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 one town or village. In Arden of Feversham, Arden's house and the painter's are set together; in The Taming of A Shrew, the lord's house and the alehouse for the induction, and Polidor's and Alphonso's during the main play; in ''The Blind Beggar of Alexandria'', the houses of Elimine and Samethis; in 1 Sir John Oldcastle, Cobham's gate and an inn; in Stukeley, Newton's house and a chamber in the Temple; in A Knack to Know an Honest Man, Lelio's and Bristeo's for one scene, Lelio's and a Senator's for another, possibly Lelio's and Servio's, though of this I am less sure, for a third. These are the most indisputable cases; given the principle, we are at liberty to conjecture its application in other plays. Generally the houses may be supposed to be contiguous; it is not so in Stukeley, where Old Stukeley clearly walks some little distance to the Temple, and here therefore we get an example of that foreshortening of distance between two parts of a city, with which we became familiar in the arrangement of Court plays. It is not the only example. In George a Greene Jenkin and the Shoemaker walk from one end to the other of Wakefield. In Arden of Feversham, although this is an open-country and not an urban scene, Arden and Francklin travel some little way to Raynham Down. In Dr. Faustus, so far as we can judge from the unsatisfactory text preserved, any limitation to a particular neighbourhood is abandoned, and Faustus passes without change of scene from the Emperor's Court to his own home in Wittenberg.[10] Somewhat analogous is the curious device in Romeo and Juliet, where the maskers, after preparing