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“Billy, ask Mr. Patton to let her come to your house! There aren’t any boys.” Jean’s voice trembled with eagerness. Her wardrobe was a heavy drain on Edith’s purse, yet the young teacher delighted almost as a mother in the dainty garments that won her to extravagance. Jenny, my own true loved one.

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From the waist down, Moses’ masculine and uncouth figure seemed to utter a dull protest against cut-me-downs. There are many forces in life that growing youths are not able to control. One of these, in the career of Moses, was the inexorable will of his mother that ordained homemade garments for his nether limbs. Made from his father’s discarded trousers of black and grey check, the new pair of abominations that adorned the legs of the youthful Wopp bore evidence to the unskilled fingers of the maker. They had the generous dimensions allowed by an imaginative and economical mind that could look into the future and could see legs lengthening and a general expansion. In fact, the coarse checked tweed fell in slight gathers, fore and aft. The dingy greenish-grey coat that slouched from Moses’ shoulders did not fail to heighten the effect, but seemed to set the costume in italics. The pianist walked on the stage as the eyes of Mrs. Wopp and Moses rested on Betty. Howard Eliot had not taken his gaze from Nell Gordon expecting momentarily to catch her glance and to be rewarded by a smile. A smile radiated her fair face, but alas! It was not for him. 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. “Poor little chaps! They’ve been talking circus for a month.”.