Such wealth roused respect in Prud'homme, who esteems the yellow metal. He embraced the Briton, heartily congratulating him. This roused the Teuton's ire. He seized the spigot and once more plunged it into Germany, Prussia, Bavaria, Saxony—each of the States yielding beer, beer, BEER. He went on, tapping, filling, and guzzling.... Twelve full tumblers and he had begun to swell most horribly. Fifteen—and his rotundity equalled that of John Bull. But one State remained untapped. He swilled down the twenty-fourth bock, drawn out of Lubeck—plunged the spigot into the Reichsland—once Alsace-Lorraine——
And the big glass crimsoned with a sudden spurt of blood.
It was over in an instant, the comedians had skipped nimbly from the scene, the globe had developed a pair of very thin human legs and followed them off at a proscenium-wing, before many of those who had witnessed, clearly understood. Only the men and women of Gallic race among the cosmopolitan, polyglot audience answered with a deep, inward thrill to the ruby gush that told how the blood of France still ran red in the throbbing arteries of the beloved, reft, alienated province, in spite of her forty-five years of separation, in defiance of the loathed laws, customs, language, service, all the gyves rivetted on her by the Teuton, her conqueror. Now round after round of applause signified their comprehension. But the comedians did not answer the call.
Von Herrnung, who had worn the same contemptuous smile for every phase of the clumsy by-play, relaxed his stiff features. A stout tenor from the Opera appeared and sang a Spring song by Tchaikovsky, following it with the exquisite Serenade of Rimsky Korsakov, "Sleep, Sad Friend."
The tenor was recalled. Colette Colin succeeded him. She sang "Notre Petite Compagnon" and "La Buveuse d'Absinthe" to the accompaniment of a pale, lean, red-nosed man with a profile grotesque as ever adorned a comic poster; who touched the piano-keys as though they were made of butter; and had a way of sucking in his steep upper-lip and cocking his eye at the star as he waited on her famous efforts, that made Patrine shake with suppressed laughter on her green iron chair.
The last ironic line of Rollinat's ballad, marvellously uttered rather than sung, died out upon a stillness. A storm of approval broke. Men and women stood up applauding in their places, and the singer came back, to sigh out the bitter-sweet lyric of Jammes, "Le Parle de Dieu." Then, while her name still tossed on the surges of human emotion, backwards and forwards under the electrics, Colette Colin, the pet of Paris, the eclipser of the famous Thérésa, was gone. Something of the yearning anguish of Jammes, who sees Religion as a dusty collection of ancient myths and folk-tales; to whom Faith is mere superstition, but who would give his all to be able to pray once more as in childhood, had given the girl lumps in the throat as she listened to Colette Colin. Though, unlike the sad, Agnostic poet, Patrine had no tender, sentimental memories in connection with a mother's knee.
Not from Mildred Saxham had she learned her first childish prayer, but from a procession of nurses; beginning with "Now I Lay Me Down" and "Gentle Jesus," instilled by Hannah, a Church of England woman, continuing with the Lord's Prayer, insisted on by Susan, a Presbyterian; culminating in the "Our Father" "learned the childer" by Norah the Irish Catholic, a petition which—minus the final line—was just the same as the Lord's Prayer. Also the Creed in English, and a surreptitious "Hail Mary" which brought about the sudden exit of Norah from the domestic scene.
For teaching Patrine and Irma about God and Heaven and all that, was sufficiently interfering, said Mrs. Saxham, but when it came to Popery, rank Popery, it was time the woman went. So Norah ceased to be, from the point of view of the little Saxhams—and He who had risen above the horizon of childish intelligence, a Being vaguely realised as all-powerful and awful, great and beneficent, stern and tender, sank and vanished at the same time.
But the Idea of Him remained to be merged in the personality of the child Patrine's dada. Dada, so handsome and jolly, and nearly always kind to his rough little romping Pat. The boy, Patrine's senior by sixteen months, had died in infancy. Captain Saxham was always gloomy on the deceased David's birthday. Mildred reserved a nervous headache of the worst for the anniversary, the kind that is accompanied by temper and tears.
She was indifferent to Patrine, who resembled the Saxhams. But she was devoted to Irma, her own image bodily and mentally. Thus nothing interfered with Patrine's adoration of her father. The handsome, genial, ex-officer of cavalry was his daughter's god, until Mildred tore away the veil of Deity, broke the shrine and cast down the idol, one day when Patrine was fourteen years old.