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 make her offering, and then 'retorned to her princely travess sumptuously sett forthe', until it was time to emerge again and receive the communion. So too, when the Spanish treaty was sworn in 1604, 'in the chappell weare two traverses sett up of equall state in all thinges as neare as might be'. One was the King's traverse 'where he usually sitteth', the other for the Spanish ambassador, and from them they proceeded to 'the halfe pace' for the actual swearing of the oath. The traverse figures in several other chapel ceremonies of the time, and it is by this analogy, rather than as a technical term of stage-craft, that we must interpret the references to it in Godly Queen Hester. It is not inconceivable that the play, which was very likely performed by the Chapel, was actually performed in the chapel. Nor is it inconceivable, also, that the sense of the term 'traverse' may have been wide enough to cover the screen at the bottom of a Tudor hall.

I come now to the group of four mid-century farces, Gammer Gurton's Needle, Jack Juggler, Ralph Roister Doister, and Tom Tyler, which literary historians have distinguished from the interludes as early 'regular comedies'. No doubt they show traces of Renaissance influence upon their dramatic handling. But, so far as scenic setting is concerned, they do not diverge markedly from the interlude type. Nor is this surprising, since Renaissance comedy, like the classical comedy upon which it was based, was essentially an affair of continuous action, in an open place, before a background of houses. Gammer Gurton's Needle requires two houses, those of Gammer Gurton and of Dame Chat; Jack Juggler one, that of Boungrace; Ralph Roister Doister one, that of Christian Custance. Oddly enough, both Gammer Gurton's Needle and Jack Juggler contain indications of the presence of a post, so placed that it could be used in the action. ''Tom Tyler'', which may have reached us in a sophisticated text, has a slightly more complicated staging. There are some quite early features. The locality is 'this place' (835), and the audience are asked (18), as in the much earlier Youth, to 'make them room'. On the other hand, as in Mary Magdalene and