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"Let her thry," says old Brian, in his soft, Irish brogue, that comes kindly from his tongue. "She's mighty clever about most things." "Sure Miss Mona can," says Biddy, turning to her young mistress, and standing in the doorway in her favorite position,—that is, with her bare arms akimbo, and her head to one side like a magpie. "She's raal clever at dhressin' an' doctherin' an' that." "If you can say that again now, in cold blood, after so many hours of thought, you must be indeed heartless," says Rodney; "and"—standing up—"I may as well go.".
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Conrad
Of all this Mona is unaware; though even were it otherwise I doubt if a lie could come trippingly to her lips, or a nice evasion be balanced there at a moment's notice. Such foul things as untruths are unknown to her, and have no refuge in her heart. It is indeed fortunate that on this occasion she knows no reason why her reply should differ from the truth, because in that case I think she would stand still, and stammer sadly, and grow uncomfortably red, and otherwise betray the fact that she would lie if she knew how. "I feel no pain," returns he, gallantly. "Come a little farther," he says, gently, slinging the heavy bag across his own shoulders. "There must be a farmhouse somewhere." Mere beauty of form and feature will fade indeed, but Mona's beauty lies not altogether in nose or eyes or mouth, but rather in her soul, which compels her face to express its lightest meaning. It is in her expression, which varies with each passing thought, changing from "grave to gay, from lively to severe," as the soul within speaks to it, that her chief charm dwells. She is never quite the same for two minutes running,—which is the surest safeguard against satiety. And as her soul is pure and clean, and her face is truly the index to her mind, all it betrays but endears her to and makes richer him who reads it..
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