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    Ͼ ȴٰ ġ 󿡼 ִ Ȯ Žϴ å ɸ顷 ⰣǾ. ܷο Ű ȸ , ׷ٰ , ̰ų н 𸣴 ϴ ȴ. Ÿ α ٸ Ƽ ó, о 츮 ּ ɱ׶. 츮 װ, ̹ ϱ⿡ ٻڴ. ׷ ׷ ɱ? ģ ģ, ε, ᵵ Ѷ ̾µ ̴.

    ۷κ꡵Ŀ̾塵  پ ׶ θƮ ̷ ô뿡 ϴ  ǹ̸ ˾ƺ ߴ. ״ ư Ŵ Ŭ ϰ, Ѻǿ ؼ ٷ ûֱ  ̴ ȸ ϰ, ̱ Ⱦܿ Ÿ ȭ α׷ Ѵ. ηڿ ɸ, , ġ о ׵ ֽ Ѵ. ϶ ǿó ΰ 縦 캸, ۷ó پ й ϰ, ũ׽ ͽó ȣ ڼ Žϴ η Ȥ Ѿ Ӿ ߴ, ó µ ģ Ǯ,  η Ѿ ٸ 踦 ⸦ ־ ش.
  •  (The Seafarers  д  ø 50

    (The Seafarers д ø 50
    'SWEETER THAN BLUE-EYED VIOLETS OR THE DAMASK ROSE' That Bella Waldron should have felt sad, and her night's rest have been disturbed in consequence, was, in the circumstances, most natural. For one cannot suppose that any young girl leaves her home, her mother, and her country without much grief and perturbation; without tears and sorrow and heavy sighs, as well as tremendous fears that she may never return to, nor see, them again. And such is what Bella was about to do when this particular night should have come to an end: she was about to traverse not one ocean, but two; to pass from a life that, if not luxurious, was at least comfortable, to another which, if more brilliant, would undoubtedly be strange, and, consequently, not easily to be adopted at first. In fact, to go from one side of the world to the other.

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