Germany before the warBeyens, baron (Eugène-Napoléon)
History
Germany before the war
Beyens, baron (Eugène-Napoléon)
Germany -- Foreign relations -- 1871-1918; World War, 1914-1918 -- Causes
Neither in her physical nor in her mental attributes does the Empress
bear any resemblance to the celebrated Louisa, the wife of Frederick
William III. of Prussia, that vain and commonplace ruler, of whom
Napoleon, always contemptuous of the Hohenzollerns, said that he
looked like a tailor in the midst of kings. The two queens are alike
only in the large number of princes with whom they have enriched a
stock that is nowhere near extinction. Madame de Staël, while staying
in Berlin, described Queen Louisa in a letter to her father as the most
beautiful woman of her Court. Yet some years later this beauty, more
appealing than ever through the unkind strokes of fate, was unable
to soften the marble heart of the victor of Jena. No figure is more
popular in modern Germany, more glorified by her admirers, historians
and poets, painters and sculptors. Will the same fortune befall the
Empress Augusta Victoria? We may be pardoned for doubting this. At
the utmost, she will attract only the official brush or chisel. But
should dark days come for the Imperial house, should Germanic Cæsarism,
after a premature blaze of glory, suffer a “Twilight of the Gods” and
a stormy downfall, the Empress, with her steadfast devotion, will no
doubt, like Queen Louisa, find words of comfort for her disconsolate
husband; she will help him to endure the misfortunes that he will have
deserved only too well.
It is in the vast white ball-room of the palace, when a Court ball
is being given, that the “august lady” (as the Berlin newspapers
reverently call her) shows up to the best advantage. The function is
drawing to a close. The couples, officers of the Guards and high-born
damsels, who have been performing the intricate old-world dances with
military precision, assemble for a last figure, before dispersing
merrily into the supper-rooms. At the sound of the royal march they
bow several times respectfully, each time drawing closer together in
their semi-circular rows, in front of the platform on which stands
the solitary figure of the Empress. She gives no little impression
of majesty as she receives the homage and thanks of her youthful
guests—still erect in bearing and well-proportioned, with her white
hair set off by a diamond tiara, a rope of priceless pearls around her
neck, the yellow ribbon of the Black Eagle athwart her bosom, and a
kindly smile playing on her lips.
Public-domain text, read in full here on John Shaqi.
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