The Cords of Vanity · Chapter
VII: He Goes Mad in a Garden explained
The narrator spends several evenings in a moonlit garden with an actress he calls Signorina Capulet, who refuses to reveal her real name or past.
What happens
The narrator spends several evenings in a moonlit garden with an actress he calls Signorina Capulet, who refuses to reveal her real name or past. He grows infatuated, idealizing her as pure and unsullied despite her profession. He proposes marriage, but she gently refuses, calling him 'boy' and warning he doesn't know what he's doing. The chapter captures his romantic folly and her worldly wisdom.
Themes in this chapter
Romantic Idealism vs. Reality
The narrator idealizes the actress as a pure, unsullied woman, while she herself warns him of the impracticality and danger of his romantic proposal.
Artistic Identity and Escapism
The actress uses a stage name and refuses to discuss her past, seeking to forget her profession offstage; the narrator escapes into romantic fantasy in the moonlit garden.
Vanity and Self-Deception
The narrator's vanity is flattered by the idea of protecting a 'brave, wholesome' woman, and he deceives himself about the wisdom of his infatuation.
Characters to notice
- Unknown Narrator
The young narrator, deeply infatuated with the actress, proposes marriage and idealizes her as a pure, unsullied woman.
- Old Capulet
The actress is referred to as Signorina Capulet, a stage name she dislikes but accepts for the narrator's use.
- Bettie Hamlyn
The narrator writes a letter to Bettie in Colorado, mentioning his changed plans and his visit to the Opera House.
- John Charteris
Mentioned as the host of a house-party and as someone the narrator might not travel to Europe with.
- Alicia Wade
Listed among the clever women at Charteris's house-party whom the narrator finds objectionable.
- Pauline Ashmeade
Listed among the clever women at Charteris's house-party whom the narrator finds objectionable.
Key passages
“And, oh, but it is good to be with you again, Signorina!”
The narrator joyfully greets the actress in the moonlit garden, expressing his delight at being with her.
Opening line of the chapter, setting the tone of romantic infatuation.
“I don't want to talk about it. We play for a week in Fairhaven, and here, once off the stage, I intend to forget I am an actress.”
The actress refuses to discuss her past or future, wanting to escape her professional identity during her time offstage.
Reveals her desire for escapism and secrecy about her personal life.
“Oh, boy, boy! dear, dear boy! how foolish of you and—how dear of you!”
She calls him a foolish but dear boy, gently rejecting his marriage proposal while acknowledging his sincerity.
Key moment of romantic disillusionment; she sees him as naive.