Nicky Easton still had Marie Louise’s hand; he had carried it up into the crook of his right arm and kept his left hand over it for guard. A lady can hardly wrench loose from such an attention, but Marie Louise abhorred it.
Nicky treated her as a sort of possession, and she resented his courtesies. He began too soon with compliments. One hates to have even a bunch of violets jabbed into one’s nose with the command, “Smell!”
She disliked his accent, too. There was a Germanic something in it as faint as the odor of high game. It was a time when the least hint of Teutonism carried the stench of death to British nostrils.
Lady Webling and Sir Joseph were known to be of German birth, and their phrases carried the tang, but Sir Joseph had become a naturalized citizen ages ago and had won respect and affection a decade back. His lavish use of his money for charities and for great industries had won him his knighthood, and while there was a certain sniff of suspicion in certain fanatic quarters at the mention of his name, those who knew him well had so long ago forgotten his alien birth that they forgave it him now.
As for Marie Louise, she no longer heeded the Prussic acid of his speech. She was as used to it as to his other little mannerisms. She did not think of the old couple as fat and awkward. She did not analyze their attributes or think of their features in detail. She thought of them simply as them. But Easton was new; he brought in a subtle whiff of the hated Germany that had done the Lusitania to death.
The fate of the ship made the dinner resemble a solemn wake. The triumphs of the chef were but funeral baked meats. The feast was brilliant and large and long, and it seemed criminal to see such waste of provender when so much of the world was hungry. The talk was almost all of the Lusitania and the deep damnation of her taking off. Many of the 19 guests had crossed the sea in her graceful shell, and they felt a personal loss as well as a bitterness of rage at the worst of the German sea crimes.
Davidge was seated remotely from Marie Louise, far down the flowery lane of the table. She could not see him at all, for the candles and the roses. Just once she heard his voice in a lull. Its twang carried it all the way up the alley:
“A man that would kill a passenger-ship would shoot a baby in its cradle. When you think how long it takes to build a ship, how much work she represents, how sweet she is when she rides out and all that––by Gosh! there’s no word mean enough for the skoundrels. There’s nothing they won’t do now––absolutely nothing.”
She heard no more of him, and she did not see him again that night. She forgot him utterly. Even the little wince of distress he gave her by his provincialism was forgotten in the anguish her foster-parents caused her.
For Marie Louise had a strange, an odious sensation that Sir Joseph and Lady Webling were not quite sincere in their expressions of horror and grief over the finished epic, the Lusitania. It was not for lack of language; they used the strongest words they could find. But there was missing the subtile somewhat of intonation and gesture that actors call sincerity. Marie Louise knew how hard it is even for a great actor to express his simplest thoughts with conviction. No, it was when he expressed them best that he was least convincing, since an emotion that can be adequately presented is not a very big emotion; at least it does not overwhelm the soul. Inadequacy, helplessness, gaucherie, prove that the feelings are bigger than the eloquence. They “get across the footlights” between each player on the human stage and his audience.