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Her touch and feeling were exquisite, and her phrasing betrayed the true musician. The strains of music reached the dining-room, and, one by one, the guests came creeping in, moved by the music and anxious to see the musician.

The little girl did not look up; she was in a Schumann mood that evening, and only the players of Schumann know what enthralling possession he takes of their very spirit. All the passion and pathos and wildness and longing had found an inspired interpreter; and those who listened to her were held by the magic which was her own secret, and which had won for her such honour as comes only to the few. She understood Schumann’s music, and was at her best with him.

Had she, perhaps, chosen to play his music this evening because she wished to be at her best? Or was she merely being impelled by an overwhelming force within her? Perhaps it was something of both.

Was she wishing to humiliate these people who had received her so coldly? This little girl was only human; perhaps there was something of that feeling too. Who can tell? But she played as she had never played in London, or Paris, or Berlin, or New York, or Philadelphia.

At last she arrived at the “Carnaval,” and those who heard her declared afterward that they had never listened to a more magnificent rendering. The tenderness was so restrained; the vigour was so refined. When the last notes of that spirited “Marche des Davidsbundler contre les Philistins” had died away, she glanced at Oswald Everard, who was standing near her almost dazed.

“And now my favourite piece of all,” she said; and she at once began the “Second Novelette,” the finest of the eight, but seldom played in public.

What can one say of the wild rush of the leading theme, and the pathetic longing of the intermezzo?

. . . The murmuring dying notes,
That fall as soft as snow on the sea;

and

The passionate strain that, deeply going,
Refines the bosom it trembles through.

What can one say of those vague aspirations and finest thoughts which possess the very dullest among us when such music as that which the little girl had chosen catches us and keeps us, if only for a passing moment, but that moment of the rarest worth and loveliness in our unlovely lives?

What can one say of the highest music except that, like death, it is the great leveller: it gathers us all to its tender keeping–and we rest.

The little girl ceased playing. There was not a sound to be heard; the magic was still holding her listeners. When at last they had freed themselves with a sigh, they pressed forward to greet her.

“There is only one person who can play like that,” cried the major, with sudden inspiration–“she is Miss Thyra Flowerdew.”

The little girl smiled.

“That is my name,” she said, simply; and she slipped out of the room.

The next morning, at an early hour, the bird of passage took her flight onward, but she was not destined to go off unobserved. Oswald Everard saw the little figure swinging along the road, and she overtook her.

“You little wild bird!” he said. “And so this was your great idea–to have your fun out of us all, and then play to us and make us feel I don’t know how, and then to go.”

“You said the company wanted stirring up,” she answered, “and I rather fancy I have stirred them up.”

“And what do you suppose you have done for me?” he asked.

“I hope I have proved to you that the bellows-blower and the organist are sometimes identical,” she answered.

But he shook his head.

“Little wild bird,” he said, “you have given me a great idea, and I will tell you what it is: to tame you. So good-bye for the present.”

“Good-bye,” she said. “But wild birds are not so easily tamed.”

Then she waved her hand over her head, and went on her way singing.