head was a small gray velvet hat, peaked, but not very high, and with narrow brim turned up at the sides. Her chin was elevated a little from contact with a white cambric ruff. Her gown was of murrey cloth with velvet stripes, and it tightly encased her figure, which was of a well-made and graceful litheness. The slashed sleeves, although puffed out, did not make too deep a secret of her shapely, muscular arms. She might have been in her twenty-second year.

With this fine young creature, and farther back in the box, sat a richly dressed old gentleman, comfortably asleep, and a masked lady, who shrank as far as possible into the shadow of the box corner. Standing in the yard, but close to the front of the box, was a slim, dark-faced youth in the green attire then worn by the menservants of ladies.

Not all these details, but only the lady, held the ravished Laertes's attention while he recited:

"Farewell, Ophelia; and remember well
What I have said to you."

So heedless and mechanical was his utterance of these lines, in contrast with his previous lifelike manner, that the nearest auditors laughed. The Corambis and Ophelia, seeking the cause of his sudden lapse, followed his gaze with wondering side-glances, while Ophelia replied, in the boy's musical soprano:

"'Tis in my memory lock'd
And you yourself shall keep the key of it."

"Farewell," said Laertes, this time with due expression, but rather to the lady in the distant box than to Ophelia and Corambis. Reluctantly he backed toward the rear curtains, and was so slow in making his exit, that Corambis, whose next line required to be spoken in Laertes's absence, gave him a look of ireful impatience and a muttered "Shog, for God's sake," which set the young lords at the stage-side tittering.

At sight of Shakespeare, who was whispering to the Horatio and the Marcellus, near the entrance. Master Marryott had another twinge of self-reproach, but this swiftly yielded to visions of the charming face. These drove away also all heed of the presence of Crowe. Hal would have liked to mount the steps to the balcony at the rear of the stage, in which the unemployed actors might sit when it was not in other use, and whence he might view the lady at leisure; but the balcony was soon to be in service as a platform of the castle, in the scene between Hamlet and the ghost.

His imagination crossing all barriers, and making him already the accepted wooer of the new beauty. Hal noted not how the play went on without, even when a breathless hush presently told of some unusual interest on the part of the audience; and he was then but distantly sensible of Shakespeare's grave, musical voice in the ghost's long recitals, and of the awestricken, though barely whispered, exclamations of Burbage.

In the second act Hal had to remove his mustaches, change his cloak, and go on as an attendant in the presence-chamber scene. His first glance was for the lady. Alas, the face was in eclipse, the black velvet mask had been replaced!

Returning to the tiring-room, he had now to don the beard of an elderly lord, in which part he was to help fill the stage in the play scene. As he marched on in the king's train, for this scene, to the blare of trumpet and the music of instruments in a box aloft,—violins, shawms, sackbuts, and dulcimers,—he saw that the lady was still masked. His presence on the stage this time gave him no opportunity to watch her; he had to direct his eyes, now at the king and queen on their chairs at one side of the stage, and now at the platform of the mimic players.

When he made his exit with the royal party, he saw on every face a kind of elation. "They are hit, and no question," said Master Taylor. "Ay," quoth Master Condell, "that shout of the groundlings, when the king fled, could have been heard as far as the bear-garden." "But the stillness of both lords and groundlings before that," said Master Heminge,—"never was such stillness when Tom Kyd's Hamlet was played." "We shall see how they take the rest of it," said Shakespeare, softly,—though he could not quite conceal a kind of serene satisfaction that had stolen upon his face.

Hal Marryott doffed his beard, and resumed his Laertes cloak, resolved to have some part in the general success. His next scene, that in which Laertes calls the king to account for his father's death, and beholds his sister's madness, held the opportunity of doing so,—of justifying Shakespeare's selection for the part, of winning the young lady's applause, of hastening his own advancement to that fortune which would put him in proper state to approach a wealthy gentlewoman. Perhaps she was one of those who were privileged to attend the Christmas court performances. Could he first win her admiration in some fine part at Whitehall, the next time the chamberlain's men should play there; then—by getting as much wealth as Mr. Alleyn and other players had acquired—leave the stage, and strut in the jewels and velvet suitable to his birth, to what woman might he not aspire? He had all planned in a minute, with the happy facility of youth in such matters.

So he stood in a remote corner of the tiring-room, getting into the feeling of his next scene, repeating the lines to himself, assuming a Burbage-like self-absorption to repel those of his fellow players who, otherwise, would now and then have engaged him in talk. Much conversation was going on in undertone among the groups standing about, or sitting on the tables, chairs, stools, and chests that awaited their time of service on the stage,—for, although scenery was merely suggested by word or symbol, furniture and properties, like costume and makeup, were then used in the theatres. In due time, Hal placed himself at the entrance, working up his mood to a fine heat for the occasion; heard the cue, "The doors are broke;" and rushed on, crying "Where is this king?" with a fury that made the groundlings gape, and even startled the lolling lords into attention.

Having ordered back his Danes, and turned again to the king, he cast one swift glance toward the lady's box, to see how she had taken his fiery entrance; and perceived—no one. The box was empty.

He felt as if something had given way beneath him. In a twinkling his manner toward the king fell into the most perfunctory monotone. So he played the scene out, looking again and again to ascertain if his eyes had not deceived him; but neither was she there, nor the other lady, nor the gentleman, nor the Page_in green who had stood before the box. The theatre was dark and dull without her; though as much light came in as ever, through the gallery windows and the open top of the playhouse.

With a most blank and insipid feeling did Hal finish this scene, and the longer and less interesting one that came almost immediately after. He carried this feeling back to the dressing-room, and dropped upon a stool in utter listlessness.

"Hath life then lost all taste and motive?" It was the voice of Shakespeare, who had read Hal's mood. The question came with an expression half amused, half sympathetic. At this, in place of which he had deserved a chiding, Hal was freshly stricken, and more deeply than before, with a sense of the injury he did his benefactor by his lifeless acting. So his answer was strangely wide from the question.

"Forgive me," he said. "I swear I'll make amends in the rest of the play."

And he rose, resolved to do so. Perhaps, after all, the lady and her companions had but gone to another box, or would return to the theatre before the play was over. And, moreover, what a fool should he be, to throw away this chance of advancement that