[419] Cunningham, Jonson, iii. 509; Dekker, G. H. B. (ed. McKerrow), 40, ‘And first observe your doors of entrance, and your exit; not much unlike the players at the theatres; keeping your decorums, even in fantasticality. As for example: if you prove to be a northern gentleman, I would wish you to pass through the north door, more often especially than any of the other; and so, according to your countries, take note of your entrances’.
[420] 1 Contention, sc. xxii, ‘Richard kils him under the signe of the Castle in St. Albones’; Comedy of Errors (the Phoenix, the Porpentine), Shoemaker’s Holiday (the Last), Edw. IV (the Pelican), E. M. O. (the Mitre), Miseries of Enforced Marriage (the Mitre, the Wolf); Bartholomew Fair (the Pig’s Head); &c.
[421] Wounds of Civil War, III. iv, ‘Enter Marius solus from the Numidian mountaines, feeding on rootes’; 3 Hen. VI, IV. ii, ‘Enter Warwick and Oxford in England’, &c.; cf. ch. xxii.
[422] Warning for Fair Women, ind. 86, ‘My scene is London, native and your own’; Alchemist, prol. 5, ‘Our scene is London’; cf. the Gower speeches in Pericles.
[423] Dr. Faustus, 13, 799, 918, 1111.
[424] I cite Greg’s Q2, but Q1 agrees. Jonson’s own scene-division is of course determined by the introduction of new speakers (cf. p. 200) and does not precisely follow the textual indications.
[425] Henslowe Papers, 116.
[426] 2 If You Know Not Me (ed. Pearson), p. 295.
[427] Cf. App. I, and Neuendorff, 149, who quotes J. Corey, Generous Enemies (1672), prol.:
Coarse hangings then, instead of scenes, were worn.