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.