Maud went forward into the room. The first impression she received was of great loftiness. It was a huge apartment, oak-panelled, and with a floor of polished oak. The whole of one side of the room was lighted by south windows that looked out over terraced gardens to the pine-woods of the park. At the end was a turret in the western angle of the wall, and here stood the piano, full in the glow of the sinking sun. There were two fireplaces in the room, and in the one nearer to the piano a red still fire was burning. A low couch stood before it, and a great tiger-skin--the only rug in the whole vast place--was spread on the hearth. There were other couches and strangely-shaped divans in the room, but no chairs, and only one small table. The whole effect was spacious and Eastern, curiously attractive to the senses and yet curiously elusive.
Maud went over the uncovered floor, treading lightly, with a feeling of having entered an enchanted land,--a feeling not wholly pleasant of being caught in a fairy web of subtleties from which she might not find it easy to escape.
The whole atmosphere breathed of Saltash. She was sure that he had designed every elusive detail.
The piano was thrown invitingly open. A French song was on the rack. It had the appearance of having been placed there but a moment before. A sudden doubt assailed her, a sensation as of having walked unwittingly into a trap. Some force had drawn her hither, some magnetism had surely been at work.
The impulse came to her then to turn and go, yet she resisted it. Later, it seemed to her that she had lacked the motive power to do aught but move straight to the piano and drop onto the music-stool before the keys. Her hands went out to them, and suddenly she was playing, at first very softly, then with gathering tone as she felt the instrument respond to her touch, till at length all sense of strangeness left her, and she began to sing the little French ditty that once had been one of her favourites! She had never heard her own voice to greater advantage than in that lofty music-room. It was a mezzo, sweet rather than powerful, with a ringing, bell-like quality that Charlie had been wont to compare to the tentative notes of a bullfinch. He had always declared that she was afraid of the sound of it, but this was certainly not the case to-day. The glad notes left her lips, true and free and birdlike. The heart within her had suddenly grown light.
The song came to an end. Her fingers began to wander idly over the keys. She played a dreamy air with an old-world waltz refrain, too lost in her trance of delight to realize what she played, and again half-unconsciously she was singing, as she had sung long ago before the gates of youth.
"There has fall'n a splendid tear,
From the passion flower at the gate,
She is coming, my dove, my dear;
She is coming, my life, my fate.
The red rose cries, 'She is near, she is near';
And the white rose weeps, 'She is late';
The larkspur listens, 'I hear, I hear';
And the lily whispers, 'I wait.'"
Softly, sweetly, the notes stole through the room, wandered awhile, and ceased. There fell a pause, and the girl's eyes rested dreaming on the long dark line of pine-trees red-flushed in the glow of sunset.
Then, still following her dream, she sang on.
"She is coming, my own, my sweet,
Were it ever so airy a tread
My heart would hear her and beat
Were it earth in an earthy bed;
My dust would hear her and beat,
Had I lain for a century dead;
Would start and tremble under her feet,
And blossom in purple and red."