res which
showed appreciation or pleasure or excitement; but aside from that every
action of his body indicated exhilaration and undue animation.

The boys had eyes for the animal only; but the Professor watched John to
the exclusion of everything else. When the first strains vibrated he
glanced around, and saw the musician. From that moment until George
dropped the violin his eyes never ceased the stare. As the music
continued he appeared to be enraptured, if such a thing could be said of
a mute expression.

The Professor drew closer to him, and intently watched his eyes, and
before the first verse had ended the situation was so intense that the
Professor's hand involuntarily beat time, and it was evident that the
tremulous motion, which John now and then exhibited, was the inward
struggle for light.

Without turning from John, when the music ceased, he cried out to
George, in a suppressed tone: "Keep on; keep on!" This brought the boys
to the knowledge of the other drama which was being enacted. "Slower,
George, slower," was the request of the Professor; and while "America"
requires the jubilant strain of action and liberty, he obeyed the
injunction.

"Keep it up; can you play 'Home, Sweet Home'?" George could, and did,
and as the familiar strains floated through the air, John moved forward,
his head drooped down, both hands grasped the chair and he listened with
an intentness that was painful to witness.

When George stopped at the whispered suggestion, John raised his eyes
and looked around. The look was a different one than they had ever
noticed before. When he glanced at the Professor, Harry said: "Did you
notice the difference in his eyes?"

He rubbed his hands over his eyes, and stroked his head, and they
thought a glimmer of a smile crossed his features. When they were about
to retire that night, the Professor could not help but express his
gratification at the results achieved through the aid of the violin.

"I could not help thinking how nearly allied Angel and John were in the
manner of acting during the course of the music. I have no doubt but in
course of time the animal will, just like John, show the facial
expressions which characterize either pleasure or pain."

"But I have seen Angel actually laugh."

This was true; it had been noticed on several occasions. But so far John
had not laughed, and he had not changed his facial expression in such a
manner as to make it noticeable, and the evening