[21] Harley Granville-Barker, Prefaces to Shakespeare (Princeton, 1947), I, p. 274.
[22] The appearance of the “climactic plateau” late in Troilus and Cressida is further support for the theory of a two-part play suggested by T. W. Baldwin in A New Variorum Edition of Troilus and Cressida, ed. Harold N. Hillebrand, supplemental ed. T. W. Baldwin (Philadelphia, 1953), p. 452.
[23] The climax is also associated with the subsequent disappearance of the central figure, a characteristic pointed out by W. J. Lawrence. Both comedy, for example, Twelfth Night and Measure for Measure (Angelo is absent for the third and almost all of the fourth act) and tragedy display the same pattern.
[24] Levin L. Schücking, Character Problems in Shakespeare’s Plays (New York, 1922), p. 114.
[25] Elmer E. Stoll, Shakespeare Studies (New York, 1942), p. 37, corrected edition; G. Wilson Knight, Wheel of Fire (New York, 1949), pp. 13-14.
[26] G. Wilson Knight, Wheel of Fire and Principles, pp. 140-155, for his proposed Macbeth production.
[CHAPTER THREE]. THE STAGE
[1] G. F. Reynolds, “What We Know of the Elizabethan Stage,” M.P., IX (1911), 68.
[2] V. E. Albright, The Shakesperian Stage (New York, 1909), p. 45.
[3] The figures are suggestive rather than definitive. See [Appendix B, chart i], for breakdown according to plays.