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Molly enjoyed the attentions of Betty and contentedly chewed her cud. Whenever Betty leaned forward to caress the camel, Molly rolled out some square inches of tongue and licked the glowing cheek of her little mistress. An altogether adorable if somewhat familiar camel was the old black cow. And gents your black and tan, “Yes indeed,” laughed Mrs. Wopp, who was just then entering the room with a platter of bacon and eggs, “Betty’s our mornin’-glory girl shore nuff, she’s first up in the mornin’, she’s a glory little urchin an’ she’s our little girl to stay.”.
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Conrad
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. “I wathed theeth carroth mythelf, aint they lovely and red jutht like Motheth hair.” She was quite oblivious of the scornful glance bestowed on her by that outraged shock-headed youth. “What a funny word! What do you mean?” “Land o’ Goshen, child,” shrieked Mrs. Wopp throwing up her hands in dismay, “whatever hev you been doin’ to yerself. You look jist like a wooden Injin. I wouldn’t of knowed you ef I’d met you in the streets of Judear.”.
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