THE REMINISCENCES OF CARL SCHURZ
this “Bandit Bride” for the second time. In the last act, according to the text, Hedwig, the heroine, has to kill the villain by hitting him a vigorous blow on the head with the butt of a gun while he is crouching over a trapdoor. On the Brühl stage this, however, was changed: Hedwig was to shoot the villain instead of striking him. When the actress who played this part pointed her weapon and tried to fire, it refused to go off and gave only a faint click. The villain remained in his bent posture over the trapdoor, hoping every moment to be killed. Hedwig again pulled the trigger, but in vain. The poor woman looked around utterly helpless. In the audience there was the deepest silence of expectation. Then from behind the side-scene came the order, in that loud stage-whisper which can fill an entire house: “Bang him on the head with the butt; bang him quick!” Whereupon Hedwig with slow deliberation reversed the gun and struck the man who had been so patiently awaiting death a leisurely blow upon the head. He rolled over, the audience burst into uncontrollable shrieking laughter, in which the dead villain, lying upon the stage, could not refrain from joining. In the audience the merriment would not cease. But as for me, I would far rather have cried; the occurrence fairly stunned me. With it ended that complete surrender to illusion which had given me so much joy. It failed me, at least until I was fortunate enough to behold artistic performances of a higher order; and this happily came soon during my schooltime at the gymnasium in Cologne.
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