That these two types of scenes are present in Elizabethan plays has long been recognized. Some scholars, such as V. E. Albright, E. K. Chambers, and J. C. Adams, have tended to divide all scenes of a play into one or the other type, the localized, usually interior and more or less realistic, the unlocalized, exterior, neutral, and somewhat less realistic. This division, according to Albright, derives from the sedes and platea of the medieval stage.[2] What had been physically separate areas earlier became united on one stage in the Tudor period. But, the argument runs, the Elizabethan dramatists continued to juxtapose the two types of scenes, stringing them in a more or less alternating order along the thread of narrative.
To what extent can this dichotomy be supported by the evidence from the Globe? Naturally there is no sharp distinction between these two types of localization. The differentiation depends upon the sequence a scene assumes in the narrative. Consequently, there are scenes which clearly fit into one or the other category. But even if all the localized and unlocalized scenes are counted, the total amounts to only 136. Since there are 345 scenes in my enumeration of the fifteen Shakespearean Globe plays, 209 remain to be accounted for.[3]
Is it true, as William Archer, Harley Granville-Barker, and George F. Reynolds have pointed out, that much localization was vague, that place faded elusively like a mirage before a traveler, and that often the Elizabethans treated the stage as stage? “Scene after scene,” asserts Granville-Barker, “might pass with the actors moving to all intents merely in the ambit of the play’s story and of their own emotions: unless, the spell broken, they were suddenly and incongruously seen to be upon a stage.”[4] Many a scene gives just such an impression, and yet, in almost every scene that is not unlocalized, the characters do not actually act in a dislocated void but are known to be in some more or less specific region. Even when attention is directly called to the stage-as-stage, stage-as-fictional-world still remains. In such moments the audience experiences a double image.
It is a commonplace that the public stages of the Elizabethan period contained “Asia of the one side, and Affricke of the other.” Though contemptuous in intent, in effect this phrase of Sidney’s isolates one of the characteristics of Elizabethan scene setting. Perhaps, as some scholars have thought, the Elizabethans utilized place cards to inform the audience of the general location of a scene. But whether they did or not, they were in the habit of specifying a place at large but not a particular section of it. In such cases the stage stands for rather than represents the fictional locale, the confines of which cannot be reasonably encompassed within the limits of the stage. In this type of locale, placement is general rather than precise—for example, the city of Troy in Troilus and Cressida, not a particular part of it. Rome as a whole rather than some portion of it is often the setting in Coriolanus (I, i; IV, ii; IV, vi). Free movement within such a locale occurs readily as in Julius Caesar (III, i), where action takes place first in the street and then in the Capitol. Sequences of action which would be incongruous in a localized setting assume dramatic power in a generalized setting. In the very same place, Othello’s castle, occur the private conflict of Othello and Desdemona and the public encounter of Cassio and Bianca (III, iv). Actually, in this type of setting, dramatic impact proceeds from the general rather than the specific nature of the locale. Without a doubt we know when the scene is Rome and when Egypt in Antony and Cleopatra. Dramatically that is all we need to know. To endeavor to isolate the whereabouts of Octavius’ meeting with Antony (II, ii) would reduce the stature of that meeting. All of Rome is their stage just as in medieval practice all of paradise might be the setting for Adam and Eve. Among the 345 scenes of Shakespeare’s Globe plays, 142 are clearly of this sort and 67 tend toward this sort, accounting together for fully 60 per cent of the scenes.
A. H. Thorndike described three types of localization too: the definitely localized, the vaguely localized, and the unlocalized.[5] At first my analysis may seem to repeat his. However, there is a fundamental difference. The generalized locale is not vague; it is extensive, it is symbolic, and dramatically it is concrete. The audience is not expected to identify the stage with a particular location but to understand that it functions as a token of Troy or the Danish palace or the Forest of Arden. Regularly editors have been reducing the generalized location to a localized setting congruent with realistic dimensions. This practice merely betrays the scope of Elizabethan drama. The real distinction between scene loci was not, as others have assumed, a separation of interior from exterior or realistic from conventional but a gradation from the unlocalized through the generalized to the localized setting.
Before investigating whether or not the Globe stage utilized stage decor to set these scenes, it is advisable to consider to what degree and by what methods location was conveyed by the playwright himself. It might be well to state at the outset that in extremely few cases is place projected through properties or other decor. Of all the scenes in Shakespeare’s Globe plays I count only seventeen in which this occurs, a mere 5 per cent. The most frequently recurring methods used by Shakespeare to indicate location are by announcement: a character tells us where he is (“This is the forest of Arden,” As You Like It, II, iv); by foreshadowing a location: a character in one scene tells us where he or others will be next (“To the Monument,” Antony and Cleopatra, IV, xiv); and by identifying a character with a place (early in All’s Well, the Countess becomes identified with Rossillion; whenever she appears thereafter, the scene, we know, is Rossillion). Some of these methods are used in combination. For example, we learn in the second scene of Othello that the Duke is in council, to whose presence Othello, Brabantio, and others are summoned. This is foreshadowing. In the next scene when we see a meeting in progress between the Duke and Senators, we can guess we are at the council, and when Othello and Brabantio enter shortly, we are sure of it. Of course, there are other methods employed to indicate place, but these three are the principal ones. Announcements help to locate 129 of the scenes (37.3 per cent), presence of characters, 128 of the scenes (37.1 per cent), and foreshadowing, 61 of the scenes (17.7 per cent).
Though the chorus is used only occasionally to indicate place, it tells us most about Elizabethan playwrights’ attitudes toward setting the scenes. Fortunately, the Globe plays include two examples of this technique, one from the beginning and one from the end of the decade. In Every Man Out of His Humour Ben Jonson introduces three choral figures, Asper, Mitis, and Cordatus. At the end of the induction Asper leaves the stage to assume the role of Macilente; Mitis and Cordatus remain to comment upon the action. Cordatus, who knows the play, is able to inform Mitis where the action takes place. For some scenes he indicates a generalized locale. “The Scene is the country still,” he remarks to Mitis (Chorus to II, i) or “Onely transferre your thoughts to the city, with the Scene; where, suppose they speake” (Chorus to II, iv). Sometimes he is more specific. Upon the entrance of Cavaliere Shift (III, i), Mitis asks,
What new Mute is this, that walkes so suspiciously?
CORD. O, mary this is one, for whose better illustration;
we must desire you to presuppose the stage, the