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 use of the curtains than the stage-directions give us any warrant for, but also because it fails to provide for the not infrequent event of a succession of interior scenes; and in its original form it is abandoned by Professor Thorndike in common with other recent scholars, who see plainly enough that what I have called hall scenes must have been given on the outer stage. I do not think that they have always grasped that the tendency of the seventeenth century was towards a decreased and not an increased reliance upon the curtained space, possibly because they have not as a rule followed the historical method in their investigations; and Professor Thorndike, although he traces the earlier employment of the alcove much as I do, treats the opening and closing of the curtains as coming in time to be used, in ''Antony and Cleopatra for example and in Cymbeline'', as little more than a handy convention for indicating the transference of the scene from one locality to another. Such a usage would not of course mean that the new scene was played wholly or even partly within the alcove itself; the change might be merely one of background. But, although I admit that there would be a convenience in Professor Thorndike's development, I do not see that there is in fact any evidence for it. The stage-directions never mention the use of curtains in such circumstances as he has in mind; and while I am far from supposing that they need always have been mentioned, and have myself assumed their use in one scene of Cymbeline where they are not mentioned, yet mentions of them are so common in connexion with the earlier and admitted functions of the alcove, that I should have expected Professor Thorndike's view, if it were sound, to have proved capable of confirmation from at least one unconjectural case.

The difficulty which has led Professor Thorndike to his conclusion is, however, a real one. In the absence of a scenario with notes of locality, for which certainly there is no evidence, how did the Elizabethan managers indicate to their audiences the shifts of action from one place to another? This is both a sixteenth- and a seventeenth-century problem. We have noted in a former chapter that unity of place was characteristic of the earlier Elizabethan interlude; that it failed to impose itself upon the romantic narrative plots of the popular drama; that it was departed from through the device of letting two ends of a continuously set stage stand for discrete localities; that this device proved only a transition to a system in which the whole stage stood successively for different localities;