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After a time the water began to boil and the old man turned his quiver upside down over the pot, and immediately there came from it a sound of a child crying, as if it were being hurt. The old people both looked in the kettle and there they saw a little boy, and they quickly took him out of the water. They were surprised and did not know where the child had come from. The old woman wrapped the child up and wound a line about its wrappings to keep them in place, making a lashing for the child. Then they talked about it, wondering what should be done with it. They thought that if their son-in-law knew it was a boy he would kill it; so they determined to tell their daughters that the baby was a girl, for then their son-in-law would think that he was going to have another wife. So he would be glad. They called the child Kŭt-o-yĭs´—Clot of Blood. Then Mrs. Geoffrey turns quickly, and runs home at the top of her speed. She is half sad, yet half exultant, being filled to the very heart with the knowledge that life, joy, and emancipation from present evil lie in her pocket. This thought crowns all others. "You are worn out, my love, my sweetheart," says Geoffrey, very tenderly, speaking to her as though she is in years the child that, in her soul, she truly is. "Come, Mona, you will not cry on this night of all others that has made me yours and you mine! If this thought made you as happy as it makes me, you could not cry. Now lift your head, and let me look at you. There! you have given yourself to me, darling, and there is a good life, I trust, before us; so let us dwell on that, and forget all minor evils. Together we can defy trouble!".
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Conrad
So he takes her hand, and together they lean over the brink and survey themselves in Nature's glass. Lightly their faces sway to and fro as the running water rushes across the pool,—sway, but do not part; they are always together, as though in anticipation of that happy time when their lives shall be one. It seems like a good omen; and Mona, in whose breast rests a little of the superstition that lies innate in every Irish heart, turns to her lover and looks at him. She doesn't put any g into her "charming," which, however, is neither here or there, and is perhaps a shabby thing to take notice of at all. "My dear fellow, let well alone," says Nicholas, with his slow, peculiar smile. "It was I induced Mona to dance with 'that fellow,' as you call him. Forgive me this injury, if indeed you count it one." "I mean that she shall remain just as she is. The world may be 'given to lying,' as Shakspeare tells us, but I will not have Mona tutored into telling fashionable falsehoods," says this intrepid young man facing his mother without a qualm of a passing dread. "A lie of any sort is base, and a prevarication is only a mean lie. She is truthful, let her stay so. Why should she learn it is the correct thing to say she is not at home when she is, or that she is suffering from a foolish megrim when she isn't? I don't suppose there is much harm in saying either of these things, as nobody ever believes them; but—let her remain as she is.".
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