A young _Burschenschafter_, who had recently passed his period of
purification in Berlin, spoke much, but very partially, of this city. He
had frequented both Wisotzki and the theatre, but judged falsely of
both. "For youth is ever ready with a word," etc. He spoke of the
sumptuousness of the costumes, of scandals among actors and actresses,
and similar matters. The youth knew not that in Berlin, where outside
show exerts the greatest influence (as is abundantly evidenced by the
commonness of the phrase "so people do"), this ostentation must flourish
on the stage preëminently, and consequently that the special care of the
management must be for "the color of the beard with which a part is
played" and for the truthfulness of the costumes which are designed by
sworn historians and sewed by scientifically instructed tailors. And
this is indispensable. For if Maria Stuart wore an apron belonging to
the time of Queen Anne, the banker, Christian Gumpel, would with justice
complain that thereby all illusion was destroyed; and if Lord Burleigh
in a moment of forgetfulness should don the hose of Henry the Fourth,
then the War-Councilor Von Steinzopf's wife, _née_ Lilienthau, would not
get the anachronism out of her head for the whole evening.... But little
as this young man had comprehended the conditions of the Berlin drama,
still less was he aware that the Spontini Janissary opera, with its
kettledrums, elephants, trumpets, and gongs, is a heroic means of
inspiring our enervated people with warlike enthusiasm--a means once
shrewdly recommended by Plato and Cicero. Least of all did the youth
comprehend the diplomatic significance of the ballet. It was with great
trouble that I finally made him understand that there was really more
political science in Hoguet's feet than in Buchholz's head, that all his
_tours de danse_ signified diplomatic negotiations, and that his every
movement hinted at state matters; as, for instance, when he bent forward
anxiously, stretching his hands out wide and grasping at the air, he