somewhere in the neighbourhood of F, or it might have been
only E (though, indeed, a photograph would have suggested that Emanuel
was singing at lowest the upper C), and the performer slowly resumed his
normal stature.

"O Love!" he had exclaimed, adagio and sostenuto.

Then the piano, in its fashion, also said: "O Love!"

"O Love!" Emanuel exclaimed again, with slight traces of excitement, and
rising to heights of stature hitherto undreamt of.

And the piano once more, in turn, called plaintively on love.

It would be too easy to mock Emanuel's gift of song. I leave that to
people named Swetnam. There can be no doubt Emanuel had a very taking
voice, if thin, and that his singing gave pleasure to the majority of
his hearers. More than any one else, it pleased himself. When he sang he
seemed to be inspired by the fact, to him patent, that he was conferring
on mankind a boon inconceivably precious. If he looked a fool, his looks
seriously misinterpreted his feelings. He did not spare himself on that
evening. He told his stepmother's guests all about love and all about
his own yearnings. He hid nothing from them. He made no secret of the
fact that he lived for love alone, that he had known innumerable loves,
but none like one particular variety, which he described in full detail.
As a confession, and especially as a confession uttered before many
maidens, it did not err on the side of reticence. Presently, having
described a kind of amorous circle, he came again to: "O Love!" But this
time his voice cracked: which made him angry, with a stern and
controlled anger. Still singing, he turned slowly to the pianist, and
fiercely glared at the pianist's unconscious back. The obvious inference
was that if his voice had cracked the fault was the pianist's. The
pianist, poor thing, utterly unaware of the castigation she was
receiving, stuck to her business. Less than a minute later, Emanuel's
voice cracked again. This time he turned even more deliberately to the
pianist. He was pained. He stared during five complete bars at the back
of the pianist, still continuing his confession. He wished the audience
to understand clearly where the blame lay. Finally, when he thought the
pianist's back was sufficiently cooked, he faced the audience.

"I hope the pianist will not be so atrociously clumsy as to let my voice
crack again," he seemed to be saying.

Evidently his reproof to the pianist's back was effectual, for his voice
did no