[32] F. N. Coeffeteau, A Table of Humane Passions, tr. Edward Grimeston (1621); Ruth Anderson, Elizabethan Psychology and Shakespeare’s Plays in University of Iowa Studies, III (March 15, 1927), 72 ff.; Campbell, p. 69.
[33] Thomas Wright, The Passions of the Minde (1601), p. 88, as quoted by Lawrence Babb, The Elizabethan Malady (East Lansing, Mich., 1950), pp. 17 ff.
[34] Babb, p. 13.
[35] Craig, p. 124.
[36] The display of wit as an individualizing element is usually limited to the following types: ladies, pages or boys, satirists such as Jaques and Thersites, clowns, gulls, braggarts, and occasional generic figures such as gentlemen and citizens. The only characters outside of these types who engage in wit play in Shakespeare’s Globe plays are Paris (Troilus and Cressida, III, i), Lafew, Abhorson, Shallow, and Evans (Merry Wives of Windsor, I, i), also in the same play, Pistol and Nym (I, iii) and the Host (II, iii; III, i). Also Iago (who may be considered a satirist) and Polonius (II, ii).
[37] Draper, for example, considers Cassio a choleric type, yet his description of the sanguine personality would fit as well (p. 15). The sanguine type, as Draper describes it, displays a predominance of blood, a handsome physique, ruddy color, a full body, susceptibility to love, honesty, trueness, and gaiety (pp. 18-23). This description fits Cassio.
[CHAPTER FIVE]. THE STAGING
[1] Ronald Watkins, On Producing Shakespeare (New York, 1950), p. 104.
[2] Summerson, pp. 30-51. See especially the plans of Wollaton Hall, p. 34; Hardwick Hall, p. 36; and Charlton House, p. 48.
[3] The determination upon the figure of more than five characters composing a group scene is not arbitrary. Five actors can function on such a stage as the Globe without encountering problems of covering each other or vying for attention. Furthermore, Shakespearean scenes jump from those with five characters to those with appreciably more. Exceptions are noted in the text of the chapter, especially in the discussion of category two of the group scenes.