Into these woods, adioyning to these walles.
[103] At the end of the banquet scene (598), ‘Exeunt omnes’ towards the interior of the palace, when ‘Enter Venus at another doore, and takes Ascanius by the sleeue’. She carries him to the grove, and here he presumably remains until the next Act (III), when ‘Enter Iuno to Ascanius asleepe’ (811). He is then removed again, perhaps to make room for the hunting party. I suppose the ‘another doore’ of 598 to mean a stage-door.
[104] Cf. ch. xxii.
[105] Direct evidence pointing to performance at Court is only available for two of the five, Cambyses and Orestes.
[106] Cambyses, 75, 303, 380, 968, 1041, 1055; Patient Grissell, 212, 338, 966, 1048, 1185, 1291, 1972, 1984, 2069; Orestes, 221, 1108; Clyomon and Clamydes, 1421, 1717, 1776, 1901, 1907, 1931, 1951, 2008, 2058, 2078; Common Conditions, 2, 110, 544, 838, 1397, 1570; &c. Of course, the technical meaning of ‘place’ shades into the ordinary one.
[107] A similar instruction clears the stage at the end (1197) of a corpse, as in many later plays; cf. p. 80.
[108] The s.d. ‘one of their wives come out’ (813) does not necessarily imply a clown’s domus. Cambyses fluctuates between the actor’s notion that personages come ‘out’ from the tiring-house, and the earlier notion of play-makers and audience that they go ‘out’ from the stage. Thus ‘Enter Venus leading out her son’ (843), but ‘goe out Venus and Cupid’ at the end of the same episode (880).
[109] ‘Come, let us run his arse against the poste’ (186); cf. pp. 27, 75.
[110] For later examples cf. p. 99.
[111] Lawrence (i. 41), Title and Locality Boards on the Pre-Restoration Stage.