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In a few minutes Moses again touched the man’s elbow, “Say, Mister, I come to arsk yer parding fer larfin’ at yer, but, Glory be! I couldn’t help it. My curtings never rolled up on a funnier sight.”,

With a patient hand removin’,

Mr. Wopp in the meantime had seated himself on the other side of Betty and was busy taking notes on the dance then in progress. “It was so interestin” he said, “and the poetry might come in handy.” The dance was called “Captain Jinks.”,

When Betty returned from school in the afternoon, she beheld snowy billowing apparel on the clothes-line. Mrs. Wopp, being very thrifty in the matter of using up flour and sugar sacks for underwear, had a motley collection of garments suspended by wooden pegs. A night-shirt of Mr. Wopp’s bore the inscription “Three Roses” dimly outlined in pink, while on the southern portion of a pair of more intimate garments could be discerned, fading into palest blue. “Great Western Mills.” The wind was causing a riotous time among the cheerful array of reconstructed sacks, and as Betty ran down the path singing “Twenty froggies went to school,” a sugar sack sleeve of Moses’ shirt embraced a flour sack bosom of his father’s undergarment; and “Pure Cane Sugar“ saluted “Ogiveme’s Mills.” Betty cheerfully performed her task of bringing in the clothes saturated with wind and sunshine. She thought the sweetest smell in the world next to morning-glories and nasturtiums was the smell of clean clothes fresh from the line.

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“Me neither,” George endorsed.,

It was too bad! There could be no show in the barn. But the band was still lusty, the trick ponies remained, the boys and girls were eager to talk it over, and—the procession had been a success!,

During Betty’s illness these one-sided dialogues were more than usually plentiful. In this way only was Mrs. Wopp able to alleviate the “gnawin’ at her heart-strings” as she said, at having Betty so ill. It also kept the boy alive to the fact that life’s path was not strewn with “cabbage roses.” Such, at least, were the confidences poured into the sympathetic ear of his pinto.,

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.