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Edith worked very hard. She called her operetta “The Triumph of Flora.” The words were her own, written hurriedly and set to familiar though classic airs. Yet many of the daintiest, most tripping melodies she wrote herself. The sorrows of humanity had winged her brain and dipped her pen in harmonies, that she might assuage them. “She’ll be orful mad,” prophecied Moses. Billy looked at her wonderingly for an instant. “You guess everything that troubles a fellow, don’t you? How do you do it?” He sighed deeply..
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“Please, Mith Wopp, the latht windthorm upthet our hen-houth.” “Miss Gordon done it, I know,” whispered Betty, clasping and unclasping her hands, “she’s not a school-teacher at orl, she’s jist a fairy growed up, an’ Mar’s a fairy godmother!” Mrs. Wopp surmised from the dejected appearance of the young rancher, coupled with the smiles over the footlights which she had observed with rising wrath, that trouble was brewing, and she whispered audibly to herself, “A musician’s orl right on a pianner stool, but when it comes to gittin’ up in the mornin’ an’ choppin’ wood to bile the kettle give me a farmer.” Her cogitations became louder. “I s’pose he thinks cos he has a percession of carpital letters arter his name he can git anyone fer the arskin’. When he smiled so at our Miss Gordon I could of slain him with the jawrbone of an arss.” In her championship of Howard’s interests, Mrs. Wopp became an ardent villifier of the pianist and she administered an oral castigation with feminine vigor. “Come on Betty, you haven’t had a dance this evening. It isn’t fair for the grownups to have all the fun,” invited Howard Eliot..
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