But MacNab is already more than half ashamed of his little outburst; he is unable to understand what made him see red—and somewhat uncomfortably he returns to his place in the squad. Only, if you look at Jimmy, you will see the glint of a smile in his eyes: the squad is new—the beginning has not been bad. He knows what made MacNab see red; by the time he has finished with him, the pride of Glasgow will never see anything else. . . .
And yet what do they know of seeing red, these diners of London? It is just as well, I grant, that they should know nothing; but sometimes one wonders, when they talk so glibly of the trenches, when they dismiss with a casual word the many months of hideous boredom, the few moments of blood-red passion of the overseas life, what would they think—how would they look—if they did know.
Would they look as did O'Neil's bride, when the robber chief's head arrived at the breakfast table? Lest there be any unfortunates who know not Kipling let me quote:
As a derelict ship drifts away with the tide
The Captain went out on the Past from his Bride,
Back, back, through the springs to the chill of the year,
When he hunted the Boh from Maloon to Tsaleer.
As the shape of a corpse dimmers up through deep water,
In his eye lit the passionless passion of slaughter,
And men who had fought with O'Neil for the life
Had gazed on his face with less dread than his wife. . . .
Perhaps—who knows? It is difficult to imagine the results of an impossibility—and knowledge in this case is an impossibility. Still at times the grim cynicism of the whole thing comes over one with a rush, and one—laughs. It is the only solution—laughter. Let us blot it out, all this strange performance in France: let us eat, drink and be merry. But some quotations are better not finished. . . .
"Come and join us at our table." A girl was speaking, an awfully dear girl, one to whom I had been among the many "also rans." Her husband—an officer in the infantry—grinned affably from another table.
"In a moment," I answered her, "I will come, and you won't like me at all when I do." Then I remembered something. "Why do you dine with that scoundrel?"
"Who?—My funny old Dick? A dreadful sight, isn't he, but quite harmless."
"Is he? You ask him about the German at Les Boeufs whom he met unexpectedly, and see what he says."
The "Ballad of Boh da Thone" came back—the humour of it. Dick—the old blackguard—a rifle butt, and a German's head after he'd hit it—one side; a boiled shirt, dress clothes, and a general air of complacent peacefulness—the other. And the girl: it is always the girl who points the contrast. . . .