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“Oh no Betty,” Moses tones were of an elder-brotherly authority, “yer li’l han’s aint meant fer sich servitood. I’d not stan’ by an’ see you do that.” With all his teasing at times, Moses adored his little foster-sister. He idealized her, and as Mrs. Wopp had often remarked, whenever Betty left his presence he saw her ascend into heaven in a “Whirlwin’ of fire, an’ go-cart of flame.” The amused laugh of Nell Gordon, who sat beside Mrs. Wopp, floated past the youthful pair in front and perhaps helped to embue Moses with the reckless spirit of Jehu. The boy secretly admired his teacher, though he had an idea he would soundly pummel any boy with sufficient temerity to accuse him of it. Mrs. Wopp’s suggestion had an immediate and salutary effect on the boy..
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For I’m a young thing and cannot leave my mother.” Moses’ face became as mournful as his music had been. It was as though he had suddenly realized that life was, after all, more serious than one suspects in one’s idle moments. “Here you, Moses,” shouted his mother from the top of the stairs, “I heerd the pantry door squeakin’, no eatin’ till the job’s done.” She further informed him that stopping to eat “et inter his time too much an’ the work must be done afore dark.” 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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