Referring once more to the construction of the theatres, it is important to note that they differed most from modern playhouses in their size; not so much, perhaps, in the size of the stage as in the dimensions of the auditorium. The building was so made that the remotest spectator could hardly have been distant more than a dozen yards, or thereabouts, from the front of the stage. The whole auditory were thus within a hearing distance that conveyed the faintest modulation of the performer's voice, and at the same time demanded no exaggerated effort in the more sonorous utterances. Especially would such a building be well adapted for the skilled and rapid delivery for which Elizabethan players were famous. Added to this, every lineament of the actor's countenance would have been visible without telescopic aid. It was for such a theatre that Shakespeare wrote, says Mr. Halliwell Phillips, "one wherein an actor of genius could satisfactorily develop to every one of the audience not merely the written, but the unwritten words of the drama, those latter which are expressed by gesture or by the subtle language of the face and eye. There is much of the unrecorded belonging to the pages of Shakespeare that requires to be elicited in action, and no little of that much which can only be effectively rendered under conditions similar to those which prevailed at the opening of the Globe." Suitable to the construction of the Elizabethan theatre was the construction of the Elizabethan play, the most noticeable feature of which was the absence of division into scenes and acts. For even when a new act and scene are marked in the old quartos and folios, they are probably only printer's divisions, and we find the text often continuing the story as though the characters had not left the stage. Not that it is to be inferred that no pauses were made during the representation of the play, especially at the cheaper and more popular houses, where jigs and musical interludes were among the staple attractions. But judging from the following words put into Burbage's mouth by Webster in his induction to "The Malcontent" (a play that originally had been written for the Fortune theatre), we may gather that at the Globe it was not usual to have musical intervals. "_W. Sly_: What are your additions? "_D. Burb._: Sooth, not greatly needful, only as your sallet to your great feast, to entertain a little more time, and to abridge the not received custom of music in our theatre." Nor is it likely Shakespeare would have approved of any interruptions to the dramatic movement of his plays when once it had begun. He made very sparing use of the chorus, and avoided both prologue and epilogue when possible. There is, in this same induction by Webster, some dialogue that throws light also upon the estimation in which Shakespeare and his fellow actors regarded their calling and its duties and responsibilities, and is worth quoting: "_W. Sly_: And I say again, the play is bitter.