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 a wall inserted on the line of the scenic curtain would not meet the needs of the situation. Pastoral scenes are also common, for the urban preoccupation has its regular reaction in the direction of pastoral. There is plenty of evidence for practicable trees, such as that on which Orlando in ''As You Like It'' hangs his love verses, and the most likely machinery for putting trees into position still seems to me to be the trap. A trap, too, might bring up the bower for the play within the play of Hamlet, the pleached arbour of ''Much Ado about Nothing, the pulpit in the forum of Julius Caesar'', the tombstone in the woods of Timon of Athens, the wayside cross of Every Man Out of his Humour, and other terrains most easily thought of as free-standing structures. It would open for Ophelia's grave, and for the still beloved ascents of spirits from the lower regions. It remains difficult to see how a river-*bank or the sea-shores was represented. As a rule, the edge of the stage, with steps into the auditorium taken for water stairs, seems most plausible. But there is a complicated episode in The Devil's Charter, with a conduit and a bridge over the Tiber, which I do not feel quite able to envisage. There is another bridge over the Tiber for Horatius Cocles in the Red Bull play of the Rape of Lucrece. But this is easier; it is projected from the walls of Rome, and there must be a trapped cavity on the scenic line, into which Horatius leaps.

Martius bleeding, assaulted by the enemy' 'They fight and all enter the City', and so on to end of sc. x; Tim. iv. 1, 'Enter Alcibiades with his Powers before Athens The Senators appeare vpon the wals'; i; Devil's Charter, i;  iv; Maid's Tragedy,  iii.]feare that he Fall not vpon the arches', and 'Caesar casteth Frescobaldi after'.]*
 * [Footnote: (42) 'Martius followes them to their gates, and is shut in' (62) 'Enter