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 *sistent with the fact that the two entrants are wildly seeking the same lady, and one may well have been in London and the other at Highgate. She herself enters from the neighbouring house; that is to say, a third, central, door. With Marston's acknowledged plays, we reach an order of drama in which interior action of the 'hall' type is conspicuous. There are four plays, each limited to a single Italian city, Venice or Urbino. The main action of 1 Antonio and Mellida is in the hall of the doge's palace, chiefly on 'the lower stage', although ladies discourse 'above', and a chamber can be pointed to from the hall. One short scene ( 1-94), although near the Court, is possibly in the lodging of a courtier, but probably in the open street. And two ( i; ) are in open country, representing 'the Venice marsh', requiring no background, but approachable by more than one door. The setting of 2 Antonio and Mellida is a little more complicated. There is no open-country scene. The hall recurs and is still the chief place of action. It can be entered by more than one door ( 17, &c.) and has a 'vault' ( 44) with a 'grate' ( ii. 127), whence a speaker is heard 'under the stage' ( 1). The scenes within it include several episodes discovered by curtains. One is at the window of Mellida's chamber above. Another, in Maria's chamber, where the discovery is only of a bed, might be either above or below. A third involves the appearance of a ghost 'betwixt the musichouses', probably above. Concurrently, a fourth*