Chapter XXVII: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (15)

[113] Gregory Smith, _Elizabethan Critical Essays_, i. 185, 197 (cf. App. C, No. xxxiv). Sidney’s main argument is foreshadowed in Whetstone’s Epistle to _Promos and Cassandra_ (1578; cf. App. C, No. xix), ‘The Englishman in this quallitie, is most vaine, indiscreete, and out of order; he fyrst groundes his worke on impossibilities: then in three howers ronnes he throwe the worlde: marryes, gets children, makes children men, men to conquer kingdomes, murder monsters, and bringeth Gods from Heaven, and fetcheth Divels from Hel’.

[114] Cf. p. 20.

[115] Gibson had used written titles to name his pageant buildings; cf. Brewer, ii. 1501; Halle, i. 40, 54. The Westminster accounts _c._ 1566 (cf. ch. xii) include an item for ‘drawing the tytle of the comedee’. The Revels officers paid ‘for the garnyshinge of xiiij titles’ in 1579–80, and for the ‘painting of ix. titles with copartmentes’ in 1580–1 (Feuillerat, _Eliz._ 328, 338). The latter number agrees with that of the plays and tilt challenges for the year; the former is above that of the nine plays recorded, and Lawrence thinks that the balance was for locality-titles. But titles were also sometimes used in the course of action. Thus _Tide Tarrieth for No Man_ has the s.d. (1439), ‘Christianity must enter with a sword, with a title of pollicy, but on the other syde of the tytle, must be written gods word, also a shield, wheron must be written riches, but on the other syde of the shield must be Fayth’. Later on (1501) Faithful ‘turneth the titles’. Prologues, such as those of _Damon and Pythias_, _Respublica_, and _Conflict of Conscience_, which announce the names of the plays, tell rather against the use of title-boards for those plays. For the possible use of both title- and scene-boards at a later date, cf. pp. 126, 154.

[116] Cf. pp. 60, 63.

[117] In the Latin academic drama the transition between classical and romantic staging is represented by Legge’s _Richardus Tertius_ (1580). This is Senecan in general character, but unity of place is not strictly observed. A s.d. to the first _Actio_ (iii. 64) is explicit for the use of a curtain to discover a recessed interior, ’ A curtaine being drawne, let the queene appeare in y^e sanctuary, her 5 daughters and maydes about her, sittinge on packs, fardells, chests, cofers. The queene sitting on y^e ground with fardells about her’.

[118] Cf. p. 21.

[119] Cf. ch. vii.

[120] Feuillerat, _Eliz._ 365.

[121] Cf. ch. xi.

[122] There are four presenters, but, in order to avoid crowding the stage, they are reduced to two by the sending of the others to bed within the hut (128).

[123] Albright, 66; Reynolds, i. 11.

[124] Queen’s, _Three Lords and Three Ladies of London_, _1, 2 Troublesome Reign of King John_, _Selimus_, _Looking-Glass for London and England_, _Famous Victories of Henry V_, _James IV_, _King Leir_, _True Tragedy of Richard III_; Sussex’s, _George a Greene_, _Titus Andronicus_; Pembroke’s, _Edward II_, _Taming of a Shrew_, _2, 3 Henry VI_, _Richard III_; Strange’s or Admiral’s, _1, 2 Tamburlaine_, _Spanish Tragedy_, _Orlando Furioso_, _Fair Em_, _Battle of Alcazar_, _Knack to Know a Knave_, _Friar Bacon and Friar Bungay_, _1 Henry VI_, _Comedy of Errors_, _Jew of Malta_, _Wounds of Civil War_, _Dr. Faustus_, _Four Prentices of London_; Admiral’s, _Knack to Know an Honest Man_, _Blind Beggar of Alexandria_, _Humorous Day’s Mirth_, _Two Angry Women of Abingdon_, _Look About You_, _Shoemaker’s Holiday_, _Old Fortunatus_, _Patient Grissell_, _1 Sir John Oldcastle_, _Captain Thomas Stukeley_, _1, 2 Robert Earl of Huntingdon_, _Englishmen for my Money_; Chamberlain’s, _Edward III_, _1 Richard II_, _Sir Thomas More_, _Taming of the Shrew_, _Two Gentlemen of Verona_, _Love’s Labour’s Lost_, _Romeo and Juliet_, _Midsummer Night’s Dream_, _Richard II_, _King John_, _Merchant of Venice_, _1, 2 Henry IV_, _Every Man in his Humour_, _Warning for Fair Women_, _A Larum for London_, _Thomas Lord Cromwell_ (the last two possibly Globe plays); Derby’s, _1, 2 Edward IV_, _Trial of Chivalry_; Oxford’s, _Weakest Goeth to the Wall_; Chapel, _Wars of Cyrus_; Unknown, _Arden of Feversham_, _Soliman and Perseda_, _Edward I_, _Jack Straw_, _Locrine_, _Mucedorus_, _Alphonsus_, _1, 2 Contention of York and Lancaster_.

[125] _Quarterly Review_, ccviii. 446.

[126] I here use ‘scene’ in the sense of a continuous section of action in an unchanged locality, and do not follow either the usage of the playwrights, which tends to be based upon the neo-classical principle that the entrance or exit of a speaker of importance constitutes a fresh scene, or the divisions of the editors, who often assume a change of locality where none has taken place; cf. ch. xxii. I do not regard a scene as broken by a momentary clearance of the stage, or by the opening of a recess in the background while speakers remain on the stage, or by the transference of action from one point to another of the background if this transference merely represents a journey over a foreshortened distance between neighbouring houses.

[127] Albright, 114; Thorndike, 102.

[128] _Downfall of R. Hood_, V. i.

[129] _Alphonsus_, 163; _K. to K. Honest Man_, 71. The friar’s cell of _T. G._ V. i may be in an urban setting, as Silvia bids Eglamour go ‘out at the postern by the abbey wall’; that of _R. J._ II. iii, vi; III. iii; IV. i; V. 2 seems to be in rural environs. How far there is interior action is not clear. None is suggested by II. or V. In III. iii (Q_{2}) the Friar bids Romeo ‘come forth’ (1), and Romeo falls ‘upon the ground’ (69). Then ‘Enter Nurse and knocke’ (71). After discussing the knock, which is twice repeated, the Friar bids Romeo ‘Run to my study’ and calls ‘I come’. Then ‘Enter Nurse’ (79) with ‘Let me come in’. Romeo has not gone, but is still ‘There on the ground’ (83). Q_{1} is in the main consistent with this, but the first s.d. is merely ‘Nurse knockes’, and after talking to Romeo, ‘Nurse offers to goe in and turnes againe’ (163). In IV. i (Q_{1}, and Q_{2}) the Friar observes Juliet coming ‘towards my Cell’ (17), and later Juliet says ‘Shut the door’ (44); cf. p. 83.

[130] _Downfall of R. Hood_, III. ii, ‘Curtaines open, Robin Hoode sleepes on a greene banke and Marian strewing flowers on him’ ... ‘yonder is the bower’; _Death of R. Hood_, I. v; cf. I. iv, ‘Let us to thy bower’.

[131] _B. B. of Alexandria_, scc. i, iv; _Battle of Alcazar_, ii. 325, where the presenter describes Nemesis as awaking the Furies, ‘In caue as dark as hell, and beds of steele’, and the corresponding s.d. in the plot (_H. P._ 139) is ‘Enter aboue Nemesis ... to them lying behinde the Curtaines 3 Furies’.

[132] _K. Leir_, scc. xxvii-xxxii.

[133] _K. Leir_, sc. xxiv, ‘Enter the Gallian King and Queene, and Mumford, with a basket, disguised like Countrey folke’. Leir meets them, complaining of ‘this vnfruitfull soyle’, and (2178) ‘She bringeth him to the table’; _B. B. of Alexandria_, sc. iii.

[134] _B. B. of Alexandria_, sc. iii.

[135] _Locrine_, III. i (d.s.), ‘A Crocadile sitting on a riuers banke, and a little snake stinging it. Then let both of them fall into the water’; IV. v. 1756 (a desert scene), ‘Fling himselfe into the riuer’; V. vi. 2248 (a battle-field scene), ‘She drowneth her selfe’; _Weakest Goeth to the Wall_, I. i (d.s.), ‘The Dutches of Burgundie ... leaps into a Riuer, leauing the child vpon the banke’; _Trial of Chivalry_, C_{4}^v, ‘yon fayre Riuer side, which parts our Camps’; E_{2}, ‘This is our meeting place; here runs the streame That parts our camps’; cf. p. 90. _A. of Feversham_, IV. ii and iii are, like part of _Sapho and Phao_ (cf. p. 33), near a ferry, and ‘Shakebag falles into a ditch’, but the river is not necessarily shown.

[136] Two late testimonies may be held to support the theory. In _T. N. K._ (King’s, _c. 1613_), III. i. 31, ‘Enter Palamon as out of a Bush’, but cf. III. vi. 1, ‘Enter Palamon from the Bush’. The Prologue to _Woman Killed with Kindness_ (Worcester’s, _1603_) says:

I come but like a harbinger, being sent
To tell you what these preparations mean:
Look for no glorious state; our Muse is bent
Upon a barren subject, a bare scene.
We could afford this twig a timber tree.
Whose strength might boldly on your favours build;
Our russet, tissue; drone, a honey bee;
Our barren plot, a large and spacious field.

These rhetorical antitheses are an apology for meanness of theme, rather than, like the prologues to _Henry V_, for scenic imperfections, and I hesitate to believe that, when the actor said ‘twig’, he pointed to a branch which served as sole symbol on the stage for a woodland.

[137] _Looking-Glass_, V. iii. 2059, 2075, ‘Lo, a pleasant shade, a spreading vine ... _A Serpent deuoureth the vine_’; _O. Furioso_, 572, ‘Sacrepant hangs vp the Roundelayes on the trees’ (cf. _A. Y. L._ III. ii. 1, ‘Hang there, my verse, in witness of my love’); _B. B. of Alexandria_, sc. vi, ‘Here’s a branch, forsooth, of your little son turned to a mandrake tree’; _Old Fortunatus_, 1–357, where Fortunatus dreams under a tree, 1861–2128, where there are apple-and nut-trees in a wilderness; &c., &c. Simon Forman in 1611 saw Macbeth and Banquo ‘ridinge thorowe a wod’ (_N. S. S. Trans._ 1875–6, 417), although from the extant text we could have inferred no trees in I. iii.

[138] _M. N. D._ II-IV. i; _Mucedorus_, I.; II. iii; III. iii-v; IV. ii, iii; V. i; _T. A. Women of Abingdon_, scc. vii, ix-xii.

[139] _Edw. I_, 2391, ‘I must hang vp my weapon vppon this tree’; _Alphonsus_, II. i. 417, ‘this wood; where in ambushment lie’. For a river cf. p. 51, n. 8 (_Locrine_).

[140] _Hen. V_, IV, prol. 49.

[141] _1 Tamb._ 705, ‘Sound trumpets to the battell, and he runs in’; 1286, ‘They sound the battell within, and stay’; _2 Tamb._ 2922, ‘Sound to the battell, and Sigismond comes out wounded’; _1 Contention_, sc. xii. 1, ‘Alarmes within, and the Chambers be discharged, like as it were a fight at sea’.

[142] _Alphonsus_, II. i, ii; _1 Hen. IV_, V. i-iv. The whole of _Edw. III_, III, IV, V, is spread over Creçy and other vaguely located battle-fields in France.

[143] _1 Contention_, sc. xxii. 1, ‘Alarmes to the battaile, and then enter the Duke of _Somerset_ and _Richard_ fighting, and _Richard_ kils him vnder the signe of the Castle in saint _Albones_’. The s.d. of _2 Hen. VI_, V. ii. 66, is only ‘Enter Richard, and Somerset to fight’, but the dialogue shows that the ‘alehouse paltry sign’ was represented.

[144] _1 Contention_, sc. xxii, 62 (with the alehouse), ‘Alarmes againe, and then enter three or foure, bearing the Duke of _Buckingham_ wounded to his Tent’; _2 Tamb._ IV. i. 3674, ‘Amyras and Celebinus issues from the tent where Caliphas sits a sleepe’ ... 3764 (after Caliphas has spoken from within the tent), ‘He goes in and brings him out’; _Locrine_, 1423, ‘mee thinkes I heare some shriking noise. That draweth near to our pauillion’; _James IV_, 2272, ‘Lords, troop about my tent’; _Edw. I_, 1595, ‘King Edward ... goes into the Queenes Chamber, the Queenes Tent opens, shee is discouered in her bed’ ... 1674, ‘They close the Tent’ ... 1750, ‘The Queenes Tent opens’ ... 1867, ‘The Nurse closeth the Tent’ ... 1898, ‘Enter ... to giue the Queene Musicke at her Tent’, and in a later scene, 2141, ‘They all passe ... to the Kings pavilion, the King sits in his Tent with his pages about him’ ... 2152, ‘they all march to the Chamber. Bishop speakes to her [the Queen] in her bed’; _1 Troilus and Cressida_, plot (_Henslowe Papers_, 142), ‘Enter ... to them Achillis in his Tent’; _Trial of Chivalry_, C_{4}^v, ‘this is the Pauilion of the Princesse .... Here is the key that opens to the Tent’ ... D, ‘Discouer her sitting in a chayre asleepe’ and a dialogue in the tent follows. The presence of a tent, not mentioned in dialogue or s.ds., can often be inferred in camp scenes, in which personages sit, or in those which end with a ‘Come, let us in’; e.g. _Locrine_, 564, 1147.

[145] _Richard III_, V. iii, iv, v (a continuous scene); _1 Hen. IV_, V. i, ii, iii, iv (probably similar); cf. p. 51, n. 8 (_Trial of Chivalry_).

[146] _Edw. I_, 900, 1082, 2303 (after a battle), ‘Then make the proclamation vpon the walles’ (s.d.); _James IV_, 2003 (after parley), ‘They descend downe, open the gates, and humble them’; _Soliman and Perseda_, III. iv; V. iv. 16, ‘The Drum sounds a parle. _Perseda_ comes vpon the walls in mans apparell. _Basilisco_ and _Piston_, vpon the walles.... Then _Perseda_ comes down to _Soliman_, and _Basilisco_ and _Piston_’; _2 Contention_, sc. xviii, ‘Enter the Lord Maire of _Yorke_ vpon the wals’ ... (after parley) ‘Exit Maire’ ... ‘The Maire opens the dore, and brings the keies in his hand’; _K. John_, II. i. 201, ‘Enter a Citizen vpon the walles’ ... ‘Heere after excursions, Enter the Herald of France with Trumpets to the gates’ ... ‘Enter the two kings with their powers at seuerall doores’ ... (after parley) ‘Now, citizens of Angiers, ope your gates’; cf. _1 Troublesome Raigne_, scc. ii-x; _2 Contention_, sc. xxi; _George a Greene_, sc. v; _Orlando Furioso_, I. ii; _2 Tamburlaine_, III. iii; _Selimus_, scc. xii, xxvii-xxxi; _Wounds of Civil War_, V. ii-iv; _Edw. III_, I. ii; _Death of R. Hood_, V. ii; _Stukeley_, II; _Frederick and Basilea_ and _1 Troilus and Cressida_ plots (_Henslowe Papers_, 137, 142), &c. Wall scenes are not always siege scenes. Thus in _2 Troub. Raigne_, sc. i, ‘Enter yong Arthur on the walls.... He leapes’ (cf. _K. J._ IV. iii); in _1 Contention_, sc. xvi, ‘Enter the Lord Skayles vpon the Tower walles walking. Enter three or four Citizens below’ (cf. _2 Hen. VI_, IV. v). Analogous is _2 Hen. VI_, IV. ix (Kenilworth), ‘Enter King, Queene, and Somerset on the Tarras.... Enter Multitudes with Halters about their neckes’.

[147] In _Alarum for London_, 203, a gun is fired at Antwerp from the walls of the castle; cf. _1 Hen. VI_ below.

[148] _2 Tamburlaine_, V. i, ‘Enter the Gouernour of Babylon vpon the walles’ ... (after parley) ‘Alarme, and they scale the walles’, after which the governor is hung in chains from the walls and shot at; _Selimus_, 1200, ‘Alarum, Scale the walles’, 2391, ‘Allarum, beats them off the walles; cf. _1 Hen. VI_ below. _Hen. V_, III. i-iii (a continuous scene) opens with ‘Alarum: Scaling Ladders at Harflew’. Henry says ‘Once more vnto the breach’, but later a parley is sounded from the town, and ‘Enter the King and all his Traine before the Gates’, where submission is made, and they ‘enter the Towne’. Sometimes an assault appears to be on the gates rather than the walls; e.g. _1 Edw. IV_, I. iv-vi; _1 Hen. VI_, I. iii.

[149] Cf. p. 106, n. 6. The fullest use of walls is made in _1 Hen. VI_, a sixteenth-century play, although the extant text was first printed in 1623. An analysis is necessary. The walls are those of Orleans in I, II, of Rouen in III, of Bordeaux in IV, of Angiers in V. In I. iv, ‘Enter the Master Gunner of Orleance, and his Boy’. They tell how

the English, in the suburbs close entrencht,
Wont through a secret grate of iron barres,
In yonder tower, to ouer-peere the citie.

The Gunner bids the Boy watch, and tell him if he sees any English. Then ‘Enter Salisbury and Talbot on the turrets, with others’, and later ‘Enter the Boy with a Linstock’. The English talk of attacking ‘heere, at the bulwarke of the bridge’, and ‘Here they shot, and Salisbury falls downe’. After an _Exeunt_ which clears the stage, there is fighting in the open, during which a French relieving party ‘enter the Towne with souldiers’, and later ‘Enter on the Walls, Puzel, Dolphin, Reigneir, Alanson, and Souldiers’. In II. i, which follows, a French watch is set, lest English come ‘neere to the walles’. Then ‘Enter Talbot, Bedford, and Burgundy, with scaling Ladders’; Bedford will go ‘to yond corner’, Burgundy ‘to this’, and Talbot mount ‘heere’. They assault, and ‘The French leape ore the walles in their shirts. Enter seuerall wayes, Bastard, Alanson, Reignier, halfe ready, and halfe unready’. They discourse and are pursued by the English, who then ‘retreat’, and in turn discourse ‘here ... in the market-place’, rejoicing at how the French did ‘Leape o’re the Walls for refuge in the field’. Then, after a clearance, comes a scene at the Countess of Auvergne’s castle. In III. ii the Pucell enters before the gates of Rouen, obtains access by a trick, and then ‘Enter Pucell on the top, thrusting out a torch burning’. Other French watch without for the signal from ‘yonder tower’ or ‘turret’, and then follow into the town and expel the English, after which, ‘Enter Talbot and Burgonie without: within, Pucell, Charles, Bastard, and Reigneir on the walls’. After parley, ‘Exeunt from the walls’, and fighting in front leaves the English victorious, and again able to enter the town. In IV. ii ‘Enter Talbot ... before Burdeaux’, summons the French general ‘vnto the Wall’, and ‘Enter Generall aloft’. In V. iii the English are victorious before Angiers, sound for a parley before the castle, and ‘Enter Reignier on the walles’. After parley, Reignier says ‘I descend’, and then ‘Enter Reignier’ to welcome the English.

[150] In _Looking-Glass_, II. i, ‘Enters Remilia’ and after discourse bids her ladies ‘Shut close these curtaines straight and shadow me’; whereupon ‘They draw the Curtaines and Musicke plaies’. Then enter the Magi, and ‘The Magi with their rods beate the ground, and from vnder the same riseth a braue Arbour’. Rasni enters and will ‘drawe neare Remilias royall tent’. Then ‘He drawes the Curtaines, and findes her stroken with thunder, blacke.’ She is borne out. Presumably the same arbour is used in IV. iii, where Alvida’s ladies ‘enter the bowers’. Both scenes are apparently near the palace at Nineveh and not in a camp. The earlier action of _L. L. L._ is in a park, near a manor house, which is not necessarily represented. But at IV. iii. 373 the King wishes to devise entertainment ‘in their tents’ for the ‘girls of France’, and Biron says, ‘First, from the park let us conduct them thither’. Presumably therefore V. ii passes near the tents.

[151] _Looking-Glass_, II. i; IV. iii (_supra_); _Edw. III_, II. i. 61, at Roxborough Castle, ‘Then in the sommer arber sit by me’; _2 Hen. IV_, V. iii (_infra_). In _Sp. Trag._ II. ii. 42, Horatio and Belimperia agree to meet in ‘thy father’s pleasant bower’. In II. iv they enter with ‘let us to the bower’ and set an attendant to ‘watch without the gate’. While they sit ‘within these leauy bowers’ they are betrayed, and (s.d.) ‘They hang him in the Arbor’. In II. v (not really a new scene) Hieronimo emerges from his house, where a woman’s cry ‘within this garden’ has plucked him from his ‘naked bed’, finds Horatio hanging ‘in my bower’, and (s.d.) ‘He cuts him downe’. In III. xii (an addition of the 1602 text) Hieronimo ranges ‘this hidious orchard’, where Horatio was murdered before ‘this the very tree’. Finally, in IV. ii Isabella enters ‘this garden plot’, and (s.d.) ‘She cuts downe the Arbour’.

[152] _Sp. Trag._ III. xii^a (_supra_); _Shoemaker’s Holiday_, sc. ii, ‘this flowry banke’, sc. iv, ‘these meddowes’; _1 Hen. VI_, II. iv, ‘From off this brier pluck a white rose with me’, &c. In _R. J._ II. i (Q_{1}, but Q_{2} has apparently the same setting) Romeo enters, followed by friends, who say, ‘He came this way, and leapt this orchard wall’, and refer to ‘those trees’. They go, and in II. ii (presumably the same scene) Romeo speaks under Juliet’s window ‘ouer my head’. She says ‘The Orchard walles are high and hard to climb’, and he, ‘By loues light winges did I oreperch these wals’, and later swears by the blessed moon, ‘That tips with siluer all these fruit trees tops’.

[153] _R. J._ II. ii (_supra_); _Sp. Trag._ II. v (_supra_); _Look About You_, sc. v (a bowling green under Gloucester’s chamber in the Fleet); _1 Oldcastle_, I. iii, II. i (a grove before Cobham’s gate and an inn); &c. In _1 Contention_, sc. ii. 64, Elinor sends for a conjurer to do a spell ‘on the backside of my orchard heere’. In sc. iv she enters with the conjurer, says ‘I will stand upon this Tower here’, and (s.d.) ‘She goes vp to the Tower’. Then the conjurer will ‘frame a cirkle here vpon the earth’. A spirit ascends; spies enter; and ‘Exet Elnor aboue’. York calls ‘Who’s within there?’ The setting of _2 Hen. VI_, I. ii, is much the same, except that the references to the tower are replaced by the s.d. ‘Enter Elianor aloft’. In _2 Hen. VI_, II. ii, the scene is ‘this close walke’ at the Duke of York’s. Similarly, scc. i, iv of _Humourous Day’s Mirth_ are before Labervele’s house in a ‘green’, which is his wife’s ‘close walk’, which is kept locked, and into which a visitor intrudes. But in sc. vii, also before Labervele’s, the ‘close walk’ is referred to as distinct from the place of the scene.

[154] _2 Troublesome Raigne_, sc. viii, ‘Enter two Friars laying a Cloth’. One says, ‘I meruaile why they dine heere in the Orchard’. We need not marvel; it was to avoid interior action. In _2 Hen. IV_, V. iii, the scene is Shallow’s orchard, ‘where, in an arbour, we will eat a last year’s pippin of mine own graffing, with a dish of caraways, and so forth’.

[155] _Famous Victories_, sc. ii, 5, ‘we will watch here at Billingsgate ward’; _Jack Straw_, iii (Smithfield); _W. for Fair Women_, II. 115, ‘here at a friends of mine in Lumberd Street’; IV. 1511, ‘Enter two Carpenters vnder Newgate’; _Shoemaker’s Holiday_, sc. xi (Tower Street, _vide infra_); _Cromwell_, V. ii, iii (Westminster and Lambeth, _vide infra_); _Arden of F._ II. ii (Paul’s Churchyard, _vide infra_); _2 Hen. VI_, IV. vi, ‘Enter Iacke Cade and the rest, and strikes his staffe on London stone’; &c.

[156] _Span. Tragedy_, III. vi. 104, ‘He turnes him off’ (s.d.); _Sir T. More_, sc. xvii. More is brought in by the Lieutenant of the Tower and delivered to the sheriff. He says (1911), ‘Oh, is this the place? I promise ye it is a goodly scaffolde’, and ‘your stayre is somewhat weake’. Lords enter ‘As he is going vp the stayres’ (s.d.), and he jests with ‘this straunge woodden horsse’ and ‘Truely heers a moste sweet Gallerie’ (where the marginal s.d. is ‘walking’). Apparently the block is not visible; he is told it is ‘to the Easte side’ and ‘exit’ in that direction.

[157] _Rich. II_, I. iii, ‘The trumpets sound and the King enters with his nobles; when they are set, enter the Duke of Norfolke in armes defendent’. No one is ‘to touch the listes’ (43), and when the duel is stopped the combatants’ returne backe to their chaires againe’ (120).

[158] _S. and P._ I. iii. There is an open place in Rhodes which a mule and ass can enter. Knights and ladies are welcomed and go ‘forwards to the tilt’ with an ‘Exeunt’ (126). Action continues in the same place. Piston bids Basilisco ‘stay with me and looke vpon the tilters’, and ‘Will you vp the ladder, sir, and see the tilting?’ The s.d. follows (180), ‘Then they go vp the ladders and they sound within to the first course’. Piston and Basilisco then describe the courses as these proceed, evidently out of sight of the audience. The tiltyard may be supposed to run like that at Westminster, parallel to the public road and divided from it by a wall, up which ladders can be placed for the commoner spectators. In V. ii Erastus is arrested in public and tried on the spot before the Marshal. He is bound to ‘that post’ (83) and strangled. The witnesses are to be killed. Soliman says (118),

Lord Marshall, hale them to the towers top.
And throw them headlong downe into the valley;

and we get the s.ds. ‘Then the Marshall beares them to the tower top’ (122), and ‘Then they are both tumbled downe’ (130). Presumably they disappear behind.

[159] _James IV_, I. ii. 1, ‘Enter _Slipper_, _Nano_, and _Andrew_, with their billes, readie written, in their hands’. They dispute as to whose bill shall stand highest, and then post the bills.

[160] _Lord Cromwell_, III. i. 41 (in Italy):

Content thee, man; here set vp these two billes,
And let us keep our standing on the bridge,

followed by s.ds., ‘One standes at one end, and one at tother’, and ‘Enter Friskiball, the Marchant, and reades the billes’. In V. ii. 1 (Westminster) Cromwell says, ‘Is the Barge readie?’ and (12) ‘Set on before there, and away to Lambeth’. After an ‘Exeunt’, V. iii begins ‘Halberts, stand close vnto the water-side’, and (16) ‘Enter Cromwell’.

[161] Cf. ch. xix, p. 44. _Wounds of Civil War_ has several such scenes. In I. i. 1, ‘Enter on the Capitoll Sulpitius Tribune ... whom placed, and their Lictors before them with their Rods and Axes, Sulpitius beginneth’ ... (146) ‘Here enter Scilla with Captaines and Souldiers’. Scilla’s party are not in the Capitol; they ‘braue the Capitoll’ (149), are ‘before the Capitoll’ (218), but Scilla talks to the senators, and Marius trusts to see Scilla’s head ‘on highest top of all this Capitoll’. Presently Scilla bids (249) ‘all that loue Scilla come downe to him’, and (258) ‘Here let them goe downe’. In II. i the action is in the open, but (417) ‘yond Capitoll’ is named; III. i seems to be in ‘this Capitoll’ (841). In IV. i Marius and his troops enter before the seated Senate. Octavius, the consul, ‘sits commanding in his throne’ (1390). From Marius’ company, ‘Cynna presseth vp’ (s.d.) to ‘yonder emptie seate’ (1408), and presently Marius is called up and (1484) ‘He takes his seate’. In V. v. 2231 ‘Scilla seated in his roabes of state is saluted by the Citizens’. Similarly in _T. A._ I. i, ‘Enter the Tribunes and Senatours aloft: and then enter Saturninus and his followers at one doore, and Bassianus and his followers’. Saturninus bids the tribunes ‘open the gates and let me in’ (63) and ‘They goe vp into the Senate house’. Titus enters and buries his sons in his family tomb, and (299) ‘Enter aloft the Emperour’ and speaks to Titus. There is a Venetian senate house in _K. to K. an Honest Man_, scc. iii, xvii, but I do not find a similar interplay with the outside citizens here.

[162] _W. for Fair Women_, II. 93 (Lombard Street), ‘While Master Sanders and he are in busy talk one to the other, Browne steps to a corner.... Enter a Gentleman with a man with a torch before. Browne draws to strike’; _Arden of F._ II. ii. 41, ‘Stand close, and take you fittest standing, And at his comming foorth speed him’.

[163] _T. G._ IV. ii (cf. IV. iii. 16, ‘Now must we to her window’, and III. i. 35, 114, where Valentine has a rope-ladder to scale Silvia’s window ‘in an upper tower’ and ‘aloft, far from the ground’); IV. iv. 91, ‘That’s her chamber’; _R. J._ (orchard scenes), II. ii; III. v, ‘Enter Romeo and Juliet at the window’ (Q_{1} where Q_{2} has ‘aloft’; on the difficulty presented by Juliet’s chamber, cf. p. 94); _M. V._ II. vi. 1, ‘This is the penthouse vnder which Lorenzo Desired us to make a stand’ ... ‘Jessica aboue’ (s.d.) ... ‘Descend, for you must be my torch-bearer’ ... ‘Enter Jessica’ (having come down within from the casement forbidden her by Shylock and advised by Lancelot in II. v); _Englishmen for my Money_, sc. ix (where Vandalle, come to woo Pisaro’s daughter in the dark, is drawn up in a basket and left dangling in mid-air, while later (1999) Pisaro is heard ‘at the window’ and ‘Enter Pisaro aboue’); _Two A. Women_, 1495, ‘Enter Mall in the window’; _Sp. Trag._ II. ii, where spies ‘in secret’ and ‘aboue’ overhear the loves of Horatio and Belimperia below. Lovers are not concerned in _Sp. Trag._ III. ii, ‘Enter Hieronimo ... A Letter falleth’; III. ix, ‘Belimperia, at a window’; _The Shrew_, V. i. 17, ‘Pedant lookes out of the window’.

[164] In _T. A._ I. i a coffin is brought in, apparently in the market-place, while the Senators are visible in the Capitol (cf. p. 58, n. 2), and (90) ‘They open the Tombe’ and (150) ‘Sound trumpets, and lay the coffin in the Tombe’. _R. J._ V. iii is in a churchyard with ‘yond yew trees’ (3). A torch ‘burneth in the Capels monument’ (127), also called a ‘vault’ (86, &c.) and ‘the tomb’ (262). Romeo will ‘descend into this bed of death’ (28), and Q_{1} adds the s.d. ‘Romeo opens the tombe’ (45). He kills Paris, whose blood ‘stains The stony entrance of this sepulchre’ (141). Juliet awakes and speaks, and must of course be visible. The Admiral’s inventories of 1598 (_Henslowe Papers_, 116) include ‘j tombe’, ‘j tome of Guido, j tome of Dido’.

[165] _George a Greene_, sc. xi, ‘Enter a Shoemaker sitting vpon the Stage at worke’, where a shop is not essential; but may be implied by ‘Stay till I lay in my tooles’ (1005); _Locrine_, II. ii, ‘Enter Strumbo, Dorothy, Trompart cobling shooes and singing’ (569) ... ‘Come sirrha shut vp’ (660); _R. and J._ V. i. 55, ‘This should be the house. Being holiday, the beggar’s shop is shut. What, ho! apothecary!’ where the elaborate description of the shop which precedes leaves some doubt how far it was represented; _Shoemaker’s Holiday_, scc. iii, ‘Open my shop windows’; v, ‘Ile goe in’; viii, ‘Shut vp the shop’; xi, ‘Enter Hodge at his shop-board, Rafe, Friske, Hans, and a boy at worke’ (all before or in Eyre’s shop); x, ‘Enter Iane in a Semsters shop working, and Hammon muffled at another doore, he stands aloofe’ (another shop); _1 Edw. IV_, IV. iii, ‘Enter two prentizes, preparing the Goldsmiths shop with plate.... Enter mistris Shoare, with her worke in her hand.... The boy departs, and she sits sowing in her shop. Enter the King disguised’.

[166] _Arden of F._ II. ii. 52,

‘_Here enters_ a prentise.

Tis very late; I were best shute vp my stall,
For heere will be ould filching, when the presse
Comes foorth of Paules.

_Then lettes he downe his window, and it breaks_ Black Wils _head_’.

[167] _Shoemaker’s Holiday_, sc. xi, ‘the signe of the Last in Tower-street, mas yonders the house’; _1 Edw. IV_, IV. iii, ‘Heres Lombard Streete, and heres the Pelican’. The Admiral’s inventories of 1598 (_Henslowe Papers_, 117) include ‘j syne for Mother Redcap’.

[168] Cf. ch. xix, p. 11. The introduction of a meal goes rather beyond the neo-classic analogy, but presents no great difficulty. If a banquet can be brought into a garden or orchard, it can be brought into a porch or courtyard. It is not always possible to determine whether a meal is in a threshold scene or a hall scene (cf. p. 64), but in _1 Edw. IV_, III. ii, ‘Enter Nell and Dudgeon, with a table couered’ is pretty clearly at the door of the Tanner’s cottage.

[169] In the theatre usage personages go ‘in’, even where they merely go ‘off’ without entering a house (cf. e.g. p. 53, n. 2). The interlude usage is less regular, and sometimes personages go ‘out’, as they would appear to the audience to do.

[170] _Soliman and Perseda_, II. i. 227, ‘Sound vp the Drum to Lucinaes doore’ (s.d.). Doors are conspicuous in _K. to K. Honest Man_; thus sc. ii. 82, ‘Enter Lelio with his sword drawen, hee knockes at his doore’; sc. v. 395, ’tis time to knocke vp Lelios householde traine. _He knockes_’ ... ‘What mean this troup of armed men about my dore?’; sc. v. 519 (Bristeo’s), ‘Come breake vp the doore’; sc. vii. 662, ‘_Enter Annetta and Lucida with their worke in their handes...._ Here let vs sit awhile’ ... (738) ‘Get you in ... _Here put them in at doore_’; sc. vii. 894 (Lelio’s), ‘Underneath this wall, watch all this night: If any man shall attempt to breake your sisters doore, Be stout, assaile him’; sc. vii. 828 (a Senator’s), ‘What make you lingering here about my doores?’; sc. ix. 1034 (Lelio’s), ‘Heaue me the doores from of the hinges straight’; sc. xv. 1385 (Lelio’s), ‘my door doth ope’ (cf. p. 62, on the courtyard scene in the same play).

[171] Thus _Humorous Day’s Mirth_, sc. v (Moren’s), 111, ‘We’ll draw thee out of the house by the heels’ ... 143, ‘Thrust this ass out of the doors’ ... 188, ‘Get you out of my house!’, but 190, ‘Well, come in, sweet bird’; _Shoemaker’s Holiday_, sc. xii (Lord Mayor’s), ‘Get you in’, but ‘The Earl of Lincoln at the gate is newly lighted’.

[172] _James IV_, II. i, ‘_Enter the Countesse of Arrain, with Ida, her daughter, in theyr porch, sitting at worke_’ ... (753) ‘Come, will it please you enter, gentle sir? _Offer to Exeunt_’; cf. _Arden of F._ (_vide infra_) and the penthouse in _M. V._ II. vi. 1 (p. 58).

[173] Perhaps the best example is in _Arden of Feversham_. Arden’s house at Aldersgate is described by Michael to the murderers in II. ii. 189:

The dores Ile leaue unlockt against you come,
No sooner shall ye enter through the latch,
Ouer the thresholde to the inner court,
But on your left hand shall you see the staires
That leads directly to my M. Chamber.

Here, then, is III. i. Arden and Francklin talk and go to bed. Michael, in remorse, alarms them with an outcry, and when they appear, explains that he ‘fell asleepe, Vpon the thresholde leaning to the staires’ and had a bad dream. Arden then finds that ‘the dores were all unlockt’. Later (III. iv. 8) Michael lies about this to the murderers:

Francklin and my master
Were very late conferring in the porch,
And Francklin left his napkin where he sat
With certain gold knit in it, as he said.
Being in bed, he did bethinke himselfe,
And comming down he found the dores vnshut:
He lockt the gates, and brought away the keyes.

When the murderers come in III. ii, Will bids Shakebag ‘show me to this house’, and Shakebag says ‘This is the doore; but soft, me thinks tis shut’. They are therefore at the outer door of the courtyard; cf. p. 69, n. 2. Similarly _1 Rich. II_, III. ii, which begins with ‘Enter Woodstock, Lancaster, and Yorke, at Plashey’, and ‘heere at Plasshy house I’le bid you wellcome’, is clearly in a courtyard. A servant says (114), ‘Ther’s a horseman at the gate.... He will not off an’s horse-backe till the inner gate be open’. Gloucester bids ‘open the inner gate ... lett hime in’, and (s.d.) ‘Enter a spruce Courtier a horse-backe’. It is also before the house, for the Courtier says, ‘Is he within’, and ‘I’le in and speake with the duke’. Rather more difficult is _Englishmen for my Money_, sc. iv, ‘Enter Pisaro’ with others, and says, ‘Proud am I that my roofe containes such friends’ (748), also ‘I would not haue you fall out in my house’ (895). He sends his daughters ‘in’ (827, 851), so must be in the porch, and a ‘knock within’ (s.d.) and ‘Stirre and see who knocks!’ (796) suggest a courtyard gate. But later in the play (cf. p. 58, n. 4) the street seems to be directly before the same house.

[174] In _K. to K. Honest Man_, scc. x-xii (continuous scene at Servio’s), Phillida is called ‘forth’ (1058) and bidden keep certain prisoners ‘in the vpper loft’. Presently she enters ‘with the keyes’ and after the s.d. ‘Here open the doore’ calls them out and gives them a signet to pass ‘the Porter of the gates’, which Servio (1143) calls ‘my castell gates’. In _1 Hen. VI_, II. iii, the Countess of Auvergne, to entrap Talbot, bids her porter ‘bring the keyes to me’; presumably Talbot’s men are supposed to break in the gates at the s.d. ‘a Peale of Ordnance’. _Rich. III_, III. vii, is at Baynard’s Castle. Buckingham bids Gloucester (55) ‘get you vp to the leads’ to receive the Mayor, who enters with citizens, and (95) ‘Enter Richard with two bishops a lofte’. Similarly in _Rich. II_, III. iii. 62, ‘Richard appeareth on the walls’ of Flint Castle, and then comes down (178) to the ‘base court’. _B. Beggar of Alexandria_, sc. ii, is before the house of Elimine’s father and ‘Enter Elimine above on the walls’. She is in a ‘tower’ and comes down, but there is nothing to suggest a courtyard.

[175] _1 Sir John Oldcastle_, IV. iv, v (a continuous scene), is partly ‘neare vnto the entrance of the Tower’, beyond the porter’s lodge, partly in Oldcastle’s chamber there, with a ‘window that goes out into the leads’; cf. p. 67.

[176] _Famous Victories_, sc. vi, 60, ‘What a rapping keep you at the Kings Court gate!’; _Jack Straw_, II. ii (a City gate).

[177] _A Shrew_, ind. 1, ‘Enter a Tapster, beating out of his doores Slie Droonken’; _1 Oldcastle_, V. iii-vii (inn and barn); _True Tragedy of Rich. III_, sc. viii, ‘Earle Riuers speakes out of his chamber’ in an inn-yard, where he has been locked up; _James IV_, III. ii (stable); _Looking Glass_, V. ii. 2037, ‘Enter the temple Omnes’. _Selimus_, sc. xxi. 2019, has

Thy bodie in this auntient monument,
Where our great predecessours sleep in rest:
Suppose the Temple of _Mahomet_,
Thy wofull son _Selimus_ thus doth place.

Is the third line really a s.d., in which case it does not suggest realistic staging, or a misunderstood line of the speech, really meant to run, ‘Supposed the Temple of great Mahomet’?

[178] _Patient Grissell_, 755–1652, reads like a threshold scene, and ‘Get you in!’ is repeated (848, 1065, 1481), but Grissell’s russet gown and pitcher are hung up and several times referred to (817, 828, 1018, 1582). _Old Fortunatus_, 733–855, at the palace of Babylon, must be a threshold scene as the Soldan points to ‘yon towre’ (769), but this is not inconsistent with the revealing of a casket, with the s.d. (799) ‘Draw a Curtaine’. We need not therefore assume that _M. V._ II. vii, ix, in which Portia bids ‘Draw aside the Curtaines’ and ‘Draw the Curtain’, or III. ii are hall scenes, and all the Belmont scenes may be, like V. i, in a garden backed by a portico; or rather the hall referred to in V. i. 89, ‘That light we see is burning in my hall’, may take the form of a portico.

[179] Cf. p. 58, n. 2.

[180] Thus in _Rich. II_, V. iii, iv (a continuous scene), Aumerle has leave to ‘turne the key’ (36). Then ‘_The Duke of Yorke knokes at the doore and crieth_, My leige ... Thou hast a traitor in thy presence there’. Cf. _1 Troublesome Raigne_, sc. xiii. 81:

He stayes my Lord but at the Presence door:
Pleaseth your Highnes, I will call him in.

[181] _Famous Victories_, scc. iv, v (a continuous scene), ‘Jayler, bring the prisoner to the barre’ (iv. 1).... ‘Thou shalt be my Lord chiefe Justice, and thou shalt sit in the chaire’ (v. 10); _Sir T. More_, sc. ii. 104, ‘An Arras is drawne, and behinde it (as in sessions) sit the L. Maior.... Lifter the prisoner at the barre’; _Warning for Fair Women_, II. 1180, ‘Enter some to prepare the judgement seat to the Lord Mayor....(1193) Browne is brought in and the Clerk says, ‘To the barre, George Browne’; _M. V._ IV. i; _1 Sir John Oldcastle_, V. x; &c.

[182] _Bacon and Bungay_, scc. vii, ix (Regent House), where visitors ‘sit to heare and see this strange dispute’ (1207), and later, ‘Enter Miles, with a cloth and trenchers and salt’ (1295); _Shoemaker’s Holiday_, sc. xv (Leadenhall); _Englishmen for my Money_, sc. iii (Exchange).

[183] _1 Troublesome Raigne_, sc. xi, in a convent, entails the opening of a coffer large enough to hold a nun and a press large enough to hold a priest; _2 Troublesome Raigne_, sc. iii, before St. Edmund’s shrine, has a numerous company who swear on an altar. _Alphonsus_, IV. i, begins ‘Let there be a brazen Head set in the middle of the place behind the Stage, out of the which cast flames of fire’. It is in the ‘sacred seate’ of Mahomet, who speaks from the head, and bids the priests ‘call in’ visitors ‘which now are drawing to my Temple ward’.

[184] _T. of a Shrew_, scc. ix, xi, xiii; _Sir T. More_, scc. ix, ‘Enter S^r _Thomas Moore_, M^r _Roper_, and Seruing men setting stooles’; xiii, ‘Enter ... Moore ... as in his house at Chelsey’ ... (1413) ‘Sit good Madame [_in margin_, ‘lowe stooles’] ... (1521) ‘Entreate their Lordships come into the hall’. _E. M. I._ III. i, ii (a continuous scene), is at Thorello’s house, and in III. iii. 1592 it is described with ‘I saw no body to be kist, vnlesse they would haue kist the post, in the middle of the warehouse; for there I left them all ... How? were they not gone in then?’ But I. iv. 570, also at Thorello’s, has ‘Within sir, in the warehouse’. Probably the warehouse was represented as an open portico.

[185] Cf. p. 63, nn. 3, 4.

[186] _Sir T. More_, scc. ix, xiii (stools, _vide supra_); x, where the Council ‘sit’ to ‘this little borde’ (1176); _R. J._ I. v (stools, _vide supra_); _James IV_, I. i. 141, ‘Enstall and crowne her’; _Sp. Tragedy_, I. iii. 8, ‘Wherefore sit I in a regall throne’; _1 Rich. II_, II. ii. 81, ‘Please you, assend your throne’; _1 Tamburlaine_, IV. ii. 1474, ‘He [Tamburlaine] gets vp vpon him [Bajazet] to his chaire’; _Dr. Faustus_, 1010 (addition of 1616 text), ‘His Maiesty is comming to the Hall; Go backe, and see the State in readinesse’; _Look About You_, sc. xix, ‘Enter young Henry Crowned ... Henry the elder places his Sonne, the two Queenes on eyther hand, himselfe at his feete, Leyster and Lancaster below him’; this must have involved an elaborate ‘state’.

[187] _Bacon and Bungay_, sc. ix. (_vide supra_); _T. of a Shrew_, sc. ix. 32, ‘They couer the bord and fetch in the meate’; _1 Edw. IV_, IV. ii, ‘They bring forth a table and serue in the banquet’; _Patient Grissell_, 1899, ‘A Table is set’; _Humorous Day’s Mirth_, scc. viii, x-xii (Verone’s ordinary), on which cf. p. 70.

[188] _1 Rich. II_, IV. ii; _Death of R. Hood_, II. ii; _R. J._ I. v, where a servant says, ‘Away with the joint-stools, remove the court-cupboard’, and Capulet ‘turn the tables up’; cf. ch. vi.

[189] _M. N. D._ v (cf. III. i. 58); _Sir T. More_, sc. ix; _Sp. Tragedy_, IV. iii, iv (a continuous scene), on which cf. p. 93, n. 1.

[190] _2 Tamburlaine_, III. iii. 2969, ‘The Arras is drawen, and Zenocrate lies in her bed of state, Tamburlaine sitting by her: three Phisitians about her bed, tempering potions. Theridamas, Techelles, Vsumcasane, and the three sonnes’.... (3110, at end of sc.) ‘The Arras is drawen’; _Selimus_, sc. x. 861, ‘I needs must sleepe. _Bassaes_ withdraw your selues from me awhile’.... ‘They stand aside while the curtins are drawne’ (s.d.) ... (952) ‘A Messenger enters, _Baiazet_ awaketh’; _Battle of Alcazar_, d.s. 24, ‘Enter Muly Mahamet and his sonne, and his two young brethren, the Moore sheweth them the bed, and then takes his leaue of them, and they betake them to their rest’ ... (36) ‘Enter the Moore and two murdrers bringing in his unkle Abdelmunen, then they draw the curtains and smoother the yong princes in the bed. Which done in sight of the vnkle they strangle him in his Chaire, and then goe forth’; _Edw. I_, sc. xxv. 2668, ‘Elinor in child-bed with her daughter Ione, and other Ladies’; _True Tragedy of Rich. III_, sc. i, ‘Now Nobles, draw the Curtaines and depart ... (s.d.) The King dies in his bed’; sc. xiii, where murderers are called ‘vp’, and murder of princes in bed is visible; _Famous Victories_, sc. viii. 1, ‘Enter the King with his Lords’ ... (10), ‘Draw the Curtaines and depart my chamber a while’ ... ‘He sleepeth ... Enter the Prince’ (s.d.) ... ‘I wil goe, nay but why doo I not go to the Chamber of my sick father?’ ... (23) ‘Exit’ [having presumably taken the crown] ... (25) ‘_King._ Now my Lords ... Remoue my chaire a little backe, and set me right’ ... (47) ‘_Prince_ [who has re-entered]. I came into your Chamber ... And after that, seeing the Crowne, I tooke it’ ... (87) ‘Draw the Curtaines, depart my Chamber, ... Exeunt omnes, The King dieth’. In the analogous _2 Hen. IV_, IV. iv, v (a continuous scene divided, with unanimity in ill-doing, by modern editors in the middle of a speech), the King says (IV. iv. 131), ‘Beare me hence Into some other chamber’, Warwick (IV. v. 4), ‘Call for the Musick in the other Roome’, and the King ‘Set me the Crowne vpon my Pillow here’. The Prince enters and the Lords go to ‘the other roome’; he takes the crown and ‘Exit’. Later (56) the Lords say, ‘This doore is open, he is gone this way’, and ‘He came not through the chamber where we staide’. The Prince returns and the Lords are bidden ‘Depart the chamber’. Later (233) the King asks the name of ‘the lodging where I first did swound’, and bids ‘beare me to that Chamber’. Then the scene, and in F_{1} the act, ends. In _1 Contention_, sc. x. 1, ‘Then the Curtaines being drawne, Duke _Humphrey_ is discouered in his bed, and two men lying on his brest and smothering him in his bed. And then enter the Duke of _Suffolke_ to them’. He bids ‘draw the Curtaines againe and get you gone’. The King enters and bids him call Gloucester. He goes out, and returns to say that Gloucester is dead. Warwick says, ‘Enter his priuie chamber my Lord and view the bodie’, and (50), ‘_Warwicke_ drawes the curtaines and showes Duke _Humphrey_ in his bed’. The analogous _2 Hen. VI_, III. ii, omits the murder _coram populo_ and begins ‘Enter two or three running ouer the Stage, from the Murther of Duke Humfrey’. It then follows the earlier model until (132) the King bids Warwick ‘Enter his Chamber’ and we get the brief s.d. (146) ‘Bed put forth’, and Warwick speaks again. The next scene is another death scene, which begins in _1 Contention_, sc. xi, ‘Enter King and _Salsbury_, and then the Curtaines be drawne, and the Cardinal is discouered in his bed, rauing and staring as if he were madde’, and in _2 Hen. VI_, III. iii, ‘Enter the King ... to the Cardinal in bed’, ending (32) ‘Close vp his eyes, and draw the Curtaine close’. In _1 Rich. II_, V. i, Lapoole enters ‘with a light’ and murderers, whom he bids ‘stay in the next with-draweing chamber ther’. Then (48), ‘He drawes the curtayne’, says of Gloucester ‘He sleepes vppon his bed’, and Exit. Gloucester, awaked by ghosts, says (110), ‘The doores are all made fast ... and nothing heere appeeres, But the vast circute of this emptie roome’. Lapoole, returning, says, ‘Hee’s ryssen from his bed’. Gloucester bids him ‘shutt to the doores’ and ‘sits to wright’. The murderers enter and kill him. Lapoole bids ‘lay hime in his bed’ and ‘shutt the doore, as if he ther had dyd’, and they (247) ‘Exeunt with the bodye’. In _Death of R. Hood_, ii, ind., the presenter says ‘Draw but that vaile, And there King John sits sleeping in his chaire’, and the s.d. follows, ‘Drawe the curten: the King sits sleeping ... Enter Queene ... She ascends, and seeing no motion, she fetcheth her children one by one; but seeing yet no motion, she descendeth, wringing her hands, and departeth’. In _R. J._ IV. iii, iv, v (continuous action), Juliet drinks her potion and Q_{1}, has the s.d. (IV. iii. 58) ‘She fals vpon her bed within the Curtaines’. Action follows before the house, until the Nurse, bidden to call Juliet, finds her dead. Then successively ‘Enter’ Lady Capulet, Capulet, the Friar, and Paris, to all of whom Juliet is visible. After lament, the Friar, in Q_{2} (IV. v. 91), bids them all ‘go you in’, but in Q_{1}, ‘They all but the Nurse goe foorth, casting Rosemary on her and shutting the Curtens’. The Nurse, then, in both texts, addresses the musicians, who came with Paris. On the difficulty of this scene, in relation to II. ii and III. v, cf. p. 94.

[191] _Wounds of Civil War_, III. ii, 913, ‘Enter old _Marius_ with his keeper, and two souldiers’. There is (965) ‘this homely bed’, on which (972) ‘He lies downe’ (s.d.), and when freed (1066) ‘from walls to woods I wend’. In _Edw. II_, 2448–2568 (at Kenilworth), keepers say that the King is ‘in a vault vp to the knees in water’, of which (2455) ‘I opened but the doore’. Then (2474) ‘Heere is the keyes, this is the lake’ and (2486), ‘Heeres a light to go into the dungeon’. Then (2490) Edward speaks and, presumably having been brought out, is bid (2520) ‘lie on this bed’. He is murdered with a table and featherbed brought from ‘the next roome’ (2478), and the body borne out. In _1 Tr. Raigne_, sc. xii, Hubert enters, bids his men (8) ‘stay within that entry’ and when called set Arthur ‘in this chayre’. He then bids Arthur (13) ‘take the benefice of the faire evening’, and ‘Enter Arthur’ who is later (131) bid ‘Goe in with me’. _K. J._ IV. i has precisely analogous indications, except that the attendants stand (2) ‘within the arras’, until Hubert stamps ‘Vpon the bosome of the ground’. In _Rich. III_, I. iv, Clarence talks with his keeper, and sleeps. Murderers enter, to whom the keeper says (97), ‘Here are the keies, there sits the Duke a sleepe’. They stab him, threaten to ‘chop him in the malmsey but in the next roome’ (161, 277), and bear the body out. In _Rich. II_, V. v (at Pontefract) Richard muses on ‘this prison where I liue’. He is visited by a groom of his stable (70), ‘where no man neuer comes, but that sad dog, That brings me foode’. Then (95) ‘Enter one to Richard with meate’ and (105) ‘The murderers rush in’, and (119) the bodies are cleared away. _Sir T. More_, sc. xvi, ‘Enter _Sir Thomas Moore_, the Lieutenant, and a seruant attending as in his chamber in the Tower’; _Lord Cromwell_, V. v, ‘Enter Cromwell in the Tower.... Enter the Lieutenant of the Tower and officers.... Enter all the Nobles’; _Dead Man’s Fortune_, plot (_Henslowe Papers_, 134), ‘Here the laydes speakes in prysoun’; _Death of R. Hood_, IV. i:

_Brand._ Come, come, here is the door.
_Lady Bruce._ O God, how dark it is.
_Brand._ Go in, go in; it’s higher up the stairs....
_He seems to lock a door._

In _Old Fortunatus_, 2572, Montrose says of Ampedo, ‘Drag him to yonder towre, there shackle him’. Later (2608) Andelocia is brought to join him in ‘this prison’ and the attendants bid ‘lift in his legs’. The brothers converse in ‘fetters’. In _1 Oldcastle_, IV. iv, v (a continuous scene), ‘Enter the Bishop of Rochester with his men, in liuerie coates’. They have brought him ‘heere into the Tower’ (1965) and may ‘go backe vnto the Porters Lodge’ or attend him ‘here without’. But they slip away. The Bishop calls the Lieutenant and demands to see Oldcastle. A message is sent to Oldcastle by Harpoole. Then (1995), ‘Enter sir Iohn Oldcastle’, and while the Bishop dismisses the Lieutenant, Harpoole communicates a plot ‘aside’ to Oldcastle. Then the Bishop addresses Oldcastle, and as they talk Oldcastle and Harpoole lay hands upon him. They take his upper garments, which Oldcastle puts on. Harpoole says (2016) ‘the window that goes out into the leads is sure enough’ and he will ‘conuay him after, and bind him surely in the inner room’. Then (2023) ‘Enter seruing men againe’. Oldcastle, disguised as the Bishop, comes towards them, saying, ‘The inner roomes be very hot and close’. Harpoole tells him that he will ‘downe vpon them’. He then pretends to attack him. The serving-men join in, and (2049) ‘Sir John escapes’. The Lieutenant enters and asks who is brawling ‘so neare vnto the entrance of the Tower’. Then (2057) ‘Rochester calls within’, and as they go in and bring him out bound, Harpoole gets away; cf. p. 62, n. 2. _Look About You_, sc. v, is a similar scene in the Fleet, partly in Gloucester’s chamber (811), the door of which can be shut, partly (865) on a bowling green. Analogous to some of the prison scenes is _Alarum for London_, sc. xii, in which a Burgher’s Wife shows Van End a vault where her wealth is hid, and (1310) ‘She pushes him downe’, and he is stoned there.