Catherine moved abruptly. Robert, while he made some pleasant answer, divined that the reserved and stately daughter must be often troubled by the mother's expansiveness.
Meanwhile the room was again settling itself to listen. Mrs. Seaton was severely turning over a photograph book. In her opinion the violin was an unbecoming instrument for young women. Miss Barks sat upright with the studiously neutral expression which befits the artist asked to listen to a rival. Mr. Thornburgh sat pensive, one foot drooped over the other. He was very fond of the Leyburn girls, but music seemed to him, good man, one of the least comprehensible of human pleasures. As for Rose, she had at last arranged herself and her accompanist Agnes, after routing out from her music a couple of Fantasie-Stücke, which she had wickedly chosen as presenting the most severely classical contrast to the 'rubbish' played by the preceding performers. She stood with her lithe figure in its old-fashioned dress thrown out against the black coats of a group of gentlemen beyond, one slim arched foot advanced, the ends of the blue sash dangling, the hand and arm, beautifully formed, but still wanting the roundness of womanhood, raised high for action, the lightly poised head thrown back with an air. Robert thought her a bewitching, half-grown thing, overflowing with potentialities of future brilliance and empire.
Her music astonished him. Where had a little provincial maiden learned to play with this intelligence, this force, this delicate command of her instrument? He was not a musician, and therefore could not gauge her exactly, but he was more or less familiar with music and its standards, as all people become nowadays who live in a highly cultivated society, and he knew enough at any rate to see that what he was listening to was remarkable, was out of the common range. Still more evident was this, when from the humorous piece with which the sisters led off—a dance of clowns, but clowns of Arcady—they slid into a delicate rippling chant d'amour, the long drawn notes of the violin rising and falling on the piano accompaniment with an exquisite plaintiveness. Where did a fillette, unformed, inexperienced, win the secret of so much eloquence—only from the natural dreams of a girl's heart as to 'the lovers waiting in the hidden years'?
But when the music ceased, Elsmere, after a hearty clap that set the room applauding likewise, turned not to the musician but the figure beside Mrs. Leyburn, the sister who had sat listening with an impassiveness, a sort of gentle remoteness of look, which had piqued his curiosity. The mother meanwhile was drinking in the compliments of Dr. Baker.
'Excellent!' cried Elsmere. 'How in the name of fortune, Miss Leyburn, if I may ask, has your sister managed to get on so far in this remote place?'
'She goes to Manchester every year to some relations we have there,' said Catherine quietly; 'I believe she has been very well taught.'
'But surely,' he said warmly, 'it is more than teaching—more even than talent—there is something like genius in it?'
She did not answer very readily.
'I don't know,' she said at last. 'Every one says it is very good.'
He would have been repelled by her irresponsiveness but that her last words had in them a note of lingering, of wistfulness, as though the subject were connected with an inner debate not yet solved which troubled her. He was puzzled, but certainly not repelled.