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With the gracious air of a duchess, Maria Mifsud dropped into the oat-bin about a peck of the vegetables. They were coiffured and manicured correctly and doubtless considered themselves the elite of the carota species. “Oh, no; she must be Jean.” “Did the little kids take it hard?”.

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“This peacock,” went on Betty, showing the picture of a bird with plumed tail outspread, “is the white peacock of the moon. It lives in the moon, but when fairies want to come to play with li’l girls, they harness the peacock an’ drive down to earth in a silver chariot.” “I wonder who’ll buy this here quilt,” speculated Mrs. Wopp, as she bent over her task, “there’s shorely a great sight o’ work on it. As fer me, I aint got time to do much fancy work an’ I’d never git round to a job like this fer myself.” 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. The Mifsud ranch-house was situated in a valley close to Ripple Creek. This stream was guarded in its serpentine course by a fringe of trees which extended several rods on each side. Moses drove up to the house door with a flourish and his passengers alighted. His mother paused a moment to urge, “Be sure an’ git yer chores done early, Moses, an’ you an’ Par be here fer supper by six o’clock.”.