This type of symmetry can be seen in Shakespearean plays also. At one point in Antony and Cleopatra Antony’s soldiers, while on watch, hear the subterranean music which signifies, according to one of them, that “the god Hercules, whom Antony lov’d,/Now leaves him.” For the setting of the watch occurs the stage direction, “They place themselves in every corner of the stage” (IV, iii, 7). What arrangement could be simpler? In the same play there is another example. Antony and Caesar are to meet to settle their dispute (II, ii). The scene opens with Lepidus urging Enobarbus to “entreat your captain/To soft and gentle speech.” Then the two monarchs of the world enter from opposite sides of the stage. I quote at length to make the balance clear.
Lep. Here comes
the noble Antony.
(Enter Antony and Ventidius.)
Eno. And yonder, Caesar.
(Enter Caesar, Maecenas, and Agrippa.)
Ant. If we compose well here, to Parthia.
Hark, Ventidius.
Cae. I do not know,
Maecenas. Ask Agrippa.