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.