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.
iii. The Use of the Above: Two Special Instances
Julius Caesar, V, iii
The stage direction “Pindarus above” together with the stage direction, “Enter Pindarus,” makes it almost certain that the above and not a platform was used. None of the scaffold scenes has a stage direction “above” or an “enter.” In this instance, then, we must suppose that either Cassius spoke very slowly or Pindarus moved very quickly, for only two and a half lines cover his ascent and two lines his descent.
Antony and Cleopatra, IV, xv