Chapter XIV: Appendix: C

i. Disguise

_Play_(l) _Character_
_Dress_ _Manner_ _Voice_ _Face_

_As You Like It_ Rosalind
II, iv, 4-8 I, iii, 122-124
III, ii, 313-315

_Twelfth Night_ Viola
I, iv, s.d. I, V, 177-236 I, iv, 29-34
_Twelfth Night_ Feste
IV, ii, 1 IV, ii, 22-23 IV, ii, 71-72 IV, ii, 2

_Measure for Measure_ Duke
I, iii, 45-48 I, iii, 45-48
II, iii, 1-42

_Coriolanus_ Coriolanus
IV, iv, s.d.
IV, v, 59 ff.

_Pericles_ Pericles
II, ii, 48-52
_Pericles_ Thaisa(m)
V, iii, 13-15

_Julius Caesar_ Lucilius(n)

_Merry Wives of Windsor_ Ford(o)
II, ii (?)
_Merry Wives of Windsor_ Falstaff
IV, ii, 190 ff.
_Merry Wives of Windsor_ Children, Evans
V, iv, 49-52
V, v

_Othello_ Roderigo
I, iii, 346(?)

_King Lear_ Kent
I, iv, 1-4 II, ii, 1-180 I, iv, 1 f.
_King Lear_ Edgar (Poor Tom)
II, iii, 10 II, iii, 9-20 II, iii, 14-20 II, iii, 9(?)
III, iv, 66 III, iv
_King Lear_ Edgar (Peasant)
IV, i, 40-44 IV, vi IV, vi, 7 f., 45 ff.
_King Lear_ Edgar (Cornishman)
IV, vi, 235-251
_King Lear_ Edgar (Champion)
V, iii, 117, 142

_Devil’s Charter_ Candie, Caesar
F3^v

_Merry Devil of Edmonton_ Raymond as Friar
D2^r

_London Prodigal_ Old Flowerdale
A2^r A2^r G4^r 18-20
_London Prodigal_ Luce
F1^v F1^v F1^v

_Cromwell_ Hodge, Bedford
C4^v 26-D1^v 27 C4^v 26-D1^v 27

_Miseries of Enforced Marriage_ John, Thomas

_Fair Maid of Bristow_ Harbart
B1^v 28-2^v 16 B1^v 28-2^v 16
_Fair Maid of Bristow_ Challener
B1^v
_Fair Maid of Bristow_ Sentloe
E3^r 20 E3^{r-v}
_Fair Maid of Bristow_ Anabell
E4^v (?)

_Volpone_ Volpone (Scoto)
II, iv II, iv, 30-36
_Volpone_ Volpone (sick)
I, iii-v
III, iii-v, vii, ix
IV, vi
_Volpone_ Volpone (Commandant)
V, iii
_Volpone_ Peregrine
V, iv, 1

_Revenger’s Tragedy_ Vindice
I, i I, i

(l) _The Malcontent_ is not included in this list although its plot is based completely upon a disguise. In this play the basic disguise is manner (see I, i). Malevole and Celso converse about the former’s loss of his dukedom (213-255). On the entrance of Bilioso, however, “Malevole shifteth his speech,” that is, he adopts his satiric manner. This treatment of disguise is similar to that in _The Revenger’s Tragedy_.

(m) Time here helps to disguise Thaisa.

(n) Lucilius claims to be Brutus, but he is immediately recognized.

(o) Ford may have a change of clothing, particularly considering that Falstaff sees him at his house in IV, ii, and Ford visits him again in V, i.

ii. Formal Scenes in Shakespeare’s Globe Plays requiring more than five characters

Single Combat Scenes

_As You Like It_, I, ii; _Merry Wives of Windsor_, III, i;
_Troilus and Cressida_, IV, v; _Coriolanus_, III, i.

Banquet Scenes

_As You Like It_, II, vii; _Macbeth_, III, iv; _Antony and
Cleopatra_, II, vii; _Timon_, I, ii.

Hearing or Trial Scenes

_Merry Wives of Windsor_, I, i (?); _Measure for Measure_, II, i;
_Othello_, I, iii; _Lear_, II, ii; _Coriolanus_, III, iii.

Council or Senate Scenes

_Hamlet_, I, ii; _Lear_, I, i; _Othello_, I, iii; _Coriolanus_,
II, ii; _Julius Caesar_, III, i.

Play-Within-Play Scenes

_Hamlet_, II, ii; III, ii.

Procession Scenes

_Hamlet_, V, i; _All’s Well_, III, v; _Troilus and Cressida_, I,
ii; III, iii; _Macbeth_, IV, i; _Coriolanus_, II, i; _Pericles_,
II, ii; _Julius Caesar_, III, i.

Welcoming Scenes

_Troilus and Cressida_, IV, v; _Othello_, II, i; _Macbeth_, I,
vi; _Timon_, I, i.

Alarum Scene

_Macbeth_, II, iii.

Parley Scenes

_Antony and Cleopatra_, II, ii; II, vi; _Julius Caesar_, V, i.

Finales

_As You Like It_, V, iv; _Twelfth Night_, V, iv; _Merry Wives of
Windsor_, V, v; _Hamlet_, V, ii; _All’s Well_, V, iii; _Measure
for Measure_, V, i; _Othello_, V, ii; _Lear_, V, iii; _Macbeth_,
V, viii; _Coriolanus_, V, vi; _Antony and Cleopatra_, V, ii;
_Pericles_, V, iii.

The only plays whose finales do not fall into this category
of group scenes are _Julius Caesar, Timon of Athens_, and
_Troilus and Cressida_. Their finales fall into the first
category of group scenes, less than five characters with mute
supernumeraries. Each of three scenes (_Troilus and Cressida_,
IV, v; _Othello_, I, iii; and _Julius Caesar_, III, i) contains
two types of formal actions within the single scene.

iii. The Use of the Above: Two Special Instances

_Julius Caesar_, V, iii

The stage direction “Pindarus above” together with the stage
direction, “Enter Pindarus,” makes it almost certain that the
above and not a platform was used. None of the scaffold scenes
has a stage direction “above” or an “enter.” In this instance,
then, we must suppose that either Cassius spoke very slowly or
Pindarus moved very quickly, for only two and a half lines cover
his ascent and two lines his descent.

_Antony and Cleopatra_, IV, xv

The physical factors that have to be satisfied in staging the
monument scene are (1) Cleopatra is aloft with her women; (2)
Diomedes reports Antony’s suicide and then tells her to look
out the other side of the monument to see Antony; (3) Antony is
heaved aloft as Cleopatra calls for aid, but not specifically
from Diomedes. Diomedes, it is necessary to note, is Cleopatra’s,
not Antony’s, servant; (4) Antony’s body is carried out at the
end of the scene.

Warren Smith suggests that a scaffold was utilized for the monument (“Evidence of Scaffolding on Shakespeare’s Stage,” _R.E.S._, N.S. II (1951), 29). This is unlikely in view of the specific direction placing the action “aloft.” Wherever scaffolds are otherwise used (_Troilus and Cressida_, I, ii; _Julius Caesar_, III, ii; _Volpone_, II, ii; _Fair Maid of Bristow_, Sig. E4^r-F2^v), the term “aloft” or “above” is never introduced. Smith also fails to satisfy the final direction, “Exit bearing Anthony.” The monument must be connected to the tiring house. At the same time there is no indication of a curtain. Consequently, I suppose the monument to be located above. What of factor (2)? It is generally supposed that the stage direction, “Enter Diomed,” refers to an entrance on the platform. Kittredge adds “below” after this stage direction. But this is not the necessary interpretation. If Diomedes entered above, and reported in messenger fashion to his mistress, Cleopatra, his injunction to “Look out o’ th’ other side your monument” could easily mean “Look out front.” In messenger fashion he leaves after making his report. The last problem concerns raising Antony. The agency for doing so was the combined energy of more than four boys (Cleopatra, Charmian, Iras, and her maids who appear for the first time) and of at least four men. How high the body had to be raised is uncertain. J. C. Adams calculates the above was 12’ above the floor and had a 2’6” railing. Hodges’ estimate is less, about 10’. Neither 10’ nor 12’ are prohibitive heights although a railing would be difficult to work over. Perhaps it was possible to remove a portion of the railing. Despite the obstacles, however, Antony was raised in a manner which, we must suppose, was not ludicrous.

NOTES