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 example of the traditional Italian comic manner. The action comes and goes, rapidly for Lyly, in an open place, surrounded by no less than seven houses, the doors of which are freely used.

Two other Chapel plays furnish sufficient evidence that the type of staging just described was not Lyly's and Lyly's alone. Peele's Arraignment of Paris is tout en pastoralle. A poplar-tree dominates the stage throughout, and the only house is a bower of Diana, large enough to hold the council of gods (381, 915). A trap is required for the rising and sinking of a golden tree (489) and the ascent of Pluto (902). Marlowe's Dido has proved rather a puzzle to editors who have not fully appreciated the principles on which the Chapel plays were produced. I think that one side of the stage was arranged en pastoralle, and represented the wood between the sea-shore and Carthage, where the shipwrecked Trojans land and where later Aeneas and Dido hunt. Here was the cave where they take shelter from the storm. Here too must have been the curtained-off domus of Jupiter. This is only used in a kind of prelude. Of course it ought to have been in heaven, but the Gods are omnipresent, and it is quite clear that when the curtain is drawn on Jupiter, Venus, who has been discoursing with him, is left in the wood, where she then meets