[604] F. A. Foster, Dumb Show in Elizabethan Drama before 1620 (E. S. xliv. 8); cf. ch. xviii.
[605] Cunliffe, xxxi, xxxix.
[606] For the spectacle as dream, cf. Henry VIII, iv. 2; Cymbeline, v. 4, which, like the epiphany in A. Y. L. v. 4, perhaps illustrates the point all the better in that it is probably an interpolation; for the spectacle as magic show, Marlowe, Dr. Faustus, 515, 721, 1263; Macbeth, iv. 1; Tempest, iii. 3, and the mock magic of Merry Wives, v. 5. The mask of Tempest, iv. 1, is of course both mask and magic.
[607] Hamlet, iii. 2. 146. On the play within a play, cf. H. Schwab, Das Schauspiel im Schauspiel zur Zeit Shaksperes (1896).
[608] In Spanish Tragedy, i. 5, Hieronimo brings in a 'pompous jest' in which three knights hang up their scutcheons and capture three kings. This is called a 'mask' (l. 23), but there is no dance, only a dumb-show interpreted by Hieronimo. Similarly the 'Maske of Cupid' in Spenser, F. Q. III. xii, is merely an allegorical procession, without a dance. Later, Dekker and Ford's play of The Sun's Darling (1656) is described on the title-page as 'a moral masque'.
[609] Cf. Boas, 206.
[610] L. L. L. v. 2; R. J. i. 4, 5. Similarly the mask in Hen. VIII, i. 4, is suggested by the historic source. In M. V. ii. 5, 28, Shylock warns Jessica against masks in the street, with their drum and 'wry-necked fife', but none is shown.
[611] Marston, 1 Antonio and Mellida (1599; v. 1), 2 Antonio and Mellida (1599; v. 1, 2), Dutch Courtesan (1603; iv. 1), Malcontent (1604; v. 2, 3), Insatiate Countess (c. 1610; ii. 1); Chapman, May Day (1602; v. 1), Widow's Tears (1605; iii. 2), Byron's Tragedy (1608; ii. 1); Middleton, The Old Law (a mask in a tavern, 1599; iv. 1), Blurt Master Constable (c. 1600; ii. 2), A Mad World, my Masters (c. 1604-6; ii. 2, 4, 5), Your Five Gallants (1607; iv. 8; v. 1, 2), No Wit, no Help, like a Woman's (c. 1613; iv. 2); Field, A Woman is a Weathercock (c. 1609; v. 1, 2); Jonson, Cynthia's Revels (1601; iv. 5, 6; v. 1-5).
[612] The Coxcomb (1610; i. 1), Maid's Tragedy (1611; i. 1, 2), Four Plays in One (1612; i. v), Two Noble Kinsmen (not strictly a mask, 1613; iii. 5), Henry VIII (1613; i. 4), Wit at Several Weapons (1614; v. 1).
[613] A. H. Thorndike, The Influence of the Court-Masques on the Drama (M. L. A. xv. 114); The Influence of Beaumont and Fletcher on Shakspere, 130, 148.