By M. Ichikawa
Shakespearean Entrances supply a scientific examine of entrances and exits at the Shakespearean level. Elizabethan playwrights and avid gamers not just mostly dealt with those pursuits yet additionally they used them to lead to a variety of results. via interpreting the surviving play-texts, the writer makes an attempt to spot the unstated yet typical ideas that lay in the back of the minimum and conventionalized level instructions 'Enter' and 'Exit'/'Exeunt'. The findings supply capacity wherein to recuperate results and meanings that the unique viewers could have favored.
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Extra resources for Shakespearean Entrances
There are also some directions suggesting that the exiting character should move slowly: for example, ‘Exit reeling’ (Robert Armin, The Two Maids of More-clacke Q1, D1r); ‘Exit, staggering’ 33 34 Shakespearean Entrances (Eastward Ho Q1, B4r); ‘Exit creep’ (Eastward Ho Q1, F2v). 47–8). In extremely rare cases do stage directions speciﬁcally indicate the insertion of pauses so as to allow time for exits: for example, ‘Pause a while till he ~ be gon out & the speak tretably’ (John Pickering, The Interlude of Vice Q1, TLN 1121–6); ‘Pause’ (George Wapull, The Tide Tarrieth No Man Q1, F1r).
Exit. How now, more Tailors— Meetes Phillip. Phi. How sir; Taylors. Dol. O good Captaine, tis my Couzen. Enter Leuerpoole at another dore. Cap. Is he, I will Couzen you then sir too, one day. Phil. I hope sir then to Couzen you too. Cap. By gad I hobe so, fare-well Sidanien. Exit. (Q1, C3v-C4r [sig. C3 is misprinted as D3]) The exiting Captain sees Philip entering and interrupts his exit. The ﬁrst exit direction indicates the moment when the Captain should begin to leave the stage, and the second exit indicates the moment when he should resume his interrupted move so that he could complete it.
The intertextual comparison has also shown that the so-called ‘bad quartos’ lack not a few examples including those important ones in which the number of lines between the beginnings of the exits and their related entrances is very small. As mentioned below, certain omissions and changes may reﬂect stage practices. With the exception of Pericles, we are fortunate enough not to be forced to rely exclusively on a problematic text for any play. I have counted all the examples found in Shakespeare’s plays, including Pericles, and have only excluded those instances in which a sound or an action ﬁlls the gap between the beginning of the exit and the entrance.