The Duke dismisses his train; the trap in the guise of a “lady,” actually a poisoned manikin, is sprung; the Duke kisses “her” and falls. All this occupies twenty-five lines. In this it reminds us of the closet scene. Once the Duke is poisoned, Vindice and his brother, Hippolito, triumph over the dying man; they reveal the trap and then Vindice unmasks himself. To top these horrors Vindice discloses to the Duke that his bastard son “rides a-hunting in [his] brow,” and moreover that the son and the Duchess are about to hold a rendezvous at the very spot:
[Your] eyes shall see the incest of their lips.
[III, v, 192]
They arrive. The father-husband watches their love-making, hears their mockery of him, and, immediately after their departure, dies. All this takes eighty-three lines. In the structure of the scene, intensification comes from double response: the horror and pain of the Duke and the diabolical delight of the revengers as they witness his pain.
Elizabethan scenes are not unique merely because they give more time to response to a situation rather than to its development. Their uniqueness comes from the fact that the full intensity and implication of the theme is realized not in the accomplishment of the event but in the effects it produces. After Caesar is assassinated, Antony comes to terms with the conspirators. Dramatic though his meeting with them is, the most intense moments are not where Antony composes his differences with Brutus and Cassius, but where he views the body of Caesar. The most compelling section of the scene is Antony’s soliloquy where he envisions the ravages of war which will plague the earth as revenge for the foul deed. A glance at the proportion of lines devoted to the various parts of the scene indicates where Shakespeare placed his emphasis. Seventy-seven lines are devoted to all the tension leading to the assassination, 220 to the reactions and realignments that are its results. Ultimately we find Shakespeare dispensing completely with showing the act of murder and concentrating wholly on the psychological and philosophical responses, as in Macbeth.
VI. DRAMATIC UNITY IN THE GLOBE PLAYS
The repetition of dramatic forms in the Globe plays shows that there is a structural foundation for the concept of multiple unity, that unity can be found not in compression of action but in its extension. The story line links the experiences but is not identical with them. Rather the events frequently are extensions of the implications of the story exactly as the shattering of glass may be the effect of an explosion. Consequently, as the scenes seek to reach beyond the limits of the subject, it becomes requisite that means be discovered to set limits to the extension of story and theme. The Elizabethans were well aware that the dimensions of the plays threatened to overwhelm the audience. This is the essence of serious charges by Sir Philip Sidney and Ben Jonson against the popular drama. In this they may well have been following Aristotle who introduced into his definition of tragedy the concept of “magnitude.” A work of art must be able to be perceived as a totality by the audience. Here, of course, we have the true determinant of unity. Training in witnessing the extended sequences of miracle plays or in listening to Sunday sermons must have contributed to a broadness of perception. Nevertheless, a major problem of the Elizabethan playwright was to observe a proper magnitude, to keep within the bounds that his plays always threatened to break. To aid him in maintaining proper magnitude he had several means at his disposal.
One of these means is the story itself; it is always brought to a conclusion. Another means, and one I have not discussed, was the concentration on character. The fact that the story is happening to Hamlet or Vindice or Sejanus is in itself a unifying factor. But I shall discuss the relevance of character to the play in the [chapter on Elizabethan acting]. Three other means contributed to keeping the play within perceptible bounds.
The first of these, unity through poetic diction, has been amply treated by present-day critics. Both Stoll and G. Wilson Knight have written of Shakespeare’s plays as metaphorical forms.[25] Bradbrook sees the only unity as a poetic unity. Yet verbal expression is but one element of structural multiple unity. There is a close link between the dramatic form of the climactic plateau and the poetic expression, for the second requires the first. Where the playwright fails as a poet, the climactic extensions result in rant and sentimentality. But it is this form that enables the poetry to range freely, or perhaps we may consider that the same compulsion which drove the Elizabethans to copious, lyrical expression caused them to develop this particular dramatic form.