Shakspeare and His Times [Vol. 2 of 2] / Including the Biography of the Poet; criticisms on his genius and writings; a new chronology of his plays; a disquisition on the on the object of his sonnets; and a history of the manners, customs, and amusements, superstitions, poetry, and elegant literature of his age

by Nathan Drake

It is highly, probable, therefore, from these considerations, and from the passage in Decker, that, notwithstanding the mass of negative evidence collected by Mr. Malone, moveable painted scenes were occasionally introduced on the stage during the age of Shakspeare; and it may be further reasonably concluded, that, from the phrase of STEERING the PASSAGE of scenes, the mechanism was formed and conducted on a plan approximating that which is now familiar to a modern audience.

The conjecture of Mr. Steevens, however, that private theatres had no scenes, while the public had, owing to the former admitting part of the audience on the stage, who might interfere with the convenient shifting of such an apparatus, is annihilated by the quotation from Decker, who expressly says, that "by SITTING ON THE STAGE, you have a signed patent to stand at the helm to steer the passage of the scenes," by which it would appear, that those who obtained seats on the private stage, occasionally amused themselves by assisting the regular mechanists in the adjustment of the scenery.

We learn, also, from Heywood[213:A], that the internal roof of the stage was either painted of a sky-blue colour, or hung with drapery of a similar tint, in order to represent the HEAVENS; and there is much reason to suppose, with a very ingenious commentator, that when the idea of a gloomy and starless night was to be impressed, these heavens were hung with black, whence, among many passages

in Shakspeare illustrative of this position, the following line manifestly owes its origin:—

"Hung be the Heavens with black, yield day to night."[214:A]

It has, likewise, been asserted, and, indeed, to a certain extent, proved, by the same learned writer, that the lower part of the stage was distinguished by the name of HELL; and he quotes the annexed passage from Chapman as decisive on the subject:—

"The fortune of a Stage (like fortune's self)

Amazeth greatest judgments: and none knows

The hidden causes of those strange effects,

That rise from this Hell, or fall from this Heaven."[214:B]