middle isle in Paules; and that, the west end of it.
At one time, where the presence of characters identifies the location, Cordatus queries Mitis, “You understand where the Scene is?” (Chorus to IV, i). Jonson, desirous of specifying particular London sites despite the fiction of Italian-named characters, is experimenting along the lines of Shakespeare who shortly before tried a similar method in Henry V. Shakespeare returned to this device in Pericles. Gower, the chorus, relates portions of Pericles’ adventures directly and in accompaniment to several dumb shows. In passing he often sets the locale. The first scene, he tells us, is “this Antioch ... this city” (17-18). Preparatory to the commencement of III, i, Gower asks the audience,
In your imagination hold
This stage the ship, upon whose deck
The sea-tost Pericles appears to speak
Imagine! Suppose! Both Jonson and Shakespeare call upon the audience to visualize the place of action. Clearly neither conventional nor realistic setting is introduced. Only words, in these instances delivered directly, in most instances conveyed in the midst of dramatic action, are the means for informing the audience where the scene takes place.
II. THE PARTS OF THE STAGE
What the Choruses make evident is that the stage was not altered for individual scenes. As a consequence, the stage structure itself, not scenery, served as the frame for the action. What this structure was and how it was used has been debated for years, and yet despite the lively and continuous debate, there actually exists a broad band of agreement About the size of the stage, for instance, there is little dispute. It is deduced from the Fortune contract. Without a doubt the platform, one side of which was attached to the stage wall or façade, was large, probably about 25 by 45 feet, and bare. Whether or not the supporting trestles were seen by the audience, as Hodges claims, matters little in a consideration of the use of the stage. What is important is that the stage extended to the middle of the yard, that consequently a large portion of the audience stood or sat on either side of the actors, and that the actors had to master the techniques of playing on this open stage. Some disagreement exists concerning the shape of the stage which, according to John C. Adams, was not rectangular but tapered inward toward the front. However, the weight of the evidence is against this theory, and most scholars are inclined to accept the rectangular shape.
Upon what other points is there general agreement? For one, that there were two pillars, located halfway between the stage wall and the front edge of the platform, which supported a shadow or cover over part of the stage. For another, that at platform level the stage wall contained two doors at least and probably a third entry or enclosed space and on an upper level, some sort of acting area. Where there are disputes, they arise over three matters: (1) what details complete this generally accepted scheme, (2) how the parts of the stage were employed, and (3) what temporary structures, if any, supplemented the basic façade. To examine these issues, it will be necessary to review each part of the stage in the light of the Globe repertory.