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 may come dancing in. Even a play 'within a play' can be presented; that of Bottom and his fellows in 'the great chamber' of Theseus' palace is an example.

My final group is formed by the chamber scenes, in which the action is clearly regarded as within the limits of an ordinary room. They are far from numerous, in proportion to the total number of scenes in the seventy-three plays, and in view of their importance in relation to staging all for which there is clear evidence must be put upon record. Most of them fall under two or three sub-types, which tend to repeat themselves. The commonest are perhaps bed-chamber scenes. These, like prison scenes, which are also frequent,

ordinary), on which cf. p. 70.] (25) King. Now my Lords Remoue my chaire a little backe, and set me right'  (47) Prince [who has re-entered]. I came into your Chamber  And after that, seeing the Crowne, I tooke it' (87) 'Draw the Curtaines, depart my Chamber,  Exeunt omnes, The King dieth'. In the analogous 2 Hen. IV,  iv, v (a continuous scene divided, with unanimity in ill-doing, by modern editors in the middle of a speech), the King says ( iv. 131), 'Beare me hence Into some other chamber', Warwick ( v. 4), 'Call for the Musick in the other Roome', and the King 'Set me the Crowne vpon my Pillow here'. The Prince enters and the Lords go to 'the other roome'; he takes the crown and 'Exit'. Later (56) the Lords say, 'This doore is open, he is gone this way', and 'He came not through the chamber where we staide'. The Prince returns and the Lords are bidden 'Depart the chamber'. Later]*
 * [Footnote: 'A Table is set'; Humorous Day's Mirth, scc. viii, x-xii (Verone's