Yet both national taste and disposition, like other of the nation's characteristics, are slowly altering with the growth of the modern spirit, and Germans now begin to require something of a more modern kind, a more social order, something that comes home more to their business and bosoms. Greater variety in subject is asked for, more laughter and tears, more representations of scenes and life dealing with everyday doings and the fate of the people as distinguished from the doings and fate of their rulers and the upper classes. The Emperor has not followed his people in the new direction. He regards the stage as a vehicle of patriotism, an instrument of education, a guider of artistic taste, an inculcator of old-time morality. Its aim, he appears to think, is not to help to produce, primarily, the good man and good citizen, but the good man and good monarchist, and--perhaps--not so much primarily the good monarchist as the liege subject of the Hohenzollern dynasty. Having secured this, he looks for the elevation of the public taste along his own lines. He assumes that the public taste can be elevated from without, from above, when it can only be elevated proportionately with its progress in general education and its purification from within. Consequently he is for the "classical," as in the other arts. But apart from its aims and uses, the theatre has always appealed to him. His fondness for it is a Hohenzollern characteristic, which has shown itself, with more or less emphasis, in monarch after monarch of the line. Nor is it surprising that monarchs should take pleasure in the stage, since the theatre is one of the places which brings them and their subjects together in the enjoyment of common emotions, and shows them, if only at second hand, the domestic lives of millions, from personal acquaintance with which their royal birth and surroundings exclude them.