[13] Warren Smith, “The Third Type of Aside in Shakespeare,” M.L.N., LXIV (1949), 510.
[14] There are five speeches which may or may not be asides. These are not included. Macbeth, I, iii, 116-117; V, iii, 20-28; Lear, I, iv, 244-245, 251, 255-256; IV, ii, 83-87; Hamlet, III, ii, 191. Four additional speeches are written so that the character either speaks loudly enough for the sound but not the sense to be overheard or fears being overheard. Caesar, II, iv, 39-43; Twelfth Night, III, iv, 1-4; Othello, IV, i, 238-249; Antony and Cleopatra, III, vii, 6-10.
[15] Coriolanus, II, i, shows the same characteristics. Brutus and Sicinius who have been talking to Menenius step aside, according to the stage direction (106), when the Roman ladies enter. Shortly after they do so, the triumphal procession for Coriolanus enters, then moves on to the Capitol. Upon this exit Brutus and Sicinius, according to the Folio, “enter” (220 ff.) conversing about what they have seen. Apparently they had gone off and yet they are aware of what has taken place. The circumstances fit the conditions of the observation scene that I have been describing.
[16] Paul V. Kreider, Repetition in Shakespeare’s Plays (Princeton, 1941), Chapter One, “The Mechanics of Disguise”; M. C. Bradbrook, “Shakespeare and the Use of Disguise in Elizabethan Drama,” Essays in Criticism, II (1952), pp. 159-168; Victor O. Freeburg, Disguise Plots in Elizabethan Drama (New York, 1915).
[17] Twelfth Night, IV, ii, 69-70. Maria. “Thou mightst have done this without thy beard and gown. He sees thee not.”
[18] Julius Caesar, IV, iii, 267-308; Macbeth, III, iv, 38-73, 93-107; Hamlet, I, i, 18-69, 126-175; I, iv, 38-91; I, v, 1-113; III, iv, 102-136. From this list I exclude the show of kings in Macbeth, IV, i. The apparitions do not pass over the stage immediately, but assemble upon it until Banquo’s ghost “points at them for his.” The lines that follow being of doubtful authenticity, they offer no assistance in determining how the apparitions depart, though nothing in the text conflicts with the conventional manner of staging ghost scenes.
[19] W. J. Lawrence, Pre-Restoration Stage Studies (Cambridge, 1927), p. 106.
[20] A Warning for Fair Women, Sig. E3v. In the midst of a dumb show which takes place on the platform, the following direction occurs: “Chastitie, with her haire disheveled, and taking mistres Sanders by the hand, brings her to her husbands picture hanging on the wall, and pointing to the tree [above the center trap] seemes to tell her, that that is the tree so rashly cut downe.”
[21] In the Folio Edgar speaks the final lines, but in this respect the Quarto follows general usage. Of the other fourteen Shakespearean Globe plays, the ranking figure definitely speaks the final lines in eleven of them (All’s Well, King; Measure for Measure, Duke; As You Like It, Duke; Twelfth Night, Duke; Coriolanus, Aufidius; Timon, Alcibiades; Macbeth, Malcolm; Hamlet, Fortinbras; Othello, Lodovico; Antony and Cleopatra, Caesar; Pericles, Pericles). The other three plays present special instances. The Merry Wives of Windsor has no ranking figure, but it is appropriate for Ford to conclude the action. Julius Caesar apparently has two ranking figures, Antony and Octavius. But the fact that Octavius speaks last points to his triumph in Antony and Cleopatra. Pandarus concludes Troilus and Cressida. This play, as I have shown, has a unique structure.