"Oh, well, you can give them Sullivan next time, and bring down the average!" Mrs. Wyndham bent a suspicious look, but Gwendolen's lifted gaze was that of a seraph over a last harp note. "I'll try McDowell. Can you play the accompaniment?"
"I can at least attempt it," said Gwendolen, meekly, and forthwith rippled out the prelude with an ease that further deepened suspicion.
The song began with a single note, long sustained, the voice striking in abruptly among hurrying chords. Mrs. Wyndham's beautiful voice took it like a star. Suddenly, with another upward swerve, the note wavered, passed into a new kindling as into the life of a bird, and swept along on higher currents with motionless, outspread wings.
The foreign ladies exchanged glances of rapture. The Japanese workers, on the other hand, stared first in astonishment, then with growing apprehension. Surely this was not singing! Something must be going wrong with the honorable insides of the kind lady! They stole timid looks toward their hostess, and by her calm, interested face were reassured. Still the piercing note went higher. The singer's throat swelled slightly, and her face turned red. From the group of Japanese girls one hysterical chuckle escaped. That set off the whole lot. Staid matrons bowed convulsed faces to folds of cotton cloth; silken sleeves came into requisition. A few of the foreign ladies looked about and frowned. Yuki half rose from her chair.
Now, fortunately, the highest note was reached. It broke its flight with a great twitter of wings. The bars of a staccato love-song began. Again the Japanese women stared, but now in admiration as well as wonder. Never were singing notes so light, so delicate, so silvery! As the song ended (and indeed it had been exquisitely given), the foreign ladies burst into simultaneous applause. Led by the bolder among them, the Japanese followed suit.
"Oh, we can't let you stop at that, dear Mrs. Wyndham," came Mrs. Stunt's high, rasping voice. "Won't you give us that lovely thing of Goo-nowd's you sung at our last Charity concert?" Mrs. Wyndham consented. After Gounod it was an English ballad, then another and another, until at length the singer, with pretty petulance, turned from the piano saying that she had already monopolized too much time. A great buzzing of thanks and congratulations surged about her. No expression of admiration was too exaggerated. In fact there was none that pretty Mrs. Wyndham had not heard many times before. She accepted these tributes now, as usual, with deprecating smiles, and little protesting shakes of the head, finally declaring that they would make her conceited if they didn't stop.
No one noticed the American girl, still at the piano. She gave a swift look around, and seeing that the biwa player had not come, began whispering to the keys the first notes of one of Chopin's most delicate fantasies. Like the down on a moth's wing, it came. Like crystal raindrops, then, mixed with the perfume of bruised petals, and sometimes the distant yearning of a bird. This was music that even the untutored Japanese girls could feel. It held the sound of their own koto strings,—it breathed whispers of their own trees, and winds, and sighing sea-stretches. Gradually all voices in the room ceased. Faster the notes came, though still with a suggestion of whispering. Gwendolen's white hands became a misty blur. The theme drew closer, with now a wind-driven swish of rain and scurrying petals; now the nearer cry of a bird, and a low under-rhythm of human sorrow. The sounds whirled and lifted into melodious agitation. The caged bird seemed to give low plaints of fear; the wind and the rain drove close, dashed into the face of silence, and drew back. Then all sounds died away in waves of exhausted sobbing. Gwendolen sprang up, leaving the piano vibrant. She hurried to the nearest window, turning her face from all in the room.
Mrs. Wyndham was the first to speak. Her light laugh had an artificial sound. "And to think, my dear, that I insisted upon knowing whether you could manage my accompaniments!"
Gwendolen did not heed. She was tingling with the excitement and unrest that Chopin's music so often brought her. Yuki came softly, slipping a little scarred hand into that of her friend.
"I hate Chopin!" cried the American girl, in a low, angry voice. "I wonder why I keep on playing him! Every time I say I won't, and then I go and do it! He is morbid, he is childish, he is French! One sees his weak chin quiver, and the tears roll down his cheek! He wants you to see them. I hate him, I say! But, oh, he is a compelling genius!"