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 theatres at Hanover, Hamburg, and Mannheim, they had a wise custom. The moment the curtain went up, the lights 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 re-set, one heard no noise. During the whole time that King Lear was playing, the curtain was never down two minutes at any one time. The orchestra played until the curtain was ready to go up for the first time, then they departed for the evening. Where the stage waits never reach two minutes there is no occasion for music. I had never seen this two-minute business between acts but once before, and that was when the "Shaughran" was played at Wallack's.
I was at a concert in Munich one night, the people were
