“Une omelette aux fines herbes.”
As he did not appear to understand that, we gave it him in bad English. We twisted and turned the unfortunate word “savoury” into sounds so quaint, so sad, so unearthly, that you would have thought they might have touched the heart of a savage. This stoical Teuton, however, remained unmoved. Then we tried pantomime.
Pantomime is to language what marmalade, according to the label on the pot, is to butter, “an excellent (occasional) substitute.” But its powers as an interpreter of thought are limited. At least, in real life they are so. As regards a ballet, it is difficult to say what is not explainable by pantomime. I have seen the bad man in a ballet convey to the première danseuse by a subtle movement of the left leg, together with some slight assistance from the drum, the heartrending intelligence that the lady she had been brought up to believe was her mother was in reality only her aunt by marriage. But then it must be borne in mind that the première danseuse is a lady whose quickness of perception is altogether unique. The première danseuse knows precisely what a gentleman means when he twirls round forty-seven times on one leg, and then stands on his head. The average foreigner would, in all probability, completely misunderstand the man.
A friend of mine once, during a tour in the Pyrenees, tried to express gratitude by means of pantomime. He arrived late one evening at a little mountain inn, where the people made him very welcome, and set before him their best; and he, being hungry, appreciated their kindness, and ate a most excellent supper.
