Pericles passed a law in Athens by which each citizen was granted two oboli, one to pay for his seat at the theatre, the other to provide himself with refreshment. In Athens the play began at 6 or 7 A. M., and during the morning three tragedies and a satirical drama were played, followed in the afternoon by a comedy. The theatre of Dionysius seated 30,000 people, who brought their cushions, food, and drink, and occasionally used them to express their dislike of the performance or the performers. At one of the larger industrial towns in Germany, during a Sunday of my visit, there were three performances; one at 11 A. M., of a patriotic melodrama, “Glaube und Heimat”; another, at 3.30 P. M., of “Der Freischütz”; and another, at 7.30 P. M., of Sudermann’s play, “Die Ehre.” The prices of seats for the morning performance ranged from eight cents to forty-five cents; a little more in the afternoon; and from seventeen cents to $1.15 in the evening. At the performance I attended the house was crowded and attentive. I was not enough of an Athenian to attend all three. Even at the Music Hall in Berlin, where, as in other cities, the thinly covered salacious is ladled out to the animal man, there was a capital stage caricature of Oedipus, which atoned for the customary ewig Legliche, which now rules in these resorts. If for some untoward reason women ceased to have legs, what would the British and American theatrical trust managers do!
The German takes his theatre and his music, as from the beginnings of these it was intended we all should do. They are not a distraction merely, but an education, an education of the senses, and through the senses of the whole man. There are music-lovers and serious playgoers in America; but for the most part our theatres cater to, and are filled by, a public seeking a soothing and condimented mental atmosphere, in which to finish digestion. Theatrical salmagundi is served everywhere, and seems to be the dish best suited to the American aesthetic palate as thus far educated. We cannot complain, since other wares would be quickly provided did we but ask for them.
America has suffered because she was overtaken by a great material prosperity before she had a sufficient spiritual and intellectual development, and up to now the material side of life has had the upper hand. We buy the best pictures, the rare books and manuscripts, armor and silver and porcelain, and it must be said that there is a fine idealism here, because they are bought almost without exception by uncultured, often almost unlettered, rich men, who know nothing and care very little for these things, but who are providing rare educational opportunities for another generation. In 1910 objects of art to the value of $22,000,000 were imported, in 1911 $36,000,000 worth, and in 1912 sixty per cent. more than in 1911. In the same way we hire the best musicians and singers, but our surroundings and the powerful circumambient ambitions, have not tempted us as yet to live contentedly and understandingly in any such atmosphere as the Germans do. It is a striking contrast, perhaps of all the contrasts the most interesting to the student, this of America growing from industrialism toward idealism, of Germany growing out of idealism into industrialism.
Germany floats in music; in America a few, a very few, float on it. In Germany everybody sings, almost everybody plays some instrument, and from the youngest to the oldest everybody understands music; at least that is the impression you carry away with you from the land of Bach, Handel, Haydn, Mozart, and Brahms, and Beethoven, and Wagner, and I might fill the page with the others.
You are at least on the ramparts of Paradise, in the Thomas Kirche in Leipsic at the weekly Saturday concert of the scholars of the Thomas Schule. The worldliness is melted out of you, as you sit in the cool, quiet church with the sunlight slanting in upon you, and the atmosphere alive with sweet sounds. And this is only one of hundreds of such experiences all over Germany. At the Kreuz Kirche in Dresden, at the great Dom church in Berlin at Easter time, for the asking you may have the oil and wine of music’s Good Samaritan poured upon the wounds of those sore-pressed travellers, your hopes and ideals, your dreams and ambitions, that have fallen among thieves, on the long, long way from Jericho to Jerusalem.
It is, I must admit, a drab and dreary crowd to look at, these Germans at the theatre, at the opera, in the concert halls. They do not dress, or if they are women undress, for their music as do we; their music dresses for them. They come, most of them, in the clothes that they have worn all day, each quidlibet induitus. They have many of them a meal of meat, bread, and beer during the long pause between two of the acts, always provided for this purpose. Some of them bring little bags with their own provisions, and only buy a glass of beer. They are solemnly attentive, an educated and experienced audience there for a purpose, and not to be trifled with, the most competently critical audience in the world. I wonder as I look at them whether the fact that they have no backs to their heads, emphasized nowadays by the fact that many men wear their hair clipped close to the head, and no chins (the lack of chins in Germany is almost a national peculiarity) has any physiological or psychological relation to their prowess in, and love of, and critical appreciation of, the more nebulous arts: music, poetry, philosophy, and the serious drama.
They are as adamant in their observance of the rules in such matters. More than once I arrived at the opera a few minutes late, once four minutes late, the doors are closed and guarded, and I listen to the overture from the outside. At a concert led by the famous von Bülow half a dozen women come in after the music has begun, rustling, sibilant, and excited. The music stops, the great conductor turns to glare at them, and, referring to the geese which are said to have saved Rome by their hissing, thunders: “Hier ist kein Capitol zu retten!”
There are some forty thousand professional musicians in Germany. The town council of Berlin is now discussing gravely the sum to be allotted to the support of the Symphony Orchestra, and Charlottenburg is building an opera house of its own, and Spandau a theatre; and there has just been formed in Berlin a “Society of the German Artistes’ Theatre,” with a capital of $200,000, which is a project along the general lines of the Comédie Française. The discussions and arguments relating to these municipal expenditures, as I read them in the newspapers, are all based upon the assumption that the people have a right to good and cheap music, just as they have a right to good and cheap beer and bread.
At Düsseldorf one of the theatres, managed by a woman, and supported by the best people in the town, is not only a playhouse, but a school for actors, and a proving-ground for the drama. It is a treat indeed to attend the performances there. We have tried similar things in America, but with sad results. Fifty millionaires, no one of whom had ever read the text of a serious play in his life, build a temple for the drama, but there are no plays, no actors, no audience, nothing is accomplished. There is no critical body of real lovers of the drama, and there are no cheap seats, and there is still that fatuous notion that exclusiveness, except in the trifling matter of physical propinquity, can be bought with dollars.
The only impenetrably exclusive thing in the world is intellect, he is the only aristocrat left in these democratic days, and we are not devoting much attention as yet to his breeding. We do not realize that the only valuable democrat must be an aristocrat. “Culture seeks to do away with classes and sects; to make the best that has been thought and known in the world current everywhere; to make all men live in an atmosphere of sweetness and light, where they may use ideas, as it uses them itself, freely; nourished and not bound by them. This is the social idea; and the men of culture are the true apostles of equality.”