Chapter XXIX: Part 1: with Heywood, Dec. 1602–Jan. 1603; one payment had been made to (17)

[351] _G. A._ V, ‘Pluto drawes hell: the Fates put upon him a burning Roabe, and present him with a Mace, and burning crowne’; _S. A._ II, ‘Jupiter appeares in his glory under a Raine-bow’; IV, ‘Thunder, lightnings, Jupiter descends in his maiesty, his Thunderbolt burning’.... ‘As he toucheth the bed it fires, and all flyes up’; V, ‘Fire-workes all over the house’.... ‘Enter Pluto with a club of fire, a burning crowne, Proserpine, the Judges, the Fates, and a guard of Divels, all with burning weapons’; _B. A._ II, ‘There fals a shower of raine’. Perhaps one should remember the sarcasm of _Warning for Fair Women_, ind. 51, ‘With that a little rosin flasheth forth, Like smoke out of a tobacco pipe, or a boys squib’.

[352] _Revenger’s Tragedy_ (Dodsley^4), p. 99; it recurs in _2 If You Know Not Me_ (ed. Pearson), p. 292.

[353] _T. N._ IV. ii; _M. for M._ IV. iii; _Fair Maid of Bristow_, sig. E 3; _Philaster_, V. ii.

[354] _Tp._ V. i. 172, ‘Here Prospero discouers Ferdinand and Miranda, playing at Chesse’.

[355] _Tim._ IV. iii.; V. i. 133.

[356] _M. Wives_, I. iv. 40, ‘He steps into the Counting-house’ (Q_{1}); _2 Maid’s Tragedy_, 1995, 2030, ‘Locks him self in’.

[357] _M. D. of Edmonton_, prol. 34, ‘Draw the Curtaines’ (s.d.), which disclose Fabel on a couch, with a ‘necromanticke chaire’ by him; _Devil’s Charter_, I. iv. 325, ‘Alexander in his study’; IV. i. 1704, 1847; v. 2421, 2437; V. iv. 2965; vi. 3016, ‘Alexander vnbraced betwixt two Cardinalls in his study looking vpon a booke, whilst a groome draweth the Curtaine.... They place him in a chayre vpon the stage, a groome setteth a Table before him’.... (3068), ‘Alexander draweth the Curtaine of his studie where hee discouereth the diuill sitting in his pontificals’; _Hen. VIII_, II. ii. 63, after action in anteroom, ‘Exit Lord Chamberlaine, and the King drawes the Curtaine and sits reading pensiuely’; _Catiline_, I. i. 15, ‘Discouers Catiline in his study’; _Duchess of Malfi_, V. ii. 221 (a ‘cabinet’); cf. _Massacre at Paris_ (Fortune), 434, ‘He knocketh, and enter the King of Nauarre and Prince of Condy, with their scholmaisters’ (clearly a discovery, rather than an entry).

[358] _2 Maid’s Tragedy_, 1725, ‘Enter the Tirant agen at a farder dore, which opened, bringes hym to the Toombe wher the Lady lies buried; the Toombe here discovered ritchly set forthe’; (1891) ‘Gouianus kneeles at the Toomb wondrous passionatly’.... (1926), ‘On a sodayne in a kinde of Noyse like a Wynde, the dores clattering, the Toombstone flies open, and a great light appeares in the midst of the Toombe’.

[359] _W. T._ V. iii; _D. of Malfi_, III. iv. 1, ‘Two Pilgrimes to the Shrine of our Lady of Loretto’.

[360] _E. M. O._ IV. iii-v; cf. _Roaring Girl_ (Fortune) (ed. Pearson, p. 50), ‘The three shops open in a ranke: the first a Poticaries shop, the next a Fether shop; the third a Sempsters shop’; _Two Lamentable Tragedies_ (? Fortune), I. i, ‘Sit in his shop’ (Merry’s); I. iii, ‘Then Merry must passe to Beeches shoppe, who must sit in his shop, and Winchester his boy stand by: Beech reading’; II. i, ‘The boy sitting at his maisters dore’.... ‘When the boy goeth into the shoppe Merrie striketh six blowes on his head and with the seaventh leaues the hammer sticking in his head’.... ‘Enter one in his shirt and a maide, and comming to Beeches shop findes the boy murthered’; IV. iv, ‘Rachell sits in the shop’ (Merry’s); _Bartholomew Fair_ (Hope), II-V, which need booths for the pig-woman, gingerbread woman, and hobby-horse man.

[361] _Revenger’s Tragedy_ (Dodsley^4), i, p. 26, ‘Enter ... Antonio ... discovering the body of her dead to certain Lords and Hippolito; pp. 58, 90 (scenes of assignation and murder in a room with ‘yon silver ceiling’, a ‘darken’d blushless angle’, ‘this unsunned lodge’, ‘that sad room’); _D. of Malfi_, IV. i. 55, ‘Here is discover’d, behind a travers, the artificiall figures of Antonio and his children, appearing as if they were dead’; ii. 262, ‘Shewes the children strangled’; cf. _White Devil_ (Queen’s), V. iv. 71, ‘They are behind the travers. Ile discover Their superstitious howling’, with s.d. ‘Cornelia, the Moore and 3 other Ladies discovered, winding Marcello’s coarse’; _Brazen Age_ (Queen’s), III, ‘Two fiery Buls are discouered, the Fleece hanging over them, and the Dragon sleeping beneath them: Medea with strange fiery-workes, hangs above in the Aire in the strange habite of a Coniuresse’.

[362] Cf. p. 25. I am not clear whether _Volpone_, V. 2801, ‘Volpone peepes from behinde a trauerse’ is below or above, but in either event the traverse in this case must have been a comparatively low screen and free from attachment at the top, as Volpone says (2761), ‘I’le get up, Behind the cortine, on a stoole, and harken; Sometime, peepe ouer’.

[363] _M. Ado_, I. iii. 63; _M. Wives_, III. iii. 97, ‘Falstaffe stands behind the aras’ (Q_{1}); _Ham._ II. ii. 163; III. iv. 22; _D. of Malfi_, I. ii. 65; _Philaster_, II. ii. 61, ‘Exit behind the hangings’ ... (148), ‘Enter Galatea from behind the hangings’.

[364] _Cy._ II. ii. 1, ‘Enter Imogen, in her Bed, and a Lady’ ... (11) ‘Iachimo from the Trunke’, who says (47) ‘To th’ Truncke againe, and shut the spring of it’ and (51) ‘Exit’; cf. II. iii. 42, ‘Attend you here the doore of our stern daughter?’; cf. _Rape of Lucrece_ (Red Bull), p. 222 (ed. Pearson), ‘Lucrece discovered in her bed’.

[365] _Ham._ III. iv; cf. p. 116. Most of the scenes are in some indefinite place in the castle, called in II. ii. 161 ‘here in the lobby’ (Q_{2}, F_{1}) or ‘here in the gallery’ (Q_{1}). Possibly the audience for the play scene (III. ii) were in the alcove, as there is nothing to suggest that they were above; or they may have been to right and left, and the players in the alcove; it is guesswork.

[366] _Oth._ V. ii. 1, ‘Enter Othello with a light’ (Q_{1}), ‘Enter Othello and Desdemona in her bed’ (F_{1}). It is difficult to say whether _Maid’s Tragedy_, V. i. 2 (continuous scene), where Evadne’s entry and colloquy with a gentleman of the bedchamber is followed by s.d. ‘King abed’, implies a ‘discovery’ or not.

[367] _D. Charter_, I. v. 547, ‘Enter _Lucretia_ alone in her night gowne untired, bringing in a chaire, which she planteth upon the Stage’ ... (579) ‘Enter Gismond di Viselli untrussed in his Night-cap, tying his points’ ... (625) ‘Gismond sitteth downe in a Chaire, Lucretia on a stoole [ready on the stage for a spectator?] beside him’ ... (673) ‘She ... convaieth away the chaire’. Barbarossa comes into ‘this parler here’ (700), finds the murdered body, and they ‘locke up the dores there’ and ‘bring in the body’ (777), which is therefore evidently not behind a curtain.

[368] _D. Charter_, IV. iii. 2005, ‘Enter Lucretia richly attired with a Phyal in her hand’ ... ‘Enter two Pages with a Table, two looking glasses, a box with Combes and instruments, a rich bowle’. She paints and is poisoned, and a Physician bids ‘beare in her body’ (2146).

[369] _D. Charter_, IV. v. 2441, ‘Exit _Alexander_ into his study’ ... ‘Enter _Astor_ and _Philippo_ in their wast-cotes with rackets’ ... ‘Enter two Barbers with linen’ ... ‘After the barbers had trimmed and rubbed their bodies a little, _Astor_ caleth’ ... ‘They lay them selves upon a bed and the barbers depart’ ... ‘_Bernardo_ knocketh at the study’. They are murdered and Bernardo bidden to ‘beare them in’ (2589).

[370] Cf. p. 66.

[371] Albright, 142; Graves, 17; Reynolds (1911), 55; Thorndike, 81.

[372] Cf. ch. xxii.

[373] In _The Faithful Friends_ (possibly a Jacobean King’s play), iv. 282, Rufinus says, ‘Lead to the chamber called Elysium’; then comes s.d. ‘Exit Young Tullius, Phyladelphia and Rufinus. Then a rich Bed is thrust out and they enter again’, and Tullius says ‘This is the lodging called Elysium’. Later examples are Sir W. Berkeley, _The Lost Lady_ (1638), V. i, ‘Enter the Moor on her bed, Hermione, Phillida, and Irene. The bed thrust out’; Suckling, _Aglaura_ (1646), V, ‘A bed put out. Thersames and Aglaura in it.... Draw in the Bed’; Davenport, _City Night Cap_ (1661, Cockpit), II. i, ‘A bed thrust out. Lodovico sleeping in his clothes; Dorothea in bed’.

[374] _Silver Age_, IV, ‘Enter Semele drawne out in her bed’; _Hector of Germany_, I. i, ‘a bed thrust out, the Palsgrave lying sick on it, the King of Bohemia, the Duke of Savoy, the Marquis Brandenburg entering with him’; _Chaste Maid in Cheapside_, III. ii. 1, ‘A bed thrust out upon the stage; Allwit’s wife in it’. This appears from ‘call him up’ (102) to be on the upper stage. _Golden Age_, I, ‘Enter Sibilla lying in child-bed, with her child lying by her, and her Nurse, &c.’ has the Cymbeline formula, but presumably the staging was as for Danae.

[375] _Golden Age_, IV, ‘Enter foure old Beldams’, and say ‘The ‘larme bell rings’; it is Acrisius; they will ‘clap close to the gate and let him in’. He bids them watch ‘your percullist entrance’, says ‘Danae is descended’, speaks of ‘the walkes within this barricadoed mure’. She returns ‘unto her chamber’ and he ‘Exit’. The beldams will ‘take our lodgings before the Princesse chamber’ and ‘Exit’. Then ‘Enter Iupiter like a Pedler, the Clowne his man, with packs at their backes’. They are evidently outside the gate. ‘He rings the bell’ and persuades the beldams to let him ‘into the Porters lodge’. They will ‘shut the gate for feare the King come and if he ring clap the Pedlers into some of yon old rotten corners’. Then ‘Enter Danae’, whom Jupiter courts. She says ‘Yon is my doore’ and ‘Exit’. The beldams will ‘see the Pedlers pack’t out of the gate’, but in the end let them ‘take a nap upon some bench or other’, and bid them good-night. Jupiter ‘puts off his disguise’ and ‘Exit’. Then ‘Enter the foure old Beldams, drawing out Danae’s bed: she in it. They place foure tapers at the foure corners’. Jupiter returns ‘crown’d with his imperiall robes’, says ‘Yon is the doore’, calls Danae by name, ‘lyes upon her bed’ and ‘puts out the lights and makes unready’. Presently ‘The bed is drawne in, and enter the Clowne new wak’t’, followed by ‘Enter Iupiter and Danae in her night-gowne’. He puts on his cloak, and ‘Enter the foure Beldams in hast’, say ‘the gate is open’, and dismiss the pedlars.

[376] _M. Ado_, III. iv. Presumably the action is at the window, as there is a ‘new tire within’ (13) and Hero withdraws when guests arrive (95). It is of course the same window which is required by Don John’s plot, although it is not again in action (cf. II. ii. 43; iii. 89; III. ii. 116, iii. 156; IV. i. 85, 311).

[377] _Volpone_, II. v-vii. In the piazza, under the same window, is II. i-iii, where ‘Celia at the windo’ throws downe her handkerchiefe’ (1149).

[378] _M. W._ II. ii; III. v, in both of which persons ‘below’ are bidden ‘come up’; possibly V. i; cf. IV. v, 13, 22, 131, where persons below speak of the chamber as above.

[379] _E. M. O._ V. iv-vi, at the Mitre; _M. Devil of Edmonton_, I. i; _Miseries of Enforced Marriage_, III. i; and for other theatres, _Massacre at Paris_ (Fortune), 257 ‘Enter the Admirall in his bed’, 301 ‘Enter into the Admirals house, and he in his bed’, with 310 ‘Throw him downe’; _Two Lamentable Tragedies_ (Fortune), parts of I. iii, ‘Then being in the upper Rome Merry strickes him in the head fifteene times’, II. i, iii; _1 If You Know Not Me_ (? Queen’s), p. 240 (ed. Pearson), ‘Enter Elizabeth, Gage, and Clarencia aboue’. Elizabeth bids Gage ‘Looke to the pathway that doth come from the court’, perhaps from a window at the back (cf. p. 96), and he describes a coming horseman.

[380] _Yorkshire Tragedy_, scc. iii, v, vii, while the intermediate episodes, scc. iv, vi, are below. It is all really one scene.

[381] _Sejanus_ (F_{1}), i. 355–469 (cf. 287), an episode breaking the flow of the main action, a hall scene, of the act; it must be apart from the hall, not perhaps necessarily above.

[382] _E. M. O._ V. ii, preceded and followed by scene near the court gate at the foot of stairs leading to the great chamber; V. i has ‘Is this the way? good truth here be fine hangings’ and ‘courtiers drop out’, presumably through the arras and up the stairs. Then a presenter says, ‘Here they come’, and the courtiers enter, presumably above.

[383] _A. and C._ IV. xv. 1, ‘Enter Cleopatra, and her Maides aloft’, with (8) ‘Look out o’ the other side your monument’ ... (37) ‘They heave Anthony aloft to Cleopatra’; V. ii; cf. 360, ‘bear her women from the monument’.

[384] _Pericles_, III. i (prol. 58, ‘In your imagination hold This stage the ship’); V. i (prol. 21, ‘In your supposing once more put your sight Of heavy Pericles; think this his bark’). The other scenes (_1 Contention_, sc. xii; _A. and C._ II. vii; _Tp._ I. i) have nothing directly indicating action ‘above’.

[385] _Ham._ I. i, iv, v; cf. I. ii. 213, ‘upon the platform where we watch’d’. There would be hardly room ‘above’ for the Ghost to waft Hamlet to ‘a more removed ground’ (I. iv. 61), and the effect of I. v. 148, where ‘Ghost cries under the Stage’, would be less. On the other hand, in _White Devil_ (Queen’s), IV. iv. 39 the s.d. ‘A Cardinal on the Tarras’ is explained by Flamineo’s words, ‘Behold! my lord of Arragon appeares, On the church battlements’.

[386] _J. C._ III. i; _Cor._ II. ii, ‘Enter two Officers, to lay Cushions, as it were, in the Capitol’; _Sejanus_ (F_{1}), iii. 1–6; v. 19–22; _Catiline_, IV. ii, V. iv, vi; also _Rape of Lucrece_ (Red Bull), pp. 168–73 (ed. Pearson). There is a complete absence of s.ds. for ‘above’; cf. p. 58. But in _J. C._ III. i and _Catiline_, V. vi, at least, action in the senate house is continuous with action in the street or forum without, and both places must have been shown, and somehow differentiated.

[387] _Bonduca_, V. i, ‘Enter Caratach upon a rock, and Hengo by him, sleeping’; V. iii, ‘Enter Caratach and Hengo on the Rock’. Hengo is let down by a belt to fetch up food. It is ‘a steep rock i th’ woods’ (V. ii); cf. the rock scene in _Brazen Age_, V (cf. p. 109).

[388] Cf. p. 153. _Duchess of Malfi_, III. ii, with (173) ‘call up our officers’ is a possible exception.

[389] _E. M. O._ II. i (where personages standing ‘under this Tarras’ watch action under a window); _Devil’s Charter_, III. ii, ‘Alexander out of a Casement’; _M. Devil of Edmonton_, V. ii. 59, ‘D’yee see yon bay window?’ _Miseries of Enforced Marriage_ (Dodsley^4), iv, p. 540 (‘Here’s the sign of the Wolf, and the bay-window’); _T. N. K._ II. i, ii; _Catiline_, III. v; _Philaster_, II. iv; _Second Maiden’s Tragedy_, V. i. 2004, ‘Leonella above in a gallery with her love Bellarius’ ... (2021) ‘Descendet Leonela’; _Duchess of Malfi_, V. v; _Hen. VIII_, V. ii. 19, ‘Enter the King, and Buts, at a Windowe above’, with ‘Let ’em alone, and draw the curtaine close’ (34); _Pericles_, II. ii (where Simonides and Thaisa ‘withdraw into the gallerie’, to watch a tilting supposed behind, as in the sixteenth-century _Soliman and Perseda_; cf. p. 96). So, too, in _T. N. K._ V. iii, the fight between Palamon and Arcite takes place within; Emilia will not see it, and it is reported to her on the main stage.

[390] _D. an Ass_, II. vi. 37, ‘This Scene is acted at two windo’s as out of two contiguous buildings’ ... (77) ‘Playes with her paps, kisseth her hands, &c.’ ... vii. 1 ‘Her husband appeares at her back’ ... (8) ‘Hee speaks out of his wives window’ ... (23) ‘The Divell speakes below’ ... (28) ‘Fitz-dottrel enters with his wife as come downe’.

[391] _M. Devil of Edmonton_, V. i, ii; _Catiline_, V. vi (where apparently three houses are visited after leaving the senate house); cf. the cases of shops on p. 110, n. 10.

[392] _Ham._ V. i. 60.

[393] _Bonduca_, V. iii.

[394] _Three English Brothers_, ad fin. A court scene in _Sir T. Wyatt_ ends (ed. Hazlitt, p. 10) with s.d. ‘pass round the stage’, which takes the personages to the Tower. Similarly in _1 If You Know Not Me_ (ed. Pearson, p. 246) a scene at Hatfield ends ‘And now to London, lords, lead on the way’, with s.d. ‘Sennet about the Stage in order. The Maior of London meets them’, and in _2 If You Know Not Me_ (p. 342) troops start from Tilbury, and ‘As they march about the stage, Sir Francis Drake and Sir Martin Furbisher meet them’.

[395] W. Archer in _Quarterly Review_, ccviii. 471; Albright, 77; Lawrence, i. 19; cf. my analogous conjecture of ‘wings’ on p. 100.

[396] _David and Bethsabe_, 25, ‘He [Prologus] drawes a curtaine, and discouers Bethsabe with her maid bathing ouer a spring: she sings, and David sits aboue vewing her’.

[397] Lawrence, i. 159 (_Proscenium Doors: an Elizabethan Heritage_).

[398] Cf. vol. ii, p. 534.

[399] At the Globe the windows appear to have been bay windows; cf. p. 116, n. 7. Lawrence, ii. 25 (_Windows on the Pre-Restoration Stage_), cites T. M. _Black Book_ (1604), ‘And marching forward to the third garden-house, there we knocked up the ghost of mistress Silverpin, who suddenly risse out of two white sheets, and acted out of her tiring-house window’. It appears from Tate Wilkinson’s _Memoirs_ (Lawrence, i. 177) that the proscenium balconies were common ground to actors and audience in the eighteenth century.

[400] _Family of Love_, I. iii. 101.

[401] The theory is best represented by C. Brodmeier, _Die Shakespeare-Bühne nach den alten Bühnenanweisungen_ (1904); V. Albright, _The Shakespearian Stage_ (1909).

[402] Thorndike, 106.

[403] Cf. pp. 41, 126, 154.

[404] Palace of Tiberius (Acts I, II, III), Senate house (III, V), Gardens of Eudemus (II), Houses of Agrippina (II, IV), Sejanus (V), Regulus (V).

[405] Houses of Volpone (I, II, III, V), Corvino (II), Would Be (V), Law court (IV, V).

[406] Houses of Catiline (I, IV), Fulvia (II), Cicero (III, IV, V), Lecca (III), Brutus (IV), Spinther (V. vi), Cornificius (V. vi), Caesar (V. vi), Senate house (IV, V), Milvian Bridge (IV).

[407] _Alchemist_, _III._ v. 58, ‘He speakes through the keyhole, the other knocking’. _Hen. VIII_, V. ii, iii (continuous scene) also requires a council-chamber door upon the stage, at which Cranmer is stopped after he has entered through the stage-door.

[408] Daborne gave Tourneur ‘an act of y^e Arreignment of London to write’ (_Henslowe Papers_, 72).

[409] Cf. ch. xxii.

[410] _M. N. D._ III. ii. 463 (F_{1}), ‘They sleep all the Act’; i. e. all the act-interval (cf. p. 131). So in _Catiline_ the storm with which Act III ends is still on at the beginning of Act IV, and in _Alchemist_ Mammon and Lovewit are seen approaching at the ends of Acts I and IV respectively, but in both cases the actual arrival is at the beginning of the next act.

[411] F. A. Foster, _Dumb Show in Elizabethan Drama before 1620_ (_E. S._ xliv. 8).

[412] Jonson has a ‘Chorus--of musicians’ between the acts of _Sejanus_, and the presenter of _Two Lamentable Tragedies_ bids the audience ‘Delight your eares with pleasing harmonie’ after the harrowing end of Act II. Some other examples given in Lawrence, i. 75 (_Music and Song in the Elizabethan Drama_), seem to me no more than incidental music such as may occur at any point of a play. Malone (_Var._ iii. 111) describes a copy of the Q_{2} of _R. J._ in which the act endings and directions for inter-act music had been marked in manuscript; but this might be of late date.

[413] _Malcontent_, ind. 89.

[414] _Henslowe Papers_, 127.

[415] _Catiline_, I. i.

[416] _Second Maidens Tragedy_, 1719, ‘Exit’ the Tyrant, four lines from the end of a court scene, and 1724 ‘Enter the Tirant agen at a farder dore, which opened, bringes hym to the Toombe’ (cf. p. 110, n. 8). So in _Woman Killed with Kindness_ (Queen’s), IV. ii, iii (continuous scene), Mrs. Frankford and her lover retire from a hall scene to sup in her chamber, and the servants are bidden to lock the house doors. In IV. iv Frankford enters with a friend, and says (8) ‘This is the key that opes my outward gate; This the hall-door; this the withdrawing chamber; But this ... It leads to my polluted bedchamber’. Then (17) ‘now to my gate’, where they light a lanthorn, and (23) ‘this is the last door’, and in IV. v Frankford emerges as from the bedchamber. Probably sc. iv is supposed to begin before the house. They go behind at (17), emerge through another door, and the scene is then in the hall, whence Frankford passes at (23) through the central aperture behind again.

[417] _Wily Beguiled_, prol. The Prologus asks a player the name of the play, and is told ‘Sir you may look vpon the Title’. He complains that it is ‘_Spectrum_ once again’. Then a Juggler enters, will show him a trick, and says ‘With a cast of cleane conveyance, come aloft _Jack_ for thy masters advantage (hees gone I warrant ye)’ and there is the s.d. ‘_Spectrum_ is conveied away: and _Wily beguiled_, stands in the place of it’.

[418] Most of the examples in Lawrence, i. 43 (_Title and Locality Boards on the Pre-Restoration Stage_) belong to Court or to private theatres; on the latter cf. p. 154, _infra_. But the prologue to _1 Sir John Oldcastle_ begins ‘The doubtful Title (Gentlemen) prefixt Upon the Argument we have in hand May breede suspence’. The lost Frankfort engraving of English comedians (cf. vol. ii, p. 520) is said to have shown boards.

[419] Cunningham, _Jonson_, iii. 509; Dekker, _G. H. B._ (ed. McKerrow), 40, ‘And first observe your doors of entrance, and your exit; not much unlike the players at the theatres; keeping your decorums, even in fantasticality. As for example: if you prove to be a northern gentleman, I would wish you to pass through the north door, more often especially than any of the other; and so, according to your countries, take note of your entrances’.

[420] _1 Contention_, sc. xxii, ‘Richard kils him under the signe of the Castle in St. Albones’; _Comedy of Errors_ (the Phoenix, the Porpentine), _Shoemaker’s Holiday_ (the Last), _Edw. IV_ (the Pelican), _E. M. O._ (the Mitre), _Miseries of Enforced Marriage_ (the Mitre, the Wolf); _Bartholomew Fair_ (the Pig’s Head); &c.

[421] _Wounds of Civil War_, III. iv, ‘Enter Marius solus from the Numidian mountaines, feeding on rootes’; _3 Hen. VI_, IV. ii, ‘Enter Warwick and Oxford in England’, &c.; cf. ch. xxii.

[422] _Warning for Fair Women_, ind. 86, ‘My scene is London, native and your own’; _Alchemist_, prol. 5, ‘Our scene is London’; cf. the Gower speeches in _Pericles_.

[423] _Dr. Faustus_, 13, 799, 918, 1111.

[424] I cite Greg’s Q_{2}, but Q_{1} agrees. Jonson’s own scene-division is of course determined by the introduction of new speakers (cf. p. 200) and does not precisely follow the textual indications.

[425] _Henslowe Papers_, 116.

[426] _2 If You Know Not Me_ (ed. Pearson), p. 295.

[427] Cf. App. I, and Neuendorff, 149, who quotes J. Corey, _Generous Enemies_ (1672), prol.:

Coarse hangings then, instead of scenes, were worn.
And Kidderminster did the stage adorn.

Graves, 78, suggests pictorial ‘painted cloths’ for backgrounds.

[428] ‘Scenes’ were used in the public performances of Nabbes’s _Microcosmus_ (1637), Suckling’s _Aglaura_ (_1637_), and Habington’s _Queen of Arragon_ (_1640_); cf. Lawrence, ii. 121 (_The Origin of the English Picture-Stage_); W. G. Keith, _The Designs for the First Movable Scenery on the English Stage_ (_Burlington Magazine_, xxv. 29, 85).

[429] For Paul’s, _C. and C. Errant_ (after each act), ‘Here they knockt up the Consort’; _Faery Pastorall_; _Trick to Catch the Old One_ (after I and II), ‘music’; _What You Will_, II. ii. 235 ‘So ends our chat;--sound music for the act’; for Blackfriars, _Gentleman Usher_, III. i. 1, ‘after the song’; _Sophonisba_ (after I), ‘the cornets and organs playing loud full music for the act’, (II) ‘Organ mixt with recorders, for this act’, (III) ‘Organs, viols and voices play for this act’, (IV) ‘A base lute and a treble violl play for the act’, with which should be read the note at the end of Q_{1}, ‘let me intreat my reader not to taxe me for the fashion of the entrances and musique of this tragedy, for know it is printed only as it was presented by youths and after the fashion of the private stage’; _K. B. P._ (after I), ‘Boy danceth. Musicke. Finis Actus primi’, (II) ‘Musicke. Finis Actus secundi’, (III) ‘Finis Actus tertii. Musicke. Actus quartus, scoena prima. Boy daunceth’, (IV) Ralph’s May Day speech; cf. _infra_ and vol. ii, p. 557. I do not find any similar recognition of the scene as a structural element in the play to be introduced by music; in _1 Antonio and Mellida_, III. ii. 120, the s.d. ‘and so the Scene begins’ only introduces a new scene in the sense of a regrouping of speakers (cf. p. 200).

[430] For Paul’s, _Histriomastix_, III. i. 1, ‘Enter Pride, Vaine-Glory, Hypocrisie, and Contempt: Pride casts a mist, wherein Mavortius and his company [who ended II] vanish off the Stage, and Pride and her attendants remaine’, (after III) ‘They all awake, and begin the following Acte’, (after V) ‘Allarmes in severall places, that brake him off thus: after a retreat sounded, the Musicke playes and Poverty enters’; 2 ANTONIO AND MELLIDA, III. i. 1, ‘A dumb show. The cornets sounding for the Act’, (after IV) ‘The cornets sound for the act. The dumb show’; _What You Will_, III. i. 1, ‘Enter Francisco ... They clothe Francisco whilst Bidet creeps in and observes them. Much of this done whilst the Act is playing’; _Phoenix_ (after II), ‘Towards the close of the musick the justices three men prepare for a robberie’; for Blackfriars, _Malcontent_, II. i. 1, ‘Enter Mendoza with a sconce, to observe Ferneze’s entrance, who, whilst the act is playing, enters unbraced, two Pages before him with lights; is met by Maquerelle and conveyed in; the Pages are sent away’; _Fawn_, V. i. 1, ‘Whilst the Act is a-playing, Hercules and Tiberio enters; Tiberio climbs the tree, and is received above by Dulcimel, Philocalia, and a Priest; Hercules stays beneath’. The phrase ‘whilst the act is playing’ is a natural development from ‘for the act’, i. e. ‘in preparation for the act’, used also for the elaborate music which at private houses replaced the three preliminary trumpet ‘soundings’ of the public houses; cf. _What You Will_, ind. 1 (s.d.), ‘Before the music sounds for the Act’, and _1 Antonio and Mellida_, ind. 1, ‘The music will sound straight for entrance’. But it leads to a vagueness of thought in which the interval itself is regarded as the ‘act’; cf. the _M. N. D._ s.d. of F_{1}, quoted p. 124, n. 3, with Middleton, _The Changeling_ (1653), III. i. 1, ‘In the act-time De Flores hides a naked rapier behind a door’, and Cotgrave, _Dict._ (1611), ‘Acte ... also, an Act, or Pause in a Comedie, or Tragedie’.

[431] For Paul’s, _Histriomastix_, i. 163, ‘Enter Fourcher, Voucher, Velure, Lyon-Rash ... two and two at severall doores’; v. 103, ‘Enter ... on one side ... on the other’; v. 192, ‘Enter ... at one end of the stage: at the other end enter ...’; vi. 41, ‘Enter Mavortius and Philarchus at severall doores’; vi. 241, ‘Enter ... at the one doore. At the other ...’; _1 Antonio and Mellida_, iv. 220 (marsh scene), ‘Enter ... at one door; ... at another door’; _2 Antonio and Mellida_, v. 1, ‘Enter at one door ... at the other door’; _Maid’s Metamorphosis_, II. ii. 1 (wood scene), ‘Enter at one door ... at the other doore, ... in the midst’; III. ii. 1 (wood scene), ‘Enter ... at three severall doores’; _Faery Pastoral_, III. vi, ‘Mercury entering by the midde doore wafted them back by the doore they came in’; IV. viii, ‘They enterd at severall doores, Learchus at the midde doore’; _Puritan_, I. iv. 1 (prison scene), ‘Enter ... at one dore, and ... at the other’, &c.; for Blackfriars, _Sir G. Goosecap_, IV. ii. 140, ‘Enter Jack and Will on the other side’; _Malcontent_, V. ii. 1, ‘Enter from opposite sides’; _E. Ho!_, I. i. 1, ‘Enter ... at severall dores ... At the middle dore, enter ...’; _Sophonisba_, prol., ‘Enter at one door ... at the other door’; _May Day_, II. i. 1, ‘Enter ... several ways’; _Your Five Gallants_, I. ii. 27, ‘Enter ... at the farther door’, &c.

[432] For Paul’s, _2 Antonio and Mellida_, IV. ii. 87, ‘They strike the stage with their daggers, and the grave openeth’; V. i. 1, ‘Balurdo from under the Stage’; _Aphrodysial_ (quoted Reynolds, i. 26), ‘A Trap door in the middle of the stage’; _Bussy d’Ambois_, II. ii. 177, ‘The Vault opens’ ... ‘ascendit Frier and D’Ambois’ ... ‘Descendit Fryar’ (cf. III. i; IV. ii; V. i, iii, iv); for Blackfriars, _Poetaster_ (F_{1}) prol. 1, ‘Envie. Arising in the midst of the stage’; _Case is Altered_, III. ii, ‘Digs a hole in the ground’; _Sophonisba_, III. i. 201, ‘She descends after Sophonisba’ ... (207) ‘Descends through the vault’; V. i. 41, ‘Out of the altar the ghost of Asdrubal ariseth’.

[433] _Widow’s Tears_ (Blackfriars), III. ii. 82, ‘Hymen descends, and six Sylvans enter beneath, with torches’; this is in a mask, and Cupid may have descended from a pageant. When a ‘state’ or throne is used (e.g. _Satiromastix_, 2309, ‘Soft musicke, Chaire is set under a Canopie’), there is no indication that it descends. In _Satiromastix_, 2147, we get ‘O thou standst well, thou lean’st against a poast’, but this is obviously inadequate evidence for a heavens supported by posts at Paul’s.

[434] _C. and C. Errant_, V. ix, ‘He tooke the Bolle from behind the Arras’; _Faery Pastoral_, V. iv (wood scene), ‘He tooke from behind the Arras a Peck of goodly Acornes pilld’; _What You Will_, ind. 97, ‘Let’s place ourselves within the curtains, for good faith the stage is so very little, we shall wrong the general eye else very much’; _Northward Ho!_, IV. i, ‘Lie you in ambush, behind the hangings, and perhaps you shall hear the piece of a comedy’. In _C. and C. Errant_, V. viii. 1, the two actors left on the stage at the end of V. vii were joined by a troop from the inn, and yet others coming ‘easily after them and stealingly, so as the whole Scene was insensibly and suddenly brought about in Catastrophe of the Comoedy. And the whole face of the Scene suddenly altered’. I think that Percy is only trying to describe the change from a nearly empty to a crowded stage, not a piece of scene-shifting.

[435] _Cynthia’s Revels_ (Q), ind. 149, ‘Slid the Boy takes me for a peice of Prospective (I holde my life) or some silke Curtine, come to hang the Stage here: Sir Cracke I am none of your fresh Pictures, that use to beautifie the decay’d dead Arras, in a publique Theater’; _K. B. P._ II. 580, ‘_Wife._ What story is that painted upon the cloth? the confutation of Saint Paul? _Citizen._ No lambe, that Ralph and Lucrece’. In _Law Tricks_, III. i, Emilia bids Lurdo ‘Behind the Arras; scape behind the Arras’. Polymetes enters, praises the ‘verie faire hangings’ representing Venus and Adonis, makes a pass at Vulcan, and notices how the arras trembles and groans. Then comes the s.d. (which has got in error into Bullen’s text, p. 42) ‘Discouer Lurdo behind the Arras’, and Emilia carries it off by pretending that it is only Lurdo’s picture.

[436] I think it is possible that _Sophonisba_, with its ‘canopy’ (cf. p. 149) was also originally written for Paul’s.

[437] _1, 2 Antonio and Mellida_, _Maid’s Metamorphosis_, _Wisdom of Dr. Dodipoll_, _Jack Drum’s Entertainment_, _Satiromastix_, _Blurt Master Constable_, _Bussy D’Ambois_, _Westward Ho!_, _Northward Ho!_, _Fawn_, _Michaelmas Term_, _Phoenix_, _Mad World, My Masters_, _Trick to Catch the Old One_, _Puritan_, _Woman Hater_.

[438] _Jack Drum’s Ent._ v. 112.

[439] _Histriomastix_, i. 6, ‘now sit wee high (tryumphant in our sway)’; ii. 1, ‘Enter Plenty upon a Throne’; iii. 11, ‘If you will sit in throne of State with Pride’; v. 1, ‘Rule, fier-eied Warre!... Envy ... Hath now resigned her spightfull throne to us’; vi. 7, ‘I [Poverty] scorne a scoffing foole about my Throne’; vi. 271 (s.d.), ‘Astraea’ [in margin, ‘Q. Eliza’] ‘mounts unto the throne’; vi. 296 (original ending), ‘In the end of the play. Plenty Pride Envy Warre and Poverty To enter and resigne their severall Scepters to Peace, sitting in Maiestie’.

[440] _Histriomastix_, i. 163, ‘Enter ... Chrisoganus in his study’ ... (181) ‘So all goe to Chrisoganus study, where they find him reading’; ii. 70, ‘Enter Contrimen, to them, Clarke of the Market: hee wrings a bell, and drawes a curtaine; whereunder is a market set about a Crosse’ ... (80) ‘Enter Gulch, Belch, Clowt and Gut. One of them steppes on the Crosse, and cryes, A Play’ ... (105) ‘Enter Vintner with a quart of Wine’; v. 192, ‘Enter Lyon-rash to Fourchier sitting in his study at one end of the stage: At the other end enter Vourcher to Velure in his shop’.

[441] _Dr. Dodipoll_, I. i. 1, ‘A Curtaine drawne, Earl Lassingbergh is discovered (like a Painter) painting Lucilia, who sits working on a piece of cushion worke’. In III. ii a character is spoken of after his ‘Exit’ as ‘going down the staires’, which suggests action ‘above’. But other indications place the scene before Cassimere’s house.

[442] _C. and C. Errant_, I. i, ‘They entered from Maldon’; I. iv, ‘They entered from Harwich all’.

[443] _C. and C. Errant_, I. ii, ‘They met from Maldon and from Harwich’, for a scene in Colchester; III. i, ‘They crossd: Denham to Harwich, Lacy to Maldon’.

[444] Reynolds (_M. P._ xii. 248) gives the note as ‘In the middle and alofte Oceanus Pallace The Scene being. Next Proteus-Hall’. This seems barely grammatical and I am not sure that it is complete. A limitation of Paul’s is suggested by the s.d. (ibid. 258) ‘Chambers (noise supposd for Powles) For actors’, but apparently ‘a showre of Rose-water and confits’ was feasible.

[445] _Faery Pastoral_, p. 162, ‘A Scrolle fell into her lap from above’.

[446] _Jack Drum_, II. 27, ‘The Casement opens, and Katherine appeares’; 270, ‘Winifride lookes from aboue’; 286, ‘Camelia, from her window’.

[447] I give s.ds. with slight corrections from Bullen, who substantially follows 1633. But he has re-divided his scenes; 1633 has acts only for _1 Antonio and Mellida_ (in spite of s.d. ‘and so the scene begins’ with a new speaker at III. ii. 120); acts and scenes, by speakers, for _2 Antonio and Mellida_; and acts and scenes or acts and first scenes only, not by speakers and very imperfectly, for the rest.

[448] _1 Ant. and Mell._ I. 100, ‘Enter above ... Enter below’ ... (117) ‘they two stand ... whilst the scene passeth above’ ... (140) ‘Exeunt all on the lower stage’ ... (148) ‘_Rossaline._ Prithee, go down!’ ... (160) ‘Enter Mellida, Rossaline, and Flavia’; III. ii. 190 ‘Enter Antonio and Mellida’ ... (193) ‘_Mellida._ A number mount my stairs; I’ll straight return. _Exit_’ ... (222) ‘_Feliche._ Slink to my chamber; look you, that is it’.

[449] _IV._ 220, ‘Enter Piero (&c.) ... Balurdo and his Page, at another door’.

[450] _2 Ant. and Mell._ I. ii. 194, ‘_Antonio._ See, look, the curtain stirs’ ... (s.d.) ‘The curtains drawn, and the body of Feliche, stabb’d thick with wounds, appears hung up’ and ‘_Antonio._ What villain bloods the window of my love?’

[451] III. ii. 1, ‘Enter ... Maria, her hair loose’ ... (59) ‘_Maria._ Pages, leave the room’ ... (65) ‘Maria draweth the curtain: and the ghost of Andrugio is displayed, sitting on the bed’ ... (95) ‘Exit Maria to her bed, Andrugio drawing the curtains’.

[452] V. ii. 50, ‘While the measure is dancing, Andrugio’s ghost is placed betwixt the music-houses’ ... (115) ‘The curtaine being drawn, exit Andrugio’.

[453] V. ii. 112, ‘They run all at Piero with their rapiers’. This is while the ghost is present above, but (152) ‘The curtains are drawn, Piero departeth’.

[454] III. i. 33, ‘And, lo, the ghost of old Andrugio Forsakes his coffin’ ... (125) ‘Ghosts ... from above and beneath’ ... (192) ‘From under the stage a groan’; IV. ii. 87, ‘They strike the stage with their daggers, and the grave openeth’. The church must have been shown open, and part of the crowded action of these scenes kept outside; at IV. ii. 114, ‘yon bright stars’ are visible.

[455] _Fawn_, IV. 638, ‘_Dulcimel._ Father, do you see that tree, that leans just on my chamber window?’ ... (V. 1) ‘whilst the Act is a-playing, Hercules and Tiberio enters; Tiberio climbs the tree, and is received above by Dulcimel, Philocalia, and a Priest: Hercules stays beneath’. After a mask and other action in the presence, (461) ‘Tiberio and Dulcimel above, are discovered hand in hand’.

[456] _W. You Will_, IV. 373, after a dance, ‘_Celia._ Will you to dinner?’ ... (V. 1) ‘The curtains are drawn by a Page, and Celia (&c.) displayed, sitting at dinner’.

[457] II. 1, ‘One knocks: Laverdure draws the curtains, sitting on his bed, apparelling himself; his trunk of apparel standing by him’ ... (127) ‘Bidet, I’ll down’; II. ii. 1, ‘Enter a schoolmaster, draws the curtains behind, with Battus, Nous, Slip, Nathaniel, and Holophernes Pippo, schoolboys, sitting, with books in their hands’.

[458] I. 110, ‘He sings and is answered; from above a willow garland is flung down, and the song ceaseth’.

[459] _Satiromastix_, I. ii. 1, ‘Horrace sitting in a study behinde a curtaine, a candle by him burning, bookes lying confusedly’.

[460] V. ii. 23, where the ‘canopie’, if a Paul’s term, may be the equivalent of the public theatre alcove (cf. pp. 82, 120). The ‘bower’ in IV. iii holds eight persons, and a recess may have been used.

[461] Shorthose says (V. i. 60) ‘Thou lean’st against a poast’, but obviously posts supporting a heavens at Paul’s cannot be inferred.

[462] _Westward Ho!_ uses the houses of Justiniano (I. i), Wafer (III. iii), Ambush (III. iv), the Earl (II. ii; IV. ii), and a Bawd (IV. i), the shops of Tenterhook (I. ii; III. i) and Honeysuckle (II. i), and inns at the Steelyard (II. iii), Shoreditch (II. iii), and Brentford (V). Continuous setting would not construct so many houses for single scenes. There is action above at the Bawd’s, and interior action below in several cases; in IV. ii, ‘the Earle drawes a curten and sets forth a banquet’. The s.ds. of this scene seem inadequate; at a later point Moll is apparently ‘discovered’, shamming death. _Northward Ho!_ uses the houses of Mayberry (I. iii; II. ii) and Doll (II. i; III. i), a garden house at Moorfields (III. ii), Bellamont’s study (IV. i), Bedlam (IV. iii, iv), a ‘tavern entry’ in London (I. ii), and an inn at Ware (I. i; V. i). Action above is at the last only, interior action below in several.

[463] _B. d’Ambois_, II. ii. 177, ‘_Tamyra_. See, see the gulfe is opening’ ... (183) ‘Ascendit Frier and D’Ambois’ ... (296) ‘Descendit Fryar’; IV. ii. 63, ‘Ascendit [Behemoth]’ ... (162) ‘Descendit cum suis’; V. i. 155, ‘Ascendit Frier’ ... (191) ‘_Montsurry._ In, Ile after, To see what guilty light gives this cave eyes’; V. iv. 1, ‘Intrat umbra Comolet to the Countesse, wrapt in a canapie’ ... (23) ‘D’Amboys at the gulfe’.

[464] The Q of 1641, probably representing a revival by the King’s men, alters the scenes in Montsurry’s house, eliminating the characteristic Paul’s ‘canapie’ of V. iv. 1 and placing spectators above in the same scene. It is also responsible for the proleptic s.d. (cf. ch. xxii) at I. i. 153 for I. ii. 1, ‘Table, Chesbord and Tapers behind the Arras’.

[465] _Blurt Master Constable_ has (_a_) Camillo’s (I. i; II. i) with a hall; (_b_) Hippolyto’s (III. i) where (136) ‘Violetta appears above’, and (175) ‘Enter Truepenny above with a letter’; (_c_) a chapel (III. ii) with a ‘pit-hole’ dungeon, probably also visible in II. i and III. i; (_d_) Blurt’s (I. ii) which is ‘twelve score off’; (_e_) Imperia’s, where is most of the action (II. ii; III. iii; IV. i, ii, iii; V. ii, iii). Two chambers below are used; into one Lazarillo is shown in III. iii. 201, and here in IV. ii he is let through a trap into a sewer, while (38) ‘Enter Frisco above laughing’ and (45) ‘Enter Imperia above’. At IV. iii. 68 Lazarillo crawls from the sewer into the street. In IV. i and IV. iii tricks are played upon Curvetto with a cord and a rope-ladder hanging from a window above.

[466] _Phoenix_ has (_a_) the palace (I. i; V. i) with hall; (_b_) Falso’s (I. vi; II. iii; III. i); (_c_) the Captain’s (I. ii; II. ii); (_d_) a tavern (I. iv; IV. iii) with interior action; (_e_) a law court (IV. i); (_f_) a jeweller’s (III. ii; IV. i, ii, iii) with interior action. It will be observed that (_f_) is needed both with (_d_) and (_e_). There is no action above.

[467] _M. Term_ has (_a_) Paul’s (I. i, ii); (_b_) Quomodo’s shop, the Three Knaves (II. iii; III. iv; IV. i, iii, iv; V. i); (_c_) a tavern (II. i); (_d_) a law court (V. iii); (_e_) a courtesan’s (III. i; IV. ii). All have interior action and (_b_) eavesdropping above in a balcony (II. iii. 108, 378, 423; III. iv). Much action is merely in the streets.

[468] _A Mad World_ has (_a_) Harebrain’s (I. ii; III. i; IV. iv); (_b_) Penitent Brothel’s (IV. i), with interior action; (_c_) a courtesan’s (I. i; II. iii, vi; III. ii; IV. v), with a bed and five persons at once, perhaps above, in III. ii; (_d_) Sir Bounteous Progress’s in the country (II. i; II. ii, iv, v, vii; III. iii; IV. ii, iii; V. i, ii). The action here is rather puzzling, but apparently a hall, a lodging next it, where are ‘Curtains drawn’ (II. vii. 103), the stairs, and a ‘closet’ or ‘matted chamber’ (IV. ii. 27; IV. iii. 3) are all used. If the scenes were shifted, the interposition of a scene of only 7 lines (II. iii) at London amongst a series of country scenes is strange.

[469] _A Trick to Catch_ has (_a_) Lucre’s (I. iii, iv; II. i, ii; IV. ii, iii; V. i); (_b_) Hoard’s (III. ii; IV. iv; V. ii); (_c_) a courtesan’s (III. i); (_d_) an inn (III. iii); (_e_) Dampit’s (III. iv; IV. v); and away from London, (_f_) Witgood Hall, with (_g_) an inn (I. i, ii); (_h_) Cole Harbour (IV. i). Nearly all the action is exterior, but a window above is used at (_b_) in IV. iv, and at (_e_) there is interior action both below in III. iv and perhaps above (cf. III. iv. 72), with a bed and eight persons at once in IV. v.

[470] _Puritan_ has (_a_) the Widow’s (I. i; II. i, ii; III. i, ii; IV. i, ii, iii; V. i, ii), with a garden and rosemary bush; (_b_) a gentleman’s house (III. iv); (_c_) an apothecary’s (III. iii); (_d_) a prison (I. iv; III. v). There is interior action below in all; action above only in (_a_) at V. ii. 1, ‘Enter Sir John Penidub, and Moll aboue lacing of her clothes’ in a balcony.

[471] _Woman Hater_ has (_a_) the Duke’s palace (I. i, iii; IV. i; V. ii); (_b_) the Count’s (I. iii); (_c_) Gondarino’s (II. i; III. i, ii); (_d_) Lazarillo’s lodging (I. i, ii); (_e_) a courtesan’s (II. i; IV. ii, iii; V. ii); (_f_) a mercer’s shop (III. iv); (_g_) Lucio’s study (V. i). There is interior action below in (_a_), (_e_), (_f_), and (_g_), where ‘Enter Lazarello, and two Intelligencers, Lucio being at his study.... Secretary draws the Curtain’. A window above is used at (_e_), and there is also action above at (_c_), apparently in a loggia within sight and ear-shot of the street.

[472] The term is used in _The Faery Pastoral_, _Satiromastix_, and _Bussy d’Ambois_ (_vide supra_); but also in _Sophonisba_ (_vide infra_), which is a Blackfriars play.

[473] I take it that it was in this stand that Andrugio’s ghost was placed ‘betwixt the music-houses’ in _2 Antonio and Mellida_.

[474] The four plays which seem most repugnant to continuous staging, _Westward Ho!_, _Northward Ho!_, _A Mad World, my Masters_, and _A Trick to Catch the Old One_, are all datable in 1604–6.

[475] Elizabethan Plays: _Love’s Metamorphosis_, _Liberality and Prodigality_, _Cynthia’s Revels_, _Poetaster_, _Sir Giles Goosecap_, _Gentleman Usher_, and probably _All Fools_; Jacobean Plays: _M. d’Olive_, _May Day_, _Widow’s Tears_, _Conspiracy of Byron_, _Tragedy of Byron_, _Case is Altered_, _Malcontent_, _Dutch Courtesan_, _Sophonisba_, _Eastward Ho!_, _Your Five Gallants_, _Philotas_, _Isle of Gulls_, _Law Tricks_, _Fleir_, _Faithful Shepherdess_, _Knight of the Burning Pestle_. In addition _Fawn_ and _Trick to Catch an Old One_, already dealt with under Paul’s, were in the first case produced at, and in the second transferred to, Blackfriars.

[476] Cf. p. 34.

[477] _Lib. and Prod._ 903, ‘Here Prod. scaleth. Fortune claps a halter about his neck, he breaketh the halter and falles’; 1245, ‘The Judge placed, and the Clerkes under him’.

[478] The fountain requires a trap. There is no action above. I cite the scenes of Q_{1}, which are varied by Jonson in F_{1}.

[479] In the prol. 27, Envy says, ‘The scene is, ha! Rome? Rome? and Rome?’ (cf. p. 154). The only action above is by Julia in IV. ix. 1, before the palace, where (F_{1}) ‘Shee appeareth above, as at her chamber window’, and speaks thence.

[480] _Sir G. G._ has, besides the London and Barnet road (III. i), the houses of (_a_) Eugenia (I. i-iii; II; IV. i) and (_b_) Momford (I. iv; II; III. ii; IV. iii; V). Both have action within, none above. In IV. ii. 140 persons on the street are met by pages coming from Momford’s ‘on the other side’, but (_b_) is near enough to (_a_) to enable Clarence in II to overhear from it (as directed in I. iv. 202) a talk between Momford and Eugenia, probably in her porch, where (ii. 17) ‘Enter Wynnefred, Anabell, with their sowing workes and sing’, and Momford passes over to Clarence at ii. 216. Two contiguous rooms in (_b_) are used for V. i, ii (a single scene). One is Clarence’s; from the other he is overheard. They are probably both visible to the audience, and are divided by a curtain. At V. ii. 128 ‘He draws the curtains and sits within them’. Parrott adds other s.ds. for curtains at 191, 222, 275, which are not in Q_{1}.

[481] _Gent. Usher_ has (_a_) Strozza’s (I. i; IV. i, iii; V. ii), where only a porch or courtyard is needed, and (_b_) Lasso’s (I. ii; II; III; IV. ii, iv; V. i, iii, iv), with a hall, overlooked by a balcony used in V. i. 1 and V. iii. 1, and called ‘this tower’ (V. iii. 5).

[482] The visible houses of _All Fools_ are (_a_) Gostanzo’s, (_b_) Cornelio’s, and (_c_) the Half Moon tavern, where drawers set tables (V. ii. 1), but not necessarily inside. Both (_a_) and (_b_) are required in II. i and IV. i, and (_a_), (_b_), and (_c_) in III. i.

[483] _M. d’Olive_ has (_a_) a hall at Court (II. ii); (_b_) Hieronyme’s chamber, also at Court (V. ii); (_c_) d’Olive’s chamber (III. ii; IV. ii); (_d_) Vaumont’s (I; II. i; IV. i; V. i); (_e_) St. Anne’s (III. i); of which (_b_) and (_d_) are used together in V. i, ii (a continuous scene), and probably (_c_) and (_e_) in III. i. There is action within at (_a_), (_c_), and (_d_), and above at (_d_), which has curtained windows lit by tapers (I. 48), at one of which a page above ‘looks out with a light’, followed by ladies who are bidden ‘come down’ (V. i. 26, 66).

[484] _May Day_ has (_a_) Quintiliano’s, (_b_) Honorio’s, (_c_) Lorenzo’s, and (_d_) the Emperor’s Head, with an arbour (III. iii. 203). The only interior action is in Honorio’s hall (V). Windows above are used at Lorenzo’s, with a rope-ladder, over a terrace (III. iii), and at Quintiliano’s (III. ii). The action, which is rather difficult to track, consists largely of dodging about the pales of gardens and backsides (II. i. 180; III. iii. 120, 185; IV. ii. 83, 168). Clearly (_a_), (_c_), and (_d_) are all used in the latter part of II. i, where a new scene may begin at 45; and similarly (_b_), (_c_), and (_d_) in III. iii, and (_b_) and (_c_) in IV. ii.

[485] _Widow’s Tears_ has (_a_) Lysander’s (I. i; II. i; III. i); (_b_) Eudora’s (I. ii; II. ii, iv; III. ii; IV. i); (_c_) Arsace’s (II. iii); all of which are required in I. iii; and (_d_), a tomb (IV. ii, iii; V). There is interior action in a hall of (_b_), watched from a ‘stand’ (I. i. 157; I. iii. 1) without, and the tomb opens and shuts; no action above.

[486] In the _Conspiracy_ the Paris scenes are all at Court, vaguely located, and mainly of hall type, except III. iii, which is at an astrologer’s; the only Brussels scene is I. ii, at Court. The _Tragedy_ is on the same lines, but for V. ii, in the Palace of Justice, with a ‘bar’, V. iii, iv, in and before the Bastille, with a scaffold, and I. ii and III. i at Dijon, in Byron’s lodging. In II. i. 3 there is ‘Music, and a song above’, for a mask.

[487] _C. Altered_, I. i. 1, ‘Iuniper a Cobler is discouered, sitting at worke in his shoppe and singing’; IV. v. 1, ‘Enter Iuniper in his shop singing’.

[488] _C. A._ I. v. 212; II. i; III. ii, iii, v, ‘Enter Iaques with his gold and a scuttle full of horse-dung’. ‘_Jaques._ None is within. None ouerlookes my wall’; IV. vii. 62, ‘Onion gets vp into a tree’; V. i. 42. In I. v action passes directly from the door of Farneze to that of Jaques.

[489] _Malc._ I. i. 11, ‘The discord ... is heard from ... Malevole’s chamber’ ... (19) ‘Come down, thou rugged cur’ ... (43) ‘Enter Malevole below’.

[490] _Malc._ V. ii. 163. This transition is both in Q_{1} and Q_{2}, although Q_{2} inserts a passage (164–94) here, as well as another (10–39) earlier in the scene, which entails a contrary transition from the palace to the citadel.

[491] _Dutch C._ has (_a_) Mulligrub’s (I. i; II. iii; III. iii) with action in a ‘parlour’ (III. iii. 53); (_b_) Franceschina’s (I. ii; II. ii; IV. iii, v; V. i), with action above, probably in a _loggia_ before Franceschina’s chamber, where she has placed an ambush at V. i. 12, ‘She conceals them behind the curtain’; (_c_) Subboy’s (II. i; III. i; IV. i, ii, iv; V. ii), with a ring thrown from a window above (II. i. 56); (_d_) Burnish’s shop (III. ii; V. iii), with an inner and an outer door, for (III. ii. 1) ‘Enter Master Burnish [&c.] ... Cocledemoy stands at the other door ... and overhears them’.

[492] _Soph._ I. ii. 32, ‘The Ladies lay the Princess in a fair bed, and close the curtains, whilst Massinissa enters’ ... (35) ‘The Boys draw the curtains, discovering Sophonisba, to whom Massinissa speaks’ ... (235) ‘The Ladies draw the curtains about Sophonisba; the rest accompany Massinissa forth’.

[493] _Soph._ III. i. 117, ‘The attendants furnish the altar’.... (162) ‘They lay Vangue in Syphax’ bed and draw the curtains’ ... (167) _Soph._ ‘Dear Zanthia, close the vault when I am sunk’ ... (170) ‘She descends’ ... (207) ‘[Syphax] descends through the vault’.

[494] _Soph._ IV. i, ‘Enter Sophonisba and Zanthia, as out of a cave’s mouth’ ... (44) ‘Through the vaut’s mouth, in his night-gown, torch in his hand, Syphax enters just behind Sophonisba’.... (126) ‘Erichtho enters’ ... (192) ‘Infernal music, softly’ ... (202) ‘A treble viol and a base lute play softly within the canopy’ ... (212) ‘A short song to soft music above’ ... (215) ‘Enter Erichtho in the shape of Sophonisba, her face veiled, and hasteth in the bed of Syphax’ ... (216) ‘Syphax hasteneth within the canopy, as to Sophonisba’s bed’ ... (V. i. 1) ‘Syphax draws the curtains, and discovers Erichtho lying with him’ ... (24) ‘Erichtho slips into the ground’ ... (29) ‘Syphax kneels at the altar’ ... (40) ‘Out of the altar the ghost of Asdrubal ariseth’. There is no obvious break in IV. Erichtho promises to bring Sophonisba with music, and says ‘I go’ (181), although there is no _Exit_. We must suppose Syphax to return to his chamber through the vault either here or after his soliloquy at 192, when the music begins.