[202] e. g. Alphonsus, II. i. 1 (battle scene); Selimus, 2430 (battle scene); Locrine, V. v. 2022, 2061 (battle scene); Old Fortunatus, 2675 (threshold scene); &c., &c. Archer, 469, calculates that of 43 examples (sixteenth and seventeenth century) taken at random, 11 use ‘one ... the other’, 21 ‘one ... an other’, and 11 ‘several’.
[203] Selimus, 658, ‘at diuerse doores’; Fair Em, sc. ix, ‘at two sundry doors’; James IV, II. ii. 1, ‘one way ... another way’; Look About You, 464, ‘two waies’; Weakest Goeth to the Wall, 3, ‘one way ... another way’; Jew of Malta, 230, ‘Enter Gouernor ... met by’. Further variants are the seventeenth-century Lear (Q1), II. i. 1, ‘meeting’, and Custom of Country, IV. iv, ‘at both doors’.
[204] 1 Rich. II, I. i, ‘at seuerall doores’.
[205] Fair Em, sc. iv, ‘Enter Manvile ... Enter Valingford at another door ... Enter Mountney at another door’; Patient Grissell, 1105, ‘Enter Vrcenze and Onophrio at seuerall doores, and Farneze in the mid’st’; Trial of Chivalry, sign. I_{3}v, ‘Enter at one dore ... at the other dore ... Enter in the middest’. Examples from seventeenth-century public theatres are Four Prentices of London, prol., ‘Enter three in blacke clokes, at three doores’; Travels of 3 English Brothers, p. 90, ‘Enter three seuerall waies the three Brothers’; Nobody and Somebody, 1322, ‘Enter at one doore ... at another doore ... at another doore’; Silver Age, V. ii, ‘Exeunt three wayes’. It may be accident that these are all plays of Queen Anne’s men, at the Curtain or Red Bull. For the middle entrance in private theatres, cf. p. 132.
[206] Downfall of R. Hood, I. i (ind.), after Eltham has knocked at Skelton’s study door (cf. p. 69), ‘At euery doore all the players runne out’; Englishmen for my Money, 393, ‘Enter Pisaro, Delion the Frenchman, Vandalle the Dutchman, Aluaro the Italian, and other Marchants, at seuerall doores’; cf. the seventeenth-century 1 Honest Whore, sc. xiii (Fortune), ‘Enter ... the Duke, Castruchio, Pioratto, and Sinezi from severall doores muffled’.
[207] Locrine, IV. ii. 1460 (not an entry), ‘Locrine at one side of the stage’; Sir T. More, sc. i. 1, ‘Enter at one end John Lincolne ... at the other end enters Fraunces’; Stukeley, 245, ‘Enter Stukeley at the further end of the stage’, 2382, ‘Two trumpets sound at either end’; Look About You, sc. ii. 76, ‘Enter ... on the one side ... on the other part’. Very elaborate are the s.ds. of John a Kent, III. i. The scene is before a Castle. A speaker says, ‘See, he [John a Cumber] sets the Castell gate wide ope’. Then follows dialogue, interspersed with the s.ds. ‘Musique whyle he opens the door’.... ‘From one end of the Stage enter an antique ... Into the Castell ... Exit’.... ‘From the other end of the Stage enter another Antique ... Exit into the Castell’.... ‘From under the Stage the third antique ... Exit into the Castell’.... ‘The fourth out of a tree, if possible it may be ... Exit into the Castell’. Then John a Cumber ‘Exit into the Castell, and makes fast the dore’. John a Kent enters, and ‘He tryes the dore’. John a Cumber and others enter ‘on the walles’ and later ‘They discend’. For an earlier example of ‘end’, cf. Cobler’s Prophecy (p. 35, n. 1), and for a later The Dumb Knight (Whitefriars), i, iv. In 2 Return from Parnassus (Univ. play), IV. i begins ‘Sir Radericke and Prodigo, at one corner of the Stage, Recorder and Amoretto at the other’.
[208] Cf. p. 98.
[209] Soliman and Perseda, I. iv. 47, ‘Enter Basilisco riding of a mule’ ... (71) ‘Piston getteth vp on his Asse, and rideth with him to the doore’; cf. 1 Rich. II (quoted p. 61, n. 3), and for the private stage, Liberality and Prodigality, passim, and Summer’s Last Will and Testament, 968. W. J. Lawrence, Horses upon the Elizabethan Stage (T. L. S. 5 June 1919), deprecates a literal acceptance of Forman’s notice of Macbeth and Banquo ‘riding through a wood’, attempts to explain away the third example here given, and neglects the rest. I think some kind of ‘hobby’ more likely than a trained animal. In the Mask of Flowers, Silenus is ‘mounted upon an artificiall asse, which sometimes being taken with strains of musicke, did bow down his eares and listen with great attention’; cf. T. S. Graves, The Ass as Actor (1916, South Atlantic Quarterly, XV. 175).
[210] Knack to Know an Honest Man, sc. ix. 1034 (cf. p. 60, n. 3).
[211] Leir, 2625 (open country scene near a beacon), ‘Mumford followes him to the dore’; cf. p. 60, supra.