[379] E. M. O. V. iv-vi, at the Mitre; M. Devil of Edmonton, I. i; Miseries of Enforced Marriage, III. i; and for other theatres, Massacre at Paris (Fortune), 257 ‘Enter the Admirall in his bed’, 301 ‘Enter into the Admirals house, and he in his bed’, with 310 ‘Throw him downe’; Two Lamentable Tragedies (Fortune), parts of I. iii, ‘Then being in the upper Rome Merry strickes him in the head fifteene times’, II. i, iii; 1 If You Know Not Me (? Queen’s), p. 240 (ed. Pearson), ‘Enter Elizabeth, Gage, and Clarencia aboue’. Elizabeth bids Gage ‘Looke to the pathway that doth come from the court’, perhaps from a window at the back (cf. p. 96), and he describes a coming horseman.
[380] Yorkshire Tragedy, scc. iii, v, vii, while the intermediate episodes, scc. iv, vi, are below. It is all really one scene.
[381] Sejanus (F1), i. 355–469 (cf. 287), an episode breaking the flow of the main action, a hall scene, of the act; it must be apart from the hall, not perhaps necessarily above.
[382] E. M. O. V. ii, preceded and followed by scene near the court gate at the foot of stairs leading to the great chamber; V. i has ‘Is this the way? good truth here be fine hangings’ and ‘courtiers drop out’, presumably through the arras and up the stairs. Then a presenter says, ‘Here they come’, and the courtiers enter, presumably above.
[383] A. and C. IV. xv. 1, ‘Enter Cleopatra, and her Maides aloft’, with (8) ‘Look out o’ the other side your monument’ ... (37) ‘They heave Anthony aloft to Cleopatra’; V. ii; cf. 360, ‘bear her women from the monument’.
[384] Pericles, III. i (prol. 58, ‘In your imagination hold This stage the ship’); V. i (prol. 21, ‘In your supposing once more put your sight Of heavy Pericles; think this his bark’). The other scenes (1 Contention, sc. xii; A. and C. II. vii; Tp. I. i) have nothing directly indicating action ‘above’.
[385] Ham. I. i, iv, v; cf. I. ii. 213, ‘upon the platform where we watch’d’. There would be hardly room ‘above’ for the Ghost to waft Hamlet to ‘a more removed ground’ (I. iv. 61), and the effect of I. v. 148, where ‘Ghost cries under the Stage’, would be less. On the other hand, in White Devil (Queen’s), IV. iv. 39 the s.d. ‘A Cardinal on the Tarras’ is explained by Flamineo’s words, ‘Behold! my lord of Arragon appeares, On the church battlements’.
[386] J. C. III. i; Cor. II. ii, ‘Enter two Officers, to lay Cushions, as it were, in the Capitol’; Sejanus (F1), iii. 1–6; v. 19–22; Catiline, IV. ii, V. iv, vi; also Rape of Lucrece (Red Bull), pp. 168–73 (ed. Pearson). There is a complete absence of s.ds. for ‘above’; cf. p. 58. But in J. C. III. i and Catiline, V. vi, at least, action in the senate house is continuous with action in the street or forum without, and both places must have been shown, and somehow differentiated.
[387] Bonduca, V. i, ‘Enter Caratach upon a rock, and Hengo by him, sleeping’; V. iii, ‘Enter Caratach and Hengo on the Rock’. Hengo is let down by a belt to fetch up food. It is ‘a steep rock i th’ woods’ (V. ii); cf. the rock scene in Brazen Age, V (cf. p. 109).
[388] Cf. p. 153. Duchess of Malfi, III. ii, with (173) ‘call up our officers’ is a possible exception.