Page:Eliot - Daniel Deronda, vol. II, 1876.djvu/318

 curly fibres, such as renew themselves at their own will after being bathed into straightness like that of water-grasses. Then see the perfect cameo her profile makes, cut in a duskish shell where by some happy fortune there pierced a gem-like darkness for the eye and eyebrow; the delicate nostrils defined enough to be ready for sensitive movements, the finished ear, the firm curves of the chin and neck entering into the expression of a refinement which was not feebleness.

She sang Beethoven's "Per pietà non dirmi addio," with a subdued but searching pathos which had that essential of perfect singing, the making one oblivious of art or manner, and only possessing one with the song. It was the sort of voice that gives the impression of being meant like a bird's wooing for an audience near and beloved. Deronda began by looking at her, but felt himself presently covering his eyes with his hand, wanting to seclude the melody in darkness; then he refrained from what might seem oddity, and was ready to meet the look of mute appeal which she turned towards him at the end.

"I think I never enjoyed a song more than that," he said, gratefully.

"You like my singing? I am so glad," she said, with a smile of delight. "It has been a great