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EPILOGUE . The appendix or supplement to a See also: literary See also: work, and in particular to a drama in verse, is called an epilogue, from kLXoyos, the name given by the Greeks to the peroration of a speech
.
As we read in See also: Shakespeare's Midsummer See also: Night's Dream, the epilogue was generally treated as the See also: apology for a See also: play; it was a final See also: appeal made to encourage the See also: good-nature of the audiences, and to deprecate attack
.
The epilogue should See also: form no See also: part of the work to which it is attached, but should be See also: independent of it; it should be treated as a sort of commentary
.
Sometimes it adds further information with regard to what has been See also: left imperfectly concluded in the work itself
.
For instance, in the See also: case of a play, the epilogue will occasionally tell us what became of the characters after the See also: action closed; but this is irregular and unusual, and the epilogue is usually no more than a graceful way of dismissing the See also: audience
.
Among the ancients the form was not cultivated, further than that the See also: leader of the See also: chorus or the last See also: speaker advanced and. said Vos valete, et plaudite, cives "—" Good-bye, citizens, and we hope you are pleased." Sometimes this See also: formula was reduced to the one word, " Plaudite
!
" The epilogue as a literary See also: species is almost entirely confined to See also: England, and it does not occur in the earliest See also: English plays
.
It is rare in Shakespeare, but See also: Ben See also: Jonson made it a particular feature of his drama, and may almost be said to have invented the tradition of its See also: regular use
.
He employed the epilogue for two purposes, either to assert the merit of the play or to deprecate censure of its defects
.
In the former case, as in Cynthia's See also: Revels (i600), the actor went off, and immediately carne on again saying:
" Gentles, be't known to you, since I went in I am turned rhymer, and do thus begin:—The author (jealous how your sense See also: cloth take His travails) hath enjoined me to make Some See also: short and ceremonious epilogue,"
and then explained to the audience what an exremely interesting play it had been
.
In the second case, when the author was less confident, his epilogue took a humbler form, as in the See also: comedy of Volpone (16os), where the actor said:
" The seasoning of a play is the applause
.
Now, as the See also: Fox be punished by the See also: laws,
He yet doth hope, there is no suffering due
For any fact which he hath done 'gainst you
.
If there be, censure him; here he doubtful stands: If not, fare jovially and clap your hands."
See also: Beaumont and See also: Fletcher used the epilogue sparingly, but after
their See also: day it came more and more into vogue, and the form was almost invariably that which Ben Jonson had brought into fashion, namely, the short See also: complete piece in heroic couplets
.
The hey-day of the epilogue, however, was the Restoration, and from 166o to the decline of the drama in the reign of See also: Queen See also: Anne scarcely a play, serious or comic, was produced on the See also: London stage without a prologue and an epilogue
.
These were almost always in verse, even if the play itself was in the roughest See also: prose, and they were intended to impart a certain literary finish to the piece
.
These Restoration epilogues were often very elaborate essays or satires, and were by no means confined to the subject of the preceding play
.
They dealt with fashions, or politics, or See also: criticism
.
The prologues and epilogues of See also: Dryden are often brilliantly finished exercises in literary polemic
.
It became the See also: custom for playwrights to ask their See also: friends to write these poems for them, and the publishers would even come to a prominent poet and ask him to supply one for a See also: fee
.
It gives us an idea of the seriousness with which the epilogue was treated that Dryden originally published his valuable " Defence of the Epilogue; or An Essay on the Dramatic See also: Poetry of the Last Age " (1672) as a defence of the epilogue which he had written for The See also: Conquest of See also: Granada
.
In See also: France the custom of reciting dramatic epilogues has never prevailed
.
French criticism gives the name to such adieux to the public, at the close of a non-dramatic work, as are reserved by La Fontaine for certain critical points in the "Fables." (E
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