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 only four houses, in Genoa. Sharpham's Fleir, after a prelude at Florence, which needs no house, has anything from three to six in London. Fletcher's Faithful Shepherdess, again, is tout en pastoralle. Finally, ''The Knight of the Burning Pestle'' is, in the strict sense, an exception which proves the rule. Its shifts of locality are part of the burlesque, in which the popular plays are taken off for the amusement of the select audience of the Blackfriars. Its legitimate houses are only two, Venturewell's shop and Merrithought's dwelling, hard by one another. But the adventures of the prentice heroes take them not only over down and through forest to Waltham, where the Bell Inn must serve for a knightly castle, and the barber's shop for Barbaroso's cave, but also to the court of Moldavia, although the players regret that they cannot oblige the Citizen's Wife by showing a house covered with black velvet and a king's daughter standing in her window all in beaten gold, combing her golden locks with a comb of ivory. What visible parody of public stage methods heightened the fun, it is of course impossible to say.

I do not propose to follow the Queen's Revels to the Whitefriars, or to attempt any investigation into the characteristics of that house. It was occupied by the King's Revels before the Queen's Revels, and probably the Lady Elizabeth's

( ii; i), a bowling green with arbours ( iii-v), and the house of Manasses ( iii).]
 * [Footnote: a 'queach of bushes' ( ii), Diana's oak ( ii; iv), Adonis' bower