There was something horrible⁠—something fierce and devilish⁠—in the outburst of his delight at his own singing and playing, and in the triumph with which he watched its effect upon me as I shrank nearer and nearer to the door. I was released at last, not by my own efforts, but by Sir Percival’s interposition. He opened the dining-room door, and called out angrily to know what “that infernal noise” meant. The Count instantly got up from the piano. “Ah! if Percival is coming,” he said, “harmony and melody are both at an end. The Muse of Music, Miss Halcombe, deserts us in dismay, and I, the fat old minstrel, exhale the rest of my enthusiasm in the open air!” He stalked out into the verandah, put his hands in his pockets, and resumed the “ Recitativo of Moses ,” sotto voce, in the garden.

I heard Sir Percival call after him from the dining-room window. But he took no notice⁠—he seemed determined not to hear. That long-deferred quiet talk between them was still to be put off, was still to wait for the Count’s absolute will and pleasure.