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"And, if so, what are you doing here?" says Mona, reprovingly. "Because you are not safe here: your life is in danger. Once Ryan is recovered, he will not be content to see you living, knowing his life is in your hands; every hour you will be in danger. Whatever it may cost me, you must go." "Now this day we have seen a strange thing," said her bull husband. "The people's medicine is strong. He whom we trampled to death, whom our hoofs cut to pieces and mixed all up with the soil, is alive again. Now you shall go to your home, but before you go we will teach you our dance and our song. Do not forget them.".
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Conrad
"Why not?" persuasively: "it will do you a world of good." "Not very soon. But some time, of course, I must go." And by degrees, beneath her influence, Mona grows pale and distrait and in many respects unlike her old joyous self. Each cold, reproving glance and sneering word,—however carefully concealed—falls like a touch of ice upon her heart, chilling and withering her glad youth. Up to this she has led a bird's life, gay, insouciant, free and careless. Now her song seems checked, her sweetest notes are dying fast away through lack of sympathy. She is "cribbed, cabined, and confined," through no fault of her own, and grows listless and dispirited in her captivity. "I wonder what kind of songs you like best," says Mona, dreamily, letting her fingers run noiselessly over the keys of the Collard. "If you are like me, you like sad ones.".
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