Several scholars have studied the disguise scene in terms of either its dramatic form or its psychological import.[16] Paul Kreider, for example, emphasizes the careful preparation which precedes the assumption of disguise in Shakespeare’s plays. Although he does not consider the methods for staging the disguise, he makes it clear that Shakespeare always informs the audience who is disguised. Here I shall only consider how the character is disguised.
The basic method of disguise is through a change of costume. Almost invariably this change furnishes the foundation for the disguise. In the Shakespearean Globe plays there are seventeen instances of disguise, of which five rely wholly and six mainly on a change of costume (see [Appendix C, chart i]). In the non-Shakespearean Globe plays, of fifteen cases, four rely wholly and six mainly on a change of costume. Even when a different costume is not the sole method of disguise, it is almost always introduced as an important supplement. Fourteen of the seventeen disguised characters in Shakespeare change their dress; thirteen of the fifteen in the non-Shakespearean plays do so too.
Next in frequency and importance in effecting a disguise is a change of manner. In addition to changing his clothing, the character adjusts or alters his bearing or attitude. The Duke becomes paternal in Measure for Measure; Harbart becomes as blunt as his alias, Blunt, in Fair Maid of Bristow; Vindice in The Revenger’s Tragedy becomes familiar in his first disguise, then melancholy; Edgar becomes a Bedlamite. The degree of change in manner depends upon the situation in the play. The most complete changes, such as Edgar’s, have dramatic purposes other than disguise. Of the disguises in Shakespeare’s Globe plays, eight show change in manner. In the non-Shakespearean plays eight definitely and one possibly show change in manner. A change in voice is occasionally introduced although the evidence may be deceptive. Kent speaks of “razing likeness” and “changing accents” but, as The Revenger’s Tragedy shows, the latter phrase can refer to manner as well as speech. Vindice, who has appeared before Lussurioso in one disguise, is about to assume another one for a new interview. Hippolito cautions him.
How will you appear in fashion different,
As well as in apparel, to make all things possible?
You must change tongue: familiar was your first.
Vin. Why, I’ll bear me in some strain of melancholy,
And string myself with heavy-sounding wire,