arms.

We had no footmen to hold our things, and it was not
permissible to take them into the concert-room; but there
were some men and women to take charge of them for us.
They gave us checks for them and charged a fixed price,
payable in advance--five cents.

In Germany they always hear one thing at an opera
which has never yet been heard in America, perhaps--I
mean the closing strain of a fine solo or duet.
We always smash into it with an earthquake of applause.
The result is that we rob ourselves of the sweetest
part of the treat; we get the whiskey, but we don't get
the sugar in the bottom of the glass.

Our way of scattering applause along through an act seems
to me to be better than the Mannheim way of saving it
all up till the act is ended. I do not see how an actor
can forget himself and portray hot passion before a cold
still audience. I should think he would feel foolish.
It is a pain to me to this day, to remember how that old
German Lear raged and wept and howled around the stage,
with never a response from that hushed house, never a
single outburst till the act was ended. To me there was
something unspeakably uncomfortable in the solemn dead
silences that always followed this old person's tremendous
outpourings of his feelings. I could not help putting
myself in his place--I thought I knew how sick and flat
he felt during those silences, because I remembered a case