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“Here, Mose, hoi’ this here jint while I fit the next one inter it.” A tongue-twisting silence ensued. “Not in the house; in this room, yes.” In the matter of the next adventure, Moses’ feet were fast approaching that degree known as freezing point. But spurred on by the resolute will of his sister he rose to the occasion of a chariot race, adapted from “Ben Hur.” They had never forgotten the thrill they had experienced when one day at Mrs. Mifsud’s house the nephew of that good lady, with city-bred art, had recited in melodramatic fashion “Ben Hur’s Chariot Race.”.
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“Then where are they?” demanded Mrs. Wopp. “You are as bad as Anias and Sapphire who was carried out feet foremost. Go when I tell you. An’ you Betty, go upstairs an’ mend that orful, yawnin’ gap in yer stockin’. Now we hev got rid of the younguns Howard, will you read out what you was larfin’ at?” As the story became more intelligible to childish apprehension, several bright pairs of eyes rested on the teacher. “Then,” continued Mrs. Wopp, “the sailors carst lots to see who should be throwed orf the ship, an’ the lot fell on Joner.” “Oh, Betty, you got ole man Noer stuck in the shade. His ark never turned out sich a fine camel as yourn, I bet,” cried Moses gleefully as he proceeded to sell tickets and to admit an astonishingly large number of imaginary people into the circus grounds. Zalhambra was a vaudeville artist. His was the star act on each bill. He was undeniably a genius; it needed but a few bars of fortissimo plus crescendo to realize that he was a virtuoso of the first rank. When he played a Rag the audience shouted with delight; but when he sprinkled torrential cadenzas through the dizzying syncopation, like some mighty giant tossing meteors into a handful of fire-crackers, something like an electric shock stirred his hearers..
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