stepfather on this occasion also; he never gave way to despair,
in spite of the cares and troubles of so large a family, but
remained patient throughout, and never lost the hope of pulling
me through safely.

My imagination at this time was deeply impressed by my
acquaintance with the theatre, with which I was brought into
contact, not only as a childish spectator from the mysterious
stagebox, with its access to the stage, and by visits to the
wardrobe with its fantastic costumes, wigs and other disguises,
but also by taking a part in the performances myself. After I had
been filled with fear by seeing my father play the villain's part
in such tragedies as Die Waise und der Morder, Die beiden
Galeerensklaven, I occasionally took part in comedy. I remember
that I appeared in Der Weinberg an der Elbe, a piece specially
written to welcome the King of Saxony on his return from
captivity, with music by the conductor, C. M. von Weber. In this
I figured in a tableau vivant as an angel, sewn up in tights with
wings on my back, in a graceful pose which I had laboriously
practised. I also remember on this occasion being given a big
iced cake, which I was assured the King had intended for me
personally. Lastly, I can recall taking a child's part in which I
had a few words to speak in Kotzebue's Menschenhass und Reue
[Footnote: 'Misanthropy and Remorse.'], which furnished me with
an excuse at school for not having learnt my lessons. I said I
had too much to do, as I had to learn by heart an important part
in Den Menschen ausser der Reihe. [Footnote: 'The Man out of the
Rank or Row.' In the German this is a simple phonetic corruption
of Kotzebue's title, which might easily occur to a child who had
only heard, and not read, that title.--EDITOR.]