APPENDIX C

i. Disguise

Play(l) Character

Dress Manner Voice Face

As You Like It Rosalind

II, iv, 4-8 I, iii, 122-124

III, ii, 313-315

Twelfth Night Viola

I, iv, s.d. I, V, 177-236 I, iv, 29-34

Twelfth Night Feste

IV, ii, 1 IV, ii, 22-23 IV, ii, 71-72 IV, ii, 2

Measure for Measure Duke

I, iii, 45-48 I, iii, 45-48

II, iii, 1-42

Coriolanus Coriolanus

IV, iv, s.d.

IV, v, 59 ff.

Pericles Pericles

II, ii, 48-52

Pericles Thaisa(m)

V, iii, 13-15

Julius Caesar Lucilius(n)

Merry Wives of Windsor Ford(o)

II, ii (?)

Merry Wives of Windsor Falstaff

IV, ii, 190 ff.

Merry Wives of Windsor Children, Evans

V, iv, 49-52

V, v

Othello Roderigo

I, iii, 346(?)

King Lear Kent

I, iv, 1-4 II, ii, 1-180 I, iv, 1 f.

King Lear Edgar (Poor Tom)

II, iii, 10 II, iii, 9-20 II, iii, 14-20 II, iii, 9(?)

III, iv, 66 III, iv

King Lear Edgar (Peasant)

IV, i, 40-44 IV, vi IV, vi, 7 f., 45 ff.

King Lear Edgar (Cornishman)

IV, vi, 235-251

King Lear Edgar (Champion)

V, iii, 117, 142

Devil’s Charter Candie, Caesar

F3^v

Merry Devil of Edmonton Raymond as Friar

D2^r

London Prodigal Old Flowerdale

A2^r A2^r G4^r 18-20

London Prodigal Luce

F1^v F1^v F1^v

Cromwell Hodge, Bedford

C4^v 26-D1^v 27 C4^v 26-D1^v 27

Miseries of Enforced Marriage John, Thomas

Fair Maid of Bristow Harbart

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.