Thisbe’s steps had died out and her kitchen door had closed, but the musings of the two women had been interrupted and did not go back to their former current.
All at once, soft as a memory of the bygone, the notes of the piano began to sound, and Julia changed her position, resting one arm upon the chair by her side and listening intently to a dreamy old melody that brought back to her the drawing-room in the old house at Castor—a handsomely-furnished, low-ceiled room with deep window-seat, on whose cushion she had often knelt to watch the passing vehicles while her mother played that very tune in the half light.
So dreamy, so softened, as if mingled there with a strange sadness. Now just as it was then, one of the vivid memories of childhood, Weber’s “Last Waltz,” an air so sweet, so full of melancholy, that it seems wondrous that our parents could have danced to its strains, till we recall the doleful minor music of minuet, coranto, and saraband. Dancing must have been a serious matter in those days.
Soft and sweet, chord after chord, each laden with its memory to Julia Hallam.
Her mother was playing that when her father came in hastily one night, and was so angry because there were no lights; that night when she stole away to Thisbe.
She was playing it too that afternoon when Grandmamma Luttrell came and was in such low spirits, and would not tell the reason why. Again, that night when she shrank away from her father, and he flung her hands from him, and said that angry word.
Memory after memory came back from the past as Millicent Hallam played softly on, making her child’s face lustrous, eyes grow more dreamy, the curved neck bend lower, and the tears begin to gather, till, with quite a start, the young girl raised her head and saw the rays from the gas-lamp shining across the picture beyond her mother’s dimly-seen profile.
Julia rose to cross to her mother’s side, and knelt down to pass her arms round the shapely waist and there rest.
“Go on playing,” she said softly. “Now tell me about poor papa.”
The notes of the old melody seemed to have an additional strain of melancholy as they floated softly through the room, sometimes almost dying away, while after waiting a few minutes they formed the accompaniment to the sad story of Millicent Hallam’s love and faith, told for the hundredth time to her daughter.