“For Heaven’s sake, Másha, do sing us something, please.... I won’t let thee alone until thou singest us something, Másha dearest. I would sing myself, to entertain the visitors, but thou knowest what a bad voice I have. But, on the other hand, thou shalt see how splendidly I will accompany thee.”
Márya Pávlovna made no reply.
“There’s no getting rid of thee,”—she said at last.—“Like a spoiled child, thou art accustomed to have all thy caprices humoured. I will sing, if you like.”
“Bravo, bravo!”—exclaimed Nadézhda Alexyéevna, clapping her hands.—“Let us go into the drawing-room, gentlemen.—And as for caprices,”—she added, laughing,—“I’ll pay you off for that! Is it permissible to expose my weaknesses in the presence of strangers? Egór Kapítonitch, does Matryóna Márkovna shame you thus before people?”
“Matryóna Márkovna,”—muttered Egór Kapítonitch,—“is a very worthy lady; only, on the score of manners....”
“Well, come along, come along!”—Nadézhda Alexyéevna interrupted him, and entered the drawing-room.
All followed her. She tossed off her hat and seated herself at the piano. Márya Pávlovna stood near the wall, a good way from Nadézhda Alexyéevna.
“Másha,”—said the latter, after reflecting a little,—“sing us ‘The farm-hand is sowing the grain.’”[18]
Márya Pávlovna began to sing. Her voice was pure and powerful, and she sang well—simply, and without affectation. All listened to her with great attention, while Vladímir Sergyéitch could not conceal his amazement. When Márya Pávlovna had finished, he stepped up to her, and began to assure her that he had not in the least expected....
“Wait, there’s something more coming!”—Nadézhda Alexyéevna interrupted him.—“Másha, I will soothe thy Topknot[19] soul:—Now sing us ‘Humming, humming in the trees.’”