shouted bravo! Then a stout gentleman in spectacles, of an exceedingly solid, even surly aspect, read in a bass voice a sketch of Shtchedrin; the sketch was applauded, not the reader; then the pianist, whom Aratov had seen before, came forward and strummed the same fantasia of Liszt; the pianist gained an encore. He bowed with one hand on the back of the chair, and after each bow he shook back his hair, precisely like Liszt! At last after a rather long interval the red cloth over the door on to the platform stirred and opened wide, and Clara Militch appeared. The room resounded with applause. With hesitating steps, she moved forward on the platform, stopped and stood motionless, clasping her large handsome ungloved hands in front of her, without a courtesy, a bend of the head, or a smile.

She was a girl of nineteen, tall, rather broad-shouldered, but well-built. A dark face, of a half-Jewish half-gipsy type, small black eyes under thick brows almost meeting in the middle, a straight, slightly turned-up nose, delicate lips with a beautiful but decided curve, an immense mass of black hair, heavy even in appearance, a low brow still as marble, tiny ears ... the whole face dreamy, almost sullen. A nature passionate, wilful--hardly good-tempered, hardly very clever, but gifted--was expressed in every feature.

For some time she did not raise her eyes; but suddenly she started, and passed over the rows of spectators a glance intent, but not attentive, absorbed, it seemed, in herself.... 'What tragic eyes she has!' observed a man sitting behind Aratov, a grey-headed dandy with the face of a Revel harlot, well known in Moscow as a prying gossip and writer for the papers. The dandy was an idiot, and meant to say something idiotic ... but he spoke the truth. Aratov, who from the very moment of Clara's entrance had never taken his eyes off her, only at that instant recollected that he really had seen her at the princess's; and not only that he had seen her, but that he had even noticed that she had several times, with a peculiar insistency, gazed at him with her dark intent eyes. And now too--or was it his fancy?--on seeing him in the front row she seemed delighted, seemed to flush, and again gazed intently at him. Then, without turning round, she stepped away a couple of paces in the direction of the piano, at which her accompanist, a long-haired foreigner, was sitting. She had to render Glinka's ballad: 'As soon as I knew you ...' She began at once to sing, without changing the attitude of her hands or glancing at the music. Her voice was soft and resonant, a contralto; she uttered the words distinctly and with emphasis, and sang monotonously, with little light and shade, but with intense expression. 'The girl sings with conviction,' said the same dandy sitting behind Aratov, and again he spoke the truth. Shouts of 'Bis!' 'Bravo!' resounded over the room; but she flung a rapid glance on Aratov, who neither shouted nor clapped--he did not particularly care for her singing--gave a slight bow, and walked out without taking the hooked arm proffered her by the long-haired pianist. She was called back ... not very soon, she reappeared, with the same hesitating steps approached the piano, and whispering a couple of words to the accompanist, who picked out and put before him another piece of music, began Tchaykovsky's song: 'No, only he who knows the thirst to see.'... This song she sang differently from the first--in a low voice, as though she were tired ... and only at the line next the last, 'He knows what I have suffered,' broke from her in a ringing, passionate cry. The last line, 'And how I suffer' ... she almost whispered, with a mournful prolongation of the last word. This song produced less impression on the audience than the Glinka ballad; there was much applause, however.... Kupfer was particularly conspicuous; folding his hands in a peculiar way, in the shape of a barrel, at each clap he produced