the wall-paper so dark, the place is rather dim of light at all times,
even on this sunny autumn afternoon when the world outside is so full of
wintry brightness.

The view of the world outside afforded by the window--which looks
southward--is of part of a Gothic church in profile, and the backs of
houses, all framing an expanse of gardens. It is a peaceful view, and
this back parlor itself, being such a very back parlor, receives the
city's noises dulled and softened. One seems very far, here, from the
clatter and bang, the rush and strenuousness, really so near at hand.
The dimness is restful; it is relieved, near the window, by a splash of
sunlight; and, at the rear of the room, by a coal fire in the grate. The
furniture is old and heavy, consisting largely of chairs of black wood
in red velvet. Half lying back in one of these is a fretful-looking,
fine-featured man of late middle age, with flowing gray hair and flowing
gray mustache. His eyes are closed, but perhaps he is not asleep. There
is a piano near a corner, opposite the window, and out of the splash of
sunshine, but its rosewood surface reflects here and there the firelight.
And at the piano, playing a soft accompaniment, sits a tall, slender
young woman, with a beautiful but troubled face, who sings in a low voice
one of Tosti's love-songs.

Her figure is still girlish, but her face is womanly; a classic face, not
like the man's in expression, but faintly resembling it in form, though
her features, clearly outlined, have not the smallness of his. Her eyes
are large and deep blue. There is enough rich color of lip, and fainter
color of cheek, to relieve the whiteness of her complexion. The trouble
on her face is of some permanence; it is not petty like that of the
man's, but is at one with the nobility of her countenance. It seems to
find rest in the tender sadness of the song, which, having finished, she