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"Then the people who send them should be ashamed! But what about the other half of their time that they spend from home?" Hame, hame to my ain countrie, "If I made a mistake I am sorry for it.".

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At last, one day, Old Man decided that he would make a woman and a child, and he modelled some clay in human shape, and after he had made these shapes and put them on the ground, he said to the clay, "You shall be people." He spread his robe over the clay figures and went away. The next morning he went back to the place and lifted up the robe, and saw that the clay shapes had changed a little. When he looked at them the next morning, they had changed still more; and when on the fourth day he went to the place and took off the covering, he said to the images, "Stand up and walk," and they did so. They walked down to the river with him who had made them, and he told them his name. "Oh, do take care!" cries Mona, in an agony: "it is loaded. If you throw it about in that rough fashion, it will certainly go off and do you some injury." "I shall like that very much," Mona had returned, innocently, not dreaming of the ordeal that awaited her,—because in such cases even the very best men will be deceitful, and Geoffrey had rather led her to believe that his mother would be charmed with her, and that she was most pleased than otherwise at their marriage. 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..