Zuleika Dobson; Or, An Oxford Love Story

Sir Max Beerbohm · 1911 · 290 pages

Zuleika Dobson; Or, An Oxford Love Story

Sir Max Beerbohm123

He had not considered what he would play tonight. Nor, maybe, was he conscious now of choosing. His fingers caressed the keyboard vaguely; and anon this ivory had voice and language; and for its master, and for some of his hearers, arose a vision. And it was as though in delicate procession, very slowly, listless with weeping, certain figures passed by, hooded, and drooping forasmuch as by the loss of him whom they were following to his grave their own hold on life had been loosened. He had been so beautiful and young. Lo, he was but a burden to be carried hence, dust to be hidden out of sight. Very slowly, very wretchedly they went by. But, as they went, another feeling, faint at first, an all but imperceptible current, seemed to flow through the procession; and now one, now another of the mourners would look wanly up, with cast-back hood, as though listening; and anon all were listening on their way, first in wonder, then in rapture; for the soul of their friend was singing to them: they heard his voice, but clearer and more blithe than they had ever known it--a voice etherealised by a triumph of joy that was not yet for them to share. But presently the voice receded, its echoes dying away into the sphere whence it came. It ceased; and the mourners were left alone again with their sorrow, and passed on all unsolaced, and drooping, weeping. Soon after the Duke had begun to play, an invisible figure came and stood by and listened; a frail man, dressed in the fashion of 1840; the shade of none other than Frederic Chopin. Behind whom, a moment later, came a woman of somewhat masculine aspect and dominant demeanour, mounting guard over him, and, as it were, ready to catch him if he fell. He bowed his head lower and lower, he looked up with an ecstasy more and more intense, according to the procedure of his Marche Funebre. And among the audience, too, there was a bowing and uplifting of heads, just as among the figures of the mourners evoked. Yet the head of the player himself was all the while erect, and his face glad and serene. Nobly sensitive as was his playing of the mournful passages, he smiled brilliantly through them.

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