[70] Wealth and Health, Nice Wanton, Lusty Juventus, Impatient Poverty, Respublica, Jacob and Esau, and perhaps Enough is as Good as a Feast, with the fragmentary Love Feigned and Unfeigned.
[71] Trial of Treasure, Like Will to Like, The Longer Thou Livest, The More Fool Thou Art, Marriage of Wit and Science, Marriage between Wit and Wisdom, New Custom, The Tide Tarrieth no Man, All for Money, Disobedient Child, Conflict of Conscience, Pedlar’s Prophecy, Misogonus, Glass of Government, Three Ladies of London, King Darius, Mary Magdalene, Apius and Virginia, with the fragmentary Cruel Debtor.
[72] For details of date and authorship cf. chh. xxiii, xxiv, and Mediaeval Stage, ii. 439, 443. Albright, 29, attempts a classification on the basis of staging, but not, I think, very successfully.
[73] Cf. e.g. Hickscorner, 544; Youth, 84, 201, 590, 633; Johan Johan, 667; Godly Queen Hester, 201, 635, 886; Wit and Science, 969; Wit and Wisdom, 3, p. 60; Nice Wanton, 416; Impatient Poverty, 164, 726, 746, 861, 988; Respublica, V. i. 38; Longer Thou Livest, 628, 1234; Conflict of Conscience, III. i. 2; et ad infinitum. Characters in action are said to be in place. For the platea cf. Mediaeval Stage, ii. 80, 135, but Kinge Johan, 1377, has a direction for an alarm ‘extra locum’.
[74] Cf. e.g. Wit and Science, 193, ‘Wyt speketh at the doore’; Longer Thou Livest, 523, ‘Betweene whiles let Moros put in his head’, 583, ‘Crie without the doore’, &c., &c.
[75] Cf. ch. vii.
[76] Cf. Mediaeval Stage, i. 216, and for the making of ‘room’ or ‘a hall’ for a mask, ch. v.
[77] Cf. M. L. Spencer, Corpus Christi Pageants in England, 184; Creizenach, ii. 101.
[78] Wallace, ii. 48, ‘The Blackfriars stage was elastic in depth as well as width, and could according to the demands of the given play be varied by curtains or traverses of any required number placed at any required distance between the balcony and the front of the stage’; Prölss, 89; Albright, 58; cf. p. 78.
[79] Volpone, v. 2801 (cf. p. 111); White Devil, V. iv. 70: