Note 429 — NOTE ON SYMBOLS (continued 3)

For Paul’s, C. and C. Errant (after each act), ‘Here they knockt up the Consort’; Faery Pastorall; Trick to Catch the Old One (after I and II), ‘music’; What You Will, II. ii. 235 ‘So ends our chat;—sound music for the act’; for Blackfriars, Gentleman Usher, III. i. 1, ‘after the song’; Sophonisba (after I), ‘the cornets and organs playing loud full music for the act’, (II) ‘Organ mixt with recorders, for this act’, (III) ‘Organs, viols and voices play for this act’, (IV) ‘A base lute and a treble violl play for the act’, with which should be read the note at the end of Q1, ‘let me intreat my reader not to taxe me for the fashion of the entrances and musique of this tragedy, for know it is printed only as it was presented by youths and after the fashion of the private stage’; K. B. P. (after I), ‘Boy danceth. Musicke. Finis Actus primi’, (II) ‘Musicke. Finis Actus secundi’, (III) ‘Finis Actus tertii. Musicke. Actus quartus, scoena prima. Boy daunceth’, (IV) Ralph’s May Day speech; cf. infra and vol. ii, p. 557. I do not find any similar recognition of the scene as a structural element in the play to be introduced by music; in 1 Antonio and Mellida, III. ii. 120, the s.d. ‘and so the Scene begins’ only introduces a new scene in the sense of a regrouping of speakers (cf. p. 200).