Terms in bold italic within entries are cross-references to other entries (e.g., laurel in the bay entry).
according, accordingly: used rarely to mean "appropriately, in keeping with": "Enter Morocco a tawny Moor all in white, and three or four followers accordingly" (Merchant of Venice, B4v, 2.1.0), "pass over the Stage in Couples, according as he describes them" (Antipodes, 307), "four Scotch Antics, accordingly habited . . . four wild Irish in Trouses, long haired, and accordingly habited" (Perkin Warbeck, 3.2.111); see also proper, properly.
almanac: a property associated with astrologers and conjurers, sometimes fake ones, as in Puritan, F4r; examples include "Looks in an Almanac" (Fair Quarrel, 5.1.127), and "Stargaze with a pack of Almanacs" (City Madam, 5.3.59); more elaborate is the appearance in a masque of Air who "comes down, hanging by a cloud, with a Coat made like an Almanac, all the Twelve Moons set in it, and the Four Quarters, Winter, Spring, Summer, and Autumn, with change of Weathers, Rain, Lightning, and Tempest, &c." (No Wit, No Help, 4.3.40).
back: references to this part of the body occur in about forty directions, most commonly for carrying someone or something: "Enter a devil, and carry Bungay on his back" (Friar Bacon, 807; see also Histriomastix, C4r), "He takes up Hotspur on his back" (1 Henry IV, K3v, 5.4.128), "Ajax with Patrocles on his back" (Troilus and Cressida plot, 36–7); see also Hieronimo, 11.170; Quarto 2 Henry VI, H3r, 5.2.60; Alphonsus of Germany, E3r; Captain Thomas Stukeley, 2813; Woman is a Weathercock, 4.2.124, 5.2.87; Captives, 2396, 2506; Brennoralt, 1.3.3; related actions include: "gets on his back and pulls him down" (Soliman and Perseda, B2r), "Lucanthe tied to his back" (Prisoners, C7r); objects carried on backs are a drum (Trial of Chivalry, A4v), a viol (Roaring Girl, 2.2.18), bills (When You See Me, 1018), brooms (Three Ladies of London, D4r), packs (A Shrew, A3r; see also Golden Age, 60), sacks (1 Henry VI, 1423, 3.2.0), quivers (Tom a Lincoln, 1186–7); some instances are linked to clothing or appearance: "verses written on her back and pinned on" (Quarto 2 Henry VI, D2r, 2.4.16), "a lion’s skin on her back" (Locrine, 1355), "discovering his doublet with a satin forepart and a canvas back" (Hengist, 5.1.287–9); see also Rare Triumphs, 1374; elsewhere a figure is threatened or injured: "sets squibs at their backs" (Doctor Faustus, A 1012), "draws a dagger at the Duke’s back" (Royal Master, H4r); see also Miseries of Enforced Marriage, 2288; Welsh Ambassador, 821; Wallenstein, 79; other signals include: "turns his back" (Famous Victories, F2v), "lieth just upon his back" (Antonio’s Revenge, 4.2.11), "bound back to back" (Roman Actor, 3.2.46); see also Two Lamentable Tragedies, E2r; Alphonsus of Germany, E1v; Amends for Ladies, 5.2.183–4.
backward: occurs in only three directions: "Enter Balurdo, backward" then "Flavia following him backward" (Antonio and Mellida, 3.2.123), "They go backward in" (Night Walker, 338); in Duke of Florence a figure above "Looks backwards" (5.1.27) out of his prison.
bay, bays: can be equivalent to the laurel as a sign of honor or achievement, as when a figure enters "on his head a wreath of Bays, as from Conquest" (Noble Stranger, E4r); as part of presentation to a king a curate enters "richly robed, and Crowned with Bays" (Queen and Concubine, 124), and the personages in Queen Katherine's vision are "clad in white Robes, wearing on their heads Garlands of Bays, and golden Vizards on their faces, Branches of Bays or Palm in their hands" (2644-6, 4.2.82); see also garland, palm, wreath; in Wedding to set a table servants bring in "Yew, Bays, and Rosemary, etc." (I1r), and Alphonsus of Germany provides "Bay leaves" in a cup "whereupon are written the lots" (C4r); other senses of bay are found in Comedy of Errors where a figure enters "from the Bay" (1073, 4.1.84) and in English Traveller where "Bays" in the right margin (64) accompanies a description of a house that includes "What goodly fair Bay windows."
booty, spoils: goods or property seized as plunder; in Knight of Malta soldiers enter "with booty" (96) from a captured Turkish ship described as "The money and the merchandise," "cloth of Tissue," "Scarlet," and "English Cloth"; when accosted by Prince Hal and Poins, the Gadshill robbers run away "leaving the booty behind them" (1 Henry IV, C4v, 2.2.101); after the defeat of Corioles "Enter certain Romans with spoils" (Coriolanus, 569, 1.5.0) with one complaining "I took this for silver"; spoil appears once as a verb meaning "damage": "She draws forth a knife, and making as though she meant to spoil her face, runs to her" (2 Edward IV, 129).
breaches: a rarely used term for pauses or breaks in dialogue: "At the breaches in this speech following, the other two Boys interrupt him" and "At the breaches he takes his tobacco" (Cynthia’s Revels, Induction.38–43, 121–4); see also Epicoene, 2.1.10–14 and Noble Stranger, E3v.
breeches: an item of men’s clothing called for in Eastward Ho, B3r; White Devil, 5.4.123; Wits, 161; in City Wit, "Pulls the coats up, and shows the breeches" (371) reveals a man in women’s clothing; see also Bird in a Cage, E3r, E4r.
broom: used occasionally to signal a domestic space, as with “a Maid with a broom” (Wit of a Woman, 1671); Gentleman Usher provides a broom-wench or broom-maid (2.1.153, 2.2.47) along with a rush-wench or rush-maid; figures reduced to poverty may be forced to sell brooms: “Enter Conscience with brooms at her back” (Three Ladies of London, D4r, see also E1r), “Enter Ancient, crying Brooms, and after him severally, four Soldiers, crying other things” (Loyal Subject, 128).
burden, burthen: can denote either a refrain to be sung or a load to be carried; examples of the former are "They fall in the burthen" (Weeding of Covent Garden, 43), "Brain sings and his crew keeps the Burthen" (Soddered Citizen. 2700), "Widgin in the midst sings this Song. They all bear the burden, while she Scolds and strives to be amongst 'em" (Northern Lass, 64); see also Bartholomew Fair, 3.5.94; for examples of the latter two figures in Patient Grissell enter "with burdens of Osiers" (4.2.0) and two servants in English Traveller enter "with Burdens and Caskets" (37); both meanings are found in Tempest where Ariel's song to Ferdinand includes "Burthen dispersedly" and "Burthen: ding dong" (525, 1.2.382; 546, 1.2.404) and Caliban enters "with a burthen of Wood" (1038, 2.2.0).
countenance: an occasional alternative to face meaning "expression" as in: "showing very sad countenance" (Fidele and Fortunio, 3), "dejected in countenance" (Messalina, 1568); see also Herod and Antipater, F4r; Two Noble Ladies, 497–8; Queen and Concubine, 22; Fancies Chaste and Noble, 234.
faggots: figures enter "with faggots" to denote an offstage bonfire whether for the burning of Latimer and Ridley (Duchess of Suffolk, G3r) or the accession of Queen Elizabeth (1 If You Know Not Me, 243); in Two Lamentable Tragedies a murderer is directed to "Bring down the body, and cover it over with Faggots, himself" and then "Remove the Faggots" (D2v, E2r).
feast: an occasional alternative to banquet: "Enter busily Sir Bounteous Progress for the feast (Mad World, 5.1.0), "A Feast preparing" (Cleopatra, B3v), "The Beggars discovered at their Feast“ (Jovial Crew, 388); Patient Grissel includes "A drunken feast, they quarrel and grow drunk, and pocket up the meat" (4.3.38).
girdle: a belt or sash worn at the waist; figures appear with a variety of objects "at" or "under" their girdles: a bottle (Lovesick Court, 99), "a black Box" (Fine Companion, B3v), books (Puritan, B2v), looking glasses (City Madam, 1.1.46; Fancies Chaste and Noble, A4v); a clown enters "with his girdle full of shoes" (Famous Victories, F4r), and a "devil like a Sergeant" appears "with a mace under his girdle" (Devil's Charter, A2v); actions include "draws the naked Dagger from his girdle and shakes it" (Twins, E2v) and an attempt by a figure who has climbed a tree to reach "one Apple that grows highest": "He stands fishing with his girdle for it" (Old Fortunatus, 4.1.85); a related verb occurs once as part of a conversion ceremony where the chief priest "puts on his Turban and Robe, girds his sword, then swears him on the Mahomet's head, ungirds his sword" (Christian Turned Turk, F2v).
herb: half of the eight examples are linked to preparations for a special occasion or distinctive figure, as when attendants enter "with herbs and perfumes" (Quarto Every Man Out, 1394, also Folio 2.4.23), "strewing herbs" (Ram Alley, H4r), or simply "with herbs" (Q1 Romeo and Juliet, I1r, 4.4.0); elsewhere herbs are used by the title figure of Faithful Shepherdess who enters "sorting of herbs, and telling the natures of them" (388), a starving Jack Cade who "lies down picking of herbs and eating them" (Quarto 2 Henry VI, G4r, 4.10.15), a disguised devil who cures Honorea's muteness when "he strains the juice of the Herb into" a cup of wine (Grim the Collier, G7v); a confrontation in Valiant Welshman provides a magical herb: "Enter the Serpent. Caradoc shows the herb. The Serpent flies into the Temple" (G1r); see also rosemary.
infant, baby, child: although most onstage children are played by actors, infants appear regularly as properties to be carried, abandoned, retrieved, or assaulted; most common is for a mother or nurse to enter with or bearing a child, often "in her arms": "Enter Holdup, with a Baby" (Northern Lass, 76); "Enter Midwife with the Child, and the Gossips to the kurs'ning" (Chaste Maid, 2.4.0); "Dutch Nurse with the child" (Fair Quarrel, 3.2.0, also 5.1.259); "Enter a Goth leading of Aaron with his child in his Arms" (Titus Andronicus, G4v, 5.1.19); "Enter a maid with a child in her arms, the mother by her asleep" (Yorkshire Tragedy, 527-8); "Enter two Boys, one with a child in his arms" (Cure for a Cuckold, C3v); "Enter Julia, Colona, and Merona unmasked, every one having a child in their arms" (Love's Sacrifice, 1866); see also Cobbler's Prophecy, 1198-1200; Patient Grissil, 4.1.0; Alphonsus of Germany, H2v; Tom a Lincoln, 2699-2700; more elaborate are "Enter Babulo with a bundle of Osiers in one arm and a child in another, Grissil after him with another child" (Patient Grissil, 4.2.20); "Enter Pheander King of Thrace, with his Sword drawn, two Noblemen holding him; Ariadne flying before him with a Child in her arms" (Thracian Wonder, B1r); "enter Angelina and Cornelia with an infant; they present it to Gerrard; he kisseth and blesseth it; puts it into the Nurse's arms, kneels, and takes his leave" (Four Plays in One, 321).
Infants that are left, lost, or stolen only to be recovered are a standard feature of romance plots, as in Winter's Tale, 1437-8, 3.3.0 or in Duchess of Suffolk where "Leave Child" is followed by "Enter Cranwell staggering, and falls near the Bush where the Child is" (F2v); in Golden Age Sibilla is first seen "lying in child-bed, with her child lying by her, and her Nurse" and subsequently swears an emissary "to secrecy, and to him delivers the child" to be taken away to safety (16, 20); infants are part of several elaborate dumb shows: in Maidenhead Well Lost "Enter the Duke of Milan, a Midwife with a young Child, and after them Stroza: the Duke shows the Child to Stroza, he takes it: then the Duke swears them both to secrecy upon his Sword, and exit with the Midwife: then Stroza goes to hide it, and Parma dogs him: when he hath laid the Child in a Corner, he departs in haste, and Parma takes up the Child and speaks" (127); in Tom a Lincoln "Time draws a curtain and discovers Angellica in her bed asleep, the infant lying by her, then enters the king and the Abbess whispering together the Abbess takes the child out of the bed and departs"; and later "Enter the Abbess in haste with the infant in her arms and kissing it she lays it down standing afar off, enter an old shepherd who espying the babe takes it up greatly rejoicing, and exit, which done, the Abbess with much joy departeth" (150-3, 166-9); most elaborate is Bloody Banquet which begins with "enter the old Queen of Lydia flying from her Nephew Lapyrus, with two Babes in her arms; he pursuing her with his drawn sword" and "Enter the old Queen with two Babes, as being hard pursued" and then provides "Enter the old Queen weeping, with both her Infants, the one dead; she lays down the other on a bank, and goes to bury the dead, expressing much grief. Enter the former shepherds, walking by carelessly, at last they espy the child and strive for it, at last the clown gets it, and dandles it, expressing all signs of joy to them. Enter again the Queen, she looks for her Babe and finding it gone, wrings her hands; the Shepherds see her, then whisper together, then beckon to her; she joyfully runs to them, they return her child, she points to her breasts, as meaning she should nurse it, they all give her money, the Clown kisses the Babe and her, and so Exeunt several ways" (16-18, 229, 847-59.
Few details are provided as to what a stage infant looked like or how it was clothed; in Thracian Wonder a mother enters "shipwrecked, the Clown turning the child up and down, and wringing the Clouts" (B4r); the lengthy stage direction in Henry VIII for the christening of Princess Elizabeth includes "four Noblemen bearing a Canopy, under which the Duchess of Norfolk, Godmother, bearing the Child richly habited in a Mantle, etc." (3357-60, 5.4.0); special situations include "Enter Nurse with a blackamoor child" (Titus Andronicus, G2v, 4.2.51); "Enter a Wench with a Basket, and a Child in it under a Loin of Mutton" (Chaste Maid, 2.2.127); "Enter a Serving-man with a child in a covered Dish" (Maidenhead Well Lost, 158); "Enter a Woman with a burnt Child" (Nero, 56); actions include "He dashes out the Child’s brains" (Alphonsus of Germany, H4r); "Strives with her for the child" and "Stabs at the child in her arms" (Yorkshire Tragedy, 537-8, 555-6); Silver Age provides two particularly distinctive examples: after Semele is "drawn out in her bed," Jupiter "descends in his majesty, his Thunderbolt burning" and "As he toucheth the bed it fires, and all flies up, Jupiter from thence takes an abortive infant" and "ascends in his cloud"; and "The Nurses bring young Hercules in his Cradle, and leave him. Enter Juno and Iris with two snakes, put them to the child and depart: Hercules strangles them" (154-5, 126); to display "the fruit of War, which spareth neither man woman nor child" a dumb show in Misfortunes of Arthur (an Inns of Court, not a professional play) brings in a lady "with a counterfeit Child in her arms" but soldiers "violently took her Child and flung it against the walls" (Fourth Dumb Show, 2, 7-8).
jeer: a rarely used signal for some kind of negative action: in Staple of News (which lists five “jeerers”) "jeers him again" is preceded by "makes a mouth at him" (2.2.57–9); figures enter "jeeringly" (Soddered Citizen, 2605; Landgartha, B2r, D2r) and "jeering and listening" (Love’s Sacrifice, 1189); in Variety there are "two Jeerers" (C4r, D6v, E7r).
livery: a distinctive badge or suit worn by a servant, official, or member of a company: "Enter the Bishop of Rochester with his men, in livery coats" (Sir John Oldcastle, 1961-2; see also Histriomastix, C2v); "Enter Bonville in all his bravery, and his man in a new livery" (Royal King, 58); "Enter Shoemaker, and other in their Liveries" (Shoemaker a Gentleman, 5.2.78); for "a Livery cloak" see Trick to Catch the Old One, H1v; in Michaelmas Term "Enter the Livery" (4.4.15) signals the beginning of a funeral procession led by members of the Woolen Drapers' Company.
moon: after the crowning of King John "There the five Moons appear" (1 Troublesome Reign, G2v), so John asks: "What might portend these apparitions, / Unusual signs, forerunners of event, / Presagers of strange terror to the world"; see also "Three suns appear in the air" (Octavo 3 Henry VI, B3v, 2.1.20); in Christian Turned Turk a conversion ceremony includes "two bearing half-moons" and another "bearing a Turban with a half-moon in it" (F2v); with reference to costume in Silver Age Proserpine appears "attired like the Moon" (133), in a masque "Air comes down hanging by a cloud, with a coat made like an almanac, all the twelve moons set in it" (No Wit, No Help, 4.3.40), and in Old Fortunatus Vice enters "with a gilded face, and horns on her head: her garments long, painted before with silver half moons, increasing by little and little, till they come to the full: in the midst of them in Capital letters this written: CRESCIT EUNDO" (1.3.0).
pack: a property usually associated with itinerant figures: “Jupiter like a Peddler, the Clown his man, with packs at their backs” (Golden Age, 60; see also Escapes of Jupiter, 654-5), “John Cobbler roving, with a packfull of apparel” (Famous Victories, F4v), “two of the players with packs at their backs” (Taming of a Shrew, A3r); other uses are an astrologer “with a pack of Almanacs” (City Madam, 5.3.59), “Seize and rifle his Pack” (Queen and Concubine, 34); atypical is an entrance “with a Packet, Cleopatra in it” (False One, 325).
pack, packet: a pack is associated with a peddler, as with "Jupiter like a Peddler, the Clown his man, with packs at their backs" (Golden Age, 60) and "John Cobbler roving, with a pack full of apparel" (Famous Victories, F4v); an astrologer appears "with a pack of Almanacs" (City Madam, 5.3.59); for packet, Aglaura provides "an Express delivering a Packet upon his knee" (1.3.27), and False One provides "Sceva with a Packet, Cleopatra in it" (325); unrelated is "He gets him up on pick-pack" (Bartholomew Fair, 2.6.98), a version of piggyback.
palm, palmer: like the laurel or bay, palm leaves can signal victory, as in Tom a Lincoln where to welcome a returning hero the people enter "with palms in their hands crying the Red Rose Knight" (2230); the personages in Queen Katherine's vision carry "Branches of Bays or Palm in their hands" (2645-6, 4.2.82); palmers or pilgrims appear occasionally, most notably in Thracian Wonder where a king enters "his Drum unbraced, Ensigns folded up, himself in a Palmer's Gown, Hat, and Staff" (E1r); see also Guy of Warwick, E1r-v; figures in disguise appear "like Palmers" (Orlando Furioso, 1093), "in a Palmer's habit" (Faithful Friends, 3107).
persuade: used occasionally to signal a pantomimed action: "he makes show of persuading them" (Captain Thomas Stukeley, 2454), "Enter Little John, fighting with the Sheriff and his men, Warman persuading him" (Downfall of Robert, 430–1), "the Gypsy and the Lady persuade and hold the Prince" (Fool Would Be a Favourite, F2v); see also Brazen Age, 203; Christian Turned Turk, H1v; Prophetess, 363; Queen of Corinth, 60; Staple of News, 2.5.116–19.
shrug: used rarely to signal a shoulder-lifting action (Queen and Concubine, 361), mostly in particular contexts, as when it accompanies "just here . . . o’ the heart’s side" (Queen’s Exchange (465) or is modified: "shrugging gladly" (Sir Thomas More, 240), "shrugging as it were for joy" (Witch of Edmonton, 4.2.65).
some: a permissive term used instead of exact numbers or specific details; most general is simply some: "Enter some bearing axes" and "some taking him off" (Caesar and Pompey, 1.2.0, 4.3.17), "speaking to some within" (Dutch Courtesan, 4.2.0), "Enter some to pass over" (Goblins, 4.6.11), "some with lights" (Love’s Sacrifice, 1830), "To some that stand by" (Sejanus, 5.424), "exit some severally" (Sir Thomas More, 583); for similar uses see Cobbler’s Prophecy, 1361; Woodstock, 5; Every Man In, 3.4.148; King Leir, 2506; Hoffman, 529; Arviragus and Philicia, B5v; Politician, A4v; Queen and Concubine, 22; more often a certain kind of figure is referred to: some attendants (2 Edward IV, 120; Fair Em, 189, 955; 2 Seven Deadly Sins plot, 324), followers (Captives, 1306), prisoners (Devil’s Charter, I1v), sailors (Looking Glass for London, 1009, 1368–9), servants (John a Kent, 605), soldiers (Fedele and Fortunio, 1554, Hannibal and Scipio, 245), waiting ladies (Noble Spanish Soldier, 1.1.0); an action or sound can be left vague, as in some "dumb show" (Rare Triumphs, 1375), "short Song" (Insatiate Countess, 2.4.82), "short discourse" (Antipodes, 335), "pretty dance" (James IV, 634, also 1936; see also Launching of the Mary, 2801), "few paces back" (Perkin Warbeck, 2.1.39), "distance from the King" (Henry VIII, 1336–7, 2.4.0); see also Warning for Fair Women, C1r; Late Lancashire Witches, 206; events occur after some charges (Birth of Merlin, C3r), compliment (2 Iron Age, 411), pause (Conspiracy, K4v; see also Cunning Lovers, I2v), skirmish (Arcadia, E2r), "show of wonder" (Night Walker, 380); elsewhere the term refers to clothing or a property: some "loose covering over his head" (David and Bethsabe, 972), "fantastic Sea-suit" (1 Honest Whore, 1.2.0), "small money" (Knave in Grain 2969), "odd disguise" (Wasp, 745), or to a location: "part of the window" (Insatiate Countess, 3.1.42), "by place" (Match Me in London, 5.3.0); see also John a Kent, 1098; Malcontent, 3.2.0; Whore of Babylon, 2.2.185; Wizard, 2204, 2221–2; other signals include "Shacklesoule, or some spirit in a frightful shape" (If This Be Not a Good Play, 4.4.38), "some relief in a cloth for Mistress Shore" and "speaking some words, but of no importance" (2 Edward IV, 166, 180).
something, somewhat: these permissive terms occur infrequently as modifiers: "she starting as something affright" (David and Bethsabe, 93; see also Antipodes, 335), "Another something fat Courtier" (Conspiracy, D1r), "she somewhat affecting him” (Four Prentices, 208); elsewhere the term is a noun: "Throws somewhat at him" (No Wit, No Help, 2.3.165), "with something in her Apron" (Fortune by Land and Sea, 394), "seem to promise something" (Queen of Corinth, 60).
sometimes: used to indicate repeated action, as in "offers sometimes to kiss him" (Bride, 51), or varied action, as in "sometime dancing, sometime complimenting, and sometimes laughing" (Twins, D4r); see also Valiant Welshman, G4v; Launching of the Mary, 2673; Court Beggar, 260.
sun: in Octavo 3 Henry VI "Three suns appear in the air" (B3v, 2.1.20) and are described as "Three glorious suns, each one a perfect sun" and "See, see, they join, embrace, and seem to kiss"; see also "the five Moons" that appear in 1 Troublesome Reign, G2v; Looking Glass for London signals "Enter the Priest of the sun, with the miters on their heads, carrying fire in their hands" (1617-18), and Three Lords of London gives Treachery a pendant with "an armed Arm catching at the Sun beams" (G1v).
tatters, tattered: a seldom used alternative to rags typically describing soldiers (Roaring Girl, 5.1.55; Faithful Friends, 319; Valiant Scot, E2v); atypical is "a tattered petticoat" (Soddered Citizen, 1268).
trance: three of the four examples clearly denote a swoon or faint; at Jane Grey's exit to be beheaded Guilford "falls in a trance" (Sir Thomas Wyatt, 5.2.150); Arthur makes his fatal leap and then delivers his dying speech "after he was from his trance" (2 Troublesome Reign, A3r); Alvida, after wooing another man, "Faints" at the entrance of King Rasni and then "riseth as out of a trance" (Looking Glass for London, 1576, 1585-6); a swoon is likely in Folio Othello where Othello "Falls in a Trance" (2420, 4.1.43--Quarto "He falls down," I3v), although Iago tells Cassio "My lord is fall'n into an epilepsy."
trouses: the early term for “trousers,” as in “His Shoemaker has pulled on a new pair of boots; and he walks in his Gown, waistcoat, and trouses, expecting his Taylor” (Staple of News, 1.1.1), “four wild Irish in Trouses, long haired, and accordingly habited” (Perkin Warbeck, 3.2.111); to effect an exchange of clothing “Enter Cole and Crab in Trouses, the Cardinal in one of their weeds, and Philip putting on the other” (Lust’s Dominion, 2.3.0).
wrap, wrapped: a term usually associated with an action or kind of covering as in "wrapped in furs" (Amends for Ladies, 4.2.1), "wrapped in a Canopy," "wraps herself in the Arras" (Bussy D’Ambois, Q1, 5.1.193; Q2, 5.3.56), "wrapped in a net" (1 Honest Whore, 5.2.176); a figure about to fight "wraps his Cloak about his arm" (Dick of Devonshire, 772–4); in Edward III a dead body is "wrapped in the colors" (G1v), whereas in Faithful Friends "Colors wrapped up" (2099–2100) is a sign of peace; a basket in Launching of the Mary contains "a brickbat wrapped in a clean napkin" (1830).
wrestle: occurs twice, both times as wrastle: for the Orlando-Charles combat in As You Like It (373, 1.2.212); and for two vying princes in Nobody and Somebody who "wrestle and are parted" (G3r).
hell: occurs only twice: "the Fates and Furies down to hell" (Silver Age, 164) and "Hell is discovered" (Doctor Faustus, B 2017).
loud: usually describes music, typically for a ceremonial entrance or special occasion but sometimes for a song; examples include "Loud Music, and Enter Ushers before, the Secretary, Treasurer, Chancellor; Admiral, Constable hand in hand, the King following, others attend" (Chabot, 1.1.115), "Loud music. They possess the Stage all in state" (2 Iron Age, 408, also 405, 411); see also Blurt, 5.2.38; Conspiracy of Byron, 1.2.21; Malcontent, 5.5.52; Sophonisba, 1.2.236; Charlemagne, 151; Timon of Athens, 337, 1.2.0; No Wit, 4.3.0, 40; Noble Spanish Soldier, 1.1.0; 1 Iron Age, 302; Love's Mistress, 108; Maid of Honour, 4.2.0, 28, 5.2.0; Broken Heart, 5.2.0; Prophetess, 363; Emperor of the East, 1.1.82, 1.2.89, 3.2.0; King John and Matilda, 51; Young Admiral, K3r; Bloody Banquet, 1093; Landgartha, E4r; only Little French Lawyer specifies "Louder" music (440); on a few occasions loud describes other sounds such as an alarum (Julius Caesar, 2473, 5.2.2; Folio 3 Henry VI, 1281, 2.6.0) and shouts (Virgin Martyr, 1.1.118; Golden Age, 12).
robe: found mostly in ceremonies and other special occasions, as in Golden Age where Jupiter appears “crowned with his Imperial Robes" and the Fates provide Neptune with “a Robe and Trident, with a crown” and Pluto with “a burning Robe … a Mace, and burning crown” (68, 78-9; see also If This Be Not a Good Play, 1.2.0); comparable ceremonies include "the King puts on his royal robes" (1 Edward IV, 88), the dead Ithocles "in a rich robe" and the mourning "Calantha in a white robe" (Broken Heart, 5.3.0), Mahomet’s priest with “Turban and Robe“ (Christian Turned Turk, F2v), a coronation where "they take off his black habit, and put on him a Scarlet Robe" (Conspiracy, G1r); see also Duchess of Malfi, 3.4.7; MS Poor Man's Comfort, 1093-4; Antipodes, 313; figures enter "in royal robes" (Lust's Dominion, 5.1.162), "in Senator's robes" (MS Poor Man's Comfort, 2032), in “Bishop’s Robes” (When You See Me, 1428-9), “in Duke’s robes” (Malcontent, 5.3.0), "in a Robe and Garland" (Philaster, 133), "with a robe and a crown under his arm" and later "with a Robe upon him, and a Crown on his head" (Jews' Tragedy, 2994-5, 3027-8); white robes are specified for six personages who appear in a vision (Henry VIII, 2644, 4.2.82), a boy who strews flowers before a wedding (Two Noble Kinsmen, B1r, 1.1.0), masquers (Malcontent, 5.5.66; 'Tis Pity, 4.1.35), the spirit of the martyred Dorothea who enters "in a white robe, crowns upon her robe, a Crown upon her head" (Virgin Martyr, 5.2.219); other distinctive robes include “two judges in their robes” (Sir John Oldcastle, 58), "Masquing Robes" (Woman Is a Weathercock, 5.1.64-5, 128), "a conjuring robe" (Bussy D'Ambois, 4.2.7), "Prospero (in his Magic robes)" (Tempest, 1946, 5.1.0), Truth "clothed in a robe spotted with Stars" (Whore of Babylon, DS before Act 1, 37-8), "Ganymede in a blue robe powdered with stars, and Hebe in a white robe with golden stars" (Women Beware Women, 5.2.50), "puts off the Priest's Weeds, and has a Devil's robe under" (Woman Is a Weathercock, 5.2.70), a "devil in robes pontifical with a triple Crown on his head" and another devil "in black robes like a pronotary" (Devil's Charter, A2v); Henslowe's inventory includes "Dido's robe" (162), "one blue robe with sleeves" (157); figures are directed to put on robes (Fedele and Fortunio, 987-8; Q2 Bussy D'Ambois, 4.2.51), put off robes (Fatal Contract, H1r), disrobe (Devil's Charter, G3r; Jews' Tragedy, 1756-7); atypical are "hides his face with his robe" (Caesar and Pompey, 5.1.266), "with as many Jewels robes and Gold as he can carry" (2 Seven Deadly Sins, 66-7), masquers with weapons concealed "under their robes" (Malcontent, 5.5.66); see also Fedele and Fortunio, 945; Caesar and Pompey, 4.4.0; Mad Lover, 62; Fatal Contract, G4v, H1r.