good man.
I could hear him moving about in the parlour with Sónya, and the sound of her high childish voice. I sent tea to him there; and I heard him sit down at the piano and strike the keys with Sónya’s little hands.
Then his voice came—“Márya Alexándrovna, come here and play something.”
I liked his easy behaviour to me and his friendly tone of command; I got up and went to him.
“Play this,” he said, opening a book of Beethoven’s music at the adagio of the Moonlight Sonata . “Let me hear how you play,” he added, and went off to a corner of the room, carrying his cup with him.
I somehow felt that with him it was impossible to refuse or to say beforehand that I played badly: I sat down obediently at the piano and began to play as well as I could; yet I was afraid of criticism, because I knew that he understood and enjoyed music. The adagio suited the remembrance of past days evoked by our conversation at tea, and I believe that I played it fairly well. But he would not let me play the scherzo. “No,” he said, coming up to me; “you don’t play that right; don’t go on; but the first movement was not bad; you seem to be musical.” This moderate praise pleased me so much that I even reddened. I felt it pleasant and strange that a friend of my father’s, and his contemporary, should no longer treat me like a child but speak to me seriously. Kátya now went upstairs to put Sónya to bed, and we were left alone in the parlour.
He talked to me about my father, and about the beginning of their friendship and the happy days they had spent together, while I was still busy with lesson-books and toys; and his talk put my father before me in quite a new light, as a man of simple and delightful character. He asked