ONE day we took the train and went down to Mannheim to see King Lear played in German. It was a mistake. We sat in our seats three whole hours and never understood anything but the thunder and lightning; and even that was reversed to suit German ideas, for the thunder came first and the lightning followed after.
The behavior of the audience was perfect. There were no rustlings, or whisperings, or other little disturbances; each act was listened to in silence, and the applauding was done after the curtain was down. The doors opened at half past four, the play began promptly at half past five, and within two minutes afterward all who were coming were in their seats, and quiet reigned. A German gentleman in the train had said that a Shaksperian play was an appreciated treat in Germany and that we should find the house filled. It was true; all the six tiers were filled, and remained so to the end,—which suggested that it is not only balcony people who like Shakspeare in Germany, but those of the pit and the gallery, too.
Another time, we went to Mannheim and attended a shivaree,—otherwise an opera,—the one called Lohengrin. The banging and slamming and booming and crashing were something beyond belief. The racking and pitiless pain of it remains stored up in my memory alongside the memory of