Limitations

Tom Carlingford was sitting at his piano, in his rooms at King‟s College, Cambridge, playing the overture to Lohengrin with the most indifferent success. It was a hot night in the middle of August, and he was dressed sui-tably, if not elegantly, in a canvas shirt, a pair of flannel trousers, and socks. He had no tie on, and he was smo-king a meerschaum bowl of peculiarly spotted appearan-ce, through a long cherry-wood stem. The remains of a nondescript meal laid coldly on the table, and a cricket-bag on the hearth-rug, seemed to indicate that he had been away playing cricket, and had got back too late for hall. The piano was almost as disreputable in appearance as its master, for it stood in a thorough draught, between the windows opening on to the front lawn and the door opening into the smaller sitting-room, and the guttering candle was making a fine stalactite formation of wax on D in alt. Several good pictures and college photographs hung on the walls, and between the windows stood a small bookcase, suspiciously tidy. Tom played with the loud pedal down, and treated his hands in the way in which we are told we should bestow our alms. D in alt had stuck fast to C sharp and C, and the effect, when eit-her of these three notes was played, was extremely curi-ous. However, he finished the overture after a fashion, and got up.