[39]Hosley, “The Gallery,” 28.
[39]Hosley, “The Gallery,” 28.
[40]Alois Nagler,Shakespeare’s Stage(New Haven, 1958), pp. 10-11.
[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.
[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.
[42]C. Walter Hodges, “The Lantern of Taste,”Shakespeare Survey, XII (1959), 8.
[43]J. C. Adams, pp. 135, 233, 259.
[43]J. C. Adams, pp. 135, 233, 259.
[44]John Summerson,Architecture in Britain 1530–1830(London, 1953), p. 59.
[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.
[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.
[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.
[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.
[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.
[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).
[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).
[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.
[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.
[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.
[54]Clode, I, p. 187.
[55]Robert Withington,English Pageantry(Cambridge, Mass., 1918–1920), II, p. 23.
[55]Robert Withington,English Pageantry(Cambridge, Mass., 1918–1920), II, p. 23.
[56]Gotch, p. xxii; Summerson, pp. 22 ff.
[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. InTheatre for Shakespeare(Toronto, 1955), he reprints his original article as a “personal indulgence.”
[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. InTheatre 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).
[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.
[3]Joseph,Elizabethan Acting, p. 1.
[4]Harbage, “Elizabethan Acting,” 698. Quoted from the ms. ofThe Cyprian Conqueror.
[4]Harbage, “Elizabethan Acting,” 698. Quoted from the ms. ofThe Cyprian Conqueror.
[5]Joseph,Elizabethan Acting, p. 60.
[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.
[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.
[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 ofRhetorike(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.
[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 ofRhetorike(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.
[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.
[10]Baldassare Castiglione,The Courtier, tr. T. Hoby (1561), reprinted in Everyman’s Library Edition (London, 1944), p. 56.
[11]Fraunce, p. 106.
[11]Fraunce, p. 106.
[12]Hoskins, p. 2.
[12]Hoskins, p. 2.
[13]Peacham, Sig. U1v-U2r.
[13]Peacham, Sig. U1v-U2r.
[14]Sir Thomas Elyot,The Boke named the Governour(1531), folios 48-49.
[14]Sir Thomas Elyot,The Boke named the Governour(1531), folios 48-49.
[15]William G. Crane, Introduction to Peacham, p. 23.
[15]William G. Crane, Introduction to Peacham, p. 23.
[16]Sir Francis Bacon,The Advancement of Learning, inWorks, IV, pp. 456-457.
[16]Sir Francis Bacon,The Advancement of Learning, inWorks, 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).
[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.
[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.
[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.
[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.
[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 chartsopposite p. 229.
[22]Thomas W. Baldwin,The Organization and Personnel of the Shakespearean Company(Princeton, 1927). See chartsopposite p. 229.
[23]Ibid., pp. 197, 232, 248.
[23]Ibid., pp. 197, 232, 248.
[24]Hardin Craig,The Enchanted Glass(New York, 1950), pp. 225-226.
[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.
[25]Louise Forest, “Caveat for Critics against invoking Elizabethan Psychology,”P.M.L.A., LXI (1946), 657.
[26]Foakes, 65.
[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).
[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.
[28]Timothy Bright,A Treatise of Melancholie(1586), pp. 51-52.
[29]Bacon, IV, 432.
[29]Bacon, IV, 432.
[30]Elyot, pp. 146 ff.
[30]Elyot, pp. 146 ff.
[31]Bacon, IV, 457.
[31]Bacon, IV, 457.
[32]F. N. Coeffeteau,A Table of Humane Passions, tr. Edward Grimeston (1621); Ruth Anderson,Elizabethan Psychology and Shakespeare’s PlaysinUniversity of Iowa Studies, III (March 15, 1927), 72 ff.; Campbell, p. 69.
[32]F. N. Coeffeteau,A Table of Humane Passions, tr. Edward Grimeston (1621); Ruth Anderson,Elizabethan Psychology and Shakespeare’s PlaysinUniversity 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.
[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.
[34]Babb, p. 13.
[35]Craig, p. 124.
[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).
[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.
[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.
[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.
[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.
[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 inElizabethan Stage, III, p. 86.
[4]A. H. Thorndike,Shakespeare’s Theater(New York, 1916), p. 83. Chambers expresses a similar but less sweeping version of this view inElizabethan 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.”
[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.
[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.
[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.
[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 inHamlet, from III, iv, to IV, i.
[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 inHamlet, from III, iv, to IV, i.
[10]A. C. Sprague,Shakespeare and the Audience(Cambridge, Mass., 1935), p. 66.
[10]A. C. Sprague,Shakespeare and the Audience(Cambridge, Mass., 1935), p. 66.
[11]Examples occur inTrue Tragedy of Richard III, 475-477, 581 ff.;Love and Fortune, 1370 f.,Sir Clyomon and Sir Clamydes, 828, 852 f., andCambises, 127 ff., 602 ff.
[11]Examples occur inTrue Tragedy of Richard III, 475-477, 581 ff.;Love and Fortune, 1370 f.,Sir Clyomon and Sir Clamydes, 828, 852 f., andCambises, 127 ff., 602 ff.
[12]Sprague, pp. 67-68.
[12]Sprague, pp. 67-68.
[13]Warren Smith, “The Third Type of Aside in Shakespeare,”M.L.N., LXIV (1949), 510.
[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 arewritten so thatthe 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.
[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 arewritten so thatthe 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.
[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).
[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.”
[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 inMacbeth, 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.
[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 inMacbeth, 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.
[19]W. J. Lawrence,Pre-Restoration Stage Studies(Cambridge, 1927), p. 106.
[20]A Warning for Fair Women, Sig. E3v. 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.”
[20]A Warning for Fair Women, Sig. E3v. 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 Windsorhas no ranking figure, but it is appropriate for Ford to conclude the action.Julius Caesarapparently has two ranking figures, Antony and Octavius. But the fact that Octavius speaks last points to his triumph inAntony and Cleopatra. Pandarus concludesTroilus and Cressida. This play, as I have shown, has a unique structure.
[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 Windsorhas no ranking figure, but it is appropriate for Ford to conclude the action.Julius Caesarapparently has two ranking figures, Antony and Octavius. But the fact that Octavius speaks last points to his triumph inAntony and Cleopatra. Pandarus concludesTroilus and Cressida. This play, as I have shown, has a unique structure.