The German Classics of the Nineteenth and Twentieth Centuries - LightNovelsOnl.com
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Beautiful music!
FISCHER.
Divine!
SCHLOSS.
The ballet is the only redeeming feature of the play.
BoTTICH.
I still keep on admiring the acting of the cat. In such details one recognizes the great and experienced actor; for example, as often as he took the rabbit out of the sack, he always lifted it by the ears; that was not prescribed for him; I wonder whether you noticed how the king grasped it at once by the body? But these animals are held by the ears because that is where they can best bear it.
That's what I call a master!
MuLLER.
That is a very fine explanation.
FISCHER (_aside_).
He himself ought to be lifted by the ears for it.
BoTTICH.
And his terror when the eagle was sitting on his head! How he did not even move for fear, did not stir or budge--it is beyond description!
MuLLER.
You go very deeply into the matter.
BoTTICH.
I flatter myself I am a bit of a connoisseur; that is of course not the case with all of you, and for that reason the matter must be demonstrated to you.
FISCHER.
You are taking great pains!
BoTTICH.
Oh, when you love art as I do it is a pleasant task! Just now a very acute thought also occurred to me concerning the cat's boots, and in them I admire the genius of the actor. You see, at first be is a cat; for that reason he must lay aside his natural clothing in order to a.s.sume the appropriate disguise of a cat. Then he has to appear fully as a hunter; that is what I conclude, for every one calls him that, nor does a soul marvel at him; an unskilful actor would have dressed himself exactly so too, but what would have happened to our illusion? We might perhaps have forgotten that he was still originally a cat and how uncomfortable a new costume would be for the actor over the fur he already had. By means of the boots, however, he merely skilfully suggests the hunter's costume; and that such suggestions are extremely dramatic, the ancients prove to us very excellently, in often--
FISCHER.
Hus.h.!.+ The third act is beginning.
ACT III
_Room in a peasant's house_
_The_ PLAYWRIGHT. _The_ MACHINIST.
MACHIN.
Then do you really think that will do any good?
PLAYWR.
I beg, I entreat you, do not refuse my request; my only hope depends on it.
LEUTNER.
Why, what's this again? How did these people ever get into Gottlieb's room?
SCHLOSS.
I won't rack my brains about anything more.
MACHIN.
But, dear friend, you certainly do ask too much, to have all this done in such a hurry, entirely on the spur of the moment.
PLAYWR.
I believe you are against me, too; you also rejoice in my misfortune.
MACHIN.
Not in the least.
PLAYWRIGHT (_falls down before him_).
Then prove it to me by yielding to my request; if the disapproval of the audience breaks out so loudly again, then at a motion from me let all the machines play; as it is, the second act has already closed quite differently from the way it reads in my ma.n.u.script.
MACHIN.
What's this now? Why, who raised the curtain?
PLAYWR.
It never rains but it pours! I am lost! (_He rushes in embarra.s.sment behind the scenes._)
MACHIN.
