George Eliot: Middlemarch

BOOK II. OLD AND YOUNG. 16. CHAPTER XVI. (continued)

"Fred, pray defer your practising till to-morrow; you will make Mr. Lydgate ill," said Rosamond. "He has an ear."

Fred laughed, and went on with his tune to the end.

Rosamond turned to Lydgate, smiling gently, and said, "You perceive, the bears will not always be taught."

"Now then, Rosy!" said Fred, springing from the stool and twisting it upward for her, with a hearty expectation of enjoyment. "Some good rousing tunes first."

Rosamond played admirably. Her master at Mrs. Lemon's school (close to a county town with a memorable history that had its relics in church and castle) was one of those excellent musicians here and there to be found in our provinces, worthy to compare with many a noted Kapellmeister in a country which offers more plentiful conditions of musical celebrity. Rosamond, with the executant's instinct, had seized his manner of playing, and gave forth his large rendering of noble music with the precision of an echo. It was almost startling, heard for the first time. A hidden soul seemed to be flowing forth from Rosamond's fingers; and so indeed it was, since souls live on in perpetual echoes, and to all fine expression there goes somewhere an originating activity, if it be only that of an interpreter. Lydgate was taken possession of, and began to believe in her as something exceptional. After all, he thought, one need not be surprised to find the rare conjunctions of nature under circumstances apparently unfavorable: come where they may, they always depend on conditions that are not obvious. He sat looking at her, and did not rise to pay her any compliments, leaving that to others, now that his admiration was deepened.

Her singing was less remarkable? but also well trained, and sweet to hear as a chime perfectly in tune. It is true she sang "Meet me by moonlight," and "I've been roaming;" for mortals must share the fashions of their time, and none but the ancients can be always classical. But Rosamond could also sing "Black-eyed Susan" with effect, or Haydn's canzonets, or "Voi, che sapete," or "Batti, batti"--she only wanted to know what her audience liked.