[486] In the Conspiracy the Paris scenes are all at Court, vaguely located, and mainly of hall type, except III. iii, which is at an astrologer’s; the only Brussels scene is I. ii, at Court. The Tragedy is on the same lines, but for V. ii, in the Palace of Justice, with a ‘bar’, V. iii, iv, in and before the Bastille, with a scaffold, and I. ii and III. i at Dijon, in Byron’s lodging. In II. i. 3 there is ‘Music, and a song above’, for a mask.
[487] C. Altered, I. i. 1, ‘Iuniper a Cobler is discouered, sitting at worke in his shoppe and singing’; IV. v. 1, ‘Enter Iuniper in his shop singing’.
[488] C. A. I. v. 212; II. i; III. ii, iii, v, ‘Enter Iaques with his gold and a scuttle full of horse-dung’. ‘Jaques. None is within. None ouerlookes my wall’; IV. vii. 62, ‘Onion gets vp into a tree’; V. i. 42. In I. v action passes directly from the door of Farneze to that of Jaques.
[489] Malc. I. i. 11, ‘The discord ... is heard from ... Malevole’s chamber’ ... (19) ‘Come down, thou rugged cur’ ... (43) ‘Enter Malevole below’.
[490] Malc. V. ii. 163. This transition is both in Q1 and Q2, although Q2 inserts a passage (164–94) here, as well as another (10–39) earlier in the scene, which entails a contrary transition from the palace to the citadel.
[491] Dutch C. has (a) Mulligrub’s (I. i; II. iii; III. iii) with action in a ‘parlour’ (III. iii. 53); (b) Franceschina’s (I. ii; II. ii; IV. iii, v; V. i), with action above, probably in a loggia before Franceschina’s chamber, where she has placed an ambush at V. i. 12, ‘She conceals them behind the curtain’; (c) Subboy’s (II. i; III. i; IV. i, ii, iv; V. ii), with a ring thrown from a window above (II. i. 56); (d) Burnish’s shop (III. ii; V. iii), with an inner and an outer door, for (III. ii. 1) ‘Enter Master Burnish [&c.] ... Cocledemoy stands at the other door ... and overhears them’.
[492] Soph. I. ii. 32, ‘The Ladies lay the Princess in a fair bed, and close the curtains, whilst Massinissa enters’ ... (35) ‘The Boys draw the curtains, discovering Sophonisba, to whom Massinissa speaks’ ... (235) ‘The Ladies draw the curtains about Sophonisba; the rest accompany Massinissa forth’.
[493] Soph. III. i. 117, ‘The attendants furnish the altar’.... (162) ‘They lay Vangue in Syphax’ bed and draw the curtains’ ... (167) Soph. ‘Dear Zanthia, close the vault when I am sunk’ ... (170) ‘She descends’ ... (207) ‘[Syphax] descends through the vault’.
[494] Soph. IV. i, ‘Enter Sophonisba and Zanthia, as out of a cave’s mouth’ ... (44) ‘Through the vaut’s mouth, in his night-gown, torch in his hand, Syphax enters just behind Sophonisba’.... (126) ‘Erichtho enters’ ... (192) ‘Infernal music, softly’ ... (202) ‘A treble viol and a base lute play softly within the canopy’ ... (212) ‘A short song to soft music above’ ... (215) ‘Enter Erichtho in the shape of Sophonisba, her face veiled, and hasteth in the bed of Syphax’ ... (216) ‘Syphax hasteneth within the canopy, as to Sophonisba’s bed’ ... (V. i. 1) ‘Syphax draws the curtains, and discovers Erichtho lying with him’ ... (24) ‘Erichtho slips into the ground’ ... (29) ‘Syphax kneels at the altar’ ... (40) ‘Out of the altar the ghost of Asdrubal ariseth’. There is no obvious break in IV. Erichtho promises to bring Sophonisba with music, and says ‘I go’ (181), although there is no Exit. We must suppose Syphax to return to his chamber through the vault either here or after his soliloquy at 192, when the music begins.
[495] E. Ho!, I. i. 1, ‘Enter Maister Touchstone and Quick-silver at severall dores.... At the middle dore, enter Golding, discovering a gold-smiths shoppe, and walking short turns before it’; II. i. 1, ‘Touchstone, Quick-silver[cf above and below, but Touchstone diff]; Goulding and Mildred sitting on eyther side of the stall’.