_Fair Maid of Bristow_ Harbart_Shakespeare at the Globe, 1599-1609

B1^v 28-2^v 16 B1^v 28-2^v 16

_Fair Maid of Bristow_ Challener

B1^v

_Fair Maid of Bristow_ Sentloe

E3^r 20 E3^{r-v}

_Fair Maid of Bristow_ Anabell

E4^v (?)

_Volpone_ Volpone (Scoto)

II, iv II, iv, 30-36

_Volpone_ Volpone (sick)

I, iii-v

III, iii-v, vii, ix

IV, vi

_Volpone_ Volpone (Commandant)

V, iii

_Volpone_ Peregrine

V, iv, 1

_Revenger’s Tragedy_ Vindice

I, i I, i

(l) _The Malcontent_ is not included in this list although its

plot is based completely upon a disguise. In this play the basic

disguise is manner (see I, i). Malevole and Celso converse about

the former’s loss of his dukedom (213-255). On the entrance of

Bilioso, however, “Malevole shifteth his speech,” that is, he

adopts his satiric manner. This treatment of disguise is similar to

that in _The Revenger’s Tragedy_.

(m) Time here helps to disguise Thaisa.

(n) Lucilius claims to be Brutus, but he is immediately recognized.

(o) Ford may have a change of clothing, particularly considering

that Falstaff sees him at his house in IV, ii, and Ford visits him

again in V, i.

ii. Formal Scenes in Shakespeare’s Globe Plays requiring more than

five characters

Single Combat Scenes

_As You Like It_, I, ii; _Merry Wives of Windsor_, III, i;

_Troilus and Cressida_, IV, v; _Coriolanus_, III, i.

Banquet Scenes

_As You Like It_, II, vii; _Macbeth_, III, iv; _Antony and

Cleopatra_, II, vii; _Timon_, I, ii.

Hearing or Trial Scenes

_Merry Wives of Windsor_, I, i (?); _Measure for Measure_, II, i;

_Othello_, I, iii; _Lear_, II, ii; _Coriolanus_, III, iii.

Council or Senate Scenes

_Hamlet_, I, ii; _Lear_, I, i; _Othello_, I, iii; _Coriolanus_,

II, ii; _Julius Caesar_, III, i.

Play-Within-Play Scenes

_Hamlet_, II, ii; III, ii.

Procession Scenes

_Hamlet_, V, i; _All’s Well_, III, v; _Troilus and Cressida_, I,

ii; III, iii; _Macbeth_, IV, i; _Coriolanus_, II, i; _Pericles_,

II, ii; _Julius Caesar_, III, i.

Welcoming Scenes

_Troilus and Cressida_, IV, v; _Othello_, II, i; _Macbeth_, I,

vi; _Timon_, I, i.

Alarum Scene

_Macbeth_, II, iii.

Parley Scenes

_Antony and Cleopatra_, II, ii; II, vi; _Julius Caesar_, V, i.

Finales

_As You Like It_, V, iv; _Twelfth Night_, V, iv; _Merry Wives of

Windsor_, V, v; _Hamlet_, V, ii; _All’s Well_, V, iii; _Measure

for Measure_, V, i; _Othello_, V, ii; _Lear_, V, iii; _Macbeth_,

V, viii; _Coriolanus_, V, vi; _Antony and Cleopatra_, V, ii;

_Pericles_, V, iii.

The only plays whose finales do not fall into this category

of group scenes are _Julius Caesar, Timon of Athens_, and

_Troilus and Cressida_. Their finales fall into the first

category of group scenes, less than five characters with mute

supernumeraries. Each of three scenes (_Troilus and Cressida_,

IV, v; _Othello_, I, iii; and _Julius Caesar_, III, i) contains

two types of formal actions within the single scene.

iii. The Use of the Above: Two Special Instances

_Julius Caesar_, V, iii

The stage direction “Pindarus above” together with the stage

direction, “Enter Pindarus,” makes it almost certain that the

above and not a platform was used. None of the scaffold scenes

has a stage direction “above” or an “enter.” In this instance,

then, we must suppose that either Cassius spoke very slowly or

Pindarus moved very quickly, for only two and a half lines cover

his ascent and two lines his descent.

_Antony and Cleopatra_, IV, xv

The physical factors that have to be satisfied in staging the

monument scene are (1) Cleopatra is aloft with her women; (2)

Diomedes reports Antony’s suicide and then tells her to look

out the other side of the monument to see Antony; (3) Antony is

heaved aloft as Cleopatra calls for aid, but not specifically

from Diomedes. Diomedes, it is necessary to note, is Cleopatra’s,

not Antony’s, servant; (4) Antony’s body is carried out at the

end of the scene.

Warren Smith suggests that a scaffold was utilized for the monument

(“Evidence of Scaffolding on Shakespeare’s Stage,” _R.E.S._, N.S.

II (1951), 29). This is unlikely in view of the specific direction

placing the action “aloft.” Wherever scaffolds are otherwise

used (_Troilus and Cressida_, I, ii; _Julius Caesar_, III, ii;

_Volpone_, II, ii; _Fair Maid of Bristow_, Sig. E4^r-F2^v), the

term “aloft” or “above” is never introduced. Smith also fails to

satisfy the final direction, “Exit bearing Anthony.” The monument

must be connected to the tiring house. At the same time there is

no indication of a curtain. Consequently, I suppose the monument

to be located above. What of factor (2)? It is generally supposed

that the stage direction, “Enter Diomed,” refers to an entrance on

the platform. Kittredge adds “below” after this stage direction.

But this is not the necessary interpretation. If Diomedes entered

above, and reported in messenger fashion to his mistress,

Cleopatra, his injunction to “Look out o’ th’ other side your

monument” could easily mean “Look out front.” In messenger fashion

he leaves after making his report. The last problem concerns

raising Antony. The agency for doing so was the combined energy

of more than four boys (Cleopatra, Charmian, Iras, and her maids

who appear for the first time) and of at least four men. How high

the body had to be raised is uncertain. J. C. Adams calculates the

above was 12’ above the floor and had a 2’6” railing. Hodges’

estimate is less, about 10’. Neither 10’ nor 12’ are prohibitive

heights although a railing would be difficult to work over. Perhaps

it was possible to remove a portion of the railing. Despite the

obstacles, however, Antony was raised in a manner which, we must

suppose, was not ludicrous.

NOTES

INTRODUCTION

[1] C. W. Wallace, _The First London Theatre_ (Lincoln, Neb.,

1913), p. 24.

[2] Gerald E. Bentley, “Shakespeare and the Blackfriars Theatre,”

_Shakespeare Survey_, I (1948), p. 47.

[3] Peter Streete agreed, in this contract dated January 8, 1600,

to complete his construction by July 25, 1600 (E. K. Chambers,

_The Elizabethan Stage_ (Oxford, 1923), II, p. 438), a period of

about twenty-eight weeks. However, it was covenanted that “the

saide Peeter Streete shall not be chardged with anie manner of

pay[ntin]ge in or aboute the saide fframe howse or Stadge or

anie parte thereof, nor rendringe the walls within” (Chambers,

II, p. 437). Consequently, we must add to the twenty-eight weeks

an indeterminate period during which the playhouse was painted,

thus bringing the estimated completion of the Fortune to some

time in August at least. It is probable that in computing the

schedule for the Fortune, Streete utilized his experience at the

Globe, particularly since the new stage was to be so much like the

Globe’s. Streete would find such computation easy after allowing

for differences in building conditions. On the one hand the fact

that the timber from the Theatre was to be used for the Globe

suggests that the frame for the Globe took less time to erect. On

the other hand, the fact that the Globe had to be built on piles

might reasonably suggest that laying its foundations required

more time. If Henslowe’s notation of payment “to the laberers at

the eand of the fowndations the 8 of maye 1600” (Philip Henslowe,

_Papers_, ed. W. W. Greg, p. 10), correctly reflects the time

consumed in erecting these of the Fortune, a matter of about

sixteen weeks, then we must assume that the base of the Globe was

not ready to take a frame until the middle of June. As Henslowe’s

_Diary_ and _Papers_ indicate, Streete probably consummated his

portion of the contract somewhat later than he had estimated, that

is, about the first week in August (Henslowe, p. 11). But even if

there were some delay, as Greg believes, Streete had erred merely

by a matter of two weeks. I believe that his initial estimate,

fundamentally reliable, reflected his experience at the Globe.

[4] Among others Heminges testified that he shared in profits from

the presentation of plays at Blackfriars for four years previous

to 1612 (Kirkham vs. Painton, as reprinted in F. G. Fleay, _A

Chronicle History of the London Stage_ (London, 1890), pp. 225,

235, 238, 244, 249). The only time when the plague bills declined

sufficiently to permit the possibility of performances was in

March, 1609. The weekly count of plague deaths was thirty-two as of

March 2, forty-three as of March 9, and thirty-three as of March

16. Thereafter, the plague increased in severity and the weekly

number of deaths fell below forty only once again before December,

1609. (Statistics from John Bell, _London’s Remembrancer_ (London,

1665) as reprinted in J. T. Murray, _English Dramatic Companies_

(London, 1910), II, pp. 186-187.)

[5] E. K. Chambers, _William Shakespeare_ (Oxford, 1930), I; Alfred

Harbage, _Annals of the English Drama_ (London, 1940); William

Shakespeare, _The Complete Works of_, ed. G. L. Kittredge (New

York, 1936); James McManaway, “Recent Studies in Shakespeare’s

Chronology,” _Shakespeare Survey_, III (1950), 22-33. In composing

the list of plays performed by the Globe company, I have relied

on Chambers, compared with Harbage and Kittredge, and checked

against McManaway’s survey of studies in the chronological order of

Shakespeare’s plays. Later theories on particular plays have been

examined when relevant.

[6] _Twelfth Night_, ed. J. D. Wilson (Cambridge, 1930); Leslie

Hotson, _The First Night of_ Twelfth Night (New York, 1954).

[7] Percy Allen, “The Date of Hamlet,” _T.L.S._, January 2, 1937,

12; Chambers, _William Shakespeare_, I, p. 423; also “The Date of

_Hamlet_,” _Shakespearean Gleanings_ (London, 1944), pp. 68-75;

_Hamlet_, ed. J. D. Wilson (Cambridge, 1936), 2nd ed.; H. D.

Gray, “The Date of _Hamlet_;” _J.E.G.P._, XXX (1932), 51-61; L.

Kirschbaum, “The Date of _Hamlet_,” _S.P._, XXXIV (1937), 168-175.

[8] Leslie Hotson, “Love’s Labour’s Won,” _Shakespeare’s Sonnets

Dated_ (New York, 1949), 37-56.

[9] A. Hart, “The Date of _Othello_,” _T.L.S._, October 10, 1935,

631; A. Cairncross, “A Reply to Hart,” _T.L.S._, October 24, 1935,

671; Richmond Noble, “A Reply to Hart,” _T.L.S._, December 14,

1935, 859; W. W. Greg, “The Date of _King Lear_ and Shakespeare’s

Use of Earlier Versions of the Story,” _Library_, XX (1940),

377-400.

[10] Chambers, _William Shakespeare_, I, p. 522.

[11] _Macbeth_, ed. J. D. Wilson (Cambridge, 1947), pp. xl-xlii.

Wilson offers a fanciful argument to support his theory that the

play was first performed before James in Edinburgh in 1601-1602.

Kenneth Muir (Arden edition, 1951), p. xxvi, reviewing this

argument, concludes, “It is reasonable to assume that the play was

first performed in 1606, first at the Globe, and afterwards at

Court--perhaps with a few minor alterations.”

[12] Leslie Hotson, _Shakespeare vs. Shallow_ (Boston, 1931), pp.

111-122; P. Alexander, _Shakespeare’s Life and Art_ (London, 1939),

p. 125; William Green, _Shakespeare’s Garter Play_ (unpublished

dissertation, Columbia University, 1959), believes that Lord

Hunsdon commissioned Shakespeare to write the play for performance

on April 23, 1597. However, his explanation for the omission of

the play’s title from Meres’ list is essentially hypothetical (pp.

249-251).

[13] Eight early plays of Shakespeare’s were actually revived

during the Globe period, or supposedly revived according to the

title pages of early editions. These plays were _The Comedy of

Errors_, _Love’s Labour’s Lost_, _The Merchant of Venice_, _A

Midsummer Night’s Dream_, _Richard II_, _Richard III_, _Romeo

and Juliet_, and _Titus Andronicus_. Seven of the eight, all but

the first, were printed in quartos. However, the texts of later

editions were set up from the early editions without appreciable

alterations. The Folio text of _Dream_ does include some additions

to the stage directions which may be illuminating but which do

not change the theatrical elements. The Fourth Quarto (1608) of

_Richard II_ is the first edition to contain the abdication scene,

and the Folio text of _Titus Andronicus_ contains additional stage

directions and a new scene. But these omissions in the early copies

do not seem to be a result of staging conditions. There are two

possible inferences. Either the later texts had no connection with

the playhouse and therefore merely copied the earlier texts, or the

productions did not change sufficiently over the years to cause

variations in the texts. As a result I have decided to use these

plays for occasional reference only.

[14] The dating of these and the succeeding plays is based upon

Chambers, _Elizabethan Stage_, III, pp. 214, 293, 431, 513; IV, pp.

1, 8, 12, 27, 30, 42, 54.

[15] Baldwin Maxwell, _Studies in the Shakespeare Apocrypha_ (New

York, 1956), pp. 99-106, dates the play between 1599 and 1600.

[16] _A Yorkshire Tragedy_ has been identified with _Miseries of

Enforced Marriage_ by F. G. Fleay and others. Mark Friedlaender,

“Some Problems of _A Yorkshire Tragedy_,” _S.P._, XXXV (1938),

238-253, in his reconsideration of the evidence rejects this

theory. He suggests that both plays were made from a single

original play. In a more recent study Baldwin Maxwell (pp. 153 ff.)

considers the plays to be independent works. Whatever the theory,

it is certain that both plays were staged and must be enumerated

separately.

[17] Thomas Kyd, _The Works_, ed. Frederick S. Boas (Oxford, 1955),

p. xlii. Chambers, _Elizabethan Stage_, IV, p. 23, suggests that

the present text was the one presented at the Globe about 1604.

However, the suggestion is hedged with so many qualifications that

I thought it better to exclude this piece.

CHAPTER ONE. THE REPERTORY

[1] The material for the succeeding pages comes from an analysis of

Philip Henslowe’s _Diary_, ed. W. W. Greg (London, 1904-1908), the

dates being based on Greg’s correction of Henslowe. Mention must be

made of the new edition of Henslowe’s _Diary_, prepared by R. A.

Foakes and R. T. Rickert (Cambridge, 1961), which appeared while

the present work was in press. The editors offer slight correction

of the primary evidence and some fresh interpretations of its

significance.

[2] Chambers, _Elizabethan Stage_, IV, pp. 322-325.

[3] Henslowe, I. The list of plays from November 10, 1595-January

17, 1596 may be found on page 27. Fuller descriptions of the plays

mentioned by name may be found in Volume II, pp. 167-168, 175-177.

[4] Performances: Nov. 24-25, _Hercules_, I and II; Nov. 26,

_Longshank_; Nov. 27, _New World’s Tragedy_; Nov. 28, _Henry V_

(new); Nov. 29, _The Welshman_; Dec. 1, _A Toy to Please_; Dec. 2,

_Henry V_; Dec. 3, _Barnardo and Fiametta_; Dec. 4, _Wonder of a

Woman_; Dec. 6, _Crack Me This Nutte_.

[5] _Belin Dun_ was performed regularly from June 10 to November

15, 1594, and regularly from March 31 to June 25, 1597, yet there

was an isolated performance on July 11, 1596. See Henslowe, II, p.

164.

[6] Chambers, _Elizabethan Stage_, II, pp. 143ff.; Henslowe, II,

pp. 118-119, 124-127.

[7] Chambers, _Elizabethan Stage_, II, pp. 165-172, 177-180. From

1597 to 1603 nine men, Chettle, Day, Dekker, Drayton, Hathway,

Haughton, Munday, Smith, and Wilson, furnished sixty-four of the

eighty-eight plays which were finished and produced.

[8] These are: _Phaethon_, _Earl of Godwin and His Three Sons_ I

and II, _King Arthur_ I, _Black Bateman of the North_, _Madman’s

Morris_, _Pierce of Winchester_, _Civil Wars of France_ I and II,

_Fount of New Fashions_, _Brute_, _The Spencers_, _The Page of

Plymouth_, _Troy’s Revenge or Polyphemus_, _Cox of Collumpton_,

_Fortunatus, atient Grissel_, _Seven Wise Masters_, _Strange News

out of Poland_, _Cupid and Psyche_, _Six Yeomen of the West_,

_Cardinal Wolsey_, _Thome Strowd_ III, _The Conquest of the West

Indies_, _Judas_, _Malcolm King of Scots_, _Love Parts Friendship_,

_Jephthah_.

[9] Henslowe, II, p. 112.

[10] F. G. Fleay, _A Chronicle History of the London Stage_, p. 117.

[11] Sir Henry Herbert, _The Dramatic Records of Sir Henry

Herbert_, ed. J. Q. Adams (New Haven, 1917), pp. 66-67.

[12] _The Virgin Martyr_ involved the addition of a scene, _The

Tragedy of Nero_ was allowed for printing, _Come See a Wonder_

is listed for “a company of strangers,” and “the company at the

Curtain” is in dispute.

[13] 1604-1605: 10 plays presented, 7 by Shakespeare; 1611-1612: 23

plays, 2 by Shakespeare, 5 by others, 16 unidentified; 1612-1613:

20 plays, 8 by Shakespeare, 12 by others; 1618: 3 plays, 2 by

Shakespeare, 1 by another poet; 1633: 22 plays, 4 by Shakespeare,

18 by others; 1636: 19 plays, 3 by Shakespeare, 16 by others; 1638:

7 plays, 1 by Shakespeare, 6 by others; 1638-1639: 17 plays, 2 by

Shakespeare, 15 by others. See Chambers, _Elizabethan Stage_, IV,

pp. 171-183; Mary S. Steele, _Plays and Masques at Court_ (New

Haven, 1926).

[14] Chambers, _Elizabethan Stage_, IV, pp. 350-351. Periods during

which plague forced the closing of the theaters between 1599 and

1608 were: March--December, 1603, c. October 5--December 15, 1605,

July--December, 1606, July--November 19, 1607, August--December,

1608.

[15] Days without performances because of Lenten observance are not

counted.

[16] Chambers, _William Shakespeare_, II, p. 332.

[17] Henslowe, II, pp. 83, 124-125, 149.

[18] The eight plays are Suckling’s _Aglaura_ (1638), Cartwright’s

_The Royal Slave_ (1636), and Habington’s _Cleodora_ (1640), which

were presented for Their Majesties by courtiers seeking favor (see

Steele, pp. 265, 268; Herbert, p. 58); Carlell’s _The Deserving

Favourite_ (1629) and Mayne’s _City Match_ (1639) (see Steele, pp.

263, 274, 277); _Two Merry Milkmaids_ (1620), which may or may

not have been presented publicly (Steele, p. 206); Middleton and

Rowley, _A World Tost at Tennis_ (1620), which was conceived as a

masque, but apparently presented publicly (Steele, p. 227); and _As

Merry as May Be_ (1602-1603).

[19] Herbert, p. 32. Also see pp. 19, 19 n., 36.

[20] _Ibid._, pp. 22, 35, 54; also Bentley, II, p. 675.

[21] J. C. Adams, _The Globe Playhouse_ (Cambridge, 1942), pp.

59-89; T.W. Baldwin, _The Organization and Personnel of the

Shakespearean Company_ (Princeton, 1927), pp. 332-338; Alfred

Harbage, _Shakespeare’s Audience_ (New York, 1941), p. 33.

[22] Chambers, _Elizabethan Stage_, IV, pp. 166-175. From

Elizabeth the Lord Chamberlain’s men received £30 (3.6 per cent)

in 1599-1600, £30 (3.6 per cent) in 1600-1601, £40 (4.8 per cent)

in 1601-1602, and £20 (2.4 per cent) in 1602-1603. The percentages

indicate that portion of their income derived by the players from

the Court. (Based upon Baldwin’s low estimate of £840 annual

income.)

[23] Frances Keen, “The First Night of _Twelfth Night_,” _T.L.S._,

December 19, 1958, 737.

CHAPTER TWO. THE DRAMATURGY

[1] The recognition of this deficiency forced Thomas W. Baldwin

to develop his theory of Shakespeare’s five-act structure in

reference to the Renaissance critics of France, Italy, and Germany

(_Shakespeare’s Five-Act Structure_, Urbana, 1947). Henry Popkin,

_Dramatic Theory of the Elizabethan and Jacobean Playwrights_

(unpublished dissertation, Harvard, 1950) endeavors to show that

the Elizabethan and Jacobean playwrights were aware of prevailing

theories of drama, but he does not go on to show that they

introduced what they knew into what they wrote.

[2] Baldwin, _Shakespeare’s Five-Act Structure_, pp. 305, 315, 321,

326.

[3] Muriel C. Bradbrook, _Themes and Conventions of Elizabethan

Tragedy_ (Cambridge, 1935), p. 5.

[4] Madeleine Doran, _Endeavors of Art_ (University of Wisconsin,

1954), p. 5.

[5] Heinrich Wölfflin, _Principles of Art History_ (New York,

1932), pp. 14-16, 159; Doran, p. 6.

[6] George Puttenham, _The Arte of English Poesie_ (1589), as

reprinted in Gregory Smith, _Elizabethan Critical Essays_ (Oxford,

1904), II, pp. 19-20.

[7] Francis Fergusson, _The Idea of a Theater_ (Princeton, 1949),

pp. 229-230.

[8] Hardin Craig, “Shakespeare’s Development as a Dramatist in the

Light of His Experience,” _S.P._, XXXIX (1942), 226; also S. L.

Bethell, _Shakespeare and the Dramatic Tradition_ (London, 1944),

p. 70.

[9] Doran, pp. 103, 263.

[10] _Ibid._, p. 296.

[11] _Ibid._, p. 264.

[12] Bradbrook, pp. 30, 75.

[13] Doran, p. 295.

[14] See especially _Twelfth Night_, I, i-iii; _Hamlet_, I, i-iii;

_Lear_, I, i; _Measure for Measure_, I, i; _The Devil’s Charter_,

dumb show.

[15] The other ranking figures are Antonio in _The Revenger’s

Tragedy_, Malevole, revealed as Duke Altofronto in _The

Malcontent_, young Flowerdale in _The London Prodigal_, and the

husband in _A Yorkshire Tragedy_. The prodigal son plays, _Miseries

of Enforced Marriage_, _The London Prodigal_, and _A Yorkshire

Tragedy_, have a double figure, the husband who judges himself and

the wife who grants forgiveness.

[16] Discovery: _As You Like It_, _Twelfth Night_, _Merry Wives

of Windsor_, _All’s Well_, _Pericles_; discovery-single combat:

_Hamlet_, _Lear_; discovery-suicide: _Othello_; discovery-trial:

_Measure for Measure_; single combat: _Macbeth_; suicide: _Julius

Caesar_, _Antony and Cleopatra_; trial: _Coriolanus_; siege: _Timon

of Athens_.

[17] Curtis B. Watson, “Shakespeare’s Dukes,” _S.A.B._, XVI (1941),

33. Watson insists that the Duke employed in this fashion is unique

to Shakespeare’s plays. However, as the non-Shakespearean plays

reveal, the same functions are carried out by father, king, or lord.

[18] G. Wilson Knight, _Principles of Shakespearean Production_

(Harmondsworth Middlesex, 1949), p. 21.

[19] _Ibid._, p. 21; W. J. Lawrence, “Some Reflections on

Shakespeare’s Dramaturgy,” _Speeding Up Shakespeare_ (London,

1937), p. 43; Richard G. Moulton, _Shakespeare as a Dramatic

Artist_ (Oxford, 1893), p. 217.

[20] Moulton, p. 217. He persists in finding a “point” for the

climax although he more clearly than any one of the other writers

perceives the extended nature of the climax. On page 209 he treats

the scenes of Lear’s madness as a “Centerpiece,” apparently

realizing their climactic interconnection. Yet he fails to take the

next step by abandoning the conception of a climactic moment.

[21] Harley Granville-Barker, _Prefaces to Shakespeare_ (Princeton,

1947), I, p. 274.

[22] The appearance of the “climactic plateau” late in _Troilus

and Cressida_ is further support for the theory of a two-part play

suggested by T. W. Baldwin in _A New Variorum Edition of Troilus

and Cressida_, ed. Harold N. Hillebrand, supplemental ed. T. W.

Baldwin (Philadelphia, 1953), p. 452.

[23] The climax is also associated with the subsequent

disappearance of the central figure, a characteristic pointed out

by W. J. Lawrence. Both comedy, for example, _Twelfth Night_ and

_Measure for Measure_ (Angelo is absent for the third and almost

all of the fourth act) and tragedy display the same pattern.

[24] Levin L. Schücking, _Character Problems in Shakespeare’s

Plays_ (New York, 1922), p. 114.

[25] Elmer E. Stoll, _Shakespeare Studies_ (New York, 1942), p. 37,

corrected edition; G. Wilson Knight, _Wheel of Fire_ (New York,

1949), pp. 13-14.

[26] G. Wilson Knight, _Wheel of Fire_ and _Principles_, pp.

140-155, for his proposed _Macbeth_ production.

CHAPTER THREE. THE STAGE

[1] G. F. Reynolds, “What We Know of the Elizabethan Stage,”

_M.P._, IX (1911), 68.

[2] V. E. Albright, _The Shakesperian Stage_ (New York, 1909), p.

45.

[3] The figures are suggestive rather than definitive. See Appendix

B, chart i, for breakdown according to plays.

[4] H. Granville-Barker, “A Note on Chapters XX and XXI of _The

Elizabethan Stage_,” _R.E.S._, I (1925), 68.

[5] Ashley Thorndike, _Shakespeare’s Theater_ (New York, 1916), pp.

102 ff.

[6] _Twelfth Night_, II, ii; _Measure for Measure_, V, i; _Lear_,

II, i; II, ii; III, i; _Othello_, V, ii; _Antony and Cleopatra_,

II, vi; III, ii; _Troilus and Cressida_, IV, i; _Coriolanus_,

I, viii; I, ix; _Timon of Athens_, I, i; III, iv-vi; IV, ii;

_Pericles_, Chorus, II; II, v; Chorus, III; _The Devil’s Charter_,

prologue; I, i; IV, i; _Fair Maid of Bristow_, scene xiv.

[7] W. J. Lawrence, _The Physical Conditions of the Elizabethan

Public Playhouse_ (Cambridge, Mass., 1927), pp. 22 ff.

[8] W. J. Lawrence, _The Elizabethan Playhouse and Other Studies_,

Series One (Stratford-on-Avon, 1912), p. 23.

[9] Lawrence, _Physical Conditions_, pp. 22 ff.; J. C. Adams, p.

146.

[10] G. F. Reynolds, “_Troilus and Cressida_ on the Elizabethan

Stage,” _Joseph Quincy Adams Memorial Studies_, ed. James G.

McManaway _et al._ (Washington, 1948), pp. 229-238.

[11] _Julius Caesar_

BRUTUS. How many times shall Caesar bleed in sport,

That now on Pompey’s basis lies along

No worthier than the dust!

(III, i, 114-116)

ANTONY. Then burst his mighty heart;

And in his mantle muffling up his face,

Even at the base of Pompey’s statue,

(Which all the while ran blood) great Caesar fell.

(III, ii, 191-194)

Plutarch, _Julius Caesar_ in _Shakespeare’s Plutarch_, I, p. 102.

“But when [Caesar] saw Brutus with his sword drawn in his hand,

then he pulled his gown over his head, and made no more resistance

and was driven either casually or purposedly by the counsel of the

conspirators against the base whereupon Pompey’s image stood, which

ran all of a gore-blood till he was slain.”

[12] See Appendix B, chart ii, for the list of properties in

Shakespeare.

[13] Henslowe, _Papers_, pp. 116-118.

[14] _Antony and Cleopatra_, I, ii; II, vii; _Timon of Athens_, I,

ii; III, vi; _Cromwell_, scene vii; _The Devil’s Charter_, V, iv;

_The Revenger’s Tragedy_, V, iii.

[15] Probably _Macbeth_, III, iv; _As You Like It_, II, v;

undetermined _Pericles_, II, iii.

[16] Brought out: _Hamlet_, V, ii; _The Devil’s Charter_, IV, iii;

V, vi; probably brought out: _The Devil’s Charter_, prologue;

uncertain: _Every Man Out of His Humour_, V, iv; discovered:

_Othello_, I, iii.

[17] A parallel instance is found in _Volpone_. In the last scene

in which the bed is employed, Mosca says to Volpone, then lying in

the bed:

Patron, go in, and pray for our successe. (III, ix, 62)

The line suggests that the bed was removed rather than hidden by a

curtain.

[18] Warren Smith, “Evidence of Scaffolding on Shakespeare’s

Stage,” _R.E.S._, n.s. II (1951), 22-29.

[19] Richard Hosley, “The Discovery-Space in Shakespeare’s Globe,”

_Shakespeare Survey_, XII (1959), 35-46. Many of my own conclusions

parallel those of Mr. Hosley. See my dissertation, _The Production

of Shakespeare’s Plays at the Globe Playhouse, 1599-1609_ (Columbia

University, 1956).

[20] _Ibid._, 46. Both _Cromwell_, sc. vi, and _Merry Wives of

Windsor_, III, iii, require similar facilities.

[21] Richard Southern, “On Reconstructing a Practicable Elizabethan

Public Playhouse,” _Shakespeare Survey_, XII (1959), p. 33.

[22] Hosley, 44-45.

[23] Alone: _Devil’s Charter_, IV, i; I, iv; _Cromwell_, sc. iii,

vi; attended: _Devil’s Charter_, V, vi; _Cromwell_, sc. xii.

[24] _A Yorkshire Tragedy_, sc. v; _The Revenger’s Tragedy_, II,

iv; _The Merry Devil of Edmonton_, prologue.

[25] _The Revenger’s Tragedy_, I, iv; V, i.

[26] Fastidious Briske takes down a “base viol” from a wall. Such

action may depend upon the discovery of an interior. (III, ix, 81)

[27] Concealment: _As You Like It_, III, ii (?); _Twelfth Night_,

IV, ii; _Hamlet_, III, i, III, iv; _Merry Wives of Windsor_, III,

iii; _Measure for Measure_, III, i; _Lear_, III, vi; _Coriolanus_,

II, i; discovery: _Othello_, I, iii, V, ii; _Timon_, V, iii;

_Pericles_, I, i, III, i, V, i; tents: _Julius Caesar_, IV, ii-iii;

_Troilus and Cressida_, _passim_.

[28] See _Two Elizabethan Stage Abridgements: The Battle of Alcazar

and Orlando Furioso_, ed. W. W. Greg (The Malone Society, 1922),

pp. 34-35.

[29] _Merry Wives of Windsor_, II, ii, III, v; _Every Man Out of

His Humour_, V, iv; _Merry Devil of Edmonton_, sc. i; _Miseries of

Enforced Marriage_, sc. v; _A Yorkshire Tragedy_, sc. iii-v.

[30] Adams, p. 289.

[31] _Devil’s Charter_, II, i, IV, iv; _Timon_, V, iv;

_Coriolanus_, I, iv; _A Larum for London_, sc. ii. There is no

stage direction specifying Sancto Davila’s appearance on the

walls. However, he is “walking about Castle” and he answers to the

question, “Whose that above?” (sig. B2^v).

[32] _Othello_, I, i; _Volpone_, II, ii; _Every Man Out of His

Humour_, I, ii; _Devil’s Charter_, III, ii.

[33] Richard Hosley, “The Gallery over the Stage in the Public

Playhouse of Shakespeare’s Time,” _S.Q._, VIII (1957), 31.

[34] J. C. Adams, pp. 209-215. Also G. F. Reynolds, _The Staging of

Elizabethan Plays at the Red Bull_ (New York, 1940), p. 188.

[35] _Macbeth_, IV, i; _Hamlet_, V, i; _A Larum for London_, scene

xii; _The Devil’s Charter_, prologue; III, v, IV, i, V, vi. For

_Hamlet_, I, iv and v, see Chapter Five.

[36] Leslie Hotson, _Shakespeare’s Wooden O_ (London, 1959), p. 13.

[37] Hotson, _The First Night of Twelfth Night_, p. 67, also p.

119; Nagler, p. 11.

[38] Thomas Dekker, _The Gull’s Hornbook_, in Alois Nagler,

_Sources of Theatrical History_ (New York, 1952), p. 135.

[39] Hosley, “The Gallery,” 28.

[40] Alois Nagler, _Shakespeare’s Stage_ (New Haven, 1958), pp.

10-11.

[41] George R. Kernodle, _From Art to Theatre_ (Chicago, 1944), pp.

87-89, 120-121, 124, 129.

[42] C. Walter Hodges, “The Lantern of Taste,” _Shakespeare

Survey_, XII (1959), 8.

[43] J. C. Adams, pp. 135, 233, 259.

[44] John Summerson, _Architecture in Britain 1530-1830_ (London,

1953), p. 59.

[45] C. Walter Hodges, _The Globe Restored_ (New York, 1953),

Appendix A, pp. 170-177.

[46] Kernodle. Quotations were selected from pp. 7, 70, 110, 134

respectively.

[47] J. A. Gotch, _Architecture of the Renaissance in England_

(London, 1894), I, p. xix.

[48] Ellis Waterhouse, _Painting in Britain 1530-1790_ (Baltimore,

Md., 1953), p. 1.

[49] _A Calendar of Dramatic Records in the Books of the Livery

Companies of London 1485-1640_, The Malone Society. Collections,

Volume III (1954), p. xxvi.

[50] _Ibid._, pp. 9 (1521), 21 (1534), 26 (1535), 27-29 (1536), 33

(1541), 38 (1546), 39 (1556), 41 (1561), 47 (1568), 53 (1581), 58

(1601), 59 (1602).

[51] _Ibid._, pp. 18 (1529), 37 (1540), 46 (1566), 47 (1568).

[52] Charles M. Clode, _The Early History of the Guild of Merchant

Taylors_ (London, 1888), II, p. 267. For Harper, see II, p. 267;

For the Merchant Tailors Company, I, p. 187.

[53] _The Dramatic Records of the City of London_, The Malone

Society, Collections, Volume II, Part III (1931). See p. 311 for

example.

[54] Clode, I, p. 187.

[55] Robert Withington, _English Pageantry_ (Cambridge, Mass.,

1918-1920), II, p. 23.

[56] Gotch, p. xxii; Summerson, pp. 22 ff.

CHAPTER FOUR. THE ACTING

[1] Alfred Harbage, “Elizabethan Acting,” _P.M.L.A._, LIV (1939),

687. Although Professor Harbage modified his views later (“B.

L. Joseph, _Elizabethan Acting_,” _S.Q._, II (1951), 360-361.

A Review.) and arrived at the position that I describe on pp.

157 ff., his original thesis has served as the basis for most

discussion of the subject and may well be used as a point of

departure. In _Theatre for Shakespeare_ (Toronto, 1955), he

reprints his original article as a “personal indulgence.”

[2] W. F. McNeir, “E. Gayton on Elizabethan Acting,” _P.M.L.A._,

LVI (1941), 579-583; Robert H. Bowers, “Gesticulation in

Elizabethan Acting,” _So. Folklore Quarterly_, XII (1948), 267-277;

A. G. H. Bachrach, “The Great Chain of Acting,” _Neophilologus_,

XXXIII (1949), 160-172; Bertram L. Joseph, _Elizabethan Acting_

(London, 1951). In a later book, _The Tragic Actor_ (London,

1959), Joseph disclaims any intention of associating formality

with oratory. Both acting and oratory “had the same object, the

imitation of human emotions as they are to be recognized in human

beings in life” (pp. 19-21). In effect, he adopts the position of

the naturalists (p. 27).

[3] Joseph, _Elizabethan Acting_, p. 1.

[4] Harbage, “Elizabethan Acting,” 698. Quoted from the ms. of _The

Cyprian Conqueror_.

[5] Joseph, _Elizabethan Acting_, p. 60.

[6] John Russel Brown, “On the Acting of Shakespeare’s Plays,”

_Quarterly Journal of Speech_, XXXIX (1953), 477-484; Marvin

Rosenberg, “Elizabethan Actors: Men or Marionettes?” _P.M.L.A._,

LXIX (1954), 915-927; R. A. Foakes, “The Player’s Passion: Some

Notes on Elizabethan Psychology and Acting,” _Essays and Studies_,

VII (1954), pp. 62-77.

[7] Foakes, 76.

[8] Leonard Cox, _The Arte or Crafte of Rhethoryke_ (1527-1530),

ed. Frederic I. Carpenter (Chicago, 1899); Richard Sherry, _A

Treatise of the figures of grammar and rhethorike_ (1555); Richard

Rainolde, _A Book called the foundation of Rhetorike_ (1562);

Roger Ascham, _The Schoolmaster_ (1570); Gabriel Harvey, _Rhetor_

(1577); Dudley Fenner, _Artes of Logicke and Rhetoric_ (1584);

Henry Peacham, _The Garden of Eloquence_ (1593), ed. William G.

Crane (Gainesville, Fla., 1954); John Hoskins, _Directions for

Speech and Style_ (c. 1590), ed. Hoyt H. Hudson (Princeton, 1935);

Edmund Coote, _The Englishe Schoole-Maister_ (1596); Alexander van

den Busche, _The Orator_, tr. L. P. (Anthony Munday?) (1596); Sir

Francis Bacon, _Works_, ed. James Spedding (London, 1858), vols.

iv-vi.

[9] Abraham Fraunce, _The Arcadian Rhetorike_ (1588), ed. Ethel

Seaton (Oxford, 1950), p. 107. Succeeding material has been taken

from pp. 112-128.

[10] Baldassare Castiglione, _The Courtier_, tr. T. Hoby (1561),

reprinted in Everyman’s Library Edition (London, 1944), p. 56.

[11] Fraunce, p. 106.

[12] Hoskins, p. 2.

[13] Peacham, Sig. U1^v-U2^r.

[14] Sir Thomas Elyot, _The Boke named the Governour_ (1531),

folios 48-49.

[15] William G. Crane, Introduction to Peacham, p. 23.

[16] Sir Francis Bacon, _The Advancement of Learning_, in _Works_,

IV, pp. 456-457.

[17] Alan S. Downer, “The Tudor Actor: A Taste of his Quality,”

_Theatre Notebook_, V (1951), 77; Leslie Hotson, _Shakespeare’s

Motley_ (New York, 1952).

[18] Albert L. Walker, “Conventions in Shakespeare’s Description of

Emotion,” _P.Q._, XVII (1938), 26-56.

[19] Examination of Augustine Phillips. Chambers, _William

Shakespeare_, II, p. 325.

[20] _Two Elizabethan Stage Abridgements: The Battle of Alcazar and

Orlando Furioso_, ed. W. W. Greg. The parallel texts of the 1594

Quarto and Alleyn’s part occupy pages 142-201.

[21] Compare part line 221 with play line 1171; part lines 223-224

with play line 1175; part line 165 with play line 1012.

[22] Thomas W. Baldwin, _The Organization and Personnel of the

Shakespearean Company_ (Princeton, 1927). See charts opposite p.

229.

[23] _Ibid._, pp. 197, 232, 248.

[24] Hardin Craig, _The Enchanted Glass_ (New York, 1950), pp.

225-226.

[25] Louise Forest, “Caveat for Critics against invoking

Elizabethan Psychology,” _P.M.L.A._, LXI (1946), 657.

[26] Foakes, 65.

[27] Theodore Spencer, _Shakespeare and the Nature of Man_ (New

York, 1943); Lily B. Campbell, _Shakespeare’s Tragic Heroes. Slaves

of Passion_ (New York, 1952); E. M. W. Tillyard, _The Elizabethan

World Picture_ (London, 1948); John W. Draper, _The Humors and

Shakespeare’s Characters_ (Durham, N. C., 1945).

[28] Timothy Bright, _A Treatise of Melancholie_ (1586), pp. 51-52.

[29] Bacon, IV, 432.

[30] Elyot, pp. 146 ff.

[31] Bacon, IV, 457.

[32] F. N. Coeffeteau, _A Table of Humane Passions_, tr. Edward

Grimeston (1621); Ruth Anderson, _Elizabethan Psychology and

Shakespeare’s Plays_ in _University of Iowa Studies_, III (March

15, 1927), 72 ff.; Campbell, p. 69.

[33] Thomas Wright, _The Passions of the Minde_ (1601), p. 88, as

quoted by Lawrence Babb, _The Elizabethan Malady_ (East Lansing,

Mich., 1950), pp. 17 ff.

[34] Babb, p. 13.

[35] Craig, p. 124.

[36] The display of wit as an individualizing element is usually

limited to the following types: ladies, pages or boys, satirists

such as Jaques and Thersites, clowns, gulls, braggarts, and

occasional generic figures such as gentlemen and citizens. The

only characters outside of these types who engage in wit play in

Shakespeare’s Globe plays are Paris (_Troilus and Cressida_, III,

i), Lafew, Abhorson, Shallow, and Evans (_Merry Wives of Windsor_,

I, i), also in the same play, Pistol and Nym (I, iii) and the Host

(II, iii; III, i). Also Iago (who may be considered a satirist) and

Polonius (II, ii).

[37] Draper, for example, considers Cassio a choleric type, yet

his description of the sanguine personality would fit as well

(p. 15). The sanguine type, as Draper describes it, displays a

predominance of blood, a handsome physique, ruddy color, a full

body, susceptibility to love, honesty, trueness, and gaiety (pp.

18-23). This description fits Cassio.

CHAPTER FIVE. THE STAGING

[1] Ronald Watkins, _On Producing Shakespeare_ (New York, 1950), p.

104.

[2] Summerson, pp. 30-51. See especially the plans of Wollaton

Hall, p. 34; Hardwick Hall, p. 36; and Charlton House, p. 48.

[3] The determination upon the figure of more than five characters

composing a group scene is not arbitrary. Five actors can function

on such a stage as the Globe without encountering problems

of covering each other or vying for attention. Furthermore,

Shakespearean scenes jump from those with five characters to those

with appreciably more. Exceptions are noted in the text of the

chapter, especially in the discussion of category two of the group

scenes.

[4] A. H. Thorndike, _Shakespeare’s Theater_ (New York, 1916), p.

83. Chambers expresses a similar but less sweeping version of this

view in _Elizabethan Stage_, III, p. 86.

[5] Alfred Harbage, _Theatre for Shakespeare_ (Toronto, 1955) pp.

31 ff., estimates that in the 1,463 scenes of the 86 plays produced

in the popular theater between 1576 and 1608, only 90, or slightly

more than 6 per cent of the scenes require “the use of a curtained

recess or equivalent stage enclosure.”

[6] Sir Mark Hunter, “Act- and Scene-Division in the Plays of

Shakespeare,” _R.E.S._, II (1926), 296 ff. J. Dover Wilson,

writing shortly afterward, concurred in this definition. “Act- and

Scene-Division in the Plays of Shakespeare: A Rejoinder to Sir Mark

Hunter,” _R.E.S._, III (1927), 385.

[7] C. M. Haines, “The ‘Law of Re-entry,’” _R.E.S._, I (1925),

449-451.

[8] W. W. Greg, _Two Elizabethan Stage Abridgements_, pp. 32-33.

[9] The difference between the figure of 339 entrances and 644

entrances and exits results from a difference in dividing scenes

in the plays. For the purpose of considering split entrances and

exits, I thought it best to eliminate any instances where it was

even probable that a scene continued, as in _Hamlet_, from III, iv,

to IV, i.

[10] A. C. Sprague, _Shakespeare and the Audience_ (Cambridge,

Mass., 1935), p. 66.

[11] Examples occur in _True Tragedy of Richard III_, 475-477, 581

ff.; _Love and Fortune_, 1370 f., _Sir Clyomon and Sir Clamydes_,

828, 852 f., and _Cambises_, 127 ff., 602 ff.

[12] Sprague, pp. 67-68.

[13] Warren Smith, “The Third Type of Aside in Shakespeare,”

_M.L.N._, LXIV (1949), 510.

[14] There are five speeches which may or may not be asides. These

are not included. _Macbeth_, I, iii, 116-117; V, iii, 20-28;

_Lear_, I, iv, 244-245, 251, 255-256; IV, ii, 83-87; _Hamlet_, III,

ii, 191. Four additional speeches are written so that the character

either speaks loudly enough for the sound but not the sense to

be overheard or fears being overheard. _Caesar_, II, iv, 39-43;

_Twelfth Night_, III, iv, 1-4; _Othello_, IV, i, 238-249; _Antony

and Cleopatra_, III, vii, 6-10.

[15] _Coriolanus_, II, i, shows the same characteristics. Brutus

and Sicinius who have been talking to Menenius step aside,

according to the stage direction (106), when the Roman ladies

enter. Shortly after they do so, the triumphal procession for

Coriolanus enters, then moves on to the Capitol. Upon this exit

Brutus and Sicinius, according to the Folio, “enter” (220 ff.)

conversing about what they have seen. Apparently they had gone off

and yet they are aware of what has taken place. The circumstances

fit the conditions of the observation scene that I have been

describing.

[16] Paul V. Kreider, _Repetition in Shakespeare’s Plays_

(Princeton, 1941), Chapter One, “The Mechanics of Disguise”; M.

C. Bradbrook, “Shakespeare and the Use of Disguise in Elizabethan

Drama,” _Essays in Criticism_, II (1952), pp. 159-168; Victor O.

Freeburg, _Disguise Plots in Elizabethan Drama_ (New York, 1915).

[17] _Twelfth Night_, IV, ii, 69-70. Maria. “Thou mightst have done

this without thy beard and gown. He sees thee not.”

[18] _Julius Caesar_, IV, iii, 267-308; _Macbeth_, III, iv,

38-73, 93-107; _Hamlet_, I, i, 18-69, 126-175; I, iv, 38-91; I,

v, 1-113; III, iv, 102-136. From this list I exclude the show

of kings in _Macbeth_, IV, i. The apparitions do not pass over

the stage immediately, but assemble upon it until Banquo’s ghost

“points at them for his.” The lines that follow being of doubtful

authenticity, they offer no assistance in determining how the

apparitions depart, though nothing in the text conflicts with the

conventional manner of staging ghost scenes.

[19] W. J. Lawrence, _Pre-Restoration Stage Studies_ (Cambridge,

1927), p. 106.

[20] _A Warning for Fair Women_, Sig. E3^v. In the midst of a dumb

show which takes place on the platform, the following direction

occurs: “Chastitie, with her haire disheveled, and taking mistres

Sanders by the hand, brings her to her husbands picture hanging on

the wall, and pointing to the tree [above the center trap] seemes

to tell her, that that is the tree so rashly cut downe.”

[21] In the Folio Edgar speaks the final lines, but in this

respect the Quarto follows general usage. Of the other fourteen

Shakespearean Globe plays, the ranking figure definitely speaks

the final lines in eleven of them (_All’s Well_, King; _Measure

for Measure_, Duke; _As You Like It_, Duke; _Twelfth Night_, Duke;

_Coriolanus_, Aufidius; _Timon_, Alcibiades; _Macbeth_, Malcolm;

_Hamlet_, Fortinbras; _Othello_, Lodovico; _Antony and Cleopatra_,

Caesar; _Pericles_, Pericles). The other three plays present

special instances. _The Merry Wives of Windsor_ has no ranking

figure, but it is appropriate for Ford to conclude the action.

_Julius Caesar_ apparently has two ranking figures, Antony and

Octavius. But the fact that Octavius speaks last points to his

triumph in _Antony and Cleopatra_. Pandarus concludes _Troilus and

Cressida_. This play, as I have shown, has a unique structure.

INDEX TO THE GLOBE PLAYS

_A Larum for London_, dating of, xiii;

dramaturgic practice in, 30, 35, 43-44;

properties in, 224, 225;

stage, use of, 93;

staging in, 188;

theme, 60-61

_All’s Well That Ends Well_, 15, 136, 229;

character types in, 148;

dating of, xi;

dramaturgic practice in, 30, 36-37, 143;

localization, 67, 220;

narrative pattern in, 51;

properties in, 75, 77, 221, 222;

stage, use of, 211-212;

staging, 172, 173, 179, 187, 196, 204, 205, 208-209, 211

_Antony and Cleopatra_, 15, 134, 229;

character types in, 149, 152, 153;

dating of, xi;

dramaturgic practice in, 26, 32-33, 38, 42, 47, 59, 143, 154;

localization, 66-67, 220;

narrative pattern in, 53;

opening action, 34;

properties in, 75-76, 78-79, 221, 222;

stage, use of, 92;

staging, 166-167, 170-171, 173, 184, 195, 205, 206, 208, 212;

staging of IV, xv, 230-231

_As You Like It_, 229;

character types in, 148, 150, 152;

dating of, xi-xii;

dramaturgic practice in, 37-39, 54, 59, 137;

exit lines, 107;

localization, 67, 73, 220;

narrative pattern in, 53;

opening action, 34;

properties in, 75, 221, 222;

stage, use of, 94, 211-212;

staging, 159-160, 167, 171-172, 180, 184, 195, 198, 208-212, 226

Burbage’s roles in, 1, 134, 136

Character types, 148-154

_Coriolanus_, 229;

character types in, 148, 149, 152;

dating of, xi;

dramaturgic practice in, 37, 42, 207;

localization, 64, 66, 220;

narrative pattern in, 49-50;

properties in, 77, 221;

staging, 169, 182, 204, 205, 206, 226

_Cromwell, Thomas Lord._ See _Thomas Lord Cromwell_.

Dating of the plays, x-xiv

_Devil’s Charter, The_, dating of, xiii;

dramaturgic practice in, 35;

properties in, 77, 79, 81, 95, 223, 224, 225;

stage, use of, 82-85, 88, 90, 92-93, 185;

staging, 164-165, 185, 188, 195, 200-201, 204, 227;

theme, 61

Dramaturgic practice: causation in, 32-33, 111, 143, 154;

climactic plateau (climax) in, 39-44, 55;

contrast in, 59-60;

distancing of action, 147;

finale in, form of (_see also_ staging of finale), 35-39;

in group scenes, 137;

liaison between scenes, 45-47;

narrative development in, 30, 34-35, 38-39;

scene structure in, 54-57;

split structure in, 43-44;

temporal illusion in, 157-158

_Every Man Out of His Humour_, chorus, use of, 25-26;

dating of, xiii;

dramaturgic practice in, 30, 35-36, 147;

localization, 68;

“mirror image,” 28;

properties in, 223, 224;

stage, use of, 87;

staging, 172-173;

theme, 61

Exit lines, 107

_Fair Maid of Bristow_, character type in, 152;

dating of, xiii;

dramaturgic practice in, 35-37, 59;

narrative pattern in, 51-53;

properties in, 79-80, 223, 224, 230;

staging, 188, 198, 227-228

Formal scenes, 229

_Hamlet_, xii, 1, 58, 118, 121, 132, 135, 136, 145, 156, 229;

character types in, 148-150, 154;

dating of, x;

dramatic history of, 18;

dramaturgic practice in, 38, 40-42, 46-47, 54, 55, 59, 137;

entrance pattern, 73;

localization, 64-67, 220;

narrative pattern in, 39, 49-50;

opening action, 34;

properties in, 75, 78, 79, 221, 222;

stage, use of, 88, 92-93, 194-195, 201-202;

staging, 171, 181, 183-185, 187, 192, 193-195, 200-203, 205,

208-209, 212

_Julius Caesar_, 229;

character types in, 148, 153;

dating of, x;

dramaturgic practice in, 33, 38, 42, 54, 57, 59, 158, 207;

localization, 64, 66, 220;

narrative pattern in, 50;

opening action, 34;

properties in, 74, 79, 221, 222;

spatial illusion, 164;

stage, use of, 92;

staging, 163-164, 169, 172, 175, 178, 180, 185, 186-187, 203-204,

205-206, 208-210, 212, 227;

staging of, viii, 230

_Larum for London, A._ See _A Larum for London_

_Lear, King_, 1, 15, 135, 136, 229;

character types in, 148-151, 153;

dating of, xi;

dramaturgic practice in, 30, 32-35, 38-39, 41-43, 55, 56, 60, 137,

157-158;

localization, 73, 220;

narrative pattern in, 51, 53;

opening action, 34;

properties in, 77, 78, 221, 222;

stage, use of, 85, 87, 227;

staging, 159, 170, 180-181, 198, 200, 205, 208, 210-211

Localization of action, 64-67, 73, 220;

through chorus, 68;

through identification of stage doors with place, 72-73

_London Prodigal, The_, 1;

character type in, 152;

dating of, xiii;

dramaturgic practice in, 36, 44;

property in, 223;

staging in, 175, 199, 227

_Macbeth_, 229;

dating of, xi;

dramaturgic practice in, 32, 38-39, 42, 57, 59;

localization, 64-65, 220;

narrative pattern in, 49;

opening action, 34;

premiere of, 23;

properties in, 76, 77, 78, 221, 222;

stage, use of, 70, 93;

staging, 170, 183-185, 187, 192, 203, 206, 209;

theme, 61

_Malcontent, The_, 96, 223;

dating of, xiv;

disguise in, 226

_Measure for Measure_, 15, 136, 229;

character types in, 148, 150, 153;

dating of, xi;

dramaturgic practice in, 32, 36-37, 39, 111, 154, 207;

localization, 220;

properties in, 78, 221;

staging, 170, 175, 179, 184, 187, 194-195, 198, 208, 210-212, 226

_Merry Devil of Edmonton, The_, character types in, 150;

dating of, xiii;

dramaturgic practice in, 37;

properties in, 74, 223, 224;

stage, use of, 71;

staging, 188, 227

_Merry Wives of Windsor, The_, 135, 136, 229;

character types in, 150;

dating of, xii;

dramaturgic practice in, 38, 45-46, 147;

localization, 72, 220;

narrative pattern in, 51;

premiere of, 23;

property in, 222;

stage, use of, 89;

staging, 171, 186, 190, 208, 210, 212, 227

_Miseries of Enforced Marriage_, dating of, xiii;

dramaturgic practice in, 37;

properties in, 223, 224;

stage, use of, 90-92, 94;

staging in, 163-164, 166, 175, 227

Narrative patterns in, episodic form, 48-51;

“mirror” form, 51-53;

“river” form, 50-51

Opening action in, 34

_Othello_, 136, 229;

character types in, 149;

dating of, xi;

dramaturgic practice in, 32-33, 37-39, 42, 46, 111, 143, 157;

localization, 66-67, 73, 220;

properties in, 77, 210, 221;

spatial illusion in, 161-162;

stage, use of, 85-88, 196;

staging, 171, 178, 180, 186, 187, 189, 196, 208, 210, 227

_Pericles_, 15, 229;

character types in, 153;

dating of, xi;

dramaturgic practice in, 38;

localization, 68, 220;

properties in, 75, 81, 221, 222;

spatial illusion, 160-162;

stage, use of, 70, 85-88, 94;

staging, 172, 184, 190, 204, 205, 226-227

Premieres of, 23

Properties in, complete list of, 221-225;

introduction of, 75-76;

types: bed, 78-79, 82-83, 86;

chair, 78, 83;

chair for invalid, 77;

miscellaneous, 74-75;

scaffold, 79-80;

sedan chair, 77;

state, 78;

stools, 77-78, 82-83;

table, 76-77;

tent, 81, 95;

tomb, 70, 81

_Revenger’s Tragedy, The_, 58;

dating of, xiii;

disguise in, 198, 228;

dramaturgic practice in, 44, 56-57;

narrative pattern in, 51;

properties in, 223, 224, 225

_Satiromastix_, 223;

dating of, xiii;

properties in, 74

_Sejanus_, 58;

dating of, xiii;

dramaturgic practice in, 37, 44;

narrative pattern in, 49;

properties in, 223, 224

Simultaneous setting, 159-160

Spatial illusion in, 160-162, 164

Stage, use of: above, 89-92, 230-231;

doors, 70-71;

enclosure, 82-88, 185, 194-196, 211-212;

heavens, 94;

stage posts, 94;

trap, 92-93, 201-202

Staging, of asides, 162, 183, 186-192;

continuity, 163-164, 175;

of disguises, 198-200, 226-228;

of entrances, 178-182;

of farewell scenes, 204-205;

of finales, 208-212;

of focus, 172-173;

of ghost scenes, 200-204;

of greeting scenes, 204;

of group scenes, 169-173;

of messenger scenes, 205-206;

of observation scenes, 183, 193-196;

of processions, 172;

of soliloquies, 183-186;

symmetry, 165-168

Theme in, 60-61

_Thomas Lord Cromwell_, dating of, xiii;

dramaturgic practice in, 37, 44;

narrative pattern in, 48;

properties in, 223, 224;

stage, use of, 185;

staging, 185, 227

_Timon of Athens_, 229;

dating of, xi;

dramaturgic practice in, 37, 39;

localization, 64, 220;

opening action, 34;

properties in, 81, 221, 222;

stage, use of, 85, 87;

staging, 184, 189, 196, 204, 205, 209, 212

_Troilus and Cressida_, 15, 229;

character types in, 150;

dating of, xi;

dramaturgic practice in, 35, 37, 42;

localization in, 66-67, 72-73, 220;

narrative pattern in, 53;

premiere of, 23;

properties in, 79, 81, 222, 230;

staging, 170, 172, 175, 184, 190-192, 204, 206, 208

_Twelfth Night_, viii, 14, 229;

character types in, 149-150;

dating of, x;

dramaturgic practice in, 36-37, 39, 42, 45, 54-55, 137, 154;

exit lines, 107;

localization, 72, 220;

narrative pattern in, 50-51;

premiere of, 23;

property in, 222;

spatial illusion, 164;

stage, use of, 196, 212;

staging, 168-169, 173, 196, 198-200, 208, 210-212, 226

_Volpone_, 135;

dating of, xiii;

disguise in, 228;

dramaturgic practice in, 37;

properties in, 77, 80, 223, 224, 230;

stage, use of, 84, 87

_Yorkshire Tragedy, A_, 1;

character type in, 152;

dating of, xiii;

property in, 77, 223;

stage, use of, 86, 89-90

GENERAL INDEX

Above, the, 89-92, 106, 230-231

Acting, effect of sightlines on, 128-129;

style of, 214

Adams, John C., _The Globe Playhouse_, 22, 65, 69, 71, 89-90, 92,

94, 101-102, 159, 202, 214, 230

Admiral’s men, Lord, 3-6, 9-10, 12-13, 15-18, 20, 95

Admiral-Prince’s men, 4

Aeschylus, 47

Albright, V. E., _The Shakesperian Stage_, 65, 214

Alexander, Peter, _Shakespeare’s Life and Art_, xii

Alleyn, Edward, vii, x, 9, 12, 131

_Annals of the English Drama_ (Harbage), xi, xii

_Antigone_ (Sophocles), 31, 59

_Arcadian Rhetorike, The_ (Fraunce), 114-117, 119

Archer, William, 65

Aristotle, _Poetics_, 29, 31-32, 39, 49, 58

Armin, Robert, 123, 133, 134

_Art of Rhetorique, The_ (T. Wilson), 114-115, 117, 119

_Arte of English Poesie, The_ (Puttenham), 28-29

_As Merry As May Be_, 20

Asides, staging of, 162, 183, 186-192

Bacon, Sir Francis, 120, 140-143, 146

Baldwin, Thomas W., _The Organization and Personnel of the

Shakespearean Company_, 22, 128, 133-136;

_Shakespeare’s Five-Act Structure_, 26, 29, 40

_Barnardo and Fiametta_, 7, 11

Barnes, Barnabe, xiii, 82, 164.