iii. The Use of the Above: Two Special Instances
Julius Caesar, V, iiiThe 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, xvThe 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. E4r-F2v), 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.
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. E4r-F2v), 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.