u
screech it across a window-pane. I said so to Heidelberg
friends the next day, and they said, in the calmest and
simplest way, that that was very true, but that in earlier
times his voice HAD been wonderfully fine. And the tenor
in Hanover was just another example of this sort.
The English-speaking German gentleman who went with me
to the opera there was brimming with enthusiasm over that tenor.
He said:

"ACH GOTT! a great man! You shall see him. He is so celebrate
in all Germany--and he has a pension, yes, from the government.
He not obliged to sing now, only twice every year;
but if he not sing twice each year they take him his pension
away."

Very well, we went. When the renowned old tenor appeared,
I got a nudge and an excited whisper:

"Now you see him!"

But the "celebrate" was an astonishing disappointment 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 expressions 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 Mann