great piece.
What a pity you can't go, too."

"I've seen enough of masquerading," replied Walpurga. "I shall stay
with my child. He's the only one in the whole court who can't disguise
himself."

Every seat in the court theater was occupied long before the beginning
of the play, and the lively talking among the audience seemed like the
roar of the sea. Many wondered at the words on the play-bill:

"_In Commemoration of Lessing's Birthday_
EMILIA GALOTTI
BY ROYAL COMMAND."

They spoke in hints, but understood each other perfectly. Was the
performance intended to refute certain rumors? Would the court attend,
and who would form the suite?

Three dull knocks were heard. They were the signal that the court had
entered the passage leading from the palace to the theater. Every eye,
every opera-glass was directed to the royal box.

The queen entered, radiant with youthful beauty. The nobles who
occupied the first tier arose. She bowed graciously, and then sat down,
and attentively read the playbill that was fastened to the front of the
box. The king entered soon after and took the seat beside her. He, too,
saluted the nobles who were still standing, and who seated themselves
at the same time he did, just as if they were part of himself.

The king reached back for his lorgnette, which was handed to him, and
surveyed the audience, while the orchestra played the overture. Irma's
wish was realized. Since the new intendant had come into power, there
was music at the beginning of the play and during the _entr'actes_.

"Who's sitting behind the queen?"

"Countess von Wildenort."

She wore a single rose in her brown hair. She was exchanging a few
complimentary remarks with Colonel Bronnen, and was smiling and showing
her pearly teeth.

A young critic in the pit said to his neighbor:

"It is surely not without design that Countess Wildenort, like Emilia
Galotti, wears only a single rose in her hair."

There was so much talking during the overture, that those who desired
to listen to the music frequently hissed, but without avail; for it was
not until the curtain rose that the audience became silent.

It is not until near the end of the first act of the play that there is
any occasion for marked applause. The prince's haste and prejudice are
shown in his readiness to sign the death-warrant, while the carriage
waits for him. Old privy councilor