The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-09-23

and properties, stand out In b a,round. The
stage wa not pictorial, but plastic. Sold
~ the scenery undoubtedly was. 10 was pot
realistic, but symbolic. A. pure dscora-
ton, however, Il may have been very beau-
tful. The art OF the middle ages-which
was still the art Of the people In Shake
speare's dAy-was essentially symbolic. yet
gave scope to dscorutivs conpositons OF
b utmost beauty.
On the stage, moreover, this Abeence Of
pictorial illusion was the occasion Of one
supreme excellence. To create his atmos-
phere tho playwright had reoourse to the
spoken word. Pvek'S opening speech.
over hill. over dale. ,
Thorough bush. thorough brier.
Over park, over pale
do wander everywhere
swiftsr than the incomes sphers-
has beer universally admired and quoted,
and especially by those who contend that
Shakespeare is to be regarded az a poet
rather than as a dramatist. But, like
almost every other such passage in the
old drama, IL arose from the necessity Of
creating the illusion Of locality n space.
After Puck's oolloquy with the Forv,
Enter the King OF Fairies at one doors with
bis traine, n the Queen at another with
hers And the business Of suggesting
poetic atmosphere goes on in the most
workmanlike Ill met by moon
light paved fountain srushy brook, '
are q few OF the concrete touches with
which the mind Of tho bearer il invited to
create pictures beyond the art OF Shake
spesre's-or any other-stagecraft. Tho
scene ends with that ever memorable de-
sorption Of Titdrid's bower.
know a bank whereon the wild thyme blows,
Where oxlips and the noddlns violet grows.
tho purpose Of which is to plepare the
minds eye for that very bower which Inn
mediately appears.
Beyond reasonable doubt the Above,
cleared Of the duoal throne OF the first
scene, now represents with considerable
scenic solidity the sylvan our Of the Fdirv
Queen. The stage direction reads, Enter
Queen OF Fairies with her traine.' But
her words, Sing me now asleepe,' and, the
stage direction -She sle4pes' clearly indicate
that she is lying down. In point OF fact
enter" was frequently used Of an actor
appearing in the aloove where We should say
lis disclosed" The quarto OF -Otheuo"
reads: Enter OthsILo With a light and
DeSdemond in her bed" Beds were usually
within the alcove and were made 20 ENTER
by drawing back the curtains. juliet falls
asleep on her bed within the curtaines' and
after she Ia found there and left fori dead
they all go foorth casting rosemary on her
and shutting the curtens." What happens
In 'Othello" IL that the Moor enters by the
door and drawing back the alcove curtains
discloses Desdemond In her bed. TItdnid's
bower likewise was doubtless within the
aloove. Her first words call her "a Rounded
and q Fairy song" which may have been
quite elaborate. for h aloove was only
nine or ten feet narrower than the general
run Of modern stages, and onoe the curtains
were drawn back the dancers were at liberty
to now out on the main, stage. At the end
Of the act it Is probable that the Above cur
tains were drawn to; but II 90 they were
opened during the next act. In line 1856,
when the Fairy Queen awakes, she sees
and falls in love with Bottom, who is on the
main stage.
For in Act III, LysdNdsr and Hsrmid
having gone OF, the woodland setting ID
used. as we hav seen, for the artisans to
rehearse their play. It may be remarked
In passing that this very scene IL the most
perfect evidence Of -ShAkespsare's alb
horrenoe Of the attempt, even then being
made so introduce elaborate scenic realism.
Tbs artisans know no other mean Of pro-
senting moonlight and a wall han by q
lanthorn and rough cast. II Shakespeare
neglected such devices 10 was because he
understood the suggestive power OF beauti-
full words. When thu, fairies lead Bottom, !
With his ASS head, into tho bower, the |
curtain IL drawn and the woodland scene
on the main stage is thus cleared for Oberon's
entrances. The act ends with the four
lovers asleep in full vew-one Of the in
Vulnerable evidences that the main stage
was without curtain. The stage direction
says They sleep all the Act
The precise significance OF this is not be-
yond question; but act apparently means
an entr'acte filed in by music. After 80
much unremitting action, II was probably
found that the audience enjoyed and were
refreshed by an intermission, as the most
musical Germans have In bach opera a
CROSSE Pause for conversation, beer and
sausages.
with the opening Of Act w., 1t is clear,
the sleepers still hold the stage. The direc-
tons call for the entrance of the Queen
and Bottom, which Again doubtless means
that the curtains Of the alcove are drawn |
back. Now, however, there IL -the King
behinde them" Deep in the Above Oberon |
Is watching thu spectacle Of his rebellious
Queen enamored OF the clown with the
ASS head. Thus, when Enter Robin Good
feIIow and Obstor," Puck comes in at a side
door. and seeing him the FAIRY King comes
forward out OF the Above to the main stage,
and calls his attention to Titdnid asleep in
Bottoms arms. When OberoM and Titdnid
90 out Bottom is left Mapping and the four
lovers -lye still. = /. O., are still asleep on their
banks on the main stage. -Hones and they
wake shout within, they all start
up" Exit lovers. Bottom wakes" While
speaking his valedictory to his marvellous
dream he probably comes forward into the
woodland setting, the alcove curtains are
drawn and Titdni0'S bower removed from
behind them. This done, the woodland
scene Is drawn back into the a~lcove-a
procedure little likely TO disturb the au-
dience while Kempe had them In the sway
Of his comic spirits. The main stage being
cleared, the stage IL again the stage. Bot i
toms comrades come on and make in
quir4es "a to what has become OF him in the
wood. Tho line Have you sent 10 Bottom's