Shakespeare's Christmas, and other stories. Arthur Quiller-Couch

      SHAKESPEARE'S CHRISTMAS

      "And moreover, at this Fair there is at all times to be seen Jugglings, Cheats, Games, Plays, Fools, Apes, Knaves, and Rogues, and that of every kind. … Now, as I said, the way to the Celestial City lies just through this town, where this lusty Fair is kept; and he that will go to the City, and yet not go through this Town, must needs go out of the World."—Bunyan.

      I

      At the theatre in Shoreditch, on Christmas Eve, 1598, the Lord Chamberlain's servants presented a new comedy. Never had the Burbages played to such a house. It cheered every speech—good, bad, or indifferent. To be sure, some of the dramatis personæ—Prince Hal and Falstaff, Bardolph and Mistress Quickly—were old friends; but this alone would not account for such a welcome. A cutpurse in the twopenny gallery who had been paid to lead the applause gave up toiling in the wake of it, and leaned back with a puzzled grin.

      "Bravo, master!" said he to his left-hand neighbour a burly, red-faced countryman well past middle age, whose laughter kept the bench rocking. "But have a care, lest they mistake you for the author!"

      "The author? Ho-ho!"——but here he broke off to leap to his feet and lead another round of applause. "The author?" he repeated, dropping back and glancing an eye sidelong from under his handkerchief while he mopped his brow. "You shoot better than you know, my friend: the bolt grazes. But a miss, they say, is as good as a mile."

      The cutpurse kept his furtive grin, but was evidently mystified. A while before it had been the countryman who showed signs of bewilderment. Until the drawing of the curtains he had fidgeted nervously, then, as now, mopping his forehead in despite of the raw December air. The first shouts of applause had seemed to astonish as well as delight him. When, for example, a player stepped forward and flung an arm impressively towards heaven while he recited—

      When we mean to build,

       We first survey the plot, then draw the model—

      and so paused with a smile, his voice drowned in thunder from every side of the house, our friend had rubbed his eyes and gazed around in amiable protest, as who should say, "Come, come, … but let us discriminate!" By-and-by, however, as the indifferent applause grew warmer, he warmed with it. At the entrance of Falstaff he let out a bellowing laugh worthy of Olympian Jove, and from that moment led the house. The fops on the sixpenny stools began to mimic, the pit and lower gallery to crane necks for a sight of their fugleman; a few serious playgoers called to have him pitched out; but the mass of the audience backed him with shouts of encouragement. Some wag hailed him as "Burbage's Landlord," and apparently there was meaning, if not merit, in the jest. Without understanding it he played up to it royally, leaning forward for each tally-ho! and afterwards waving his hat as a huntsman laying on his hounds.

      The pace of the performance (it had begun at one o'clock) dragged sensibly with all this, and midway in Act IV., as the edge of a grey river-fog overlapped and settled gradually upon the well of the unroofed theatre, voices began to cough and call for lanterns. Two lackeys ran with a dozen. Some they hung from the balcony at the back, others they disposed along both sides of the stage, in front of the sixpenny stools, the audience all the while chaffing them by their Christian names and affectionately pelting them with nuts. Still the fog gathered, until the lantern-rays criss-crossed the stage in separate shafts, and among them the actors moved through Act V. in a luminous haze, their figures looming large, their voices muffled and incredibly remote.

      An idle apprentice, seated on the right of the cutpurse, began for a game to stop and unstop his ears. This gave the cutpurse an opportunity to search his pockets. Cantat vacuus: the apprentice felt him at it and went on with his game. Whenever he stopped his ears the steaming breath of the players reminded him of the painted figures he had seen carried in my Lord Mayor's Show, with labels issuing from their mouths.

      He had stopped his ears during the scene of King Henry's reconciliation with Chief Justice Gascoigne, and unstopped them eagerly again when his old friends reappeared—Falstaff and Bardolph and Pistol, all agog and hurrying, hot-foot, boot-and-saddle, to salute the rising sun of favour. "Welcome these pleasant days!" He stamped and clapped, following his neighbours' lead, and also because his feet and hands were cold.

      Eh? What was the matter? Surely the fog had taken hold of the rogues! What was happening to Mistress Quickly and Doll Tearsheet? Poor souls, they were but children: they had meant no harm. For certain this plaguy fog was infecting the play; and yet, for all the fog, the play was a play no longer, but of a sudden had become savagely real. Why was this man turning on his puppets and rending them? The worst was, they bled—not sawdust, but real blood.

      The apprentice cracked a nut and peeled it meditatively, with a glance along the bench. The countryman still fugled; the cutpurse cackled, with lips drawn back like a wolf's, showing his yellow teeth.

      "Hist, thou silly knave!" said the apprentice. "Canst not see 'tis a tragedy?"

      The rascal peered at him for a moment, burst out laughing, and nudged the countryman.

      "Hi, master! Breeds your common at home any such goose as this, that cannot tell tickling from roasting?"

      The apprentice cracked another nut. "Give it time," he answered. "I said a tragedy. Yours, if you will, my friend; his too, may be"—with a long and curious stare at the countryman.

      II

      "My tongue is weary: when my legs are too, I will bid you good-night: and so kneel down before you; but indeed to pray for the Queen."

      Play, epilogue, dance, all were over; the curtains drawn, the lanterns hidden behind them. The cutpurse had slipped away, and the countryman and apprentice found themselves side by side waiting while the gallery dissolved its crowd into the fog.

      "A brisk fellow," remarked the one, nodding at the vacant seat as he stowed away his handkerchief. "But why should he guess me a rustic?"

      "The fellow has no discernment," the apprentice answered dryly. "He even took the play for a merry one."

      The countryman peered forward into the young-old face silhouetted against the glow which, cast upward and over the curtain-rod across the stage, but faintly reached the gallery.

      "I love wit, Sir, wherever I meet it. For a pint of sack you shall prove me this play a sad one, and choose your tavern!"

      "I thank you, but had liefer begin and discuss the epilogue: and the epilogue is 'Who's to pay?'"

      "A gentleman of Warwickshire, Master What-d'ye-lack—will that content you? A gentleman of Warwickshire, with a coat-of-arms, or the College's promise—which, I take it, amounts to the same thing." The countryman puffed his cheeks.

      "So-so?" The apprentice chuckled.

      "When we mean to build We first survey the plot, then search our pockets.

      How goes it? Either so, or to that effect."