It may be added that in no city of any English-speaking country is Shakspere presented so fully, so well, and to such large and appreciative audiences as in Berlin. All this, and more, the Emperor knows, and he acts upon his knowledge. Interesting was it at various times to see him sitting with his older children at the theater, evidently awakening their interest in dramatic masterpieces; and among these occasions there come back to me, especially, the evenings when he thus sat, evidently discussing with them the thought and action in Shakspere's "Julius Caesar" and "Coriolanus," as presented on the stage before us. I could well imagine his comments on the venom of demagogues, on the despotism of mobs, on the weaknesses of strong men, and on the need, in great emergencies, of a central purpose and firm control. His view of the true character and mission of the theater he has given at various times, and one of his talks with the actors in the Royal Theater, shortly after my arrival, may be noted as typical. In it occur passages like the following: "When I came into the government, ten years ago, . . . I was convinced that this theater, under the guidance of the monarch, should, like the school and the university, have as its mission the development of the rising generation, the promotion of the highest intellectual good in our German fatherland, and the ennobling of our people in mind and character.... I beg of you that you continue to stand by me, each in his own way and place, serving the spirit of idealism, and waging war against materialism and all un-German corruptions of the stage." After various utterances showing his steady purpose in the same direction, there came out, in one of the later years of my stay, sundry remarks of his showing a new phase of the same thought, as follows: "The theater should not only be an important factor in education and in the promotion of morals, but it should also present incarnations of elegance, of beauty, of the highest conceptions of art; it should not discourage us with sad pictures of the past, with bitter awakenings from illusions, but be purified, elevated, strengthened for presenting the ideal. . . . Our ordinary life gives us every day the most mournful realities, and the modern authors whose pleasure it is to bring these before us upon the stage have accepted an unhealthy mission and accomplish a discouraging work." In his desire to see the theater aid in developing German ideals and in enriching German life, he has promoted presentations of the great episodes and personages in German history. Some of these, by Wildenbruch and Lauff, permeated with veins of true poetry, are attractive and ennobling. Of course not all were entirely successful. I recall one which glorified especially a great epoch in the history of the house of Hohenzollern, the comical effect of which on one of my diplomatic colleagues I have mentioned elsewhere; but this, so far as my experience goes, was an exception.