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Geoffrey removes the heavy lace that lies round her throat, and then leads her up to the hearthrug nearly opposite to his mother's arm-chair. This old woman, by hard work and sacrifice, had managed to rear the boys. She tanned robes for the hunters, made them moccasins worked with porcupine quills, and did everything she could to get a little food or worn out robes and hide, from which she made clothes for her boys. They never had new, brightly painted calf robes, like other children. They went barefoot in summer, and in winter their toes often showed through the worn out skin of their moccasins. They had no flesh. Their ribs could be counted beneath the skin; their cheeks were hollow; they looked always hungry. "Is it?"—witheringly. Then, with some impatience, "You will be far happier in an arm-chair: do go into the parlor. There is really no reason why you should remain here.".
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Conrad
"Well, really, you know, yes. I think there is something special about her," he says, feeling himself in duty bound to say something. "Why should you bear malice to any one?" says Mona uneasily. He takes little trouble about anything, certainly none to make himself popular, yet in all the countryside no man is so well beloved as he is. It is true that a kindly word here, or a smile in the right place, does more to make a man a social idol than substantial deeds of charity doled out by an unsympathetic hand. This may be unjust; it is certainly beyond dispute the fact. Mr. Rodney, basely forsaking the donkey, returns to his mutton. "There must be a dressmaker in Dublin," he says, "and we could write to her. Don't you know one?".
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