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“You’d best go an’ take her hoss, Moses,” directed Mr. Wopp. Then raising his voice he called, “Go right on into the house, Mis’ Mifsud. Lize has jist gone in from the garden.” The operetta opened with a weird winter scene, when the Sower (Harold) sowed his grain, and the gnomes and elves set upon him; and evoked Storm King (Jimmy), Wind (Bess), and Frost (Jackson). He was the comedy of the little drama; and dressed all in black, covered with silver spangles and diamond dust, he made a joke that the wine-growers appreciated, for it is the black frosts of April they fear. “Ef it hadn’t been fer Mosey, St. Elmo might of been lorst yet,” remarked Betty, gazing reflectively into the fire. “Ef he was goin’ walkin’ on till he found Joner, he’d of been gone a long while.”.
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kez_ h (Kez_h)
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Conrad
St. Elmo’s face brightened with intelligence. He broke into the story to give a graphic account of how a little yellow chicken of his sister’s had got “dwownded” in the pig-trough. Just then he saw a wagon in the distance rounding the curve of the mountain. This was his minute. He must get her before that team passed. Then if any one attempted to prevent him he would have help. He turned back to May Nell. 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. “Sometimes yes an’ orftener no. I’d hate to leave Betty an’ the pinto.”.
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