pointment to me. If he
had been behind a screen I should have supposed they were performing a
surgical operation on him. I looked at my friend--to my great surprise
he seemed intoxicated with pleasure, his eyes were dancing with eager
delight. When the curtain at last fell, he burst into the stormiest
applause, and kept it up--as did the whole house--until the afflictive
tenor had come three times before the curtain to make his bow. While the
glowing enthusiast was swabbing the perspiration from his face, I said:

"I don't mean the least harm, but really, now, do you think he can
sing?"

"Him? NO! GOTT IM HIMMEL, ABER, how he has been able to sing twenty-five
years ago?" [Then pensively.] "ACH, no, NOW he not sing any more, he
only cry. When he think he sing, now, he not sing at all, no, he only
make like a cat which is unwell."

Where and how did we get the idea that the Germans are a stolid,
phlegmatic race? In truth, they are widely removed from that. They are
warm-hearted, emotional, impulsive, enthusiastic, their tears come at
the mildest touch, and it is not hard to move them to laughter. They are
the very children of impulse. We are cold and self-contained, compared
to the Germans. They hug and kiss and cry and shout and dance and sing;
and where we use one loving, petting expression, they pour out a score.
Their language is full of endearing diminutives; nothing that they love
escapes the application of a petting diminutive--neither the house, nor
the dog, nor the horse, nor the grandmother, nor any other creature,
animate or inanimate.

In the theaters at Hanover, Hamburg, and Mannheim, they had a wise
custom. The moment the curtain went up, the light in the body of the
house went down. The audience sat in the cool gloom of a deep twilight,
which greatly enhanced the glowing splendors of the stage. It saved gas,
too, and people were not sweated to death.

When I saw "King Lear" played, nobody was allowed to see a scene
shifted; if there was nothing to be done but slide a forest out of the
way and expose a temple beyond, one did not see that forest split itself
in the middle and go shrieking away, with the accompanying disenchanting
spectacle of the hands and heels of the impelling impulse--no, the
curtain was always dropped for an instant--one heard not the least
movement behind it--but when it went up, the next instant, the forest
was gone. Even when the stage was being entirely reset, one heard no
n