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rows, holding flower-wreathed tapers high against the dark
sky. Cunningly wrought lanterns and candles in sconces
and candelabra send their rays low along the ground and
high among the yellowing leaves, forcing the darkness
back, and opening a shining path for the resplendent train.
The light glitters on gold and gilded tissue, beams
brightly on silver and steel, glides in shimmering stripes
down silks and sweeping satins. Softly as a reddish dew,
it is breathed over dusky velvet, and flashing white, it falls
like stars among rubies and diamonds. Reds make a brave
show with the yellows; clear sky-blue closes over brown;
streaks of lustrous sea-green cut their way through white
and violet-blue; coral sinks between black and lavender;
golden brown and rose, steel-gray and purple are whirled
about, light and dark, tint upon tint, in eddying pools of
color.
They are gone. Down the walk, tall plumes nod white,
white in the dim air.…
The ballet or masquerade to be presented is called Die
Waldlust. The scene is a forest. Crown Prince Christian,
impersonating a hunter, voices his delight in the free life of
the merry greenwood. Ladies, walking about under leafy
crowns, sing softly of the fragrant violets. Children play
at hide and seek and pick berries in pretty little baskets.
Jovial citizens praise the fresh air and the clear grape,
while two silly old crones are pursuing a handsome young
rustic with amorous gestures.
Then the goddess of the forest, the virginal Diana, glides
forward in the person of her Royal Highness the Princess
Anne Sofie. The Elector leaps from his seat with delight and
throws her kisses with both hands, while the court applauds.
As soon as the goddess has disappeared, a peasant and
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