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It consisted of three parts: the front,1 which projected way out into the pit; the middle, separated from the front by a large curtain hung between two stout pillars; and the rear stage (which was practically a balcony),

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supported by two

posts and screened from the audience when not in use by another curtain. Between these posts was a third curtain, which separated the middle stage from the "tiring room." 3 Above the middle stage was a small room called the "heavens." It contained machinery for letting down heavy properties. On the floor of this stage were trap

doors through which

demons descended.

Sketch of the Stage of the Globe Theater, London, erected 1614.

1 This part of the stage was not roofed.

Corresponds to our parquet. Here the "groundlings" stood-there

were no seats.

3 Actor's dressing room.

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Interior of the Fortune Theater, London, erected in 1599.

(Note that the plan of the stage differs but slightly from that of the Globe Theater.)

Authorities (Referred to

used effectively in grave scenes (See Hamlet, Act V). differ as to the use of space above the tiring room. above as 'rear stage.") Some say that it was used as a balcony for spectators, but it is not likely that Elizabethan audiences cared

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1 De Witt's drawing of the interior of the Swan Theater, made about 1596, supports this view. Here we see that the balcony is apparently a continuation of the first gallery.

to view the backs of the actors: besides, from such a position they Iwould not be able to hear. This balcony, or rear stage, was used, no doubt, for stage kings and their courts, for Roman emperors viewing a scene in the arena, or to represent the tops of city walls. Here, for instance, Richard of Gloucester in Richard III made his hypocritical appeal to the people, supported by two churchmen. Here, also, Juliet stood in the famous "balcony scene." Above the rear stage was another small room, corresponding to our "fly gallery." Here scenery, such as a painted curtain for the rear of this stage, was kept. This painted curtain corresponds to our "back drop." The two superstructures mentioned above were simply the tops or roofs of this gallery and the "heavens."

Possibly we have wondered at the multiplicity of scenes in a Shakespearean play and how these scenes were arranged without confusion. As we shall soon see, there was no confusion at all. Shakespeare could present all of his scenes harmoniously and effectively because he had practically a four-part stage.1 He could begin his performance by giving the dramatic exposition on the front stage, and then he could use the other stages for the further interpretation of the play. He could not only harmoniously and effectively present these scenes to the public one after the other, but he could also present them simultaneously.2 (Note the resemblance to the modern three-ringed circus!) In this way he could show more vividly the connection between scenes. Let us take to illustrate this connection scenes from Romeo and Juliet. The curtain parts in the middle and an ivycrowned performer steps out and recites the prologue. As soon as he retires, two stout youths spring upon the front stage and rant in highpitched voices; others follow-rival parties encounter each otherfinally the lords of the rival houses of Montague and Capulet appear upon the scene and Shakespeare's romantic masterpiece is flashed before the audience. With what tense and eager faces must the Elizabethan playgoers have followed the action of the drama, laugh

1 Including the tiring room that could be used to represent a tomb or a bedchamber.

2 Professor Brandl says that the three separate divisions of the Elizabethan stage were sometimes all in use together, that three different groups of persons could in some measure claim the attention of the audience at the same time.

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ing at the wit of Mercutio, greeting with ribald merriment that oddly assorted pair, Peter and the Nurse, cursing Tybalt, and finally sobbing at the tragic dénouement in the tomb! To be more specific, in Act II, Scene 3, how keenly the irony of fate is shown if the audience can turn instantly from watching Romeo's banishment below, to Juliet above, waiting for his coming with impatient joy and rapture. Again, in the reception hall of Act IV, Scene 4, (middle stage) they can see Lady Capulet, the nurse, and servants preparing the wedding banquet. Pretty soon the nurse goes upstairs into the balcony1 (rear stage) and tries to awaken the sleeping Juliet. She draws back the curtains, but she cannot arouse the sleeper, and frightened, calls for help. Then are heard the cries of lamentation and despair as the scene is changed from a wedding to a funeral. In the midst of the tumult the musicians begin playing on the front stage totally oblivious to the tragedy enacted behind their backs. In conclusion let us take a few brief examples from other plays. In Julius Cæsar when Brutus and Antony go into the pulpit, they simply mount into the rear balcony. In Act IV the front stage represents the ground in front of Brutus' tent; the quarrel scene takes place on the middle stage which represents the interior of the tent of Brutus. In King John when Arthur kills himself by jumping from the city walls, he falls from the rear balcony, and so on. How vividly were these scenes presented to the audience of Shakespeare's day! No wonder that today we cannot present the plays of the great dramatist in a more effective way. With our one-part stage we cannot thoroughly appreciate the nice distinctions between scenes and acts. Scenes are to-day united that Shakespeare kept apart; the order of the parts of the play is frequently ignored and many passages and even whole scenes are omitted altogether, as for example the scene introducing the musicians in Act IV of Romeo and Juliet. Long waits between the acts make it necessary to mutilate the play in many ways. If we used the three-part stage we could shorten the time it takes to present a Shakespearean play, by eliminating the delay between acts and scenes.

Realizing the limitations of the modern stage from a Shakespearean standpoint, some enterprising managers are using the revolving stage 1 Tiring room could not, of course, be effectively used here for a bedcham

ber.

invented by Herr Lautenschlaeger of Munich in 1901. Dr. von Possart, director of the Munich Court Theater, declared at the time of the invention that this type of stage promised to be "the stage of the future." This worthy invention seems to solve the problem of presenting the five-act drama, with its multiplicity of scenes, in a thoroughly satisfactory manner.1

NOTES AND QUESTIONS ON HAMLET,

I. MASTERY OF THE PLOT.

In studying a literary work of any kind, the student should first gain a knowledge of the plot as a whole. This he can do at a single sitting outside of the classroom. He should not refer to the notes or glossary. After he has thus obtained a reasonably sound knowledge of the plot, he is ready to make a more detailed study of the masterpiece under the direction of the teacher.

II. CLASSIFICATION.

Shakespeare's plays are divided into two classes, Tragedy and Comedy. Comedy may be subdivided as follows: Tragi-Comedy, Romantic Comedy, Pure Comedy, and Farce.

A Tragedy is a dramatic representation of serious, complete and unified action having a fatal ending.

A Tragi-Comedy is a drama in which the plot works up to a crisis where the guilty one must face his own deed. He has a chance to repent; if he do so, the threatened tragedy is turned to a comedy. If he do not repent, however, the evildoer goes willfully deeper and deeper into crime and the play is of course a tragedy.

A Romantic Comedy is a drama in which the main action is on the whole dignified and serious. The humorous element is prominent in connection with subcharacters or in subactions. The main action contains adventure and romantic love as points of interest.

Pure Comedy is a drama in which the central and perhaps the only action is filled with humor.

1 The revolving stage is not entirely new, for the Japanese have used it for a very long period, according to Dr. Iyenaga.

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