These couplets Nijeradze always sang in a diminished voice, preserving on his face an expression of serious astonishment about Karapet; while Liubka laughed until it hurt, until tears came, until she had nervous spasms. Once, carried away, she could not restrain herself and began to chime in with him, and their singing proved to be very harmonious. Little by little, when she had by degrees completely ceased to be embarrassed before the prince, they sang together more and more frequently. Liubka proved to have a very soft and low contralto, even though thin, on which her past life with its colds, drinking, and professional excesses had left absolutely no traces. And mainly—which was already a curious gift of God—she possessed an instinctive, inherent ability very exactly, beautifully, and always originally, to carry on the second voice. There came a time toward the end of their acquaintance, when Liubka did not beg the prince, but the prince Liubka, to sing some one of the beloved songs of the people, of which she knew a multitude. And so, putting her elbow on the table, and propping up her head with her palm, like a peasant woman, she would start off to the cautious, painstaking, quiet accompaniment: “Oh, the nights have grown tiresome to me, and wearisome; To be parted from my dearie, from my mate! Oh, haven’t I myself, woman-like, done a foolish thing— Have stirred up the wrath of my own darling: When I did call him a bitter drunkard! ...” “Bitter drunkard!” the prince would repeat the last words together with her, and would forlornly toss his curly head, inclined to one side; and they both tried to end the song so that the scarcely seizable quivering of the guitar strings and the voice might by degrees grow quiet, and that it might not be possible to note when the sound ended and the silence came. But then, in the matter of THE PANTHER’S SKIN, the work of the famous Georgian poet Rustavelli, prince Nijeradze fell down completely. The beauty of the poem, of course, consisted in the way it sounded in the native tongue; but scarcely would he begin to read in sing-song his throaty, sibilant, hawking phrases, when Liubka would at first shake for a long time from irresistible laughter; then, finally, burst into laughter, filling the whole room with explosive, prolonged peals. Then Nijeradze in wrath would slam shut the little tome of the adored writer, and swear at Liubka, calling her a mule and a camel. However, they soon made up. There were times when fits of goatish, mischievous merriment would come upon Nijeradze. He would pretend that he wanted to embrace Liubka, would roll exaggeratedly passionate eyes at her, and would utter with a theatrically languishing whisper: “Me soul! The best rosa in the garden of Allah! Honey and milk are upon thy lips, and thy breath is better than the aroma of kabob. Give me to drink the bliss of Nirvanah from the goblet of thy lips, O thou, my best Tifflissian she-goat!”