BUDDENBROOKS
wrong way, and it hurts all the way down your spine?” His whole nose wrinkled as he spoke.
“Yes,” said Tony; “that is quite common. You take a drink of water—”
“Oh,” he said in a dissatisfied tone. “No, I don’t think we mean the same thing.” And a restless look floated across his face.
He was the first one in the house to shake off his mourning and re-assume a natural attitude. He had not lost the art of imitating the deceased Marcellus Stengel, and he often spoke for hours in his voice. At the table he asked about the theatre—if there were a good company and what they were giving.
“I don’t know,” said Tom, with a tone that was exaggeratedly indifferent, in order not to seem irritated. “I haven’t noticed lately.”
But Christian missed this altogether and went on to talk about the theatre. “I am too happy for words in the theatre. Even the word ‘theatre’ makes me feel happy. I don’t know whether any of you have that feeling. I could sit for hours and just look at the curtain. I feel as I used to when I was a child and we went in to the Christmas party here. Even the sound of the orchestra beforehand! I would go if only to hear that and nothing more. I like the love scenes best. Some of the heroines have such a fetching way of taking their lovers’ heads between their hands. But the actors—in London and Valparaiso I have known a lot of actors. At first I was very proud to get to know them in ordinary life. In the theatre I watched their every movement. It is fascinating. One of them says his last speech and turns around quietly and goes deliberately, without the least embarrassment, to the door, although he knows that the eyes of the whole audience are on his back. How can he do that? I used to be continually thinking about going behind the scenes. But now I am pretty much at home there, I must say. Imagine: once, in an operetta—it was in London—the curtain went up one evening when I was on the stage! I was talking with Miss Water-
