Maggie always tried in vain to go on with her work when music began. She tried harder than ever today, for the thought that Stephen knew how much she cared for his singing, was one that no longer roused a merely playful resistance, and she knew too that it was his habit always to stand so that he could look at her. But it was of no use: she soon threw her work down, and all her intentions were lost in the vague state of emotion produced by the inspiring duet - emotion that seemed to make her at once strong and weak, strong for all enjoyment, weak for all resistance. When the strain passed into the minor she half started from her seat with the sudden thrill of that change. Poor Maggie!She looked very beautiful when her soul was being played on in this way by the inexorable power of sound. You might have seen the slightest perceptible quivering through her whole frame, as she leaned a little forward, clasping her hands as if to steady herself, while her eyes dilated and brightened into that wide-open, childish expression of wondering delight which always came back in her happiest moments. Lucy, who at other times had always been at the piano when Maggie was looking in this way, could not resist the impulse to steal up to her and kiss her. Philip too caught a glimpse of her now and then round the open book on the desk, and felt that he had never before seen her under so strong an influence.

`More, more!' said Lucy, when the duet had been encored - `Something spirited again: Maggie always says she likes a great rush of sound.'

`It must be "Let us take the road," then,' said Stephen - `so suitable for a wet morning. But are you prepared to abandon the most sacred duties of life, then, and come and sing with us?'

`O yes,' said Lucy, laughing. `If you will look out the "Beggar's Opera" from the large canterbury. It has a dingy cover.'

`That is a great clue, considering there are about a score covers here of rival dinginess,' said Stephen, drawing out the canterbury.

`O, play something the while, Philip,' said Lucy, noticing that his fingers were wandering over the keys. `What is that you're falling into? - something delicious that I don't know.'

`Don't you know that?' said Philip, bringing out the tune more definitely. `It's from the Sonnambula - "Ah! perchè non posso odiarti." I don't know the opera but it appears the tenor is telling the heroine that he shall always love her though she may forsake him. You've heard me sing it to the English words, "I love thee still."'

It was not quite unintentionally that Philip had wandered into this song which might be an indirect expression to Maggie of what he could not prevail on himself to say to her directly. Her ears had been open to what he was saying, and when he began to sing, she understood the plaintive passion of the music. That pleading tenor had no very fine qualities as a voice, but it was not quite new to her: it had sung to her by snatches in a subdued way among the grassy walks and hollows and under the leaning ash-tree in the Red Deeps. There seemed to be some reproach in the words - did Philip mean that? She wished she had assured him more distinctly in their conversation that she desired not to renew the hope of love between them, only because it clashed with her inevitable circumstances. She was touched not thrilled by the song: it suggested distinct memories and thoughts, and brought quiet regret in the place of excitement.

`That's the way with you tenors,' said Stephen, who was waiting with music in his hand while Philip finished the song. `You demoralise the fair sex by warbling your sentimental love and constancy under all sorts of vile treatment. Nothing short of having your heads served up in a dish like that mediaeval tenor or troubadour, would prevent you from expressing your entire resignation. I must administer an antidote - while Miss Deane prepares to tear herself away from her bobbins.'

Stephen rolled out, with saucy energy--

`Shall I, wasting in despair, Die because a woman's fair?'