The Story Continued by Marian Halcombe

Before I could get to the door the Count stopped me, by a request for a cup of tea. I gave him the cup of tea, and tried a second time to get away. He stopped me again⁠—this time by going back to the piano, and suddenly appealing to me on a musical question in which he declared that the honour of his country was concerned. I vainly pleaded my own total ignorance of music, and total want of taste in that direction. He only appealed to me again with a vehemence which set all further protest on my part at defiance. “The English and the Germans (he indignantly declared) were always reviling the Italians for their inability to cultivate the higher kinds of music. We were perpetually talking of our oratorios, and they were perpetually talking of their symphonies. Did we forget and did they forget his immortal friend and countryman, Rossini? What was Moses in Egypt but a sublime oratorio, which was acted on the stage instead of being coldly sung in a concert-room? What was the overture to Guillaume Tell but a symphony under another name? Had I heard Moses in Egypt ? Would I listen to this, and this, and this, and say if anything more sublimely sacred and grand had ever been composed by mortal man?”⁠—And without waiting for a word of assent or dissent on my part, looking me hard in the face all the time, he began thundering on the piano, and singing to it with loud and lofty enthusiasm⁠—only interrupting himself, at intervals, to announce to me fiercely the titles of the different pieces of music: “ Chorus of Egyptians in the Plague of Darkness , Miss Halcombe!”⁠—“ Recitativo of Moses with the Tables of the Law .”⁠—“ Prayer of Israelites, at the Passage of the Red Sea . Aha! Aha! Is that sacred? is that sublime?” The piano trembled under his powerful hands, and the teacups