[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 Theatre³, 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 Q₁, Romeo’s ‘on lustie Gentlemen’ to the maskers is followed by ‘Enter old Capulet with the Ladies’, while in Q₂, 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 (Q₁) ‘Enter in a Dumb Show, the King and the Queene, he sits downe in an Arbor’, (Q₂, F₂) ‘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’.

[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 (Dodsley⁴), 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’ (Q₁); 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 (Dodsley⁴), 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’ (Q₁); 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’ (Q₂, F₁) or ‘here in the gallery’ (Q₁). 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’ (Q₁), ‘Enter Othello and Desdemona in her bed’ (F₁). 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.