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 presentation. Moreover, it is evident that the sixteenth-century plays did not pass wholly into disuse. From time to time they were revived, and lent themselves, perhaps with some minor adaptation, to the new boards as well as to the old. In dealing with early seventeenth-century staging, then, I will assume the general continuance of the sixteenth-century plan, and will content myself with giving some further examples of its main features, and with considering any evidence which may seem to point to specific development in one or more particular directions. And on the whole it will be convenient to concentrate now mainly upon the theatres occupied by the King's men. For this there are various reasons. One is that the possession of Shakespeare's plays gives them a prerogative interest in modern eyes; another that the repertories of the other companies have hardly reached us in a form which renders any very safe induction feasible.

Even in the case of the King's men, the material is not very ample, and there are complications which make it necessary to proceed by cautious steps to somewhat tentative conclusions. The Globe was probably opened in the autumn of 1599. The first play which we can definitely locate there is Every Man Out of his Humour; but I have decided with some hesitation to treat Henry V and ''Much Ado about Nothing'', for the purposes of these chapters, as Globe plays. So far as we know, the Globe was the only theatre used by the company up to the winter of 1609, when they also came into possession of the Blackfriars. From 1609 to 1613 they used both houses, but probably the Globe was still the more important of the two, for when it was burnt in 1613 they found it worth while to rebuild it fairer than before. At some time, possibly about the end of James's reign, the Blackfriars began to come into greater prominence, and gradually displaced the Globe as the main head-quarters of the London drama. This, however, is a development which lies outside the scope of these volumes; nor can I with advantage inquire in detail whether there were any important structural features in which the new Globe is likely to have differed from the old Globe. At the most I can only offer a suggestion for the historian of the Caroline stage to take up in his turn. In the main, therefore, we have to consider the staging of the Globe from 1599 to 1609, and of the Globe and the Blackfriars from 1609 to 1613. The plays available fall into four groups.