[369] D. Charter, IV. v. 2441, ‘Exit Alexander into his study’ ... ‘Enter Astor and Philippo in their wast-cotes with rackets’ ... ‘Enter two Barbers with linen’ ... ‘After the barbers had trimmed and rubbed their bodies a little, Astor caleth’ ... ‘They lay them selves upon a bed and the barbers depart’ ... ‘Bernardo knocketh at the study’. They are murdered and Bernardo bidden to ‘beare them in’ (2589).
[370] Cf. p. 66.
[371] Albright, 142; Graves, 17; Reynolds (1911), 55; Thorndike, 81.
[372] Cf. ch. xxii.
[373] In The Faithful Friends (possibly a Jacobean King’s play), iv. 282, Rufinus says, ‘Lead to the chamber called Elysium’; then comes s.d. ‘Exit Young Tullius, Phyladelphia and Rufinus. Then a rich Bed is thrust out and they enter again’, and Tullius says ‘This is the lodging called Elysium’. Later examples are Sir W. Berkeley, The Lost Lady (1638), V. i, ‘Enter the Moor on her bed, Hermione, Phillida, and Irene. The bed thrust out’; Suckling, Aglaura (1646), V, ‘A bed put out. Thersames and Aglaura in it.... Draw in the Bed’; Davenport, City Night Cap (1661, Cockpit), II. i, ‘A bed thrust out. Lodovico sleeping in his clothes; Dorothea in bed’.
[374] Silver Age, IV, ‘Enter Semele drawne out in her bed’; Hector of Germany, I. i, ‘a bed thrust out, the Palsgrave lying sick on it, the King of Bohemia, the Duke of Savoy, the Marquis Brandenburg entering with him’; Chaste Maid in Cheapside, III. ii. 1, ‘A bed thrust out upon the stage; Allwit’s wife in it’. This appears from ‘call him up’ (102) to be on the upper stage. Golden Age, I, ‘Enter Sibilla lying in child-bed, with her child lying by her, and her Nurse, &c.’ has the Cymbeline formula, but presumably the staging was as for Danae.
[375] Golden Age, IV, ‘Enter foure old Beldams’, and say ‘The ‘larme bell rings’; it is Acrisius; they will ‘clap close to the gate and let him in’. He bids them watch ‘your percullist entrance’, says ‘Danae is descended’, speaks of ‘the walkes within this barricadoed mure’. She returns ‘unto her chamber’ and he ‘Exit’. The beldams will ‘take our lodgings before the Princesse chamber’ and ‘Exit’. Then ‘Enter Iupiter like a Pedler, the Clowne his man, with packs at their backes’. They are evidently outside the gate. ‘He rings the bell’ and persuades the beldams to let him ‘into the Porters lodge’. They will ‘shut the gate for feare the King come and if he ring clap the Pedlers into some of yon old rotten corners’. Then ‘Enter Danae’, whom Jupiter courts. She says ‘Yon is my doore’ and ‘Exit’. The beldams will ‘see the Pedlers pack’t out of the gate’, but in the end let them ‘take a nap upon some bench or other’, and bid them good-night. Jupiter ‘puts off his disguise’ and ‘Exit’. Then ‘Enter the foure old Beldams, drawing out Danae’s bed: she in it. They place foure tapers at the foure corners’. Jupiter returns ‘crown’d with his imperiall robes’, says ‘Yon is the doore’, calls Danae by name, ‘lyes upon her bed’ and ‘puts out the lights and makes unready’. Presently ‘The bed is drawne in, and enter the Clowne new wak’t’, followed by ‘Enter Iupiter and Danae in her night-gowne’. He puts on his cloak, and ‘Enter the foure Beldams in hast’, say ‘the gate is open’, and dismiss the pedlars.
[376] M. Ado, III. iv. Presumably the action is at the window, as there is a ‘new tire within’ (13) and Hero withdraws when guests arrive (95). It is of course the same window which is required by Don John’s plot, although it is not again in action (cf. II. ii. 43; iii. 89; III. ii. 116, iii. 156; IV. i. 85, 311).
[377] Volpone, II. v-vii. In the piazza, under the same window, is II. i-iii, where ‘Celia at the windo’ throws downe her handkerchiefe’ (1149).
[378] M. W. II. ii; III. v, in both of which persons ‘below’ are bidden ‘come up’; possibly V. i; cf. IV. v, 13, 22, 131, where persons below speak of the chamber as above.