opera tyrannized over him; he played the rhythm with all his blood. As he turned over in this torture, he sighed, and recognized a movement of the De Beriot concerto which Helena had played for her last lesson. He found himself watching her as he had watched then, felt again the wild impatience when she was wrong, started again as, amid the dipping and sliding of her bow, he realized where his thoughts were going. She was wrong, he was hasty; and he felt her blue eyes looking intently at him.
Both started as his daughter Vera entered suddenly. She was a handsome girl of nineteen. Crossing the room, brushing Helena as if she were a piece of furniture in the way, Vera had asked her father a question, in a hard, insulting tone, then had gone out again, just as if Helena had not been in the room.
Helena stood fingering the score of “Pelléas.” When Vera had gone, she asked, in the peculiar tone that made Siegmund shiver:
“Why do you consider the music of ‘Pelléas’ cold?”
Siegmund had struggled to answer. So they passed everything off, without mention, after Helena’s fashion, ignoring all that might be humiliating; and to her much was humiliating.
For years she had come as pupil to Siegmund, first as a friend of the household. Then she and Louisa went occasionally to whatever hall or theatre had Siegmund in the orchestra, so that shortly the three formed the habit of coming home together. Then Helena had invited Siegmund to her home; then the three friends went walks together; then the two went walks together, whilst Louisa sheltered them. Helena had come to read his loneliness and the humiliation of his lot. He had felt her blue eyes,
