Chapter XXVIII: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (16)

[192] _Bacon and Bungay_, I. ii. 172, ‘Enter frier _Bacon_’, with others, says ‘Why flocke you thus to Bacon’s secret cell?’, and conjures; II. ii is in a street, but Bacon says (603) ‘weele to my studie straight’, and II. iii begins (616), ‘_Bacon_ and _Edward_ goes into the study’, where Edward *sits and looks in ‘this glasse prospectiue’ (620), but his vision is represented on some part of the stage; in IV. i. 1530, ‘Enter Frier _Bacon_ drawing the courtaines, with a white sticke, a booke in his hand, and a lampe lighted by him, and the brazen head and _Miles_, with weapons by him’. Miles is bid watch the head, and ‘Draw closse the courtaines’ and ‘Here he [Bacon] falleth asleepe’ (1568). Miles ‘will set me downe by a post’ (1577). Presently (1604), ‘Heere the Head speakes and a lightning flasheth forth, and a hand appeares that breaketh down the Head with a hammer’. Miles calls to Bacon (1607) ‘Out of your bed’; IV. iii. 1744 begins ‘Enter frier _Bacon_ with frier _Bungay_ to his cell’. A woodcut in Q_{2} of 1630, after the revival by the Palsgrave’s men, seems to illustrate II. iii; the back wall has a window to the left and the head on a bracket in the centre; before it is the glass on a table, with Edward gazing in it; Bacon sits to the right. Miles stands to the left; no side-walls are visible. In _Locrine_, I. iii. 309, ‘Enter Strumbo aboue in a gowne, with inke and paper in his hand’; _Dr. Faustus_, ind. 28, ‘And this the man that in his study sits’, followed by s.d. ‘Enter Faustus in his Study’, 433, ‘Enter Faustus in his Study ... (514) Enter [Mephastophilis] with diuels, giuing crownes and rich apparell to Faustus, and daunce, and then depart’, with probably other scenes. In _T. A._ V. ii. 1, ‘Enter Tamora, and her two sonnes disguised’ ... (9) ‘They knocke and Titus opens his studie doore’. Tamora twice (33, 43) bids him ‘come downe’, and (80) says, ‘See heere he comes’. The killing of Tamora’s sons follows, after which Titus bids (205) ‘bring them in’. In _Sir T. More_, sc. viii. 735, ‘A table beeing couered with a greene Carpet, a state Cushion on it, and the Pursse and Mace lying thereon Enter Sir Thomas Moore’.... (765) ‘Enter Surrey, Erasmus and attendants’. Erasmus says (779), ‘Is yond Sir Thomas?’ and Surrey (784), ‘That Studie is the generall watche of England’. The original text is imperfect, but in the revision Erasmus is bid ‘sitt’, and later More bids him ‘in’ (ed. Greg, pp. 84, 86). _Lord Cromwell_ has three studies; in II. i, ii (continuous action at Antwerp), ‘Cromwell in his study with bagges of money before him casting of account’, while Bagot enters in front, soliloquizes, and then (II. ii. 23) with ‘See where he is’ addresses Cromwell; in III. ii (Bologna), the action begins as a hall scene, for (15) ‘They haue begirt you round about the house’ and (47) ‘Cromwell shuts the dore’ (s.d.), but there is an inner room, for (115) ‘Hodge [disguised as the Earl of Bedford] sits in the study, and Cromwell calls in the States’, and (126) ‘Goe draw the curtaines, let vs see the Earle’; in IV. v (London), ‘Enter Gardiner in his studie, and his man’. _E. M. I._ I. iii, is before Cob’s house, and Tib is bid show Matheo ‘vp to Signior Bobadilla’ (Q_{1} 392). In I. iv ‘Bobadilla discouers himselfe on a bench; to him, Tib’. She announces ‘a gentleman below’; Matheo is bid ‘come vp’, enters from ‘within’, and admires the ‘lodging’. In _1 Oldcastle_, V. i. 2086, ‘Enter Cambridge, Scroope, and Gray, as in a chamber, and set downe at a table, consulting about their treason: King Harry and Suffolke listning at the doore’ ... (2114) ‘They rise from the table, and the King steps in to them, with his Lordes’. _Stukeley_, i. 121, begins with Old Stukeley leaving his host’s door to visit his son. He says (149), ‘I’ll to the Temple to see my son’, and presumably crosses the stage during his speech of 171–86, which ends ‘But soft this is his chamber as I take it’. Then ‘He knocks’, and after parley with a page, says, ‘Give me the key of his study’ and ‘methinks the door stands open’, enters, criticizes the contents of the study, emerges, and (237) *‘Old Stukeley goes again to the study’. Then (244) ‘Enter _Stukeley_ at the further end of the stage’ and joins his father. Finally the boy is bid (335) ‘lock the door’. In _Downfall of R. Hood_, ind., ‘Enter Sir John Eltham and knocke at Skeltons doore’. He says, ‘Howe, maister Skelton, what at studie hard?’ and (s.d.) ‘Opens the doore’. In _2 Edw. IV_, IV. ii, ‘Enter D. Shaw, pensiuely reading on his booke’. He is visited by a Ghost, who gives him a task, and adds, ‘That done, return; and in thy study end Thy loathed life’.

[193] _Old Fortunatus_, 1315–1860, is before or in the hall of a court; at 1701, ‘A curtaine being drawne, where Andelocia lies sleeping in Agripines lap’. In _Downfall of R. Hood_, ind., is a s.d. of a court scene, presumably in a hall, and ‘presently Ely ascends the chaire ... Enter Robert Earl of Huntingdon, leading Marian: ... they infolde each other, and sit downe within the curteines ... drawing the curteins, all (but the Prior) enter, and are kindely receiued by Robin Hood. The curteins are again shut’.

[194] _Jew of Malta_, i. 36, ‘Enter Barabas in his Counting-house, with heapes of gold before him’. Later his house is taken for a nunnery; he has hid treasure (536) ‘underneath the plancke That runs along the vpper chamber floore’, and Abigail becomes a nun, and (658) throws the treasure from ‘aboue’. He gets another house, and Pilia-Borza describes (iii. 1167) how ‘I chanc’d to cast mine eye vp to the Iewes counting-house’, saw money-bags, and climbed up and stole by night. _Arden of Feversham_, I., III. v, IV. i, V. i are at Arden’s house at Feversham. From I. I should assume a porch before the house, where Arden and his wife breakfast and (369) ‘Then she throwes down the broth on the grounde’; cf. 55, ‘Call her foorth’, and 637, ‘Lets in’. It can hardly be a hall scene, as part of the continuous action is ‘neare’ the house (318) and at 245 we get ‘This is the painters [Clarke’s] house’, who is called out. There is no difficulty in III. v or IV. i; cf. III. v. 164, ‘let vs in’. But V. i, taken by itself, reads like a hall scene with a counting-house behind. Black Will and Shakebag are hidden in a ‘counting-house’, which has a ‘door’ and a ‘key’ (113, 145, 153). A chair and stool are to be ready for Mosbie and Arden (130). Alice bids Michael (169) ‘Fetch in the tables, And when thou hast done, stand before the counting-house doore’, and (179) ‘When my husband is come in, lock the streete doore’. When Arden comes with Mosbie, they are (229) ‘in my house’. They play at tables and the murderers creep out and kill Arden, and (261), ‘Then they lay the body in the Counting-house’. Susan says (267), ‘The blood cleaueth to the ground’, and Mosbie bids (275) ‘strew rushes on it’. Presently, when guests have come and gone, (342) ‘Then they open the counting-house doore and looke vppon Arden’, and (363) ‘Then they beare the body into the fields’. Francklin enters, having found the body, with rushes in its shoe, ‘Which argueth he was murthred in this roome’, and looking about ‘this chamber’, they find blood ‘in the place where he was wont to sit’ (411–15).

[195] In _1 Hen. IV_, II. iv, Henry calls Poins (1) ‘out of that fat roome’ and bids him (32) ‘Stand in some by-roome’ while the Prince talks to the Drawer. The Vintner (91) bids the Drawer look to guests ‘within’, and says Falstaff is ‘at the doore’. He enters and later goes out to dismiss a court messenger who is (317) ‘at doore’ and returns. He has a chair and cushion (416). When the Sheriff comes, Henry bids Falstaff (549) ‘hide thee behind the Arras, the rest walke vp aboue’. Later (578) Falstaff is found ‘a sleepe behind the Arras’. This looks like a hall scene, and with it III. iii, where Mrs. Quickly is miscalled (72) ‘in mine owne house’ and Falstaff says (112) ‘I fell a sleepe here, behind the Arras’, is consistent. But in _2 Hen. IV_, II. iv, Falstaff and Doll come out of their supper room. The Drawer announces (75) ‘Antient Pistol’s belowe’, and is bid (109) ‘call him vp’ and (202) ‘thrust him downe staires’. Later (381) ‘Peyto knockes at doore’; so does Bardolph (397), to announce that ‘a dozen captaines stay at doore’. This is clearly an upper parlour. In _Look About You_, scc. ix, x (continuous action), Gloucester, disguised as Faukenbridge, and a Pursuivant have stepped into the Salutation tavern (1470), and are in ‘the Bel, our roome next the Barre’ (1639), with a stool (1504) and fire (1520). But at 1525 the action shifts. Skink enters, apparently in a room called the Crown, and asks whether Faukenbridge was ‘below’ (1533). Presumably he descends, for (1578) he sends the sheriff’s party ‘vp them stayres’ to the Crown. This part of the action is before the inn, rather than in the Bell. _Humorous Day’s Mirth_, scc. viii, x-xii, in Verone’s ordinary, with tables and a court cupboard, seems to be a hall scene; at viii. 254 ‘convey them into the inward parlour by the inward room’ does not entail any action within the supposed inward room.

[196] _W. for Fair Women_, II. 601. The scene does not itself prove interior action, but cf. the later reference (800), ‘Was he so suted when you dranke with him, Here in the buttery’.

[197] In _Jew of Malta_, V. 2316, Barabas has ‘made a dainty Gallery, The floore whereof, this Cable being cut, Doth fall asunder; so that it doth sinke Into a deepe pit past recouery’, and at 2345 is s.d. ‘A charge, the cable cut, A Caldron discouered’.

[198] Cf. pp. 51, 53, 55–6, 58–9, 62.

[199] A. E. Richards, _Studies in English Faust Literature: i. The English Wagner Book of 1594_ (1907). The book was entered in S. R. on 16 Nov. 1593 (Arber, ii. 640). A later edition of 1680 is reprinted as _The Second Report of Dr. John Faustus_ by W. J. Thoms, _Early Prose Romances_ (1828), iii. Richards gives the date of the first edition of the German book by Fridericus Schotus of Toledo as 1593. An edition of 1714 is reprinted by J. Scheible, _Das Kloster_, iii. 1. This has nothing corresponding to the stage-play of the English version.

[200] _1 Contention_, sc. i. 1 (court scene), sc. xx. 1 (garden scene); _Locrine_, III. vi. 1278 (battle scene); &c., &c.

[201] _Henslowe Papers_, 130, ‘To them Pride, Gluttony Wrath and Couetousness at one dore, at an other dore Enuie, Sloth and Lechery’ (l. 6) ... ‘Enter Ferrex ... with ... soldiers one way ... to them At a nother dore, Porrex ... and soldiers’ (26) ... ‘Enter Queene, with 2 Counsailors ... to them Ferrex and Porrex seuerall waies ... Gorboduk entreing in The midst between’ (30) ... ‘Enter Ferrex and Porrex seuerally’ (36). I suppose that, strictly, ‘seuerally’ might also mean successively by the same door, and perhaps does mean this in _Isle of Gulls_, ind. 1 (Blackfriars), ‘Enter seuerally 3 Gentlemen as to see a play’.

[202] e. g. _Alphonsus_, II. i. 1 (battle scene); _Selimus_, 2430 (battle scene); _Locrine_, V. v. 2022, 2061 (battle scene); _Old Fortunatus_, 2675 (threshold scene); &c., &c. Archer, 469, calculates that of 43 examples (sixteenth and seventeenth century) taken at random, 11 use ‘one ... the other’, 21 ‘one ... an other’, and 11 ‘several’.

[203] _Selimus_, 658, ‘at diuerse doores’; _Fair Em_, sc. ix, ‘at two sundry doors’; _James IV_, II. ii. 1, ‘one way ... another way’; _Look About You_, 464, ‘two waies’; _Weakest Goeth to the Wall_, 3, ‘one way ... another way’; _Jew of Malta_, 230, ‘Enter Gouernor ... met by’. Further variants are the seventeenth-century _Lear_ (Q_{1}), II. i. 1, ‘meeting’, and _Custom of Country_, IV. iv, ‘at both doors’.

[204] _1 Rich. II_, I. i, ‘at seuerall doores’.

[205] _Fair Em_, sc. iv, ‘Enter Manvile ... Enter Valingford at another door ... Enter Mountney at another door’; _Patient Grissell_, 1105, ‘Enter Vrcenze and Onophrio at seuerall doores, and Farneze in the mid’st’; _Trial of Chivalry_, sign. I_{3}^{v}, ‘Enter at one dore ... at the other dore ... Enter in the middest’. Examples from seventeenth-century public theatres are _Four Prentices of London_, prol., ‘Enter three in blacke clokes, at three doores’; _Travels of 3 English Brothers_, p. 90, ‘Enter three seuerall waies the three Brothers’; _Nobody and Somebody_, 1322, ‘Enter at one doore ... at another doore ... at another doore’; _Silver Age_, V. ii, ‘Exeunt three wayes’. It may be accident that these are all plays of Queen Anne’s men, at the Curtain or Red Bull. For the middle entrance in private theatres, cf. p. 132.

[206] _Downfall of R. Hood_, I. i (ind.), after Eltham has knocked at Skelton’s study door (cf. p. 69), ‘At euery doore all the players runne out’; _Englishmen for my Money_, 393, ‘Enter Pisaro, Delion the Frenchman, Vandalle the Dutchman, Aluaro the Italian, and other Marchants, at seuerall doores’; cf. the seventeenth-century _1 Honest Whore_, sc. xiii (Fortune), ‘Enter ... the Duke, Castruchio, Pioratto, and Sinezi from severall doores muffled’.

[207] _Locrine_, IV. ii. 1460 (not an entry), ‘Locrine at one side of the stage’; _Sir T. More_, sc. i. 1, ‘Enter at one end John Lincolne ... at the other end enters Fraunces’; _Stukeley_, 245, ‘Enter Stukeley at the further end of the stage’, 2382, ‘Two trumpets sound at either end’; _Look About You_, sc. ii. 76, ‘Enter ... on the one side ... on the other part’. Very elaborate are the s.ds. of _John a Kent_, III. i. The scene is before a Castle. A speaker says, ‘See, he [John a Cumber] sets the Castell gate wide ope’. Then follows dialogue, interspersed with the s.ds. ‘Musique whyle he opens the door’.... ‘From one end of the Stage enter an antique ... Into the Castell ... Exit’.... ‘From the other end of the Stage enter another Antique ... Exit into the Castell’.... ‘From under the Stage the third antique ... Exit into the Castell’.... ‘The fourth out of a tree, if possible it may be ... Exit into the Castell’. Then John a Cumber ‘Exit into the Castell, and makes fast the dore’. John a Kent enters, and ‘He tryes the dore’. John a Cumber and others enter ‘on the walles’ and later ‘They discend’. For an earlier example of ‘end’, cf. _Cobler’s Prophecy_ (p. 35, n. 1), and for a later _The Dumb Knight_ (Whitefriars), i, iv. In _2 Return from Parnassus_ (Univ. play), IV. i begins ‘Sir _Radericke_ and _Prodigo_, at one corner of the Stage, Recorder and _Amoretto_ at the other’.

[208] Cf. p. 98.

[209] _Soliman and Perseda_, I. iv. 47, ‘Enter _Basilisco_ riding of a mule’ ... (71) ‘_Piston_ getteth vp on his Asse, and rideth with him to the doore’; cf. _1 Rich. II_ (quoted p. 61, n. 3), and for the private stage, _Liberality and Prodigality_, _passim_, and _Summer’s Last Will and Testament_, 968. W. J. Lawrence, _Horses upon the Elizabethan Stage_ (_T. L. S._ 5 June 1919), deprecates a literal acceptance of Forman’s notice of Macbeth and Banquo ‘riding through a wood’, attempts to explain away the third example here given, and neglects the rest. I think some kind of ‘hobby’ more likely than a trained animal. In the _Mask of Flowers_, Silenus is ‘mounted upon an artificiall asse, which sometimes being taken with strains of musicke, did bow down his eares and listen with great attention’; cf. T. S. Graves, _The Ass as Actor_ (1916, _South Atlantic Quarterly_, XV. 175).

[210] _Knack to Know an Honest Man_, sc. ix. 1034 (cf. p. 60, n. 3).

[211] _Leir_, 2625 (open country scene near a beacon), ‘Mumford followes him to the dore’; cf. p. 60, _supra_.

[212] Cf. ch. xviii, p. 544.

[213] _2 Angry Women_, sc. x. 2250, ‘A plague on this poast, I would the Carpenter had bin hangd that set it vp for me. Where are yee now?’; _Englishmen for my Money_, scc. vii-ix (continuous scene), 1406, ‘Take heede, sir! hers a post’ ... (1654) ‘Watt be dis Post?... This Post; why tis the May-pole on Iuie-bridge going to Westminster.... Soft, heere’s an other: Oh now I know in deede where I am; wee are now at the fardest end of Shoredich, for this is the May-pole’.... (1701) ‘Ic weit neit waer dat ic be, ic goe and hit my nose op dit post, and ic goe and hit my nose op danden post’.

[214] _3 Lords and 3 Ladies_, sign. I_{3}^v.

[215] Cf. p. 57, n. 4, and for Kempe, ch. xviii, p. 545.

[216] Cf. p. 57, n. 5; p. 58, n. 1.

[217] Cf. p. 64, n. 3; p. 67, n. 1.

[218] Graves, 88.

[219] Cf. ch. xix, p. 42; _Mediaeval Stage_, ii. 86, 142. Heywood, _Apology_ (_1608_), thinks that the theatre of Julius Caesar at Rome had ‘the covering of the stage, which we call the heavens (where upon any occasion their gods descended)’.

[220] _Battle of Alcazar_, 1263 (s.d.), ‘Lightning and thunder ... Heere the blazing Starre ... Fire workes’; _Looking Glass_, 1556 (s.d.), ‘A hand from out a cloud, threatneth a burning sword’; _2 Contention_, sc. v. 9 (s.d.), ‘Three sunnes appeare in the aire’ (cf. _3 Hen. VI_, II. i. 25); _Stukeley_, 2272 (s.d.), ‘With a sudden thunderclap the sky is on fire and the blazing star appears’.

[221] _1 Troublesome Raign_, sc. xiii. 131 (s.d.), ‘There the fiue Moones appeare’. The Bastard casts up his eyes ‘to heauen’ (130) at the sight, and the moons are in ‘the skie’ (163), but the episode follows immediately after the coronation which is certainly in ‘the presence’ (81). Perhaps this is why in _K. J._, IV. ii. 181, the appearance of the moons is only narrated.

[222] The Admiral’s inventories of 1598 (_Henslowe Papers_, 117) include ‘the clothe of the Sone and Moone’.

[223] _Alphonsus_, prol. (1), ‘After you haue sounded thrise, let _Venus_ be let downe from the top of the stage’; epil. (1916), ‘Enter _Venus_ with the Muses’ ... (1937), ‘Exit _Venus_; or if you can conueniently, let a chaire come down from the top of the Stage and draw her vp’. In _Old Fortunatus_, 840, Fortunatus, at the Soldan’s court, gets a magic hat, wishes he were in Cyprus, and ‘Exit’. The bystanders speak of him as going ‘through the ayre’ and ‘through the clouds’. Angels descend from heaven to a tower in the _Wagner Book_ play (cf. p. 72).

[224] One of the 1616 additions to the text of _Dr. Faustus_ (sc. xiv) has the s.d. ‘Musicke while the Throne descends’ before the vision of heaven, and ‘Hell is discouered’ before that of hell. On the other hand, in _Death of R. Hood_, ii, ind. (cf. p. 66), the king is in a chair behind a curtain, and the fact that the queen ‘ascends’ and ‘descends’ may suggest that this chair is the ‘state’. However this may be, I do not see how any space behind the curtain can have been high enough to allow any dignity to the elaborate states required by some court scenes; cf. p. 64, n. 5. The throne imagined in the _Wagner Book_ (cf. p. 72) had 22 steps. Out-of-door scenes, in which the ‘state’ appears to be used, are _Alphonsus_, II. i. 461 (battle scene), ‘Alphonsus sit in the Chaire’ (s.d.); II. i (a crowning on the field); _Locrine_, IV. ii. 1490 (camp scene), ‘Let him go into his chaire’ (s.d.); _Old Fortunatus_, sc. i. 72 (dream scene in wood), ‘Fortune takes her Chaire, the Kings lying at her feete, shee treading on them as shee goes vp’ ... (148), ‘She comes downe’.

[225] Henslowe, i. 4, ‘Itm pd for carpenters worke & mackinge the throne in the heuenes the 4 of Iune 1595 ... vij^{li} ij^s’.

[226] _E. M. I._ (F_{1}), prol. 14,

One such to-day, as other plays should be;
Where neither chorus wafts you o’er the seas,
Nor creaking throne comes down the boys to please.

[227] Cf. p. 89.

[228] Cf. vol. ii, p. 546.

[229] Mettenleiter, _Musikgeschichte von Regensburg_, 256; Herz, 46, ‘ein Theater darinnen er mit allerley musikalischen Instrumenten auf mehr denn zehnerley Weise gespielt, und über der Theaterbühne noch eine Bühne 30 Schuh hoch auf 6 grosse Säulen, über welche ein Dach gemacht worden, darunter ein viereckiger Spund, wodurch die sie schöne Actiones verrichtet haben’; cf. ch. xiv and C. H. Kaulfuss-Diesch, _Die Inszenierung des deutschen Dramas an der Wende des sechzehnten und siebzehnten Jahrhunderts_ (1905).

[230] Prölss, 73; Brodmeier, 5, 43, 57; cf. Reynolds, i. 7, and in _M. P._ ix. 59; Albright, 151; Lawrence, i. 40.

[231] Cf. ch. xxiii, s.v. Vennor. The only extant Swan play is Middleton’s _Chaste Maid in Cheapside_ of 1611. Chamber scenes are III. i, ii, iii; IV. i; V. ii. Some of these would probably have been treated in a sixteenth-century play as threshold scenes. But III. ii, a child-bed scene, would have called for curtains. In _Chaste Maid_, however, the opening s.d. is ‘A bed thrust out upon the stage; Allwit’s wife in it’. We cannot therefore assume curtains; cf. p. 113. The room is above (ll. 102, 124) and is set with stools and rushes. In V. iv, two funeral processions meet in the street, and ‘while all the company seem to weep and mourn, there is a sad song in the music-room’.

[232] Florio, _Dictionary_, ‘_Scena_ ... forepart of a theatre where players make them readie, being trimmed with hangings’ (cf. vol. ii, p. 539); Jonson, _Cynthia’s Revels_, ind. 151, ‘I am none of your fresh Pictures, that use to beautifie the decay’d dead Arras, in a publique Theater’; Heywood, _Apology_, 18 (Melpomene _loq._), ‘Then did I tread on arras; cloth of tissue Hung round the fore-front of my stage’; Flecknoe (cf. App. I), ‘Theaters ... of former times ... were but plain and simple, with no other scenes, nor decorations of the stage, but onely old tapestry, and the stage strew’d with rushes’.

[233] _1 Hen. VI_, I. i. 1, ‘Hung be the heavens with black, yield day to night!’; _Lucr._ 766 (of night), ‘Black stage for tragedies and murders fell’; _Warning for Fair Women_, ind. 74, ‘The stage is hung with blacke, and I perceive The auditors prepar’d for tragedie’; II. 6, ‘But now we come unto the dismal act, And in these sable curtains shut we up The comic entrance to our direful play’; Daniel, _Civil Wars_ (_Works_, ii. 231), ‘Let her be made the sable stage, whereon Shall first be acted bloody tragedies’; _2 Antonio and Mellida_ (Paul’s, 1599), prol. 20, ‘Hurry amain from our black-visaged shows’; _Northward Hoe_, IV. i (of court play), ‘the stage hung all with black velvet’; Dekker (iii. 296), _Lanthorne and Candlelight_ (1608), ‘But now, when the stage of the world was hung with blacke, they jetted vppe and downe like proud tragedians’; _Insatiate Countess_, IV. v. 4 ‘The stage of heaven is hung with solemn black, A time best fitting to act tragedies’; Anon., _Elegy on Burbage_ (Collier, _Actors_, 53), ‘Since thou art gone, dear Dick, a tragic night Will wrap our black-hung stage’; cf. Malone in _Variorum_, iii. 103; Graves, _Night Scenes in the Elizabethan Theatres_ (_E. S._ xlvii. 63); Lawrence, _Night Performances in the Elizabethan Theatres_ (_E. S._ xlviii. 213). In several of the passages quoted above, the black-hung stage is a metaphor for night, but I agree with Lawrence that black hangings cannot well have been used in the theatre to indicate night scenes as well as tragedy. I do not know why he suggests that a ‘prevalent idea that the stage was hung with blue for comedies’, for which, if it exists, there is certainly no evidence, is ‘due to a curious surmise of Malone’s’. Malone (_Var._ iii. 108) only suggests that ‘pieces of drapery tinged with blue’ may have been ‘suspended across the stage to represent the heavens’--quite a different thing. But, of course, there is no evidence for that either. According to Reich, _Der Mimus_, I. ii. 705, the colour of the _siparium_ in the Indian theatre is varied according to the character of the play.

[234] Cf. p. 30; vol. i, p. 231. On the removal of bodies W. Archer (_Quarterly Review_, ccviii. 454) says, ‘In over a hundred plays which we have minutely examined (including all Shakespeare’s tragedies) there is only a small minority of cases in which explicit provision is not made, either by stage-direction or by a line in the text, for the removal of bodies. The few exceptions to this rule are clearly mere inadvertences, or else are due to the fact that there is a crowd of people on the stage in whose exit a body can be dragged or carried off almost unobserved’. In _Old Fortunatus_, 1206, after his sons have lamented over their dead father, ‘They both fall asleepe: Fortune and a companie of Satyres enter with Musicke, and playing about Fortunatus body, take him away’. Of course, a body left dead in the alcove need not be removed; the closing curtains cover it.

[235] Cf. p. 26.

[236] Cf. p. 51, n. 3 (_Downfall of R. Hood_, ‘curtaines’ of bower ‘open’); p. 51, n. 4 (_Battle of Alcazar_, cave behind ‘curtaines’); p. 53, n. 5 (_Edw. I_, tent ‘opens’ and is closed, and Queen is ‘discouered’); p. 55, n. 1 (_Looking-Glass_, ‘curtaines’ of tent drawn to shut and open); p. 63, n. 1 (_Old Fortunatus_, _M. V._, ‘curtaines’ drawn to reveal caskets); p. 63, n. 4 (_Sir T. More_, ‘arras’ drawn); p. 65, n. 3 (_2 Tamburlaine_, ‘arras’ drawn; _Selimus_, ‘curtins’ drawn; _Battle of Alcazar_, ‘curtains’ drawn; _Famous Victories_, ‘curtains’ drawn; _1 Contention_, ‘curtains’ drawn and bodies ‘discouered’; _1 Rich. II_, ‘curtayne’ drawn; _Death of R. Hood_, ‘vaile’ or ‘curten’ drawn; _R. J._, ‘curtens’ shut); p. 67, n. 1 (_Friar Bacon_, ‘courtaines’ drawn by actor with stick; _Lord Cromwell_, ‘curtaines’ drawn); p. 68, n. 1 (_Old Fortunatus_, ‘curtaine’ drawn; _Downfall of R. Hood_, ‘curteines’ drawn and ‘shut’).

[237] _M. W._ III. iii. 97; cf. p. 66, n. 1 (_K. J._), p. 68, n. 3 (_1 Hen. IV_).

[238] So probably in _Dr. Faustus_, 28, where the prol. ends ‘And this the man that in his study sits’, and the s.d. follows, ‘Enter Faustus in his study’.

[239] The ‘groom’ of the seventeenth-century _Devil’s Charter_ (cf. p. 110) might be a servitor.

[240] Cf. p. 53, n. 5 (_Edw. I_; _Trial of Chivalry_); p. 65, n. 3 (_1 Contention_); p. 67, n. 1 (_E. M. I._). In _James IV_, V. vi. 2346, ‘He discouereth her’ only describes the removal of a disguise.

[241] Prölss, 85; Albright, 140; Reynolds, i. 26; cf. p. 65, n. 3 (_Battle of Alcazar_); p. 67, n. 1 (_Dr. Faustus_).

[242] W. Archer in _Quarterly Review_, ccviii. 470; Reynolds, i. 9; Graves, 88; cf. Brereton in _Sh. Homage_, 204.

[243] Cf. p. 65, n. 3 (_2 Tamburlaine_).

[244] Cf. p. 64, n. 2 (_Alphonsus_).

[245] Cf. p. 85.

[246] Cf. vol. ii, p. 539.

[247] W. Archer in _Quarterly Review_, ccviii. 470; Graves, 13.

[248] Cf. p. 73. T. Holyoke, _Latin Dict._ (1677), has ‘_Scena_--the middle door of the stage’.

[249] Lawrence, ii. 50. A window could also be shown in front, if needed, but I know of no clear example; cf. Wegener, 82, 95.

[250] Cf. p. 51, n. 2 (_R. J._).

[251] Cf. p. 67, n. 1 (_Stukeley_).

[252] _Stratford Town Shakespeare_, x. 360; cf. Wegener, 56, 73; Neuendorff, 124; Reynolds, i. 25.

[253] Cf. p. 65, n. 3.

[254] Cf. vol. ii, p. 520.

[255] Of the examples cited on p. 80, n. 3, bed-curtains could only suffice for _Selimus_, _Battle of Alcazar_, _1 Rich. II_, and possibly _R. J._ and _Bacon and Bungay_; in the others either there is no bed, or there is a clear indication of a discovered chamber. The curtains in _Sp. Trag._ need separate consideration; cf. p. 93, n. 1.

[256] The s.ds. of _2 Hen. VI_, in so far as they vary from _1 Contention_, may date from the seventeenth century; cf. ch. xxi, p. 113.

[257] _Henslowe Papers_, 130.

[258] Prölss, 96; Reynolds, i. 24, 31; Albright, 111.

[259] Cf. p. 63, n. 4.

[260] _Dr. Faustus_, 1007 sqq., is apparently a hall scene, but in 1030 (an addition of 1616 text), ‘Enter Benuolio aboue at a window’, whence he views the scene with a state. On the play scene, with a gallery for the court, in _Sp. Trag._ IV. ii, cf. p. 93.

[261] _Famous Victories_, sc. viii; _2 Hen. IV_, IV. iv, v; _1 Contention_, scc. x, xi; _2 Hen. VI_, III. ii, iii (cf. p. 65, n. 3); _Edw. II_, 2448–2565; _1 Tr. Raigne_, xii; _K. J._ IV. i (cf. p. 66, n. 1); _Lord Cromwell_, III. ii (cf. p. 67, n. 1); _Downfall of R. Hood_, ind. (cf. p. 68, n. 1); _Arden of Feversham_, V. i (cf. p. 68, n. 2); _1 Hen. IV_, II. iv; _Humorous Day’s Mirth_, viii (cf. p. 68, n. 3).

[262] Cf. p. 64, n. 6. W. Archer (_Quarterly Review_, ccviii. 457) suggests that convention allowed properties, but not dead or drunken men, to be moved in the sight of the audience by servitors. But as a rule the moving could be treated as part of the action, and need not take place between scenes.

[263] _Rich. II_, I. iii; _2 Edw. IV_, II. iv, ‘This while the hangman prepares, Shore at this speech mounts vp the ladder ... Shoare comes downe’. The Admiral’s inventories of 1598 (_Henslowe Papers_, 116) include ‘j payer of stayers for Fayeton’.

[264] The dissertations of Reynolds (cf. _Bibl. Note_ to ch. xviii) are largely devoted to the exposition of this theory.

[265] Cf. p. 52, n. 2. The Admiral’s inventories of 1598 (_Henslowe Papers_, 116) include ‘j baye tree’, ‘j tree of gowlden apelles’, ‘Tantelouse tre’, as well as ‘ij mose banckes’.

[266] Cf. p. 51, n. 3.

[267] _Looking Glass_, II. i. 495, ‘The Magi with their rods beate the ground, and from vnder the same riseth a braue Arbour’; _Bacon and Bungay_, sc. ix. 1171, ‘Heere Bungay coniures and the tree appeares with the dragon shooting fire’; _W. for Fair Women_, ii. 411, ‘Suddenly riseth vp a great tree betweene them’. On the other hand, in _Old Fortunatus_, 609 (ind.), the presenters bring trees on and ‘set the trees into the earth’. The t.p. of the 1615 _Spanish Tragedy_ shows the arbour of the play as a small trellissed pergola with an arched top, not too large, I should say, to come up and down through a commodious trap.

[268] _1 Contention_, sc. ii (cf. p. 56, n. 3); _John a Kent_, III. i (cf. p. 74, n. 3); &c.

[269] _Looking Glass_, IV. ii, s.d. ‘Jonas the Prophet cast out of the Whales belly vpon the Stage’.

[270] _Dr. Faustus_, 1450, s.d. (addition of 1616 text), ‘Hell is discouered’; cf. p. 72 for the description of the imaginary stage in the _Wagner Book_. The Admiral’s inventories of 1598 (_Henslowe Papers_, 116) include ‘j Hell mought’.

[271] _Arden of Feversham_, IV. ii, iii.

[272] Cf. p. 51.

[273] Cf. p. 43.

[274] Cf. p. 76.

[275] Of the late woodcuts, _Roxana_ shows ‘above’ two compartments, clearly with spectators; _Messalina_ one, closed by curtains; _The Wits_ a central one closed by curtains, and three on each side, with female spectators. In view of their dates and doubtful provenances (cf. _Bibl. Note_ to ch. xviii), these are no evidence for the sixteenth-century public theatre, but they show that at some plays, public or private, the audience continued to sit ‘over the stage’ well in to the seventeenth century.

[276] Cf. vol. ii, p. 542.

[277] Cf. p. 45.

[278] _Henslowe Papers_, 139.

[279] _James IV_, 106, 605, 618, 1115.

[280] _Looking Glass_, 152, 1756.

[281] _T. of a Shrew_, scc. ii, xvi. In _T. of the Shrew_, sc. ii of the Induction is ‘aloft’ (1), and the presenters ‘sit’ to watch the play (147), but they only comment once (I. i. 254) with the s.d. ‘The Presenters aboue speakes’, and Sly is not carried down at the end.

[282] Cf. p. 57, n. 4. The main induction ends (38) with, ‘Why stay we then? Lets giue the Actors leaue, And, as occasion serues, make our returne’.

[283] Revenge says (I. i. 90), ‘Here sit we downe to see the misterie, And serue for Chorus in this Tragedie’, and the Ghost (III. xv. 38), ‘I will sit to see the rest’. In IV. i Hieronimo discusses with his friends a tragedy which he has promised to give before the Court, and alludes (184) to ‘a wondrous shew besides. That I will haue there behinde a curtaine’. The actual performance occupies part of IV. iii, iv (a continuous scene). In IV. iii. 1, ‘Enter Hieronimo; he knocks up the curtaine’. We must not be misled by the modern French practice of knocking for the rise of the front curtain. The tragedy has not yet begun, and this is no front curtain, but the curtain already referred to in IV. i, which Hieronimo is now hammering up to conceal the dead body of Horatio, as part of the setting which he is arranging at one end of the main stage. The Duke of Castile now enters, and it is clear that the Court audience are to sit ‘above’, for Hieronimo begs the Duke (12) that ‘when the traine are past into the gallerie, You would vouchsafe to throw me downe the key’. He then bids (16) a Servant ‘Bring a chaire and a cushion for the King’ and ‘hang up the Title: Our scene is Rhodes’. We are still concerned with Court customs, and no light is thrown on the possible use of title-boards on the public stage (cf. p. 126). The royal train take their places, and the performance is given. Hieronimo epilogizes and suddenly (IV. iv. 88) ‘Shewes his dead sonne’. Now it is clear why he wanted the key of the gallery, for (152) ‘He runs to hange himselfe’, and (157) ‘They breake in, and hold Hieronimo’.

[284] Cf. p. 87, n. 3.

[285] _Locrine_, I. iii; _Sp. Trag._ II. ii, III. ii, ix; _T. A._ V. ii; _T. G._ IV. ii, iv; _R. J._ II. ii, III. v; _M. V._ II. vi; _Englishmen for my Money_, sc. ix; _Two Angry Women_, 1495; cf. p. 56, n. 3, p. 58, n. 4, p. 67, n. 1.

[286] Cf. p. 66, n. 1, p. 67, n. 1, p. 68, n. 2, p. 68, n. 3.

[287] In _R. J._ II. ii Romeo is in the orchard, and (2) ‘But soft, what light through yonder window breaks?’ The lovers discourse, he below, she ‘o’er my head’ (27). Presently (F_{1}; Q_{1}, is summary here) Juliet says ‘I hear some noise within’ (136), followed by s.d. ‘Cals within’ and a little later ‘Within: Madam’, twice. Juliet then ‘Exit’ (155), and (159) ‘Enter Juliet again’. Modern editors have reshuffled the s.ds. In III. v, Q_{2} (reproduced in F_{1}), in addition to textual differences from Q_{1}, may represent a revised handling of the scene. Q_{1} begins ‘Enter Romeo and Juliet at the window’. They discuss the dawn. Then ‘He goeth downe’, speaks from below, and ‘Exit’. Then ‘Enter Nurse hastely’ and says ‘Your Mother’s comming to your Chamber’. Then ‘She goeth downe from the Window’. I take this to refer to Juliet, and to close the action above, at a point represented by III. v. 64 of the modern text. Then follow ‘Enter Juliets Mother, Nurse’ and a dialogue below. Q_{2} begins ‘Enter Romeo and Juliet aloft’. Presently (36) ‘Enter Madame [? an error] and Nurse’, and the warning is given while Romeo is still above. Juliet says (41) ‘Then, window, let day in, and let life out’, and Romeo, ‘I’ll descend’. After his ‘Exit’ comes ‘Enter Mother’ (64), and pretty clearly discourses with Juliet, not below, but in her chamber. Otherwise there would be no meaning in Juliet’s ‘Is she not downe so late or vp so early? What vnaccustomd cause procures her hither?’ Probably, although there is no s.d., they descend (125) to meet Capulet, for at the end of the scene Juliet bids the Nurse (231) ‘Go in’, and herself ‘Exit’ to visit Friar Laurence.

[288] Cf. p. 65, n. 3.

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

[290] Cf. p. 119.

[291] _Arden of Feversham_, III. i (p. 61, n. 3), and _Death of R. Hood_, IV. i (p. 66, n. 1), require stairs of which the foot or ‘threshold’ is visible. For the execution scene in _Sir T. More_, sc. xvii (p. 57, n. 2), the whole stairs should be visible, but perhaps here, as elsewhere, the scaffold, although More likens it to a ‘gallerie’, was to be at least in part a supplementary structure. The Admiral’s inventory of 1598 (_Henslowe Papers_, 116; cf. ch. ii, p. 168) included ‘j payer of stayers for Fayeton’. In _Soliman and Perseda_, I. iii (p. 57, n. 4), where the back wall represents the outer wall of a tiltyard, ladders are put up against it.

[292] Albright, 66; Lawrence, ii. 45. I am not prepared to accept the theory that in _R. J._ III. v Romeo descends his ladder from behind; cf. p. 94, n. 2. The other examples cited are late, but I should add the ‘window that goes out into the leads’ of _1 Oldcastle_, 2016 (p. 66, n. 1).

[293] _Jew of Malta_, V. 2316; cf. p. 68, n. 5.

[294] _E. M. I._ I. v, ‘Bobadilla discouers himselfe: on a bench’.

[295] Cf. p. 54, nn. 2–5.

[296] See the conjectural reconstruction in Albright, 120.

[297] _Jonsonus Virbius_ (1638).

[298] Cf. p. 72.

[299] _1 Hen. VI_, II. i (p. 54, n. 5). This arrangement would also fit I. ii, in which a shot is fired from the walls at ‘the turrets’, which could then be represented by the back wall. On a possible similar wall in the Court play of _Dido_, cf. p. 36.

[300] W. Archer (_Quarterly Review_, ccviii. 466) suggests the possible use of a machine corresponding to the Greek ἐκκύκλημα (on which cf. A. E. Haigh, _Attic Theatre_^3, 201), although he is thinking of it as a device for ‘thrusting’ out a set interior from the alcove, which does not seem to me necessary.

[301] _Henslowe Papers_, 118. The ‘j payer of stayers for Fayeton’ may have been a similar structure; cf. p. 95, n. 4. Otway, _Venice Preserved_ (_1682_), V, has ‘Scene opening discovers a scaffold and a wheel prepared for the executing of Pierre’.

[302] _Henslowe Papers_, 116.

[303] Cf. p. 56, nn. 2, 3. The courtyard in _Arden of Feversham_, III. i, ii, might have been similarly staged.

[304] _1 Hen. VI_, I. ii (a tower with a ‘grate’ in it), III. ii (p. 55); _1 Contention_, sc. iii (p. 56); _Soliman and Perseda_, V. ii. 118 (p. 57); _Blind Beggar of Alexandria_, sc. ii (p. 62); _Old Fortunatus_, 769 (p. 63).

[305] Cf. p. 54.

[306] _Arden of Feversham_, sc. i, begins before Arden’s house whence Alice is called forth (55); but, without any break in the dialogue, we get (245) ‘This is the painter’s house’, although we are still (318) ‘neare’ Arden’s, where the speakers presently (362) breakfast.

[307] _T. of A Shrew_, sc. xvi (cf. p. 92), see. iii, iv, v (a continuous scene). _T. of The Shrew_, I. i, ii, is similarly before the houses both of Baptista and Hortensio.

[308] _Blind Beggar_, scc. v, vii. The use of the houses seems natural, but not perhaps essential.

[309] _1 Oldcastle_, II. i. 522, 632.

[310] Cf. p. 67, n. 1.

[311] _K. to K. Honest Man_, sc. v. 396, 408, 519, 559; sc. vii. 662, 738, 828, 894; sc. xv. 1385, 1425, 1428; cf. Graves, 65.

[312] Cf. pp. 25, 33.

[313] _George a Greene_, sc. xi. 1009, ‘Wil you go to the townes end.... Now we are at the townes end’.

[314] _A. of Feversham_, III. vi. 55, ‘See Ye ouertake vs ere we come to Raynum down’.... (91) ‘Come, we are almost now at Raynum downe’.

[315] _Dr. Faustus_, 1110, ‘let vs Make haste to Wertenberge ... til I am past this faire and pleasant greene, ile walke on foote’, followed immediately by ‘Enter a Horse-courser’ to Faustus, evidently in his ‘chaire’ (1149) at Wittenberg.

[316] _R. J._ I. iv. 113, where, in Q_{1}, Romeo’s ‘on lustie Gentlemen’ to the maskers is followed by ‘Enter old Capulet with the Ladies’, while in Q_{2}, Benvolio responds ‘Strike drum’, and then ‘They march about the Stage, and Seruingmen come forth with Napkins’, prepare the hall, and ‘Exeunt’, when ‘Enter all the guests and gentlewomen to the Maskers’.

[317] In _T. of The Shrew_, V. i. 17, ‘Pedant lookes out of the window’, while the presenters are presumably occupying the gallery, but even if this is a sixteenth-century s.d., the window need not be an upper one.

[318] The s.d. to _Sp. Trag._ III. xi. 8, where ‘He goeth in at one doore and comes out at another’, is rather obscure, but the doors are probably those of a house which has just been under discussion, and if so, more than one door was sometimes supposed to belong to the same house.

[319] Cf. pp. 3, 4, 11.

[320] See my diagrams on pp. 84–5.

[321] W. Archer in _Universal Review_ (1888), 281; J. Le G. Brereton, _De Witt at the Swan_ (_Sh. Homage_, 204); cf. p. 7.

[322] Serlio’s ‘comic’ and ‘tragic’ scenes (cf. App. G) show steps to the auditorium from the front of the stage.

[323] Creizenach, iii. 446; iv. 424 (Eng. tr. 370), with engravings from printed descriptions of 1539 and 1562.

[324] The contest of 1561 is described in a long letter to Sir Thomas Gresham (Burgon, i. 377) by his agent at Antwerp, Richard Clough. It might be possible to trace a line of affiliation from another of Gresham’s servants, Thomas Dutton, who was his post from Antwerp _temp._ Edw. VI, and his agent at Hamburg _c._ 1571 (Burgon, i. 109; ii. 421). The actor Duttons, John and Laurence, seem also to have served as posts from Antwerp and elsewhere (cf. ch. xv).

[325] _Thomas Lord Cromwell_ and _A Larum for London_, dealt with in the last chapter, might also be Globe plays.

[326] _Henry V_, _Much Ado about Nothing_, _Merry Wives of Windsor_, _Hamlet_, _King Lear_, _Troilus and Cressida_, _Pericles_, _Every Man Out of his Humour_, _Sejanus_, _Volpone_, _Yorkshire Tragedy_, _London Prodigal_, _Fair Maid of Bristow_, _Devil’s Charter_, _Merry Devil of Edmonton_, _Revenger’s Tragedy_, _Miseries of Enforced Marriage_, and perhaps _1 Jeronimo_; with the second version of _Malcontent_, originally a Queen’s Revels play, and _Satiromastix_, the s.ds. of which perhaps belong rather to Paul’s, where it was also played.

[327] _Catiline_, _Alchemist_; _Second Maid’s Tragedy_.

[328] _Julius Caesar_, _Twelfth Night_, _As You Like It_, _All’s Well that Ends Well_, _Measure for Measure_, _Othello_, _Macbeth_, _Coriolanus_, _Antony and Cleopatra_, _Timon of Athens_.

[329] _Cymbeline_, _Winter’s Tale_, _Tempest_, _Henry VIII_, _Duchess of Malfi_, _Two Noble Kinsmen_, _Maid’s Tragedy_, _King and no King_, _Philaster_, and perhaps _Thierry and Theodoret_.

[330] I have only occasionally drawn upon plays such as _Bonduca_, whose ascription in whole or part to 1599–1613 is doubtful; these will be found in the list in App. L.

[331] _1 Honest Whore_, _When You See Me You Know Me_, _Whore of Babylon_, _Roaring Girl_, and possibly _Two Lamentable Tragedies_. The extant text of _Massacre at Paris_ may also represent a revival at the Fortune.

[332] _Nobody and Somebody_, _Travels of Three English Brothers_, _Woman Killed With Kindness_, _Sir Thomas Wyat_, _Rape of Lucrece_, _Golden Age_, _If It Be Not Good the Devil is in It_, _White Devil_, _Greene’s Tu Quoque_, _Honest Lawyer_, and probably _1, 2 If You Know Not Me You Know Nobody_, _Fair Maid of the Exchange_, _Silver Age_, _Brazen Age_. _How to Choose a Good Wife from a Bad_ is probably a Rose or Boar’s Head play.

[333] _Hen. V_, IV. iv-viii; _T. C._ V. iv-x; _J. C._ V. i-v; _Lear_, IV. iii, iv, vii; V. i-iii; _A. C._ III. vii-x, xii; IV. i, iii, v-xiv; V. i, &c.

[334] _Hen. V_, IV. viii; _J. C._ IV. ii, iii; _T. C._ I. iii; II. i, iii; III. iii; IV. v; V. i, ii, apparently with tents in one or other scene of Agamemnon (I. iii. 213), Ulysses (I. iii. 305), Ajax (II. i), Achilles (II. iii. 84; III. iii. 38; V. i. 95), and Calchas (V. i. 92; V. ii); _Devil’s Charter_, IV. iv. 2385, ‘He discouereth his Tent where her two sonnes were at Cardes’; and in s.d. of Prol. 29 (not a battle scene) ‘Enter, at one doore betwixt two other Cardinals, Roderigo ... one of which hee guideth to a Tent, where a table is furnished ... and to another Tent the other’.

[335] _Hen. V_, III. vi, vii; IV. i-iii.

[336] _Hen. V_, III. i. 1, ‘Scaling Ladders at Harflew’; III. iii. 1, ‘Enter the King and all his Traine before the Gates’.... (58) ‘Flourish, and enter the Towne’; _Cor._ I. iv. 13, ‘Enter two Senators with others on the Walles of Corialus’.... (29) ‘The Romans are beat back to their Trenches’.... (42) ‘Martius followes them to their gates, and is shut in’.... (62) ‘Enter Martius bleeding, assaulted by the enemy’.... ‘They fight and all enter the City’, and so on to end of sc. x; _Tim._ V. iv. 1, ‘Enter Alcibiades with his Powers before Athens.... The Senators appeare vpon the wals’; IV. i; _Devil’s Charter_, II. i; IV. iv; _Maid’s Tragedy_, V. iii.

[337] _A. Y. L._ III. ii. 1; _Philaster_, IV. iv. 83, ‘Philaster creeps out of a bush’ (as shown in the woodcut on the t.p. of the Q.); _T. N. K._ III. i. 37, ‘Enter Palamon as out of a bush’; V. i. 169, ‘Here the Hynde vanishes under the Altar: and in the place ascends a Rose Tree, having one Rose upon it’.

[338] _Ham._ III. ii. 146 (Q_{1}) ‘Enter in a Dumb Show, the King and the Queene, he sits downe in an Arbor’, (Q_{2}, F_{2}) ‘he lyes him downe vpon a bancke of flowers’; _M. Ado_, I. ii. 10; III. i. 7, 30; _J. C._ III. ii. 1, ‘Enter Brutus and goes into the Pulpit’; _Tim._ V. iii. 5; _E. M. O._ III. ii.

[339] _Ham._ V. i; _Macb._ IV. i; _Devil’s Charter_, prol.; _Catiline_, I. i, &c.; I do not know whether hell-mouth remained in use; there is nothing to point to it in the hell scene of _The Devil is an Ass_, I. i.

[340] _Pericles_, II. i. 121, ‘Enter the two Fisher-men, drawing vp a Net’.

[341] _Devil’s Charter_, III. v. Caesar Borgia and Frescobaldi murder the Duke of Candie (_vide infra_). Caesar says ‘let vs heaue him ouer, That he may fall into the riuer Tiber, Come to the bridge with him’; he bids Frescobaldi ‘stretch out their armes [for] feare that he Fall not vpon the arches’, and ‘Caesar casteth Frescobaldi after’.

[342] _Rape of Lucrece_ (ed. Pearson), p. 240. It is before ‘yon walles’ of Rome. Horatius has his foot ‘fixt vpon the bridge’ and bids his friends break it behind him, while he keeps Tarquin’s party off. Then ‘a noise of knocking downe the bridge, within’ and ‘Enter ... Valerius aboue’, who encourages Horatius. After ‘Alarum, and the falling of the Bridge’, Horatius ‘exit’, and Porsenna says ‘Hee’s leapt off from the bridge’. Presently ‘the shout of all the multitude Now welcomes him a land’.

[343] _Devil’s Charter_, III. v, Frescobaldi is to waylay the Duke of Candie. ‘He fenceth’ (s.d.) with ‘this conduct here’ (1482), and as the victim arrives, ‘Here will I stand close’ (1612) and ‘He stands behind the post’ (s.d.); cf. _Satiromastix_ (p. 141, n. 4).

[344] _Tp._ IV. i. 72.

[345] _Tp._ III. iii. 17, ‘Solemne and strange Musicke: and Prosper on the top (invisible:) Enter severall strange shapes, bringing in a Banket; and dance about it with gentle actions of salutations, and inuiting the King, &c. to eate, they depart’.... (52) ‘Thunder and lightning. Enter Ariell (like a Harpey) claps his wings upon the Table, and with a queint device the Banquet vanishes’.... (82) ‘He vanishes in Thunder: then (to soft Musicke) Enter the shapes againe, and daunce (with mockes and mowes) and carrying out the Table’; IV. i. 134, ‘Enter Certaine Nimphes.... Enter certaine Reapers (properly habited:) they ioyne with the Nimphes, in a gracefull dance, towards the end whereof, _Prospero_ starts sodainly and speakes, after which to a strange hollow and confused noyse, they heauily vanish’.... (256) ‘A noyse of Hunters heard. Enter divers Spirits in shape of Dogs and Hounds, hunting them about: Prospero and Ariel setting them on’. Was the ‘top’ merely the gallery, or the third tiring-house floor (cf. p. 98) above? Ariel, like Prospero, enters ‘invisible’ (III. ii. 48). Is this merely the touch of an editor (cf. ch. xxii) or does it reflect a stage convention? The Admiral’s tiring-house contained in 1598 (_Henslowe Papers_, 123) ‘a robe for to goo invisibell’.

[346] _G. A._ V, ‘Iris descends ... Iupiter first ascends upon the Eagle, and after him Ganimed’.... ‘Enter at 4 severall corners the 4 winds’; _S. A._ II, ‘Thunder and lightning. Iupiter discends in a cloude’.... ‘Iuno and Iris descend from the heavens’; III, ‘Enter Iuno and Iris above in a cloud’.... ‘Enter Pluto, his Chariot drawne in by Divels’.... ‘Mercury flies from above’.... ‘Earth riseth from under the stage’.... ‘Earth sinkes’.... ‘The river Arethusa riseth from the stage’; IV, ‘Iupiter taking up the Infant speakes as he ascends in his cloud’; V, ‘Hercules sinkes himselfe: Flashes of fire; the Diuels appeare at every corner of the stage with severall fireworkes’.... ‘Exeunt three wayes Ceres, Theseus, Philoctetes, and Hercules dragging Cerberus one way: Pluto, hels Iudges, the Fates and Furies downe to hell: Iupiter, the Gods and Planets ascend to heaven’; _B. A._ I, ‘When the Fury sinkes, a Buls head appeares’; V, ‘Enter Hercules from a rocke above, tearing down trees’.... ‘Iupiter above strikes him with a thunderbolt, his body sinkes, and from the heavens discends a hand in a cloud, that from the place where Hercules was burnt, brings up a starre, and fixeth it in the firmament’.

[347] _G. A._ II, ‘Enter Iupiter like a Nimph, or a Virago’; IV, ‘Enter Iupiter like a Pedler’; _S. A._ II, ‘Enter ... Iupiter shapt like Amphitrio’; IV, ‘Enter Iuno in the shape of old Beroe’.... ‘Enter Iupiter like a woodman’; _B. A._ V, ‘Enter ... Hercules attired like a woman, with a distaffe and a spindle’.

[348] _S. A._ III, ‘The Nurses bring yong Hercules in his Cradle, and leave him. Enter Iuno and Iris with two snakes, put them to the childe and depart: Hercules strangles them: to them Amphitrio, admiring the accident’; _B. A._ IV, ‘Enter Vulcan and Pyragmon with his net of wire.... Vulcan catcheth them fast in his net.... All the Gods appeare above and laugh, Iupiter, Iuno, Phoebus, Mercury, Neptune’.

[349] _G. A._ II, ‘A confused fray, an alarme.... Lycaon makes head againe, and is beat off by Iupiter and the Epirians, Iupiter ceazeth the roome of Lycaon’; II, ‘Enter with musicke (before Diana) sixe Satires, after them all their Nimphs, garlands on their heads, and iavelings in their hands, their Bowes and Quivers: the Satyrs sing’.... ‘Hornes winded, a great noise of hunting. Enter Diana, all her Nimphes in the chase, Iupiter pulling Calisto back’; III, ‘Alarm. They combat with iavelings first, after with swords and targets’; _S. A._ III, ‘Enter Ceres and Proserpine attired like the Moone, with a company of Swaines, and country Wenches: They sing’.... ‘A confused fray with stooles, cups and bowles, the Centaurs are beaten.... Enter with victory, Hercules’; _B. A._ IV, ‘Enter Aurora, attended with Seasons, Daies, and Howers’; V, ‘Hercules swings Lychas about his head, and kils him’.

[350] _G. A._ I, ‘Enter Saturn with wedges of gold and silver, models of ships and buildings, bow and arrowes, &c.’; II, ‘Vesta and the Nurse, who with counterfeit passion present the King a bleeding heart upon a knives point, and a bowle of bloud’.... ‘A banquet brought in, with the limbes of a man in the service’; _B. A._ V, ‘Enter to the sacrifice two Priests to the Altar, sixe Princes with sixe of his labours, in the midst Hercules bearing his two brazen pillars, six other Princes, with the other six labours’.