PAGE 6
The Pentecost Of Calamity
by
The overture began. “Hush!” went several little voices; the sprightly, expectant Babel fell to silence; they listened like a congregation in church.
Then the curtain rose. It was a gay old opera, tuneful, full of boisterous, innocent comedy and simple sentiment. Not Gluck this time; Gluck would have been a trifle severe for their young understandings. The enthusiasm and the attention of these boys and girls, with their clapping of hands and their laughter, soon affected the spirits of the singers as a radiant day in spring; it affected me. I envied the happy parents who had their children round them; it was like some sort of wonderful April light. Beneath it the quaint, sweet old opera shone like a fruit tree in blossom. The actors became as children again themselves; so did the fiddlers; so did the conductor. I doubt if that little old opera, Czaar und Zimmermann, had ever felt younger in its life; and I thought if the spirit of Goethe were watching Frankfurt, his city, to-day, it would add a new happiness to a moment of his Eternity.
Between the acts I was full of questions. What occasion was this? I read the program, wherein was set forth a most interesting account of the composer–his character, life and adventures, with a historic account also of Peter the Great, the hero of the opera; but nothing about the occasion. So in the lobby I addressed myself to a group of the men I had seen dotted among the rows of children. The men were schoolmasters. The occasion was an experiment. The children were of the public schools of Frankfurt–not the oldest scholars, but the middle grades of the schools. For the oldest, Frankfurt had already provided opera days, but this was the first ever given for these younger boys and girls. The cost was twelve-and-a-half cents a seat. If it proved a success, a second would follow in two weeks. At the theater, throughout each winter school term, plays were given expressly for them in this way–the great German classics; but never any opera before to-day.
Well, the performance went on; but I was obliged, near the end of it, to hasten away to my train for Nauheim, most reluctantly leaving the sight and company of those two thousand joyous children of the Frankfurt public schools. “Rosy cheeks predominated; eyeglasses were rare.”–Again I quote from my own diary:–“The children seemed between ten and fifteen. The boys had good foreheads and big backs to their heads.”
V
Nothing can efface this memory, nothing can efface the whole impression of Germany; in retrospect this picture rises clear–the fair aspect and order of the country and the cities, the well-being of the people, their contented faces, their grave adequacy, their kindliness; and, crowning all material prosperity, the feeling for beauty as shown by their gardens, and, better and more important still, the reverent value for their great native poets and musicians, so attentive, so cherishing, seeing to it that the young generation began early its acquaintance with the masterpieces that are Germany’s heritage of inspiration.
Such was the splendor of this empire as it unrolled before me through May and June, 1914, that by contrast the state of its two great neighbors, France and England, seemed distressing and unenviable. Paris was shabby and incoherent, London full of unrest. Instead of Germany’s order, confusion prevailed in France; instead of Germany’s placidity, disturbance prevailed in England; and in both France and England incompetence seemed the chief note. The French face, alike in city or country, was too often a face of worried sadness or revolt; men spoke of political scandals and dissensions petty and unpatriotic in spirit, and a political trial, revealing depths of every sort of baseness and dishonor, filled the newspapers; while in England, besides discord of suffrage and discord of labor, civil war seemed so imminent that no one would have been surprised to hear of it any day.