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A History of English Literature by Robert Huntington Fletcher
page 142 of 438 (32%)
be carried off, either by stage hands, or, as part of the action, by other
characters in the play. This latter device was sometimes adopted at
considerable violence to probability, as when Shakspere makes Falstaff bear
away Hotspur, and Hamlet, Polonius. Likewise, while the medieval habit of
elaborate costuming was continued, there was every reason for adhering to
the medieval simplicity of scenery. A single potted tree might symbolize a
forest, and houses and caverns, with a great deal else, might be left to
the imagination of the audience. In no respect, indeed, was realism of
setting an important concern of either dramatist or audience; in many
cases, evidently, neither of them cared to think of a scene as located in
any precise spot; hence the anxious effort of Shakspere's editors on this
point is beside the mark. This nonchalance made for easy transition from
one place to another, and the whole simplicity of staging had the important
advantage of allowing the audience to center their attention on the play
rather than on the accompaniments. On the rear-stage, however, behind the
curtain, more elaborate scenery might be placed, and Elizabethan plays,
like those of our own day, seem sometimes to have 'alternation scenes,'
intended to be acted in front, while the next background was being prepared
behind the balcony curtain. The lack of elaborate settings also facilitated
rapidity of action, and the plays, beginning at three in the afternoon,
were ordinarily over by the dinner-hour of five. Less satisfactory was the
entire absence of women-actors, who did not appear on the public stage
until after the Restoration of 1660. The inadequacy of the boys who took
the part of the women-characters is alluded to by Shakspere and must have
been a source of frequent irritation to any dramatist who was attempting to
present a subtle or complex heroine.

Lastly may be mentioned the picturesque but very objectionable custom of
the young dandies who insisted on carrying their chairs onto the sides of
the stage itself, where they not only made themselves conspicuous objects
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