[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 (Q₁), 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. (F₁), prol. 14,

[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 (F₁; Q₁, 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, Q₂ (reproduced in F₁), in addition to textual differences from Q₁, may represent a revised handling of the scene. Q₁ 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. Q₂ 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.