He [Bertram] knows himself my bed he hath defil’d,
And at that time he got his wife with child.
Dead though she be, she feels her young one kick.
So there’s my riddle: one that’s dead is quick—
And now behold the meaning.
Enter Helen and Widow.
King. Is there no exorcist
Beguiles the truer office of mine eyes?
[V, iii, 301-306]
Similar situations occur in As You Like It and Twelfth Night. In As You Like It the revelation is heralded by music which suggests a processional entrance. In Twelfth Night Sebastian follows Toby on stage in order to justify his treatment of Toby. These scenes by analogy indicate the unlikelihood that Helen was discovered by the drawing of the curtain of the enclosure. Yet in all these scenes the resolving figures must enter prominently, for upon their entrance they occupy the center of attention. I suggest, therefore, that to achieve maximum effect and to preserve symmetry, these entrances were made through the curtain at the rear of the stage.