scene ii maintain these associations. Scene iii occurs at the

Garter. It is possible to confine all in-goings and out-goings to one door (entry _C_). But with scene iv all previous associations are shattered. The place is Dr. Caius’ house. Entry _A_, _B_, or _C_ must represent Caius’ house. The neutral entry A can be selected. But in the course of the scene Simple is forced to hide from Caius. He cannot exit at _A_, for Caius is about to enter at that point. Thus he must choose _B_ (Page’s house) or _C_ (the Garter). A continuation of this analysis would only confirm how hopeless it is to expect any correlation between an entry and a specific locality for more than one scene. Further evidence exists in _Twelfth Night_ that the doors did not have locational significance. At the conclusion of Act I, scene v, Olivia sends Malvolio after Cesario to tell “him” that she’ll have none of “his” ring. After an intervening scene, Malvolio encounters Cesario. His first line is, “Were not you ev’n now with the Countess Olivia?” Simple realism would demand that Malvolio, endeavoring to catch Cesario, would follow “him” on stage. That is how the scene is frequently staged. However, the stage direction specifies, “Enter Viola and Malvolio at several doors” (II, ii). Professor Reynolds has reconstructed the staging of _Troilus and Cressida_ so that one stage door represents Troy, the other the Grecian camp.[10] An enclosed recess, with the curtain drawn, becomes Cressida’s home and with the curtain closed, Achilles’ tent. But, as Irwin Smith has reminded me privately, this arrangement is “proved wrong by the stage direction to Act IV, scene i, which specifies entrance at two doors,” although the location of the scene is wholly within Troy. The fact is that every other Globe play lacks that neat division of place which enables us to assign one location to one door and another to the other door. Too often there is a major shift in location during the course of a play, such as, from the court to the forest in _As You Like It_, from Venice to Cyprus in _Othello_, from the castle to the field in _Lear_. Such a shift prevents the localizing of the stage door for any appreciable period.

As good evidence as that of Reynolds can be offered for a theory that actors almost always obeyed the convention of entering at one door and leaving at the other, regardless of location. In _Hamlet_, for instance, there are only three instances when such a convention would be violated: when Polonius is sent for the ambassadors and players in II, ii, and when the Prologue leaves to usher in the players in III, ii. I offer this suggestion not as a theory but as a warning against such reconstructed staging as Reynolds proposes.

The critical part of any study of an Elizabethan playhouse concerns the “third entry,” “the place in the middle,” “the booth,” “the inner stage,” “the discovery-space.” The abundance of terms testifies to the uncertainty concerning this area. Every aspect of it is open to controversy: function, dimensions in all directions, the presence of curtains, and location. But that there is some space between the stage doors, capable of being enclosed or secluded, is granted by all scholars. Objection has been raised to calling this area an “inner stage,” first because the term never appeared in Elizabethan texts, and secondly because it suggests a purpose that it did not have, namely, to house entire scenes. Increasingly the term “discovery-space” has been utilized, notably by Richard Hosley, but this has the disadvantage of suggesting too limited a function for the space. Since the area we are concerned with, whether recessed or not, had to be enclosed, almost certainly by curtains, I have chosen to refer to the “enclosure” of the Globe stage.

Any investigation of the enclosure is obliged to include an investigation of Elizabethan stage properties. For a long time it was suggested that a principal purpose of the enclosure was to mask the placement of furniture and other properties. While it is becoming increasingly evident that we must regard such a presumption with skepticism, nevertheless, the presence of a property has so often been cited as evidence for the use of an enclosure that it is necessary to review the handling of stage properties at the Globe before considering the enclosure directly. Aside from their connection with the problem of the enclosure, furthermore, stage properties deserve attention, for their appearance in a play can be more readily ascertained than any other element of production and as a result can provide clues to the methods of staging.

Anyone who has had occasion to produce a Shakespearean play realizes how few properties are needed for any single play. Yet even when we are cautious, we tend to overproperty a play. Even properties clearly alluded to may not exist on stage. Several times in _Julius Caesar_ characters speak of Caesar having been struck down at the base of Pompey’s statue (III, i, 115; III, ii, 193), even in the very scene where the action takes place. Yet the description is merely a paraphrase of Plutarch.[11] The Romans are beaten back to their trenches in their first assault against Corioles (I, iv). Once more the trenches are not on-stage but in Plutarch.

Consequently, in examining the Globe plays, I have tried to guard against seeing a stage property where none exists. Only when use is clearly demonstrable in action or stage direction can we assume that a property was introduced. Some instances exist where smaller properties were added to give verisimilitude to a scene, as Fabell’s necromantic instruments in _The Merry Devil of Edmonton_, prologue, and Horace’s papers in _Satiromastix_ (I, iii), but larger properties which require placement or setting were charily employed. It is to these set properties that I shall refer.

In the fifteen Globe plays written by Shakespeare I count sixty-five uses of properties, in the twelve non-Shakespearean plays, sixty-eight.[12] In the former plays the presence of fifteen of these “props” is difficult to verify. Such a property would be the “hedge-corner” around which the soldiers hide before pouncing on Parolles (_All’s Well_, IV, i) or the “tree” upon which Orlando hangs his verses (_As You Like It_, III, ii). Since the hedge and the tree might very well be represented by the stage posts, I must omit consideration of them. In the twelve non-Shakespearean plays there are seventeen such properties. Consequently, in one category we are left with fifty properties and in the other with fifty-one, or one hundred and one altogether, an average of almost four properties a play. That this is not a slim list for a ten-year period is supported by the few properties inventoried by Henslowe in 1598. The heading of the inventory claims that _all_ the properties are listed. Of set properties there are only twenty-one.[13] To these we may add chairs and tables which are not included. Nor are curtains mentioned unless “the cloth of the Sone & Mone” is a hanging of some sort rather than rudimentary scenery, as Malone suggested. In any case the list substantiates the conclusion that Elizabethan stage production employed few properties and reinforces the warning that we should not insist upon finding others where they do not appear.

How were the properties introduced onto the stage? Some were discovered. When Lychorida bids Pericles look upon his dead bride, she probably draws a curtain to reveal Thaisa on the bitter “child-bed” of which Pericles speaks (III, i). Other properties were brought on. For the fencing match between Hamlet and Laertes, though the 1604 Quarto stage direction notes, “A table prepared ...,” the Folio specifies that following the King, Queen, and others, there enter “other Attendants with Foyles, and Gauntlets, a Table and Flagons of wine on it” (V, ii). But many instances are not so clear, instances where at most we can assume that a property was _probably_ brought on stage or _probably_ discovered. Another small category exists. There are several instances where properties are taken off stage, although there is no evidence to indicate how they came to be on stage. Caesar, at the finale of _Antony and Cleopatra_, commands his soldiers to “Take up [Cleopatra’s] bed,/and bear her women from the monument” (V, ii, 359-360). To my mind this suggests that the prop had been previously brought on.

I have carefully examined the one hundred and one properties for evidence of method of introduction. The chart below summarizes my analysis.

_How Props_ | _In_ | _In Non-_ | _Are_ | _Shakespearean_ | _Shakespearean_ | _Total_ _Introduced_ | _Plays_ | _Plays_ | --------------+-----------------+-----------------+----------------- | _No._ | % | _No._ | % | _No._ | % +--------+--------+--------+--------+--------+-------- Brought on | 12 | 24. | 18 | 35.3 | 30 | 29.7 Probably | | | | | | brought on | 11 | 22. | 8 | 15.7 | 19 | 18.8 Taken off | 2 | 4. | 2 | 3.9 | 4 | 4. +--------+--------+--------+--------+--------+-------- _Total_ | 25 | 50. | 28 | 54.9 | 53 | 52.5 +--------+--------+--------+--------+--------+-------- Discovered | 2 | 4. | 8 | 15.7 | 10 | 9.9 Probably | | | | | | discovered | 7 | 14. | 1 | 1.9 | 8 | 7.9 +--------+--------+--------+--------+--------+-------- _Total_ | 9 | 18. | 9 | 17.6 | 18 | 17.8 Undetermined | 16 | 32. | 14 | 27.5 | 30 | 29.7 --------------+--------+--------+--------+--------+--------+-------- _Grand Total_| 50 | | 51 | | 101 |

In both Shakespearean and non-Shakespearean plays the percentages are about the same. Clearly the number of properties brought on greatly outnumber those which are discovered. Yet enough properties are discovered to make the presence of an enclosure certain.

Tables are usually brought out. In all the Globe plays tables are used seventeen times. Ten of these are banquet tables, seven of which are specifically directed to be brought out.[14] Of the rest two are probably brought out, and one may or may not have been brought out.[15] Since it was customary in Elizabethan life for banquet tables to be portable, it has been objected that the use of an enclosure is not disproved by such evidence. Instead we are asked to regard the practice as a bit of realistic business. This objection, however, does not explain why, as in _Macbeth_, III, iv, a banquet is sometimes prepared in front of the audience before the arrival of the principal characters. In any case the evidence concerning the table as stage property shows that the introduction of banquet tables does not depend upon an enclosure.

Of the other seven tables, four are definitely brought out, one is probably brought out, the introduction of one is undetermined, and one seems to have been discovered.[16] This last property is referred to in the stage direction in _Othello_, I, iii, “Enter Duke and Senators, set at a Table with lights and Attendants.” The Quarto (1622) for this play is late, so that the discovery may depict a later method. In contrast to all other cases in the Globe plays, this is the sole instance where a table is discovered.

Tracing the introduction of seats is more difficult. There are infrequent references to chairs in stage directions. Only occasionally is a chair, or more usually a stool, named in the dialogue. More often there is the invitation of one character to another to sit down. Twenty-two instances of seating occur in Shakespeare’s Globe plays, twenty-one in the non-Shakespearean plays. One type of seat is always brought in, that is the chair for an invalid. Two such chairs are definitely introduced by Shakespeare, one for Lear, the other for Cassio when wounded. A third might be intended for the King of France when he calls, “Give me some help here, ho!” (_All’s Well_, II, i). One such chair containing the Wife, is brought in in _A Yorkshire Tragedy_; a similar type, a sedan chair apparently, is introduced in _Volpone_ (V, ii).

An entire category of seats is represented by the simple joint-stool. It appears for Goneril in Lear’s arraignment of his daughters (III, vi), it serves for Volumnia and Virgilia as they sew (_Coriolanus_, I, iii), and it holds the Ghost of Banquo (_Macbeth_, III, iv). These stools are elusive though. Seldom are they specifically directed to be brought on. An illuminating instance occurs in _The Devil’s Charter_. Lucretia Borgia is plotting the death of her husband, Gismond. The stage direction at the beginning of Act I, scene v, reads, “Enter Lucretia alone in her nightgowne untired bringing in a chaire, which she planteth upon the Stage.” She prepares the trap-chair for her husband, and when he arrives “Gismond sitteth downe in a Chaire, Lucretia on a stoole beside him.” But where did the “stoole” come from? If an attendant had accompanied her, why did Lucretia have to carry the chair? Obviously she must have entered alone. Therefore, unless one suggests that she also carried on a stool, hitherto unmentioned, the only possibility left is to suppose that the stool was already on the stage. Once one grants that stools may have been left on the stage, many scenes and directions become clear. When banquets are brought on stage, no mention is made of accompanying seats. Furthermore, when the type of seat at banquets is named, it turns out to be a stool. In various plays the actors sit in places that in reality would be devoid of seats, for example, on the watch in _Hamlet_ (I, i), at the city gates in _Measure for Measure_ (V, i), Antony somewhere after a defeat (_Antony and Cleopatra_, III, x). It is not too far a leap to assume that it was regular practice at the Globe playhouse to have stools distributed about the stage for the use of the actors.

Two other types of seats appear in the Shakespearean plays: the “chair” and the state. The chair is only mentioned once. It is the one to which Gloucester is bound before he is blinded. There is no indication whether it is brought on or discovered, one’s decision in the matter being determined by where one places the scene on the stage. The state too is mentioned specifically only once. After the banquet is brought out, Macbeth tells the assembled guests, “Our hostesse keeps her state, but in best time/ We will require her welcome.” (III, iv). This implies that Lady Macbeth sits apart from the company, perhaps in the enclosure. The state may have been placed there when the banquet was prepared or it may have been discovered. Significantly no action takes place at the state. Several other scenes would permit the use of a state. In each case there is evidence that the scenes proper take place on the stage platform. Though a curtain could be utilized to reveal the state in these cases, I incline to the theory that the state was brought or thrust out.

Of all properties beds are most frequently discovered. There are eleven instances in the Globe plays where beds or cushions for sleeping are introduced. In three the bed is definitely and in three others probably discovered, but in only two of these scenes is action sustained around the beds. The other scenes merely contain references to them or display someone reclining. Three other instances afford insufficient evidence to judge whether the beds are discovered or not and the remaining two provide curious evidence. _The Devil’s Charter_ and _Antony and Cleopatra_ were written about the same time. In both plays people die from the bite of an asp; in the former play they are murdered (IV, v), in the latter they commit suicide (V, ii), but in both cases the scenes conclude with the order to take up the beds and bear in the bodies. Extended action takes place about the beds, perhaps offering the explanation for the beds being forward on the platform.[17]

The question of whether or not heavy properties were discovered is answered by a type of property which keeps recurring in the Globe plays. This may very well be the counterpart of “a payre of stayres for Fayeton” in Henslowe’s inventory. In a well reasoned article Warren Smith has demonstrated the likelihood that scaffolding of some sort was introduced as a property on the Globe stage.[18] Not the upper level of the stage façade, but such a scaffold, he contends, was the pulpit in _Julius Caesar_ (III, ii), a place to see the warriors in _Troilus and Cressida_ (I, ii), the monument in _Antony and Cleopatra_ (IV, xvi), the platform in _Hamlet_ (I, i). Though his argument does not fit _Hamlet_ or completely explain _Antony and Cleopatra_, its basic premise is verified by two non-Shakespearean Globe plays.

In the last scene of _Fair Maid of Bristow_, Vallenger, the prodigal, is about to be executed for the supposed murder of Sentloe. By this point in the play Vallenger has been spiritually redeemed from sin. About to die, he delivers a brief speech,

Ere I ascend this stage where I must act, The latest period of this life of mine, First let me do my deuty to my prince. Next unto you, to much by me offended, Now step, by step, as I ascend this place, Mount thou my soule into the throwne of grace. [Sig. E4^r]

Presumably he reaches the top, as do his alleged accomplices, for shortly thereafter the King calls, “Dispatch them executioner: dispatch.” Clearly some scaffold has been revealed or brought out for this scene. It is one which the actors can mount before an audience. It also had to be large enough to accommodate four people. From other evidence Smith suggests a platform of this sort would be three or four steps high. Despite its size a subsequent line indicates that it was moved about in front of the audience.

Before the execution can take place, Sentloe reveals that he is not really dead, but has pretended to be in order to subject Vallenger to a rigorous trial of soul and thus force him to purge his offenses. Amidst the joyful reunion of Vallenger and his wife, the King commands,

Away with that same tradgike monument. [Sig. F2^v]

Presumably the scaffold is withdrawn from the stage. In all likelihood a scaffold large enough to hold four people was too large to fit through a doorway. Therefore, we must assume that it was removed through the enclosure.

The forward placement of the scaffold is attested by another Globe play. Enamored of Corvino’s wife, Volpone disguised as a mountebank mounts his bank under the window where he might glimpse the lady (II, ii). Dramatically and physically his bank could only be placed on the platform. That he has actually gone up on some structure which, however, is lower than window height, is proved, first, when “Celia at the windo’ throwes downe her handkerchiefe,” and secondly, when Corvino, the jealous husband, rushes out of his door and shouts to Volpone to “Come downe” (II, iii). Here too there is no stage direction for the setting up and taking down of a scaffold, but the reiteration of Corvino’s “will you downe, sir? downe?” establishes its existence. Perhaps, in this case too, actors or attendants erected or thrust out some frame. Once it is established that such a scaffold was brought out upon the Globe stage, it becomes clear that it appears in some of the scenes cited by Smith. How its use affected staging is properly reserved for a later chapter.

Out of the total properties of one hundred and one, I have already accounted for seventy-six. The remaining twenty-five are divided amongst miscellaneous properties such as tombs, tents, greenery of some sort, and others. Only two scenes require tombs, a dumb show in _Pericles_ (IV, iv) and the discovery of Timon’s body (V, iii). How the tombs were revealed to the audience is not readily determined so that this subject had best be deferred to a consideration of the enclosure.

Tents are even more difficult to treat. Even when the action calls for a tent, it is uncertain whether a property or merely the enclosure is being employed. Frequent allusions to tents can be found in _Troilus and Cressida_, but there is no scene where more than one tent must be used. But how was that represented? When Ulysses says of Achilles, “We saw him at the opening of his tent” (II, iii), did the audience see a property tent or the flap of the enclosure curtain turned back? No interior is required in any of these scenes so that we are not dealing with a discovery proper. Some evidence for a property tent can be found in _The Devil’s Charter_. Caesar Borgia leads an army against the town of Furly whose defense is led by the Countess Katherine (IV, iv). Unless she surrenders, Caesar will slay her two young boys, whom he has captured; when she refuses, he orders the children to execution. Then, after having scaled the walls and taken Katherine prisoner, Caesar “discovereth his Tent where her two sonnes were at Cardes,” and says, “Behold thy children living in my Tent.” But where is the tent? In the enclosure? A difficulty arises, if we suppose so, for it places the tent under the very walls which Caesar attempted and finally overran. Moreover, since the dumb show which opens the play requires two property tents, it is likely that Caesar’s tent was brought in by his soldiers and set up on stage.

Similarly, it is difficult to distinguish when prop trees are used and when stage posts. Although property trees were regularly employed on the Elizabethan stage, no tree definitely appears on the Globe stage. In _A Warning for Fair Women_, a Lord Chamberlain’s play published in 1599, a tree springs up in the midst of the stage (Sig. E3^v). But whether or not this was the normal method for introducing the tree prop is uncertain. The rest of the properties must be considered individually. Some are discovered, most brought on. But the study of any one of these properties, if necessary, can be more profitably undertaken in connection with staging methods.

Two inferences can be drawn from this survey of properties on the Globe stage. One is that more often than not properties, even heavy ones, were carried onto the stage. As a consequence, it was not one of the functions of the enclosure to permit the setting of furniture or other properties.[19] The other is that the same class of properties is often introduced in the same way. Beds are likely to be discovered. Tables, scaffolds, and invalid chairs are brought out. These habits may have stemmed from solid theatrical necessity. On the other hand it is possible that they may have embodied a symbolic significance.

Therefore, since the presence of stage properties cannot guide us in deciding when the enclosure was used, some other means must be discovered. References to an interior setting, Richard Hosley has shown, are not reliable. Fortunately, however, several Globe plays contain scenes in which stage directions or incontestable stage business establishes the use of an enclosure. One of these, _The Devil’s Charter_, supplies unusually valuable evidence.

Barnabe Barnes prepared his text of _The Devil’s Charter_ for the printer with much care. He supplied full stage directions, which show theatrical, not literary marks, and seems to have described an actual production, for the epilogue directly addresses spectators, albeit not of the public playhouse (Sig. M3^v). The enclosure, or study, as he terms the area, is employed three times in his play. It will pay to examine these scenes minutely. In two scenes a stage direction opens the scene with the words, “Alexander in his study (or studie) ...,” “with bookes, coffers, his triple Crown upon a cushion before him” (I, iv); “beholding a Magicall glasse with other observations” (IV, i). Alexander speaks a long soliloquy in the first scene, then his two sons enter, later a servant. At the most there are four characters in the scene. Whether Alexander remains in the study throughout the first scene is not indicated. In the second scene Alexander also delivers an extended soliloquy, but here a direction specifies after his sixth line, “Alexander commeth upon the Stage out of his study with a booke in his hand.” He conjures forth a devil in order to discover who killed his son Candie. He is shown a symbol of the murder: his other son, Caesar, pursuing the ghost of Candie. The specters enter at one door and “vanish in at another doore” (G2^r 19). On the heels of the apparition of Caesar, Caesar himself arrives, outfaces his father, and parts reconciled to him. The last direction is, “Exit Alexander into the studie.” Clearly the study supplied a novel scene opening and provided access to the platform or stage, but was not utilized for extended presentation.

The third study scene, in this instance containing two disclosures, occurs at the end of the play. Alexander is about to face the consequences of his charter with the devil. The scene commences, “Alexander unbraced betwixt two Cardinalls in his study looking upon a booke, whilst a groome draweth the Curtaine” (V, vi). Alexander speaks eight lines, then “They [the two Cardinals] place him in a chayre upon the stage, a groome setteth a Table before him.” After chastising himself, “Alexander draweth the Curtaine of his studie [the one which the groom opened and presumably closed] where hee discovereth the divill sitting in his pontificals.” He disputes with the devil, and later “They sit together,” where is not indicated, and finally Alexander’s soul is carried down. In two of the scenes there is incontestable evidence that the action is brought out of the enclosure early in the scene. Furthermore, these three are the only study scenes in a play of twenty-two scenes.

Yet the study is mentioned at one other time. At one point Alexander plots the death of two young men, with one of whom he has had a homosexual affair. The murder scene (IV, v) begins with the direction, “Enter Alexander out of his studie.” After he has his servant Bernardo prepare a soporific for the young men, he departs with the injunction that when the intended victims are asleep, Bernardo give him notice “at [his] study doore.” The young men come in from tennis, have a rubdown by barbers, call for refreshment. The soporific takes effect, and they lie down to nap both upon one bed. Bernardo “knocketh at the study,” at which Alexander comes forth “upon the stage” with his asp to slay his paramour. After the act is completed and the murderer has departed, Bernardo summons two Cardinals to see the dead youths who, he asserts, expired from drinking too much when overexerted. Bemoaning the fate of these two hopes of “Phaenza,” the Cardinals bid Bernardo “Beare them in.”

Several characteristics should be noted. First, the enclosure or study, when it is actually used, is revealed by the drawing of a curtain. But if a curtain hangs before the enclosure, upon what does Bernardo knock? Either upon the side wall, and then Alexander enters from behind the curtain, or upon a door, and a new area is presumed to represent the study. Hosley has suggested that one of the two side doorways, with the doors fully opened, might have served as the enclosure. This possibility must be excluded, however, for Act IV, scene i requires two doors for the passage of the specters of Caesar and Candie at a time when the enclosure or study is in use.[20]

Second, the direction that Alexander “commeth upon the Stage out of his study” indicates that the enclosure is recessed. With this conclusion most of the scenes utilizing the enclosure would agree. One complication is raised by _Volpone_, V, ii. Here Volpone must be behind a curtain, yet be able to “peepe over.” There may be any one of three explanations. Perhaps the curtains did not reach the top of the recess. Richard Southern refers to such an arrangement at a booth theater in Brussels in 1660.[21] Another possibility is that the enclosure projected from the stage façade. Lastly, the curtain, called a “traverse” in the Folio, may have been hung especially for this scene and thus may not be the enclosure curtain. Of all the choices the last seems to accord best with the evidence.

Altogether thirteen or fourteen instances of discovery can be found in the non-Shakespearean Globe plays. To what degree do they substantiate Hosley’s contention that the enclosure was used to disclose “a player or object invested with some special interest or significance”?[22] So many persons and things of interest, not so disclosed, appear in the Globe plays, that it is impossible to use such a yardstick. True, of the total thirteen or fourteen discoveries, six involve the sudden display of a figure or figures or, in one instance, of a striking object, Volpone’s wealth. But among the other discoveries are mundane representations of a person reading, casting accounts, lying asleep. Yet, a certain pattern becomes apparent. For the moment let us consider twelve instances, excluding the two that occur in Jonson’s plays. In the twelve instances of discovery, six reveal a person writing or studying or reading; in four scenes the person is alone; in two, a subordinate or two attends upon the central figure.[23] Three of the remaining discoveries reveal a person or persons sleeping.[24] Two discoveries reveal dead bodies.[25] There remains one discovery to be accounted for, that already described in _The Devil’s Charter_, where Alexander draws the curtain to find the devil sitting “in his pontificals.” Just before revealing the devil, Alexander cries,

Once more I will with powrefull exorcismes, Invoke those Angells of eternall darkenesse To shew me now the manner of death. [Sig. L3^v 18-20]

If one of the conventional uses of the enclosure was to discover corpses, then the Globe audiences would have well appreciated the irony of Alexander’s last line, for when he draws the curtain, he does discover “the manner of death.” Thus, in all preceding examples discovery reveals persons studying, sleeping, or dead. To what extent does Shakespeare follow the same practice?

In determining which scenes in Shakespeare’s Globe plays employed the enclosure, it is necessary to allow reasonable latitude. At least three instances are fairly certain, _Pericles_, III, i; V, i, and _Othello_, V, ii. I am inclined to believe that there may be four others: _Pericles_, I, i; _Timon of Athens_, V, iii; _Lear_, III, vi; _Othello_, I, iii. Let us examine the definite instances of discovery.

The two which occur in _Pericles_ are similar in character. In the first (III, i), Pericles is on a storm-tossed ship’s deck. His newborn babe has just been placed in his arms. The sailors insist that the body of his queen, who has but now died in child-birth, be cast overboard. Pericles answers,

As you thinke meet; for she must over board straight: Most wretched Queene. LYCHORIDA. Heere she lyes sir. PERICLES. A terrible Child-bed hast thou had my deare, ... nor have I time ... but straight, Must cast thee scarcly Coffind. [III, i, 54-61. Quarto copy]

At the end of the scene, Pericles sends one of the sailors out to prepare the “caulkt and bittumed” chest for the body, which we do not see removed, for the scene ends when Pericles says, “I’le bring the body presently.”

In the second scene, again on the deck of a ship, Lysimachus is told of Pericles’ trance out of which no one can stir him.

HELICANUS. hee will not speake to any LYSIMACHUS. yet let me obtaine my wish [to see Pericles] HELICANUS. Behold him, this was a goodly person. [V, i, 34-36. Q.]

Presumably a curtain is drawn to reveal Pericles on a couch. Subsequently, Marina is brought to rouse him, and little by little the two discover they are father and daughter. The lines indicate some shifting in and out of the enclosure during this scene.

Because of the stage direction in the Folio, “Enter Othello, and Desdemona in her bed,” this last scene of _Othello_ probably employs the enclosure. If it is continued in the enclosure throughout, it is the only illustration that we have of extended action in this space. Only one other instance occurs in the Globe plays where “enter” precedes the discovery of a sleeping person (_A Yorkshire Tragedy_, scene v). As yet no one has explained convincingly the appearance of “enter” in such a context. In contemporary diction and common usage “enter” is not a synonym for “discover.” Yet such stage directions clearly intend “enter” to bear a special significance. Therefore, until further light can be thrown upon such usage, it is best for us to accept stage directions reading “Enter _A_ in a bed” or “Enter _B_ asleep” as evidence of discovery.

A similarity between the three Shakespearean scenes and the non-Shakespearean scenes will be seen immediately. Two of the Shakespearean scenes involve the display of sleepers, one of a seeming corpse. When we return to the remaining possible uses of the enclosure, we find that they include the discovery of a conference (_Othello_, I, iii: “Enter Duke and Senators set at a Table with lights and Attendants.” Q. 1622. The Folio s.d. is “Enter Duke, Senators, and Officers”); concealment of a sleeper (_Lear_, III, vi: “draw the curtains”); and the discovery of dead bodies (_Timon_, V, iii: a soldier finds Timon’s body, and _Pericles_, I, i). In _Pericles_, I, i, Antiochus seeks to dissuade Pericles from endeavoring to win the hand of Antiochus’ daughter by answering a fateful riddle. He points to the bodies of “sometimes famous Princes” who failed to answer the riddle and were put to death. These bodies may be discovered.

Once one puts all the evidence together, the degree of uniformity is amazing. Considering all these discoveries, in Shakespearean and non-Shakespearean plays, we find twenty-one examples, six of which involve sleepers, seven of which involve study or conference, five of which involve corpses. One, the devil as pope, is a slight variant of the last category. The final two variants appear in Jonson’s plays. In _Volpone_ gold is displayed, the only time an object is the center of revelation. It is possible that a chest rather than the enclosure contains the wealth. In _Every Man Out of His Humour_, the evidence for the use of the enclosure is slight.[26]

This theory, that the enclosure was reserved for certain kinds of display, augments the present theory that the enclosure was used infrequently and briefly. Both theories lead inevitably to the question: was the enclosure a permanent part of the stage, and if it was, why was it not used more frequently? Though I tend to believe that the enclosure was permanent, it could very well have been temporary, provided there were hidden access to it. To the second half of the question, the answer is that the enclosure _was_ used more frequently, not to effect discovery, however, but to permit concealment. Lear, as I suggested, may have utilized the enclosure for that purpose, the enclosure which often served as a study. In Q. 1603 of _Hamlet_, Corambis advises the King:

The Princes walke is here in the galery, There let Ofelia, walke untill hee comes: Your selfe and I will stand close in the study. [Sig. D4^v]

At the corresponding point in the Folio version, Polonius says, “Be you and I behinde an Arras then.” Naturally Corambis would think of the place behind the arras as the study. It was the enclosure to which he referred, the enclosure which served the double purpose, to reveal and to conceal. Of the fifteen Shakespearean Globe plays seven contain scenes of concealment and ten contain scenes of discovery or concealment or both. If, in addition, the enclosure was employed as the front of a tent in those instances where the interior was not revealed, then twelve of the fifteen Shakespearean plays made some use of the enclosure for other purposes than entry.[27]

One word about chronology remains to be said. The plays in which discovery takes place, _Pericles_, _The Devil’s Charter_, _Othello_, tend to come late in the Globe period. The use of the enclosure for concealment, however, occurs throughout the period. Recognizing that discovery scenes can be found throughout the Elizabethan period, I should still like to suggest that the use of the enclosure for discovery was an extension of its use for entrance, concealment, and possibly introduction of properties. In popular plays of the pre-Globe period occur scenes where properties are brought forth from what must be the enclosure. Although none of the Globe plays contains evidence of similar practice, it is not unlikely that scaffolds, states, and pulpits were introduced from the enclosure.[28] If the origin of the Elizabethan stage truly lies in the booth theater erected in an inn yard, then the hangings of the booth first had to conceal the actors dressing, then permit entrance of actors and properties, and lastly, when the stage façade became permanent, allow discovery.

Among the parts of the Globe there was, all scholars concede, an upper level attached to the stage façade. Variously termed a “chamber” by Adams and a “gallery” by Hosley, it is referred to as a “window,” “walls,” or “above,” in the Globe texts. To avoid any preconceptions about its nature, we might best refer to the upper level as it is usually called, “the above.”

The nature of evidence for the above is of two sorts. First and surest is the category where a stage direction reads “Enter above” or the action involves two levels. The second is where characters refer to being above without actually performing actions which show them to be above, for example, when Bardolph informs Falstaff that “there’s a woman below” (_The Merry Wives of Windsor_, III, v). Both categories of evidence occur in the Globe plays. The first involves scenes where the above is related to the platform below; the second involves scenes, if the lines can be taken literally, which would continue at length independent of the lower stage.

To begin with the second kind of evidence first. Eight scenes in the Globe plays contain references to people or action below without directly relating to any action below.[29] Three of these occur in one play, _A Yorkshire Tragedy_. All the other five take place in taverns, and supposedly the characters are in upper rooms. Since the scenes in _A Yorkshire Tragedy_ cast an interesting light on these references, I shall examine them first. In scene iii a servant announces to the Husband that “a gentleman from the University staies below to speake with you.” For the moment, we can imagine the scene is above. At the news the Husband leaves his wife to greet the visitor. The wife remains alone to deliver a soliloquy. In scene iv, after conversing with the gentleman, the Master of the College, the Husband suggests that the guest “spend but a fewe minuts in a walke/about my grounds below, my man heere shall attend you.” Presumably the scene is still above. After the departure of the guest, the Husband kills one of his children and, crying that he will kill the other, he exits with the bloody child.