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Geewhillikins did not wait for four feet to be on the floor to spring at the plate. He put his paws on one pile of meat, and began to gobble the other, growling savagely. The house cats drew back, curled their tails around their forefeet, and looked at the gorger in calm disdain. “Soapsuds is Moses’ strong weakness,” commented Mrs. Wopp, laughing till her fat shoulders quaked perilously. “I guess he didn’t say ‘lick,’ Billy.”.

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An enlarged crayon portrait in a wide gilt frame of Moses as a baby in a state of round cherubic innocent nudity, had been added recently to the mural decorations and was especially well covered with cloths. Another sound in a somewhat higher key was heard. Moses had simply modulated in his domestic symphony of labor from a major task to a minor one. As a change and refreshing recreation, Moses was allowed to turn the small wheat-mill. Ninety soul-stirring turns it required to empty the hopper once, and he must turn out enough flour for a batch of bread. His youthful soul was in revolt at such servitude. He had no sympathy to squander on the children of Israel in bondage vile. Making bricks for Pharoah was infantile amusement compared to his labor. Moses’ face became as mournful as his music had been. It was as though he had suddenly realized that life was, after all, more serious than one suspects in one’s idle moments. Moses’ intuition regarding St. Elmo’s retreat proved to be correct, and it was a sadly dejected countenance on which he gazed when he looked into the cave. Tears, dirt, and the juice of Saskatoon berries mingled on the fair sleeping face of the child, until he seemed to be the very Cree Indian he had so often personated in his play. His long curls were tangled and matted with small twigs. His diminutive brown velvet coat displayed a large rent in the elbow through which oozed a pathetic-looking suppuration of pink and white checked shirt..