Was hoysted on the stage, and shamd about it;
also ch. xx, p. 75; ch. xxi, pp. 108, 141.
[1723] For criticism of the drawing of the heavens and hut, cf. Graves, 22, and Brereton in Homage, 204.
[1724] Henslowe paid in 1595 for ‘mackinge the throne in the heuenes’ at the Rose; cf. R. M., Micrologia (1629), in Morley, Character Writings, 285, A Player, ‘If his action prefigure passion, he raves, rages, and protests much by his painted heavens, and seems in the height of this fit ready to pull Jove out of the garret where perchance he lies leaning on his elbows, or is employed to make squibs and crackers to grace the play’. Wegener, 133, gives examples of the use of machines; for the throne, cf. vol. iii, p. 77.
[1725] Field (1583, App. C, No. xxxi), ‘Those flagges of defiance against God’; Vennar’s apology (1614) for England’s Joy (1602, cf. ch. xxiii). ‘The report of gentlemen and gentlewomens actions, being indeed the flagge to our theatre, was not meerely falcification’; A Mad World, my Masters (1604–6), I. i. 38, III. iii. 143, ‘’Tis Lent in your cheeks; the flag’s down’.... ‘The hair about the hat is as good as a flag upo’ th’ pole, at a common play-house, to waft company’; Dekker, Raven’s Almanac (1609, Works, iv. 210), ‘Another ciuill warre doe I finde will fal betweene players.... For it is thought that Flag will be aduanced (as it were in mortall defiance against Flag)’; Work for Armourers (1609, Works, iv. 96), ‘Play-houses stand ... the dores locked vp, the flagges ... taken down’; Curtain-Drawer of the World (1612), ‘Each play-house advanceth his flag in the aire, whither quickly at the waving thereof are summoned whole troops of men, women, and children’. The maps regularly show flags on the theatres. The Globe fire in 1613 ‘did not spare the silken flagg’ (cf. p. 421). Heywood, Apology, 22, mistranslates Ovid’s ‘Tunc neque marmoreo pendebant vela theatro’ as:
In those days from the marble house did waive
No sail, no silken flag, no ensign brave.
[1726] Cf. p. 542; Cynthia’s Revels, ind., where the boys struggle for the cloak; Woman Hater, prol. 1, ‘Gentlemen, Inductions are out of date, and a Prologue in Verse, is as stale as a black Velvet Cloak, and a Bay Garland’; Birth of Hercules (1597 <), prol. 5, ‘Thepilogue is in fashion; prologues no more’; and much later. Coronation, prol. 4,
he
That with a little Beard, a long black Cloak,