Page:The Works of J. W. von Goethe, Volume 4.djvu/115

Rh usage or abuse of which Voltaire so much complains. If, when the house was very full at such time as troops were passing through the town, officers of distinction strove for this place of honour, which was generally occupied already, some rows of benches and chairs were placed in the proscenium on the stage itself, and nothing remained for the heroes and heroines but to reveal their secrets in the very limited space between the uniforms and orders. I have even seen the "Hypermnestra" performed under such circumstances.

The curtain did not fall between the acts: and I must yet mention a strange custom, which I thought quite extraordinary; as its inconsistency with art was to me, as a good German boy, quite unendurable. The theatre was considered the greatest sanctuary, and any disturbance occurring there would have been instantly resented as the highest crime against the majesty of the public. Therefore, in all comedies, two grenadiers stood with their arms grounded, in full view, at the two sides of the back scene, and were witnesses of all that occurred in the bosom of the family. Since, as I said before, the curtain did not fall between the acts, two others, while music struck up, relieved guard, by coming from the wings, directly in front of the first, who retired in the same measured manner. Now, if such a practice was well fitted to destroy all that is called illusion on the stage, it is the more striking, because it was done at a time when, according to Diderot's principles and examples, the most natural naturalness was required upon the stage, and a perfect deception was proposed as the proper aim of theatrical art. Tragedy, however, was absolved from any such military-police regulations; and the heroes of antiquity had the right of guarding themselves: nevertheless, the same grenadiers stood near enough behind the side scenes.