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“It’s a terrible disease, shorely,” interpolated Mrs. Wopp. “Ebenezer’s sisten-in-law’s cousin hed it, an’ fer a long time she was as yaller as a biled turnip. Her feelin’s was low, too, an’ she thort she was goin’ to die. She made her will, leavin’ her clothes an’ her cat, which was all she hed, to an ole men’s refuge. But lan’ sakes! she’s alive yet an’ peart as a robin. She got a set o’ false teeth an’ a switch jist larst month.” “Said so, but they’re late. We’ve got an addition, the little earthquake girl.” This last was a sibilant aside. “Do you like it, Sunday School, I mean? I don’t. I like church, though,—the great booming organ, the beautiful singing. And when the minister speaks I just float away into fairy-land and never come back till he says, ‘The-Lord-make-his-face-to-shine-upon-us-amen.’”.
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Conrad
Maria now began to get alarmed, and her anxiety being communicated to Clarence and Betty, the three young people set off in a combined search. And that night after school, when May Nell’s little wardrobe was all packed,—not without a slight baptism of Edith’s tears,—and waiting for the morning train, Mr. Smith came in and put a ceremonious looking document into Billy’s hand. He tried to hold it from falling, but could not. It seemed as if his arms would be pulled out of their sockets. It would fall short—he must hold on to it, not let it strike below, for the noise would betray them too soon; and—the men in the wagon were passing! 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..
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