Varvara Pavlovna sat down to the piano. Panshine stood by her side. They hummed over the duet, Varvara Pavlovna correcting him several times; then they sang it out loud, and afterwards repeated it twice--"_Mira la bianca lu-u-una_." Varvara's voice had lost its freshness, but she managed it with great skill. At first Panshine was nervous, and sang rather false, but afterwards he experienced an artistic glow; and, if he did not sing faultlessly, at all events he shrugged his shoulders, swayed his body to and fro, and from time to time lifted his hand aloft, like a genuine vocalist. Varvara Pavlovna afterwards played two or three little pieces by Thalberg, and coquettishly chanted a French song. Maria Dmitrievna did not know how to express her delight, and several times she felt inclined to send for Liza. Gedeonovsky, too, could not find words worthy of the occasion, and could only shake his head. Suddenly, however, and quite unexpectedly, he yawned, and only just contrived to hide his mouth with his hand. That yawn did not escape Varvara's notice. She suddenly turned her back upon the piano, saying, "_Assez de musique comme ça_; let us talk a little," and crossed her hands before her. "_Oui, asses de musique_," gladly repeated Panshine, and began a conversation with her--a brisk and airy conversation, carried on in French. "Exactly as if it were in one of the best Paris drawing-rooms," thought Maria Dmitrievna, listening to their quick and supple talk. Panshine felt completely happy. He smiled, and his eyes shone. At first, when he happened to meet Maria Dmitrievna's eyes, he would pass his hand across his face and frown and sigh abruptly, but after a time he entirely forgot her presence, and gave himself up unreservedly to the enjoyment of a half-fashionable, half-artistic chat. Varvara Pavlovna proved herself a great philosopher. She had an answer ready for everything; she doubted nothing; she did not hesitate at anything. It was evident that she had talked often and much with all kinds of clever people. All her thoughts and feelings circled around Paris. When Panshine made literature the subject of the conversation, it turned out that she, like him, had read nothing but French books. George Sand irritated her; Balzac she esteemed, although he wearied her; to Eugène Sue and Scribe she ascribed a profound knowledge of the human heart; Dumas and Féval she adored. In reality she preferred Paul de Kock to all the others; but, as may be supposed, she did not even mention his name. To tell the truth, literature did not interest her overmuch. Varvara Pavlovna avoided with great skill every thing that might, even remotely, allude to her position. In all that she said, there was not even the slightest mention made of love; on the contrary, her language seemed rather to express an austere feeling with regard to the allurements of the passions, and to breathe the accents of disillusionment and resignation.