William of Germany Part 16

But to return to the Emperor. As a lad at Ca.s.sel he was fond of playing charades, and is reported to have had a knack of quickly sketching the scenario and _dramatis personae_ of a play which he and his young companions would then and there proceed to act. One of these plays had Charlemagne for its subject, with a Saxon feudatory, whose lovely daughter, Brunhilde, scorns her father for his submission. A banquet, ending in a ma.s.sacre of Charlemagne's followers, is one of the scenes, and as Brunhilde is in love with Charlemagne's son she helps him to escape from the ma.s.sacre. The Play ends with the suicide of Brunhilde. As he grew up the Emperor's interest in the theatre increased, and, as has been seen, when he succeeded to the throne he resolved to make use of it for educating and elevating the public mind. As patriotism consists largely in knowing and properly appreciating history he has always encouraged dramatists who could portray historic scenes and events, particularly those with which the Hohenzollerns were connected. Hence his support of Josef Lauff, Ernst von Wildenbruch and Detlev von Liliencron. Not long ago he arranged a series of performances at Kroll's Theatre intended for workmen only.

The performances were chiefly of the stirring historical kind--Schiller's "Wilhelm Tell," Goethe's "Gotz von Berlichingen,"

Kleist's "Prince von Hornburg," and others that require huge processions and a crowded stage. The general public were not supposed to attend the performances, but tickets were sent to the factories and workshops for sale at a low price.

In 1898 the Emperor publicly stated his views about the theatre. "When I mounted the throne ten years ago," he said,

"I was, owing to my paternal education, the most fervent of idealists. Convinced that the first duty of the royal theatres was to maintain in the nation the cultivation of the idealism to which, G.o.d be thanked, our people are still faithful, and of which the sources are not yet nearly exhausted, I determined to myself to make my royal theatres an instrument comparable to the school or the university whose mission it is to form the rising generation and to inculcate in them respect for the highest moral traditions of our dear German land. For the theatre ought to contribute to the culture of the soul and of the character, and to the elevation of morals. Yes, the theatre is also one of my weapons.... It is the duty of a monarch to occupy himself with the theatre, because it may become in his hands an incalculable force."

If the Emperor has any special gift it is an eye for theatrical effect in real life as well as on the stage. He had a good share of the actor's temperament in his younger years, and until recently showed it in the conduct of imperial and royal business of all kinds. He still gives it play occasionally in the royal opera houses and theatres. The Englishman, whose ruler is a civilian, is not much impressed by pageantry and pomp, except as reminding him of superannuated, though still revered, historical traditions and events that are landmarks in a great military and maritime past. He would not care to see his King always, or even frequently, in uniform, as he would be apt to find in the fact an undue preference for one cla.s.s of citizens to another. His idea is that the monarch ought to treat all cla.s.ses of his subjects with equal kingly favour. In Germany it is otherwise. The monarchy relies on military force for its dynastic security, as much, one might perhaps say, as for the defence of the country or the keeping of the public peace, and consequently favours the military. Moreover, the peoples that compose the Empire have been hara.s.sed throughout the long course of their history by wars; a large percentage of their youth are serving in the standing army or in the reserves, the Landwehr and the Landsturm; finally the Germans, though not, as it appears to the foreigner, an artistic people, save in regard to music, enjoy the spectacular and the theatrical.

Accordingly we find the Emperor artistically arranging everything and succeeding particularly well in anything of an historical and especially of a military nature. The spring and autumn parades of the Berlin garrison on the Tempelhofer Field--an area large enough, it is said, to hold the ma.s.sed armies of Europe--with their gatherings of from 30,000 to 60,000 troops of all arms, serve at once to excite the Berliner's martial enthusiasm, while at the same time it obscurely reminds him that if he treats the dynasty disrespectfully he will have a formidable repressive force to reckon with. Hence at manoeuvres the Emperor is accompanied by an enormous suite; whenever he motors down Unter den Linden it is at a quick pace, which impresses the crowd while it lessens the chances of the bomb-thrower or the a.s.sa.s.sin. The scene of the reception of Prince Chun at the New Palace was a great success as an artistic performance, and the pageants at the restoration of the Hohkonigsburg and at the Saalburg festival were of the same artistic order.

The Emperor's theatrical interest and attention when in Berlin are concentrated on the Berlin Royal Opera and the Berlin Royal Theatre (Schauspielhaus), and when in Wiesbaden on the Royal Festspielhaus at that resort. When in his capital he goes very rarely to any other place of theatrical entertainment. His interest in the royal opera and theatre both in Berlin and Wiesbaden is personal and untiring, and he has done almost as much or more for the adequate representation of grand opera in his capital as the now aged Duke of Saxe-Meiningen did, through his famous Meiningen players, for the proper presentation of drama in Germany generally. The revivals of "Aida" and "Les Huguenots"

under the Emperor's own supervision are accepted as faultless examples of historical accuracy in every detail and of good taste and harmony in setting.

In a well-informed article in the _Contemporary Review_ Mr. G.

Valentine Williams writes:

"Once the rehearsals of a play in which the Emperor is interested are under way he loses no time in going to the theatre to see whether the instructions he has appended to the stage directions in the MS. are being properly carried out. Some morning, when the vast stage of the opera is humming with activity, the well-known primrose-coloured automobile will drive up to the entrance and the Emperor, accompanied only by a single adjutant, will emerge. In three minutes William II will be seated at a big, business-like table placed in the stalls, before him a pile of paper and an array of pencils. When he is in the house there is no doubt whatever in anyone's mind as to who is conducting the rehearsal. His intendant stands at his side in the darkened auditorium and conveys his Majesty's instructions to the stage, for the Emperor never interrupts the actors himself.

He makes a sign to the intendant, scribbles a note on a sheet of paper, while the intendant, who is a pattern of unruffled serenity, just raises his hand and the performance abruptly ceases. There is a confabulation, the Emperor, with the wealth of gesture for which he is known, explaining his views as to the positions of the princ.i.p.als, the dresses, the uniforms, using anything, pencil, penholder, or even his sword to ill.u.s.trate his meaning. Again and again up to a dozen times the actors will be put through their paces until the imperial Regisseur is entirely satisfied that the right dramatic effect has been obtained.

"All who have witnessed the imperial stage-manager at work agree that he has a remarkable _flair_ for the dramatic.

Very often one of his suggestions about the entrances or exits, a piece of 'business' or a pose, will be found on trial to enhance the effect of the scene. A story is told of the Emperor's insistence on accuracy and the minute attention he pays to detail at rehearsal. After his visit to Ofen-Pest some years ago for the Jubilee celebration, which had included a number of Hungarian national dances, the Emperor stopped a rehearsal of the ballet at the Berlin opera while a Czardas was in progress and pointed out to the balletteuses certain minor details which were not correct.

"In his att.i.tude to the Court actors and actresses he displays the charm of manner which bewitches all with whom he comes in contact. He calls them 'meine Schauspieler,'

which makes one think of 'His Majesty's Servants' of Shakespeare's Globe Theatre. This practice sometimes has amusing results. Once when the Theatre Royal comedian, Dr.

Max Pohl, was suddenly taken ill the Emperor said to an acquaintance, 'Fancy, my Pohl had a seizure yesterday;' and the acquaintance, thinking he was referring to a pet dog replied, commiseratingly: 'Ah, poor brute!' After rehearsal the Emperor often goes on to the stage and talks with the actors about their parts.

"A Hohenzollern must not be shown on the stage without the express permission of the Emperor, and in general, if politics are mixed up in an objectionable way with the action of the drama, the play will be forbidden. Above all the Emperor will not tolerate indecency, nor the mere suggestion of it, in the plays given at the royal theatres.

An anecdote about Herr Josef Lauff's Court drama 'Frederick of the Iron Tooth,' dealing with an ancestor, an Elector of Brandenburg, and on which Leoncavallo, at the Emperor's request, wrote the opera 'Der Roland von Berlin,' shows the Emperor's strictness in this respect. Frederick of the Iron Tooth is a burgher of Berlin who leads a revolt against the Elector. In order to heighten Frederick's hate, Lauff wove in a love theme into the drama. The wife of Ryke, burgomaster of Berlin, figured as Frederick's mistress and egged on her lover against the Elector, because the latter had hanged her brothers, the Quitzows, notorious outlaws of the Mark Brandenburg. The Emperor cut out the whole episode when the play was submitted to him in ma.n.u.script. The marginal note in his big, bold handwriting ran: '_Eine Courtisane kommt in einem Hohenzollerstuck nicht vor_' (A courtesan has no place in a Hohenzollern drama)."

The Emperor's constant change of uniform is often said to be a sign of his liking for the theatrical, and writers have compared him on this account with lightning-change artists like the great Fregoli. Rather his respect for and reliance on the army, a sense of fitness with the occasion to be celebrated, a feeling of personal courtesy to the person to be received, are the motives for such changes. The Paris _Temps_ published the following incident apropos of the Emperor's visit to England in November, 1902. When, on arriving at Port Victoria, the royal yacht _Hohenzollern_ came in view, the members of the English Court sent to welcome the Emperor saw him through their gla.s.ses walking up and down the captain's bridge wearing a long cavalry cloak over a German military uniform. When they stepped on board they found him in the undress uniform of an English admiral.

They lunched with him, and in the afternoon, when he left for London, he was wearing the uniform of an English colonel of dragoons. Arrived in London, he left for Sandringham, and must have changed his dress _en route_, for he left the train in a frock-coat and tall hat.

Perhaps the most notable theatrical event of the reign hitherto was the production at the Royal Opera in 1908 of the historic pantomime "Sardanapalus." The Emperor's idea, as he said himself, was to "make the Museums speak," to which a Berlin critic replied, "You can't dramatize a museum." The ballet, for it was that as well as a pantomime, engrossed the Emperor's time and attention for several weeks. He spent hours with the great authority on a.s.syriology, Professor Friedrich Delitzsch, going over reliefs and plans taken from the Kaiser Friedrich Museum or borrowed from museums in Paris, London, and Vienna, decided on the costumes and designed the war-chariots to be used in the ballet. The notion was to rehabilitate the reputation of Asurbanipal, the second-last King of a.s.syria, whom the Greeks called "Sardanapalus," who reigned in Nineveh six hundred years before Christ, over Ethiopia, Babylon and Egypt, and whom Lord Byron, accepting the Greek story, represented as the most effeminate and debauched monarch the world had ever known.

Professor Delitzsch, with a wealth of recondite learning, showed, on the contrary, that Sardanapalus was a wise and liberal-minded monarch, who, rather than fall into the hands of the Medes, built himself a pyre in a chamber of his palace and perished on it with his wives, his children, and his treasure. The whole four acts, with the various ballets, gave a perfectly faithful representation of the period as described by Diodorus and Herodotus, and as plastically shown on the reliefs discovered at Nineveh by Sir Henry Layard and subsequently by German excavators. Over 10,000 was spent upon the production, and the public were worked up to a great pitch of curiosity concerning it. But it was a complete failure as far as the public were concerned.

"Heavens!" exclaimed one critic, "what a bore!" This, however, was not the fault of the Emperor, but was due to want of interest on the part of a public whose enthusiasm for the events and characters of times so remote could only be kindled by a genius, and a dramatic one. The Emperor is no such genius, nor had he one at command.

XI.

THE NEW CENTURY (_continued_)

1902-1904

King George V has hardly been sufficiently long on the English throne for a contemporary to judge of the personal relations that exist between his Majesty and the Emperor as chief representatives of their respective nations. The King of England was, until June, 1913, hindered by various circ.u.mstances from paying a visit to the Court of Berlin, and rumours were current that relations between the two rulers were not as friendly as they might and should be. There is now every indication that though the relations of people to people and Government to Government vary in degrees of coolness or warmth, the two monarchs are on perfectly good terms of cousinship and amity.

A visit paid by King George, when Prince of Wales, to the Emperor in Potsdam at the opening of 1902 testified to the goodwill that then subsisted between them. It was the evening before the Emperor's birthday, when the Emperor, at a dinner given by the officers of King Edward's German regiment, the 1st Dragoon Guards, addressed the English Heir Apparent in words of hearty welcome. The address was not a long one, but in it the Emperor characteristically seized on the motto of the Prince of Wales, "_Ich dien_" (I serve), to make it the text of a laudatory reference to his young guest's conduct and career.

In its course the Emperor touched on the Prince's tour of forty thousand miles round the world, and the effect his "winning personality" had had in bringing together loyal British subjects everywhere, and helping to consolidate the _Imperium Britannic.u.m_, "on the territories of which," as the Emperor said, doubtless with an imperial pang of envy, "the sun never sets." The Prince, in his reply, tendered his birthday congratulations, and expressed his "respect" for the Emperor, the appropriate word to use, considering the ages and royal ranks of the Emperor and his younger first cousin.

With 1902 may be said to have begun the Emperor's courtship (as it is often called in Germany) of America. His advances to the Dollar Princess since then have been unremitting and on the whole cordially, if somewhat coyly, received.

The growth of intercourse of all kinds between Germany and the United States is indeed one of the features of the reign. There are several reasons why it is natural that friendly relationship should exist. It has been said on good authority that thirty millions of American citizens have German blood in their veins. Frederick the Great was the first European monarch to recognize the independence of America.

German men of learning go to school in America, and American men of learning go to school in Germany. A large proportion of the professors in American universities have studied at German universities. The two countries are thousands of miles apart, and are therefore less exposed to causes of international jealousy and quarrel between contiguous nations. On the other hand, the new place America has taken in the Old World, dating, it may be said roughly, from the time of her war with Spain (1898); the increase of her influence in the world, mainly through the efforts of brave, benevolent, and able statesmen; the expansion of her trade and commerce; the increase of the European tourist traffic;--these factors also to some extent account for the growth of friendly intercourse between the peoples.

Nor should the bond between the two countries created by intermarriage be overlooked. If the well-dowered republican maid is often ambitious of union with a scion of the old European n.o.bility, the usually needy German aristocrat is at least equally desirous of mating with an American heiress notwithstanding the vast differences in race-character, political sentiment, manners, and views of life--and especially of the status and privileges of woman--that must fundamentally separate the parties. Great unhappiness is frequently the result of such marriages, perhaps it may be said of a large proportion of international marriages, but cases of great mutual happiness are also numerous, and help to bring the countries into sympathy and understanding. Prince Bulow, when Chancellor, reminded the Reichstag, which was discussing an objection raised to the late Freiherr Speck von Sternburg, when German Amba.s.sador to America, that he had married an American lady, that though Bismarck had laid down the rule that German diplomatists ought not to marry foreigners, he was quite ready to make exceptions in special cases, and that America was one of them. The Emperor is well known to have no objection to his diplomatic representative at Washington being married to an American, but rather to prefer it, provided, of course, that the lady has plenty of money.

A difficulty between Germany and Venezuela arose in 1902 owing to the ill-treatment suffered by German merchants in Venezuela in the course of the civil war in that country from 1898 to 1900.

The merchants complained that loans had been exacted from them by President Castro and his Government, and that munitions of war and cattle had been taken for the use of the army and left unpaid for. The amount of the claim was 1,700,000 Bolivars (francs), a sum that included the damage suffered by the merchants' creditors in Germany.

Similar complaints were made by English and Italian merchants. After several efforts on the part of Germany to obtain redress had failed, negotiations were broken off, the diplomatic representative of Germany was recalled, and finally the combined fleets of England, Germany, and Italy established a blockade of the Venezuelan coast. The difficulty was eventually referred to the Hague Court of Arbitration, which allowed the claims and directed payment of them on the security of the revenues of the customs ports of La Guayra and Puerto Cabella.

For a time the action of the Powers caused discussion of the Monroe doctrine on both sides of the Atlantic. On this side it was pointed out that American susceptibilities had been respected by the conduct of the Powers in not landing troops, while on the other side there were not wanting voices to exclaim that the naval demonstration went too near being a breach of the hallowed creed--"hands off" the Western Hemisphere. The Monroe doctrine, it may be recalled, was contained in a message of President James Monroe, issued on February 2, 1823. It was drawn up by John Quincey Adams, and declared that the United States "regarded not only every effort of the Holy Alliance to extend its system to the Western Hemisphere as dangerous to the peace and freedom of the United States, but also every interference with the object of subverting any independent American Government in the light of unfriendliness towards America"; and it went on to declare that "the Continents of America should no more be regarded as fields for European colonization."

The day, of course, may come when the American claim to the control, if not physical possession, of half the earth will be questioned by the Powers of Europe; but at present, as far as Germany is concerned, and notwithstanding the absurd idea that Germany plans the seizure one day of Brazil, the doctrine is of merely academic interest. For a few days four years later it became the subject of lively discussion in Germany and America owing to the first American Roosevelt professor, Professor Burgess, referring to it in his inaugural lecture before the Emperor and Empress as an "antiquated theory." As soon, however, as it became apparent that Professor Burgess was giving utterance to a purely personal opinion, and was not in any sense the bearer of a message on the subject from the President, the discussion dropped.

Another American episode of the year was the visit of Prince Henry, the Emperor's brother, to the United States. Prince Henry left for America in February. The visit was in reality made in pursuance of the Emperor's world-policy of economic expansion, but there were not a few politicians in England and America to a.s.sert that it was part of a deep scheme of the Emperor's to counteract too warm a development of Anglo-American friendship. However that may be, the visit was a striking one, even though it gave no great pleasure to Germans, who could not see any particular reason for it, nor any prospect of it yielding Germany immediate tangible return for trouble and expense.

Prince Henry, it is said, though the most genial and democratic of Hohenzollerns, was a little taken back at the American freedom of manners, the wringing of hands, the slapping on the back, and other republican demonstrations of friendship; but he cannot have shown anything of such a feeling, for he was feted on all sides, and soon developed into a popular hero.

One of the incidents of the visit, previously arranged, was the christening of the Emperor's new American-built yacht, _Meteor III_, by Miss Alice Roosevelt, the President's daughter. On February 25th the Emperor received a cablegram from Prince Henry: "Fine boat, baptized by the hand of Miss Alice Roosevelt, just launched amid brilliant a.s.sembly. Hearty congratulations;" and at the same time one from the President's daughter: "To his Majesty the Kaiser, Berlin--_Meteor_ successfully launched. I congratulate you, thank you for the kindness shown me, and send you my best wishes. Alice Roosevelt."

During the visit the Emperor cabled to President Roosevelt his thanks and that of his people for the hospitable reception of his brother by all cla.s.ses, adding:

"My outstretched hand was grasped by you with a strong, manly, and friendly grip. May Heaven bless the relations of the two nations with peace and goodwill! My best compliments and wishes to Alice Roosevelt."

Reference to this cordial electric correspondence may close with mention of a telegram sent in reply to a message from Mr. Melville Stone, of the American a.s.sociated Press:

"Accept my thanks for your message. I estimate the great and sympathetic reception (it was a banquet) given to my dear brother by the newspaper proprietors of the United States very highly."

Prince Henry returned to Germany on March 17th, a Doctor of Law of Harvard University.

There have been moments when people in America were influenced by other sentiments than those of entirely respectful admiration for the Emperor. It was with mixed feelings that the American public heard the news of his telegraphed offer to President Roosevelt in May, 1902, when, as the telegram said, the Emperor was "under the deep impression made by the brilliant and cordial reception" given to his brother, Prince Henry, to present to the American nation a statue of--Frederick the Great, and coupled with the offer a proposal that the statue should be erected--of all places--in Washington! No one doubted the Emperor's sincere desire to pay the highest compliment he could think of to a people to whom he felt grateful for the honour done to Germany in the person of his brother, but nearly every one smiled at the simplicity, or, as some called it, the want of political tact shown by offering the statue of a ruler whose name, to the vast majority of Americans, is synonymous with absolute autocracy, to a republic which prides itself on its civic ways and love of personal freedom. The gift was accepted by the American Government in the spirit in which it was offered, the spirit of goodwill. And why not? To the Emperor his great ancestor's effigy is no symbol of autocracy, but the contrary, for to the Emperor and his subjects Frederick the Great is as much the Father of Prussia, the man who saved it and made it, as Washington was the Father of America. Besides, the spirit in which a gift is offered, not its value or appropriateness, is the thing to be considered.

Irritation in England was still strong against Germany on account of the latter's easily understood race-sympathy with the Boers during the war just over, but the fact did not prevent the Emperor from accepting King Edward's invitation to spend a few days at Sandringham with him in November this year on the occasion of his birthday. The Emperor took the Empress and two of his sons with him. The hostile temper of the time, both in England and Germany, was alluded to in a sermon preached in Sandringham Church by the then Bishop of London. It was notable for its insistence on the necessity of friendlier relations between England, Germany, and America, the three great branches of the Teutonic race. After the service the Emperor is reported to have exclaimed to the Bishop: "What you said was excellent, and is precisely what I try to make my people understand."

As a proof that this was no merely complimentary utterance, but the expression of a thought which is constantly in the Emperor's mind, an incident which happened at Kiel regatta in the month of June previously may be recalled. The American squadron, under the late Admiral Cotton, was paying an official visit to the Emperor during the Kiel "week" as a return honour for the visit of the Emperor's brother, Prince Henry of Prussia, to the United States the year before. There was a constant round of festivities, and among them a lunch to the Emperor on board the Admiral's flagship, the _Kearsarge_. Lunch over, the Emperor was standing in a group talking with his customary vivacity, but, as customary also, with his eyes taking in his surroundings like a well-trained journalist. Suddenly he noticed a set of flags, those of America, Germany, and England, twined together and mingling their colours in friendly harmony. He walked over, gathered the combined flags in his hand, and turning to the Admiral exclaimed in idiomatic American: "See here, Admiral; that is exactly as it should be, and is what I am trying for all the time."

While in England the Emperor, in company with Lord Roberts and Sir Evelyn Wood, inspected his English regiment, the 1st Royal Dragoons. A curious and amusing feature of the visit was a lecture before the Royal Family at Sandringham by a German engineer, for whom the Emperor acted as interpreter, on a novel adaptation of spirit for culinary, lighting, and laundry purposes. The Emperor's practical ill.u.s.tration of the use of the new heating system, as applied to the ordinary household flatiron, is said to have caused great merriment among his audience.

Germany's home atmosphere about this time was for a moment troubled by an exhibition of the Emperor's "personal regiment" in the form of a telegram to the Prince Regent of Bavaria, known in Germany as the "Swinemunde Despatch." The Bavarian Diet, in a fit of economy, had refused its annual grant of 5,000 for art purposes. The Emperor was violently angry, wired to the Prince Regent his indignation with the Diet and offered to pay the 5,000 out of his own pocket. It was not a very tactful offer, to be sure, though well intended; and as his telegram was not an act of State, "covered" by the Chancellor's signature, while the Bavarians in particular felt hurt at what they considered outside interference, Germans generally blamed it as a new demonstration of autocratic rule.

One or two other art incidents of the period may be noted. A domestic one was the gift to the Emperor by the Empress of a model of her hand in Carrara marble, life-sized, by the German sculptor, Rheinhold Begas. The Emperor, it is well known, has no special liking for the companionship of ladies, but he confesses to an admiration for pretty feminine hands. Another incident was the Emperor's order to the painter, Professor Rochling, to paint a picture representing the famous episode in the China campaign, when Admiral Seymour gave the order "Germans to the Front." It is to the present day a popular German engraving. The year was also remarkable for a visit to Berlin of Coquelin _aine_, the great French actor. The Emperor saw him in "Cyrano de Bergerac," was, like all the rest of the play-going world, delighted with both play and player, and held a long and lively conversation with the artist. Lastly may be mentioned a telegram of the Emperor's to the once-famed tragic actress, Adelaide Ristori, in Rome, congratulating her on her eightieth birthday and expressing his regret that he had never met her. A basket of flowers simultaneously arrived from the German Emba.s.sy.