She had been seated at an ivory pianoforte on a mother-of-pearl music-stool, trying a sonata of Herz. She rose when thus apostrophized. Miriam de Mendoza rose and greeted the stranger.
The Talmud relates that Adam had two wives—Zillah the dark beauty; Eva the fair one. The ringlets of Zillah were black; those of Eva were golden. The eyes of Zillah were night; those of Eva were morning. Codlingsby was fair—of the fair Saxon race of Hengist and Horsa—they called him Miss Codlingsby at school; but how much fairer was Miriam the Hebrew!
Her hair had that deep glowing tinge in it which has been the delight of all painters, and which, therefore, the vulgar sneer at. It was of burning auburn. Meandering over her fairest shoulders in twenty thousand minute ringlets, it hung to her waist and below it. A light blue velvet fillet clasped with a diamond aigrette (valued at two hundred thousand tomauns, and bought from Lieutenant Vicovich, who had received it from Dost Mahomed), with a simple bird of paradise, formed her head-gear. A sea-green cymar with short sleeves, displayed her exquisitely moulded arms to perfection, and was fastened by a girdle of emeralds over a yellow satin frock. Pink gauze trousers spangled with silver, and slippers of the same color as the band which clasped her ringlets (but so covered with pearls that the original hue of the charming little papoosh disappeared entirely) completed her costume. She had three necklaces on, each of which would have dowered a Princess—her fingers glistened with rings to their rosy tips, and priceless bracelets, bangles, and armlets wound round an arm that was whiter than the ivory grand piano on which it leaned.
As Miriam de Mendoza greeted the stranger, turning upon him the solemn welcome of her eyes, Codlingsby swooned almost in the brightness of her beauty. It was well she spoke; the sweet kind voice restored him to consciousness. Muttering a few words of incoherent recognition, he sank upon a sandalwood settee, as Goliath, the little slave, brought aromatic coffee in cups of opal, and alabaster spittoons, and pipes of the fragrant Gibelly.
“My lord's pipe is out,” said Miriam with a smile, remarking the bewilderment of her guest—who in truth forgot to smoke—and taking up a thousand pound note from a bundle on the piano, she lighted it at the taper and proceeded to re-illumine the extinguished chibouk of Lord Codlingsby.
IV.
When Miriam, returning to the mother-of-pearl music-stool, at a signal from her brother, touched the silver and enamelled keys of the ivory piano, and began to sing, Lord Codlingsby felt as if he were listening at the gates of Paradise, or were hearing Jenny Lind.
“Lind is the name of the Hebrew race; so is Mendelssohn, the son of Almonds; so is Rosenthal, the Valley of the Roses: so is Lowe or Lewis or Lyons or Lion. The beautiful and the brave alike give cognizances to the ancient people: you Saxons call yourselves Brown, or Smith, or Rodgers,” Rafael observed to his friend; and, drawing the instrument from his pocket, he accompanied his sister, in the most ravishing manner, on a little gold and jewelled harp, of the kind peculiar to his nation.
All the airs which the Hebrew maid selected were written by composers of her race; it was either a hymn by Rossini, a polacca by Braham, a delicious romance by Sloman, or a melody by Weber, that, thrilling on the strings of the instrument, wakened a harmony on the fibres of the heart; but she sang no other than the songs of her nation.
“Beautiful one! sing ever, sing always,” Codlingsby thought. “I could sit at thy feet as under a green palm-tree, and fancy that Paradise-birds were singing in the boughs.”