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KŬT-O-YĬS´, THE BLOOD BOY "Yes, to-morrow you can have your arm re-dressed," she says, in a low tone, that savors of sadness; and then he knows she does not want him to prosecute Ryan. A strange feeling of shyness is weighing upon her. Her stalwart English lover is standing close beside her, having risen from his chair with his eyes on hers, and in his shirt-sleeves looking more than usually handsome because of his pallor, and because of the dark circles that, lying beneath his eyes, throw out their color, making them darker, deeper, than is their nature. How shall she bare the arm of this young Adonis?—how help to heal his wound? Oh, Larry Moloney, what hast thou not got to answer for!.
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"But why?—why? Is it because you love me? Oh, Mona! If it is that! At times I have thought so, and yet again I have feared you do not love me as—as I love you." Quite near to the poor corpse, a woman sits, young, apparently, and with a handsome figure, though now it is bent and bowed with grief. She is dressed in the ordinary garb of the Irish peasant, with a short gown well tucked up, naked feet, and the sleeves of her dress pushed upwards until they almost reach the shoulder, showing the shapely arm and the small hand that, as a rule, belong to the daughters of Erin and betray the existence of the Spanish blood that in days gone by mingled with theirs. Looks as if lulled upon an angel's lap quotes Geoffrey, lightly, "Are not these three reasons sufficient? If not, I could tell you a score of others. I may bring her down to see you?".
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