The homage in the young girl’s voice made the little diva more good-humouredly insistent than before, and Goneril was too well-bred to make a fuss. She stood by the piano wondering which to choose, the Handels that she always drawled or the Pinsuti that she always galloped. Suddenly she came by an inspiration.
“Madame,” she pleaded, “may I sing one of Angiolino’s songs?”
“Whatever you like, cara mia.”
And, standing by the piano, her arms hanging loose, she began a chant such as the peasants use working under the olives. Her voice was small and deep, with a peculiar thick sweetness that suited the song, half humourous, half pathetic. These were the words she sang:
“Vorrei morir di morte piccinina,
Morta la sera e viva la mattina.
Vorrei morire, e non vorrei morire,
Vorrei veder chi mi piange e chi ride;
Vorrei morir, e star sulle finestre,
Vorrei veder chi mi cuce la veste;
Vorrei morir, e stare sulla scala,
Vorrei veder chi mi porta la bara:
Vorrei morir, e vorre’ alzar la voce,
Vorrei veder chi mi porta la croce.”
“Very well chosen, my dear,” said Miss Prunty, when the song was finished.
“And very well sung, my Gonerilla!” cried the old lady.
But the signorino went up to the piano and shook hands with her.
“Little Mees Goneril,” he said, “you have the makings of an artist.”
The two old ladies stared, for, after all, Goneril’s performance had been very simple. You see, they were better versed in music than in human nature.