Sónya struck the first chord of the prelude.
“My God, I’m a ruined and dishonored man! A bullet through my brain is the only thing left me—not singing!” his thoughts ran on. “Go away? But where to? It’s one—let them sing!”
He continued to pace the room, looking gloomily at Denísov and the girls and avoiding their eyes.
“Nikólenka, what is the matter?” Sónya’s eyes fixed on him seemed to ask. She noticed at once that something had happened to him.
Nicholas turned away from her. Natásha too, with her quick instinct, had instantly noticed her brother’s condition. But, though she noticed it, she was herself in such high spirits at that moment, so far from sorrow, sadness, or self-reproach, that she purposely deceived herself as young people often do. “No, I am too happy now to spoil my enjoyment by sympathy with anyone’s sorrow,” she felt, and she said to herself: “No, I must be mistaken, he must be feeling happy, just as I am.”
“Now, Sónya!” she said, going to the very middle of the room, where she considered the resonance was best.
Having lifted her head and let her arms droop lifelessly, as ballet dancers do, Natásha, rising energetically from her heels to her toes, stepped to the middle of the room and stood still.
“Yes, that’s me!” she seemed to say, answering the rapt gaze with which Denísov followed her.
“And what is she so pleased about?” thought Nicholas, looking at his sister. “Why isn’t she dull and ashamed?”
Natásha took the first note, her throat swelled, her chest rose, her eyes became serious. At that moment she was oblivious of her surroundings, and from her smiling lips flowed sounds which anyone may produce at the same intervals and hold for the same time, but which leave you cold a thousand times and the thousand and first time thrill you and make you weep.