[446] Jack Drum, II. 27, ‘The Casement opens, and Katherine appeares’; 270, ‘Winifride lookes from aboue’; 286, ‘Camelia, from her window’.
[447] I give s.ds. with slight corrections from Bullen, who substantially follows 1633. But he has re-divided his scenes; 1633 has acts only for 1 Antonio and Mellida (in spite of s.d. ‘and so the scene begins’ with a new speaker at III. ii. 120); acts and scenes, by speakers, for 2 Antonio and Mellida; and acts and scenes or acts and first scenes only, not by speakers and very imperfectly, for the rest.
[448] 1 Ant. and Mell. I. 100, ‘Enter above ... Enter below’ ... (117) ‘they two stand ... whilst the scene passeth above’ ... (140) ‘Exeunt all on the lower stage’ ... (148) ‘Rossaline. Prithee, go down!’ ... (160) ‘Enter Mellida, Rossaline, and Flavia’; III. ii. 190 ‘Enter Antonio and Mellida’ ... (193) ‘Mellida. A number mount my stairs; I’ll straight return. Exit’ ... (222) ‘Feliche. Slink to my chamber; look you, that is it’.
[449] IV. 220, ‘Enter Piero (&c.) ... Balurdo and his Page, at another door’.
[450] 2 Ant. and Mell. I. ii. 194, ‘Antonio. See, look, the curtain stirs’ ... (s.d.) ‘The curtains drawn, and the body of Feliche, stabb’d thick with wounds, appears hung up’ and ‘Antonio. What villain bloods the window of my love?’
[451] III. ii. 1, ‘Enter ... Maria, her hair loose’ ... (59) ‘Maria. Pages, leave the room’ ... (65) ‘Maria draweth the curtain: and the ghost of Andrugio is displayed, sitting on the bed’ ... (95) ‘Exit Maria to her bed, Andrugio drawing the curtains’.
[452] V. ii. 50, ‘While the measure is dancing, Andrugio’s ghost is placed betwixt the music-houses’ ... (115) ‘The curtaine being drawn, exit Andrugio’.
[453] V. ii. 112, ‘They run all at Piero with their rapiers’. This is while the ghost is present above, but (152) ‘The curtains are drawn, Piero departeth’.
[454] III. i. 33, ‘And, lo, the ghost of old Andrugio Forsakes his coffin’ ... (125) ‘Ghosts ... from above and beneath’ ... (192) ‘From under the stage a groan’; IV. ii. 87, ‘They strike the stage with their daggers, and the grave openeth’. The church must have been shown open, and part of the crowded action of these scenes kept outside; at IV. ii. 114, ‘yon bright stars’ are visible.
[455] Fawn, IV. 638, ‘Dulcimel. Father, do you see that tree, that leans just on my chamber window?’ ... (V. 1) ‘whilst the Act is a-playing, Hercules and Tiberio enters; Tiberio climbs the tree, and is received above by Dulcimel, Philocalia, and a Priest: Hercules stays beneath’. After a mask and other action in the presence, (461) ‘Tiberio and Dulcimel above, are discovered hand in hand’.