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“Ma! Mamma Bennett,” he burst out as he banged open the door; “she’s coming,—our little earthquake girl! The cutest kid,—not so big as the twins, but stylisher in the face.” “Oh, Billy To-morrow! You won’t have half time enough to play. You’re a regular Mexican,—always mañana!” The whole garden had been fenced in as a precaution against the encroachment of predatory animals. Molly, the inquisitive black cow, or Josh and Jake, who had no proper sense of the fitness of things, would have liked nothing better than to sample Mrs. Wopp’s prize turnips and scanty crop of Indian corn, and to trample into the soft earth whatever did not suit their dainty palates..
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Conrad
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. “To the park!” Billy shouted, his heart thumping with joy. “You hitch Jethro to yer ole ’xpress waggon, ’n I’ll hitch Job to a prune-box with spool-wheels,” suggested Betty. “Betty, play us a toon,” requested Mr. Wopp who was very fond of music..
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