A Midnight Fantasy

I

It was close upon eleven o’clock when I stepped out of the rear vestibule of the Boston Theatre, and, passing through the narrow court that leads to West Street, struck across the Common diagonally. Indeed, as I set foot on the Tremont Street mall, I heard the Old South drowsily sounding the hour.

It was a tranquil June night, with no moon, but clusters of sensitive stars that seemed to shiver with cold as the wind swept by them; for perhaps there was a swift current of air up there in the zenith. However, not a leaf stirred on the Common; the foliage hung black and massive, as if cut in bronze; even the gaslights appeared to be infected by the prevailing calm, burning steadily behind their glass screens and turning the neighboring leaves into the tenderest emerald. Here and there, in the sombre row of houses stretching along Beacon Street, an illuminated window gilded a few square feet of darkness; and now and then a footfall sounded on a distant pavement. The pulse of the city throbbed languidly.

The lights far and near, the fantastic shadows of the elms and maples, the gathering dew, the elusive odor of new grass, and that peculiar hush which belongs only to midnight—as if Time had paused in his flight and were holding his breath—gave to the place, so familiar to me by day, an air of indescribable strangeness and remoteness. The vast, deserted park had lost all its wonted outlines; I walked doubtfully on the flagstones which I had many a time helped to wear smooth; I seemed to be wandering in some lonely unknown garden across the seas—in that old garden in Verona where Shakespeare’s ill-starred lovers met and parted. The white granite façade over yonder—the Somerset Club—might well have been the house of Capulet: there was the clambering vine reaching up like a pliant silken ladder; there, near by, was the low-hung balcony, wanting only the slight girlish figure—immortal shape of fire and dew!—to make the illusion perfect.

I do not know what suggested it; perhaps it was something in the play I had just witnessed—it is not always easy to put one’s finger on the invisible electric thread that runs from thought to thought—but as I sauntered on I fell to thinking of the ill-assorted marriages I had known. Suddenly there hurried along the gravelled path which crossed mine obliquely a half-indistinguishable throng of pathetic men and women: two by two they filed before me, each becoming startlingly distinct for an instant as they passed—some with tears, some with hollow smiles, and some with firm-set lips, bearing their fetters with them. There was little Alice chained to old Bowlsby; there was Lucille, “a daughter of the gods, divinely tall,” linked forever to the dwarf Perrywinkle; there was my friend Porphyro, the poet, with his delicate genius shrivelled in the glare of the youngest Miss Lucifer’s eyes; there they were, Beauty and the Beast, Pride and Humility, Bluebeard and Fatima, Prose and Poetry, Riches and Poverty, Youth and Crabbed Age— Oh, sorrowful procession! All so wretched, when perhaps all might have been so happy if they had only paired differently! I halted a moment to let the weird shapes drift by. As the last of the train melted into the darkness, my vagabond fancy went wandering back to the theatre and the play I had seen—Romeo and Juliet. Taking a lighter tint, but still of the same sober color, my reflections continued.

What a different kind of woman Juliet would have been if she had not fallen in love with Romeo, but had bestowed her affection on some thoughtful and stately signior—on one of the Delia Scalas, for example! What Juliet needed was a firm and gentle hand to tame her high spirit without breaking a pinion. She was a little too—vivacious, you might say—“gushing” would perhaps be the word if you were speaking of a modern maiden with so exuberant a disposition as Juliet’s. She was too romantic, too blossomy, too impetuous, too wilful; old Capulet had brought her up injudiciously, and Lady Capulet was a nonentity. Yet in spite of faults of training and some slight inherent flaws of character, Juliet was a superb creature; there was a fascinating dash in her frankness; her modesty and daring were as happy rhymes as ever touched lips in a love-poem. But her impulses required curbing; her heart made too many beats to the minute. It was an evil destiny that flung in the path of so rich and passionate a nature a fire-brand like Romeo. Even if no family feud had existed, the match would not have been a wise one. As it was, the well-known result was inevitable. What could come of it but clandestine meetings, secret marriage, flight, despair, poison, and the Tomb of the Capulets? I had left the park behind, by this, and had entered a thoroughfare where the street-lamps were closer together; but the gloom of the trees seemed still to be overhanging me. The fact is, the tragedy had laid a black finger on my imagination. I wished that the play had ended a trifle more cheerfully. I wished—possibly because I see enough tragedy all around me without going to the theatre for it, or possibly it was because the lady who enacted the leading part was a remarkably clean-cut little person, with a golden sweep of eyelashes—I wished that Juliet could have had a more comfortable time of it. Instead of a yawning sepulchre, with Romeo and Juliet dying in the middle foreground, and that luckless young Paris stretched out on the left, spitted like a spring-chicken with Montague’s rapier, and Friar Laurence, with a dark lantern, groping about under the melancholy yews—in place of all this costly piled-up woe, I would have liked a pretty, mediaeval chapel scene, with illuminated stained-glass windows, and trim acolytes holding lighted candles, and the great green curtain slowly descending to the first few bars of the Wedding March of Mendelssohn.

Of course Shakespeare was true to the life in making them all die miserably. Besides, it was so they died in the novel of Matteo Bandello, from which the poet indirectly took his plot. Under the circumstances no other climax was practicable; and yet it was sad business. There were Mercutio, and Tybalt, and Paris, and Juliet, and Romeo, come to a bloody end in the bloom of their youth and strength and beauty.

The ghosts of these five murdered persons seemed to be on my track as I hurried down Revere Street to West Cedar. I fancied them hovering around the corner opposite the small drug-store, where a meagre apothecary was in the act of shutting up the fan-like jets of gas in his shop-window.

“No, Master Booth,” I muttered in the imagined teeth of the tragedian, throwing an involuntary glance over my shoulder, “you ‘ll not catch me assisting at any more of your Shakespearean revivals. I would rather eat a pair of Welsh rarebits or a segment of mince-pie at midnight than sit through the finest tragedy that was ever writ.”

As I said this I halted at the door of a house in Charles Place, and was fumbling for my latch-key, when a most absurd idea came into my head. I let the key slip back into my pocket, and strode down Charles Place into Cambridge Street, and across the long bridge, and then swiftly forward.

I remember, vaguely, that I paused for a moment on the draw of the bridge, to look at the semi-circular fringe of lights duplicating itself in the smooth Charles in the rear of Beacon Street—as lovely a bit of Venetian effect as you will get outside of Venice; I remember meeting, farther on, near a stiff wooden church in Cambridgeport, a lumbering covered wagon, evidently from Brighton and bound for Quincy Market; and still farther on, somewhere in the vicinity of Harvard Square and the college buildings, I recollect catching a glimpse of a policeman, who, probably observing something suspicious in my demeanor, discreetly walked off in an opposite direction. I recall these trifles indistinctly, for during this preposterous excursion I was at no time sharply conscious of my surroundings; the material world presented itself to me as if through a piece of stained glass. It was only when I had reached a neighborhood where the houses were few and the gardens many, a neighborhood where the closely-knitted town began to fringe out into country, that I came to the end of my dream. And what was the dream? The slightest of tissues, madam; a gossamer, a web of shadows, a thing woven out of starlight. Looking at it by day, I find that its colors are pallid, and its threaded diamonds—they were merely the perishable dews of that June night—have evaporated in the sunshine; but such as it is you shall have it.

II

The young prince Hamlet was not happy at Elsinore. It was not because he missed the gay student-life of Wittenberg, and that the little Danish court was intolerably dull. It was not because the didactic lord chamberlain bored him with long speeches, or that the lord chamberlain’s daughter was become a shade wearisome. Hamlet had more serious cues for unhappiness. He had been summoned suddenly from Wittenberg to attend his father’s funeral; close upon this, and while his grief was green, his mother had married with his uncle Claudius, whom Hamlet had never liked.

The indecorous haste of these nuptials—they took place within two months after the king’s death, the funeral-baked meats, as Hamlet cursorily remarked, furnishing forth the marriage-tables—struck the young prince aghast. He had loved the queen his mother, and had nearly idolized the late king; but now he forgot to lament the death of the one in contemplating the life of the other. The billing and cooing of the newly-married couple filled him with horror. Anger, shame, pity, and despair seized upon him by turns. He fell into a forlorn condition, forsaking his books, eating little save of the chameleon’s dish, the air, drinking deep of Rhenish, letting his long, black locks go unkempt, and neglecting his dress—he who had hitherto been “the glass of fashion and the mould of form,” as Ophelia had prettily said of him.

Often for half the night he would wander along the ramparts of the castle, at the imminent risk of tumbling off, gazing seaward and muttering strangely to himself, and evolving frightful spectres out of the shadows cast by the turrets. Sometimes he lapsed into a gentle melancholy; but not seldom his mood was ferocious, and at such times the conversational Polonius, with a discretion that did him credit, steered clear of my lord Hamlet.

He turned no more graceful compliments for Ophelia. The thought of marrying her, if he had ever seriously thought of it, was gone now. He rather ruthlessly advised her to go into a nunnery. His mother had sickened him of women. It was of her he spoke the notable words, “Frailty, thy name is woman!” which, some time afterwards, an amiable French gentleman had neatly engraved on the head-stone of his wife, who had long been an invalid. Even the king and queen did not escape Hamlet in his distempered moments. Passing his mother in a corridor or on a staircase of the palace, he would suddenly plant a verbal dagger in her heart; and frequently, in full court, he would deal the king such a cutting reply as caused him to blanch, and gnaw his lip. If the spectacle of Gertrude and Claudius was hateful to Hamlet, the presence of

Hamlet, on the other hand, was scarcely a comfort to the royal lovers. At first his uncle had called him “our chiefest courtier, cousin, and our son,” trying to smooth over matters; but Hamlet would have none of it. Therefore, one day, when the young prince abruptly announced his intention to go abroad, neither the king nor the queen placed impediments in his way, though, some months previously, they had both protested strongly against his returning to Wittenberg.

The small-fry of the court knew nothing of Prince Hamlet’s determination until he had sailed from Elsinore; their knowledge then was confined to the fact of his departure. It was only to Horatio, his fellow-student and friend, that Hamlet confided the real cause of his self-imposed exile, though perhaps Ophelia half suspected it.

Polonius had dropped an early hint to his daughter concerning Hamlet’s intent. She knew that everything was over between them, and the night before he embarked Ophelia placed in the prince’s hand the few letters and trinkets he had given her, repeating, as she did so, a certain distich which somehow haunted Hamlet’s memory for several days after he was on shipboard:

“These could never have waxed poor,” said Hamlet softly to himself, as he leaned over the taffrail, the third day out, spreading the trinkets in his palm, “being originally of but little worth. I fancy that that allusion to ‘rich gifts’ was a trifle malicious on the part of the fair Ophelia;” and he quietly dropped them into the sea.

It was as a Danish gentleman voyaging for pleasure, and for mental profit also, if that should happen, that Hamlet set forth on his travels. Settled destination he had none, his sole plan being to get clear of Denmark as speedily as possible, and then to drift whither his fancy took him. His fancy naturally took him southward, as it would have taken him northward if he had been a Southron. Many a time while climbing the bleak crags around Elsinore he had thought of the land of the citron and the palm; lying on his couch at night, and listening to the wind as it howled along the machicolated battlements of the castle, his dreams had turned from the cold, blonde ladies of his father’s court to the warmer beauties that ripen under sunny skies. He was free now to test the visions of his boyhood.

So it chanced, after various wanderings, all tending imperceptibly in one direction, that Hamlet bent his steps towards Italy.

In those rude days one did not accomplish a long journey without having wonderful adventures befall, or encountering divers perils by the way. It was a period when a stout blade on the thigh was a most excellent travelling companion. Hamlet, though of a philosophical complexion, was not slower than another man to scent an affront; he excelled at feats of arms, and no doubt his skill, caught of the old fencing-master at Elsinore, stood him in good stead more than once when his wit would not have saved him. Certainly, he had hair-breadth escapes while toiling through the wilds of Prussia and Bavaria and Switzerland. At all events, he counted himself fortunate the night he arrived at Verona with nothing more serious than a two-inch scratch on his sword arm.

There he lodged himself, as became a gentleman of fortune, in a suite of chambers in a comfortable palace overlooking the swift-flowing Adige—a riotous yellow stream that cut the town into two parts, and was spanned here and there by rough-hewn stone bridges, which it sometimes sportively washed away. It was a brave old town that had stood sieges and plagues, and was full of mouldy, picturesque buildings and a gayety that has since grown somewhat mouldy. A goodly place to rest in for the wayworn pilgrim! He dimly recollected that he had letters to one or two illustrious families; but he cared not to deliver them at once. It was pleasant to stroll about the city, unknown. There were sights to see: the Roman amphitheatre, and the churches with their sculptured sarcophagi and saintly relics—interesting joints and saddles of martyrs, and enough fragments of the true cross to build a ship. The life in the piazze and on the streets, the crowds in the shops, the pageants, the lights, the stir, the color, all mightily took the eye of the young Dane. He was in a mood to be amused. Everything diverted him—the faint pulsing of a guitar-string in an adjacent garden at midnight, or the sharp clash of gleaming sword blades under his window, when the Montecchi and the Cappelletti chanced to encounter each other in the narrow footway.

Meanwhile, Hamlet brushed up his Italian. He was well versed in the literature of the language, particularly in its dramatic literature, and had long meditated penning a gloss to “The Murther of Gonzago,” a play which Hamlet held in deservedly high estimation.

He made acquaintances, too. In the same palace where he sojourned lived a very valiant soldier and wit, a kinsman to Prince Escalus, one Mercutio by name, with whom Hamlet exchanged civilities on the staircase at first, and then fell into companionship.

A number of Verona’s noble youths, poets and light-hearted men-about-town, frequented Mercutio’s chambers, and with these Hamlet soon became on terms.

Among the rest were an agreeable gentleman, with hazel eyes, named Benvolio, and a gallant young fellow called Romeo, whom Mercutio bantered pitilessly and loved heartily. This Romeo, who belonged to one of the first families, was a very susceptible spark, which the slightest breath of a pretty woman was sufficient to blow into flame. To change the metaphor, he fell from one love affair into another as easily and logically as a ripe pomegranate drops from a bough. He was generally unlucky in these matters, curiously enough, for he was a handsome youth in his saffron satin doublet slashed with black, and his jaunty velvet bonnet with its trailing plume of ostrich feather.

At the time of Hamlet’s coming to Verona, Romeo was in a great despair of love in consequence of an unrequited passion for a certain lady of the city, between whose family and his own a deadly feud had existed for centuries. Somebody had stepped on somebody else’s lap-dog in the far ages, and the two families had been slashing and hacking at each other ever since. It appeared that Romeo had scaled a garden wall, one night, and broken upon the meditations of his inamorata, who, as chance would have it, was sitting on her balcony enjoying the moonrise. No lady could be insensible to such devotion, for it would have been death to Romeo if any of her kinsmen had found him in that particular locality. Some tender phrases passed between them, perhaps; but the lady was flurried, taken unawares, and afterwards, it seemed, altered her mind, and would have no further commerce with the Montague. This business furnished Mercutio’s quiver with innumerable sly shafts, which Romeo received for the most part in good humor.

With these three gentlemen—Mercutio, Benvolio, and Romeo—Hamlet saw life in Verona, as young men will see life wherever they happen to be. Many a time the nightingale ceased singing and the lark began before they were abed; but perhaps it is not wise to inquire too closely into this. A month had slipped away since Hamlet’s arrival; the hyacinths were opening in the gardens, and it was spring.

One morning, as he and Mercutio were lounging arm in arm on a bridge near their lodgings, they met a knave in livery puzzling over a parchment which he was plainly unable to decipher.

“Read it aloud, friend!” cried Mercutio, who always had a word to throw away.

“I would I could read it at all. I pray, sir, can you read?”

“With ease—if it is not my tailor’s score;” and Mercutio took the parchment, which ran as follows:—

“Signior Martino, and his wife and daughters; County Ansdmo, and his beauteous sisters; the lady widow Vitrumo; Signior Placentio, and his lovely nieces; Mercutio, and his brother Valentine; mine uncle Capulet, his wife and daughters; my fair niece Rosaline; Livia; Signior Valentio, and his cousin Tybalt; Lucio, and the lively Helena.”

“A very select company, with the exception of that rogue Mercutio,” said the soldier, laughing. “What does it mean?”

“My master, the Signior Capulet, gives a ball and supper to-night; these the guests; I am his man Peter, and if you be not one of the house of Montague, I pray come and crush a cup of wine with us. Rest you merry;” and the knave, having got his billet deciphered for him, made off.

“One must needs go, being asked by both man and master; but since I am asked doubly, I ‘ll not go singly; I ‘ll bring you with me, Hamlet. It is a masquerade; I have had wind of it. The flower of the city will be there—all the high-bosomed roses and low-necked lilies.”

Hamlet had seen nothing of society in Verona, properly speaking, and did not require much urging to assent to Mercutio’s proposal, far from foreseeing that so slight a freak would have a fateful sequence.

It was late in the night when they presented themselves, in mask and domino, at the Capulet mansion. The music was at its sweetest and the torches were at their brightest, as the pair entered the dancing-hall. They had scarcely crossed the threshold when Hamlet’s eyes rested upon a lady clad in a white silk robe, who held to her features, as she moved through the figure of the dance, a white satin mask, on each side of which was disclosed so much of the rosy oval of her face as made one long to look upon the rest. The ornaments this lady wore were pearls; her fan and slippers, like the robe and mask, were white—nothing but white. Her eyes shone almost black contrasted with the braids of warm gold hair that glistened through a misty veil of Venetian stuff, which floated about her from time to time and enveloped her, as the blossoms do a tree. Hamlet could think of nothing but the almond-tree that stood in full bloom in the little cortile near his lodging. She seemed to him the incarnation of that exquisite spring-time which had touched and awakened all the leaves and buds in the sleepy old gardens around Verona.

“Mercutio! who is that lady?”

“The daughter of old Capulet, by her stature.”

“And he that dances with her?”

“Paris, a kinsman to Can Grande della Scala.”

“Her lover?”

“One of them.”

“She has others?”

“Enough to make a squadron; only the blind and aged are exempt.”

Here the music ceased and the dancers dispersed. Hamlet followed the lady with his eyes, and, seeing her left alone a moment, approached her. She received him graciously, as a mask receives a mask, and the two fell to talking, as people do who—have nothing to say to each other and possess the art of saying it. Presently something in his voice struck on her ear, a new note, an intonation sweet and strange, that made her curious. Who was it? It could not be Valentine, nor Anselmo; he was too tall for Signior Placentio, not stout enough for Lucio; it was not her cousin Tybalt. Could it be that rash Montague who—Would he dare? Here, on the very points of their swords? The stream of maskers ebbed and flowed and surged around them, and the music began again, and Juliet listened and listened.

“Who are you, sir,” she cried, at last, “that speak our tongue with feigned accent?”

“A stranger; an idler in Verona, though not a gay one—a black butterfly.”

“Our Italian sun will gild your wings for you. Black edged with gilt goes gay.”

“I am already not so sad-colored as I was.”

“I would fain see your face, sir; if it match your voice, it needs must be a kindly one.”

“I would we could change faces.”

“So we shall at supper!”

“And hearts, too?”

“Nay, I would not give a merry heart for a sorrowful one; but I will quit my mask, and you yours; yet,” and she spoke under her breath, “if you are, as I think, a gentleman of Verona—a Montague—do not unmask.”

“I am not of Verona, lady; no one knows me here;” and Hamlet threw back the hood of his domino. Juliet held her mask aside for a moment, and the two stood looking into each other’s eyes.

“Lady, we have in faith changed faces, at least as I shall carry yours forever in my memory.”

“And I yours, sir,” said Juliet, softly, “wishing it looked not so pale and melancholy.”

“Hamlet,” whispered Mercutio, plucking at his friend’s skirt, “the fellow there, talking with old Capulet—his wife’s nephew, Tybalt, a quarrelsome dog—suspects we are Montagues. Let us get out of this peaceably, like soldiers who are too much gentlemen to cause a brawl under a host’s roof.”

With this Mercutio pushed Hamlet to the door, where they were joined by Benvolio.

Juliet, with her eyes fixed upon the retreating maskers, stretched out her hand and grasped the arm of an ancient serving-woman who happened to be passing.

“Quick, good Nurse! go ask his name of yonder gentleman. Nay, not the one in green, dear! but he that hath the black domino and purple mask. What, did I touch your poor rheumatic arm? Ah, go now, sweet Nurse!”

As the Nurse hobbled off querulously on her errand, Juliet murmured to herself an old rhyme she knew:—