Page:The Elizabethan stage (Volume 3).pdf/133

 There are chamber scenes in the King's plays also, which are neither in the alcove nor on the main stage, but above. This is an extension of a practice already observable in pre-Globe days. Hero's chamber in Much Ado about Nothing is above. So is Celia's in Volpone. So is Falstaff's at the Garter Inn in The Merry Wives of Windsor. In all these examples, which are not exhaustive, a reasonable amount of space is required for action. This is still more the case in The Yorkshire Tragedy, where the violent scene of the triple murder at Calverley Hall is clearly located upstairs. Moreover, there are two plays which stage above what one would normally regard as hall rather than chamber scenes. One is Sejanus, where a break in the dialogue in the first act can best be explained by the interpretation of a scene in an upper 'gallery'. The other is Every Man Out of his Humour, where the personages go 'up' to the great chamber at Court. Elaborate use is also made of the upper level in Antony and

'Enter Iupiter and Danae in her night-gowne'. He puts on his cloak, and 'Enter the foure Beldams in hast', say 'the gate is open', and dismiss the pedlars.]
 * [Footnote: 'The bed is drawne in, and enter the Clowne new wak't', followed by