The Drums of WarStacpoole, H. De Vere (Henry De Vere)
History
The Drums of War
Stacpoole, H. De Vere (Henry De Vere)
France -- History -- Second Empire, 1852-1870 -- Fiction
"Why do you kiss them if you say their feet are so large, Joubert?" I
asked, recalling his strictures on German females.
"Ma foi!" replied Joubert--"one does not kiss their feet."
He leaned with me over the balcony watching the scene below.
The hatred of Germans which filled the breast of Joubert was a hatred
based on the firm foundation of Blücher. Joubert did not hate the
English. This "cur of a Blücher," who turned up on Waterloo Day to reap
the harvest of other men's work, gave him all the food for hatred he
required.
"Joubert," said I, "do you see that man with the big stomach and
watchchain sitting there--the one with a cigar?"
"Mais, oui!" replied Joubert. "I know him well."
"What is he, Joubert?"
"He? His name is Bambabouff; he lives just beyond there, in a street to
the right as you go out, and he sells sausages. And see you, beside
him--yes, he, that German rat--with the ring on his first finger. His
name is Squintz, he sells Bambabouff the dogs and cats of which he makes
his sausages. Ah, yes; if German sausages could bark and mew, you could
not hear yourself speak in Frankfort. And he--look you over
there!--sitting at the table behind Bambabouff, with the mug of beer to
his lips, he is Monsieur Saurkraut."
"And what does he do, Joubert?"
Before Joubert could answer, a man entered the hall, a dark man, just
off the road, to judge by his travelling costume, and with a face the
picture of which is stamped on my mind, an impression never to be
removed.
"Ah, ha!" said Joubert. "Here comes the Marquis de Carabas. Hats
off--hats off, gentlemen, to the Marquis de Carabas!"
Now, Bambabouff did look exactly like a person who might have made a
fortune out of sausages, for Joubert had the art of hitting a person
off, caricaturing him in a few words. Squintz's personality was
humorously in keeping with his supposed business in life. And the
new-comer--well, "the Marquis de Carabas" was his portrait in four
words. Tall, stately, a nobleman a league off; handsome enough, with a
dark, saturnine face, and a piercing eye that seemed at times to
contemplate things far beyond the world we live in. The face of a
mystic.
Weigand, washing his hands with invisible soap, accompanied this
gentleman, half walking beside him, half leading the way. They had
reached the centre of the hall when the stranger looked up and saw my
small face and Joubert's cat-like physiognomy regarding him over the
balustrade of the gallery.
He started, stopped dead, and stared at me. Had he seen a ghost he could
not have come to a sharper pause, or have expressed more astonishment
without speech.
Then, with a word to the landlord, who also looked up, he passed on, and
we lost sight of him under the gallery.
"Ma foi!" said Joubert. "The Marquis de Carabas seems to know us, then."
"Joubert," said I, "that man knows me, and I'm-m-m----" "Afraid" was the
word, but I did not say it, for I was a Mahon, with the family
traditions to keep up.
Public-domain text, read in full here on John Shaqi.
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