Romance had found its readiest entrance to the stage thru the shows and spectacles which delighted the courts of the Tudors. Venus and Diana, or Loyalty and Sedition, or Red Cross Knight and Fairy Princess, or whoever else, if sumptuously arrayed and bejeweled and sufficiently attended, might be wheeled in on a huge car representing castle or garden or island, decorated with flowers and spangles, begin with a tableau and end with a dance. Along with all this splendor, it would not be thought inappropriate to have a clown dance a jig or mimic the antics of a drunken man. Such spectacles soon became the joy of the public as well as of the court, and were imitated by many a rustic Holofernes or Bottom. Nymphs and fairies, the Nine Worthies, or the Golden Age might find representation by almost any village pedagog and his school children. Out of such entertainments there soon developt a kind of comedy, at first the peculiar property of the children of the royal choirs who performed at court, but soon adapting itself to the adult companies and public theaters. This comedy availed itself of any stories that might come to hand, so they were strange, unusual, marvelous, impossible enough, and accompanied them with music, dancing, and spectacle, and with lively jests in the mouth of the smallest boys, dressed as pages. Endymion in love with the moon, the judgment of Paris, Pandora and her varied actions under the seven planets, the rival magic of Friars Bacon and Bungay, Jack the Giant Killer, Alexander the Great in love with Campaspe who preferred Apelles--these are some of the themes. Astrologers, Amazons, fairies, sirens, witches, ghosts, are some of the personages who appear along with the singing pages and Olympian deities. Of course, these persons and these marvels are impossible on any stage, most of all by daylight in the roofless public theaters of Shakspere's London. But neither audience nor dramatist thought of impossibility. They tried everything on their stage, even their wonderlands.