Miss Medwin rose at once with a look for the piano, which was on the other side of the curtains. Both she and Gildea were amused and delighted by Mrs. Medwin’s characteristic interruption and command: Maddock was amused: even Alcock, who did not yet know her ways, was too much influenced by the charm of this her happiest manner to think it rude or imperious. “She is such an invalid,” he said, recounting this incident as an anecdote to a friend of his at the Melbourne Club, “and rules everyone about her like a little empress. But her manner is irresistible, really irresistible; and it doesn’t offend you in the least—in fact you rather like it. There is no woman in Melbourne who could help us to consolidate a party in the english social manner as she could. And I really attach—I really do!—considerable importance to the idea.” Such was the subsequent expression of the thoughts which were passing through the mind of Alcock as Gildea, having held back the curtain for Miss Medwin to pass, was opening the piano for her. Mrs. Medwin sat in serene unconsciousness of the possibility of her manners being considered as otherwise than her own, and would have been surprised if she had heard that anyone thought they were open to question.
“Is there any piece, aunt,” asked Miss Medwin, bending back so as to see Mrs. Medwin through the curtains, “that you would like me to play?”
“Oh no!” Mrs. Medwin said, “Why, I wanted you to play for Sir Horace, not for me!”
Miss Medwin smiled assent, and, after a few moments’ pause to consider what piece she would play and to collect her thoughts, began. The piece was the one which she considered would most please her audience, and which of course she knew. It was Chopin’s Eleventh Nocturne. It suited her humour at many times, but particularly at the present. The Nocturne is divided into two parts: passionate and half-weary wandering, and rest in which passion is merged in peace. To her it conjured up the vision of a twilight road winding up between woody rolling fields and a plantation. The dark figure of the man, whose passionate and half-weary wandering is here expressing itself, is coming slowly up the road. Low down and far away behind the close straight stems of the plantation lie a few pallid veins of sunset light. The shadows are stealing swiftly around him. He is near to hopelessness, near to the wish to
lie down like a tired child,
and weep away the life of care
which he has borne and yet must bear:
but passion and yearning are still too strong in him for self-abandonment. Then he hears sounds—a strain of music and voices—the nuns or monks perhaps, singing an evening hymn to the blessèd Mary, mother of passion and of peace! He moves on slowly and softly, listening. His hopelessness, his weariness are soothed into rest: trust enters into him, trust in the aims of life, that general life in which his own is now merged, even as the yearning of passion is lost in the sweetness of peace....
When she had finished, there was a long pause, and then Gildea thanked her for the pleasure she had given him. Mrs. Medwin and Maddock began to speak of the piece, Maddock expressing his pleasure at it and his admiration for Miss Medwin’s playing.
“You are, then, a lover of this Chopin?” said Gildea to Miss Medwin. “But he is not your Master, as you would say?”