tis­sue around his fore­head and mouth, resi­dues of some ter­ri­fying act of violence...Heavy black hair...Broken and re-set nose bridge...His fea­tures loo­ked as if they had been dis­pla­ced late­rally, reas­sem­bled after the crash from a col­lec­tion of faded publi­city pho­to­graphs. The scars on his mouth and fore­head, the self-cut hair and two mis­sing upper canine gave him a neglec­ted and hos­tile appearance...His hard mouth, with its scar­red lips, was par­ted in a droll smile.

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Le juge Holden, « Le Méridien de sang » (Cormac McCarthy)

Description : An enor­mous man dres­sed in an oil­cloth sli­cker had ente­red the tent and remo­ved his hat...He was bald as a stone and he had no trace of beard and he had no brows to his eyes nor lashes to them...He was close on to seven feet in height... His face was serene and stran­gely childlike...His hands were small.

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Aomame, « 1Q84 » (Haruki Murakami)

Description : 5'6...Not once ounce of excess fat...The left ear much big­ger than the right, and mal­for­med, but her hair always covers her ears...Lips for­med a tight straight line...Small nar­row nose, somew­hat pro­tru­ding cheek­bones, broad fore­head, and long, straight eyebrows...[Face is a] Pleasing oval shape...Extreme pau­city of expression.

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Pinkie Brown, « Rocher de Brighton » (Graham Greene)

Description : He had a fair smooth skin, the fain­test down, and his grey eyes had an effect of heart­less­ness like an old man's in which human fee­ling has died...Grey inhu­man seventeen-year-old eyes...From behind he loo­ked youn­ger than he was in his dark thin ready-made suit a lit­tle too big for him at the hips, but when you met him face to face he loo­ked older, the sla­tey eyes were tou­ched with the anni­hi­la­ting eter­nity from which he had come and to which he went...The eyes which had never been young sta­red with grey contempt into...The eyes which had only just begun to learn a thing or two...In the tip­ped mir­ror on the washs­tand he could see him­self, but his eyes shif­ted qui­ckly from the image of smooth, never sha­ven cheek, soft hair, old eyes...‘They nearly got me too,' and he rai­sed his ban­da­ged hand to his scar­red neck.

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