months at least. So that although Gorboduc owed something to the
New Learning, which had made men study Greek, it owed as much to
the old English Miracle plays. Later on when you come to read
more about the history of our drama you will learn a great deal
about what we owe to the Greeks, but here I will not trouble you
with it.

You remember that in the Morality plays there was no scenery.
And still, although in the new plays which were now being written
the scene was supposed to change from place to place, there was
no attempt to make the stage look like these places. The stage
was merely a plain platform, and when the scene changed a board
was hung up with "This is a Palace" or "This is a Street" and the
imagination of the audience had to do the rest.

That some people felt the absurdity of this we learn from a book
by Sir Philip Sidney. In it he says, "You shall have Asia of the
one side, and Affrick of the other, and so many other under
kingdoms, that the Player, when he cometh in, must ever begin
with telling where he is, or else the tale will not be conceived.
Now you shall have three ladies walk to gather flowers, and then
we must believe the stage to be a garden. By and by, we hear
news of shipwreck in the same place, and then we are to blame if
we accept it not for a Rock. Upon the back of that, comes out a
hideous Monster, with fire and smoke, and then the miserable
beholders are bound to take it for a cave. While in the meantime
two Armies fly in, represented with four swords and bucklers, and
then what hard heart will not receive it for a pitched field!"*

*An Apologie for Poetrie, published 1595.