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.