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 generalized palace background served for all three. Here also the convention, classical enough, rules, by which the affairs of state are conducted in the open. By 1562 the raised stage had clearly established itself. There are no regular stage-directions in Gorboduc, but the stage is often mentioned in the descriptions of the dumb-shows between the acts, and in the fourth of these 'there came from vnder the stage, as though out of hell, three furies'. Similarly in Jocasta (1566) the stage opens in the dumb shows to disclose, at one time a grave, at another the gulf of Curtius. The action of the play itself is before the palace of Jocasta, but there are also entrances and exits, which are carefully specified in stage-directions as being through 'the gates called Electrae' and 'the gates called Homoloydes'. Perhaps we are to infer that the gates which, if the stage-manager had Vitruvius in mind, would have stood on the right and left of the proscenium, were labelled 'in great letters' with their names; and if so, a similar device may have served in Gorboduc to indicate at which of the three Courts action was for the time being proceeding. Gismond of Salerne has not only a hell, for Megaera, but also a heaven, for the descent and ascent of Cupid. Like Jocasta, it preserves unity of place, but it has two houses in the background, the palace of Tancred and an independent 'chamber' for Gismond, which is open enough and deep enough to allow part of the action, with Gismond lying poisoned and Tancred mourning over her, to take place within it. The Misfortunes of Arthur is, of course, twenty years later than the other members of the group. But it is true to type. The action is in front of three domus, the 'houses' of Arthur and of Mordred, which ought not perhaps historically to have been in the same city, and a cloister. A few years later still, in 1591, Wilmot, one of the authors of Gismond of Salerne, re-wrote it as Tancred and Gismund. He did not materially interfere with the old staging, but he added an epilogue, of which the final couplet runs:

Thus end our sorrowes with the setting sun: Now draw the curtens for our Scaene is done.

If these lines had occurred in the original version of the play, they would naturally have been taken as referring to curtains used to cover and discover Gismond's death-chamber. But in this point Wilmot has modified the original action, and has made Gismund take her poison and die, not in her chamber, but on the open stage. Are we then faced, as part of the paraphernalia of a Court stage, at any rate by 1591, with a front curtain—a curtain drawn aside, and not sinking