‘When you are full of trouble.’
‘Yes.’
‘Well, why shouldn’t I when I am full of trouble?’
‘Are you troubled?’
‘I am troubled.’ He said this thoughtfully and abruptly—so abruptly that she did not push the dialogue further.
He now played more powerfully. Cytherea had never heard music in the completeness of full orchestral power, and the tones of the organ, which reverberated with considerable effect in the comparatively small space of the room, heightened by the elemental strife of light and sound outside, moved her to a degree out of proportion to the actual power of the mere notes, practised as was the hand that produced them. The varying strains—now loud, now soft; simple, complicated, weird, touching, grand, boisterous, subdued; each phase distinct, yet modulating into the next with a graceful and easy flow—shook and bent her to themselves, as a gushing brook shakes and bends a shadow cast across its surface. The power of the music did not show itself so much by attracting her attention to the subject of the piece, as by taking up and developing as its libretto the poem of her own life and soul, shifting her deeds and intentions from the hands of her judgment and holding them in its own.
She was swayed into emotional opinions concerning the strange man before her; new impulses of thought came with new harmonies, and entered into her with a gnawing thrill. A dreadful flash of lightning then, and the thunder close upon it. She found herself involuntarily shrinking up beside him, and looking with parted lips at his face.
He turned his eyes and saw her emotion, which greatly increased the ideal element in her expressive face. She was in the state in which woman’s instinct to conceal has lost its power over her impulse to tell; and he saw it. Bending his handsome face over her till his lips almost touched her ear, he murmured, without breaking the harmonies—
‘Do you very much like this piece?’
‘Very much indeed,’ she said.