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 Shakespearian 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 Shakespeare in Germany, but those of the pit and 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 the time that I had my teeth fixed.
 
 
 
There were circumstances which made it necessary for me to stay through the four hours to the end, and I stayed; but the recollection of that long, dragging, relentless season of suffering is indestructible. To have to endure it in silence, and sitting still, made it all the harder. I was in a railed compartment with eight or ten strangers, of the two sexes, and this compelled repression; yet at times the pain was so exquisite that I could hardly keep the tears back.
 
 
At those times, as the howlings and wailings and shrieking of the singers, and the ragings and roarings and explosions of the vast orchestra rose higher and higher, and wilder and wilder, and fiercer and fiercer, I could have cried if I had been alone. Those strangers would not have been surprised to see a man do such a thing who was being gradually skinned, but they would have marveled at it here, and made remarks about it no doubt, whereas there was nothing in the present case which was an advantage over being skinned.
 
 
There was a wait of half an hour at the end of the first act, and I could have gone out and rested during that time, but I could not trust myself to do it, for I felt that I should desert to stay out. There was another wait of half an hour toward nine o’clock, but I had gone through so much by that time that I had no spirit left, and so had no desire but to be let alone.
 
 
 
I do not wish to suggest that the rest of the people there were like me, for, indeed, they were not. Whether it was that they naturally liked that noise, or whether it was that they had learned to like it by getting used to it, I did not at the time know; but they did like it—this was plain enough. While it was going on they sat and looked as rapt and grateful as cats do when one strokes their backs; and whenever the curtain fell they rose to their feet, in one solid mighty multitude, and the air was snowed thick with waving handkerchiefs, and hurricanes of applause swept the place. This was not comprehensible to me. Of course, there were many people there who were not under compulsion to stay; yet the tiers were as full at the close as they had been at the beginning. This showed that the people liked it.
It was a curious sort of a play. In the manner of costumes and scenery it was fine and showy enough; but there was not much action. That is to say, there was not much really done, it was only talked about; and always violently. It was what one might call a narrative play. Everybody had a narrative and a grievance, and none were reasonable about it, but all in an offensive and ungovernable state. There was little of that sort of customary thing where the tenor and the soprano stand down by the footlights, warbling, with blended voices, and keep holding out their arms toward each other and drawing them back and spreading both hands over first one breast and then the other with a shake and a pressure—no, it was every rioter for himself and no blending. Each sang his indictive narrative in turn, accompanied by the whole orchestra of sixty instruments, and when this had continued for some time, and one was hoping they might come to an understanding and modify the noise, a great chorus composed entirely of maniacs would suddenly break forth, and then during two minutes, and sometimes three, I lived over again all that I suffered the time ............