[4] A. H. Thorndike, Shakespeare’s Theater (New York, 1916), p. 83. Chambers expresses a similar but less sweeping version of this view in Elizabethan Stage, III, p. 86.
[5] Alfred Harbage, Theatre for Shakespeare (Toronto, 1955) pp. 31 ff., estimates that in the 1,463 scenes of the 86 plays produced in the popular theater between 1576 and 1608, only 90, or slightly more than 6 per cent of the scenes require “the use of a curtained recess or equivalent stage enclosure.”
[6] Sir Mark Hunter, “Act- and Scene-Division in the Plays of Shakespeare,” R.E.S., II (1926), 296 ff. J. Dover Wilson, writing shortly afterward, concurred in this definition. “Act- and Scene-Division in the Plays of Shakespeare: A Rejoinder to Sir Mark Hunter,” R.E.S., III (1927), 385.
[7] C. M. Haines, “The ‘Law of Re-entry,’” R.E.S., I (1925), 449-451.
[8] W. W. Greg, Two Elizabethan Stage Abridgements, pp. 32-33.
[9] The difference between the figure of 339 entrances and 644 entrances and exits results from a difference in dividing scenes in the plays. For the purpose of considering split entrances and exits, I thought it best to eliminate any instances where it was even probable that a scene continued, as in Hamlet, from III, iv, to IV, i.
[10] A. C. Sprague, Shakespeare and the Audience (Cambridge, Mass., 1935), p. 66.
[11] Examples occur in True Tragedy of Richard III, 475-477, 581 ff.; Love and Fortune, 1370 f., Sir Clyomon and Sir Clamydes, 828, 852 f., and Cambises, 127 ff., 602 ff.
[12] Sprague, pp. 67-68.