See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

PROLOGUE (from Gr. 7rpo, before, and Myer, a word)  , a prefatory piece of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing, usually composed to introduce a See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama . The Greeks use a word 7rphXoyor, which included the See also:

• MODERN

modern meaning of the See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

prologue, but was of wider significance, embracing any See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface, like the Latin praefatio . In See also:

• ATTIC (i.e. "in the Attic style ")

Attic See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek drama, a See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character in the See also:

• PLAY

play, very often a deity, stood forward or appeared from a See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine before the See also:

• ACTION

action of the play began, and made from the empty See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage such. statements as it was necessary that the See also:

• AUDIENCE (from Lat. audire, to hear)

audience should hear, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order that they might appreciate the ensuing drama . It was the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Greek See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom to dilate in See also:

• GREAT

great detail on everything that had led up to the play, the latter being itself, as a See also:

• RULE

rule, merely the See also:

• CATASTROPHE (Gr. Karaurpoch, from KaraQrp4ecv, to over-turn)

catastrophe which had inevitably to ensue on the facts related in the prologue . The importance, therefore, of the prologue in Greek drama was very great; it sometimes almost took the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of a See also:

• ROMANCE

romance, to which, or to an See also:

• EPISODE

episode in which, the play itself succeeded . It is believed that the prologue in this See also:

• FORM (Lat. forma)

form was practically the invention of See also:

• EURIPIDES (48o–4o6 B.C.)

Euripides, and with him, as has been said, it takes the place of " an explanatory first See also:

• ACT (Lat. actus, actum)

act." This may help to modify the objection which See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism has often brought against the Greek prologue, as an impertinence, a useless growth prefixed to the play, and See also:

• STANDING

standing as a barrier between us and our enjoyment of it . The point precisely is that, to an Athenian audience, it was useful and pertinent, as supplying just what they needed to make the succeeding scenes intelligible . But it is difficult to accept the view that Euripides invented the See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan of producing a See also:

• GOD

god out of a machine to justify the action of deity upon See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, because it is See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain that he himself disliked this interference of the supernatural and did not believe in it . He seems, in such a typical prologue as that to the See also:

• HIPPOLYTUS
• HIPPOLYTUS, THE CANONS OF

Hippolytus, to be accepting a conventional See also:

• FORMULA
• FORMULA (Lat. diminutive of forma, shape, pattern, &c., especially used of rules of judicial procedure)

formula, and employing it, almost perversely, as a See also:

• MEDIUM

medium for his ironic See also:

• RATIONALISM (from Lat. rationalis, pertaining to reason, ratio)

rationalism . Many of the existing Greek prologues may be later in date than the plays they illustrate, or may contain large interpolations . On the Latin stage the prologue was often more elaborate than it was in See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens, and in the careful See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of the poems which See also:

• PLAUTUS, TITUS MACCIUS (originally perhaps MACCUS; cf. Asin. Prol. 11)

Plautus prefixes to his plays we see what importance he gave to this portion of the entertainment; sometimes, as in the preface to the Rudens, Plautus rises to the height of his See also:

• GENIUS (from Lat. genere, gignere)

genius in his adroit and romantic prologues, usually placed in the mouths of persons who make no See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in the play itself . See also:

• MOLIERE (1622-1673)

Moliere revived the Plautian prologue in the' introduction to his See also:

• AMPHITRYON

Amphitryon .

See also:

• RACINE
• RACINE, JEAN (1639-1699)
• RACINE, LOUIS (1692-1763)

Racine introduced Piety as the See also:

• SPEAKER

speaker of a prologue which opened his choral tragedy of See also:

• ESTHER

Esther . The tradition of the ancients vividly affected our own early dramatists . Not only were the See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery plays and miracles of the See also:

• MIDDLE

middle ages begun by a See also:

• HOMILY

homily, but when the drama in its modern sense was inaugurated in the reign of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth, the prologue came with it, directly adapted from the practice. of Euripides and See also:

• TERENCE

Terence . See also:

• SACKVILLE, GEORGE, 1ST VISCOUNT (1716-1785)
• SACKVILLE, MORTIMER

Sackville, See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Buckhurst, prepared a sort of prologue in dumb show for his Gorbuduc of 1562; and he also wrote a famous See also:

• INDUCTION (from Lat. inducere, to lead into; cf. Gr. ilrayu yli)

Induction, which is, practically, a prologue, to a See also:

• MISCELLANY

miscellany of See also:

• SHORT, FRANCIS JOB (1857– )

short romantic epics by diverse hands . In the Elizabethan,drama the prologue was very far from being universally employed . In the plays of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare, for instance, it is an artifice which the poet very rarely introduced, although we find it in See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry V. and Romeo and Juliet . Sometimes the Elizabethan prologue was a highly elaborated poem; in 1603 a See also:

• HARBINGER

harbinger recited a See also:

• SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet on the stage, to prepare the audience for See also:

• HEYWOOD
• HEYWOOD, JOHN (b. 1497)
• HEYWOOD, THOMAS (d. c. 165o)

Heywood's A Woman Kill'd with Kindness . Often the prologue was a piece of See also:

• BLANK (from the Fr. blanc, white)

blank See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, so obscure and complicated that it is difficult to know how its hearers contrived to follow it; such are the prologues of See also:

• CHAPMAN (from O. Eng. ceap, and Mid. Eng. ,heap, to barter, cf. " Cheapside " in London, and Ger. Kaufmann)
• CHAPMAN, GEORGE (? 1559–1634)

Chapman . Among Elizabethan prologues the most ingenious and interesting are those of See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson, who varied the form on every occasion . For instance, in The Poetaster (1602), Envy comes in " as Prologue," and speaks a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long copy of heroics, only to be turned off the stage by an armed figure, who states that he is the real prologue, and proceeds to spout more verses . Jonson's introductions were often recited by the " stage-keeper," or manager . See also:

• BEAUMONT
• BEAUMONT, BELMONT, or BELLOMONT
• BEAUMONT, CHRISTOPHE DE (1703-1781)
• BEAUMONT, SIR JOHN (1583–1627)

Beaumont and See also:

• FLETCHER, ALICE CUNNINGHAM (1845– )
• FLETCHER, ANDREW
• FLETCHER, GILES (c. 1548-1611)
• FLETCHER, GILES (c. 1584-1623)
• FLETCHER, JOHN WILLIAM (1729-1785)
• FLETCHER, PHINEAS (1582-1650)

Fletcher seem to have almost wholly dispensed with prologues, and the form was far from being universal, until the Restoration, when it became de rigueur .

The prologues of the last See also:

• THIRTY

thirty years of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century were always written in rhymed verse, and were generally spoken by a See also:

• PRINCIPAL

principal actor or actress in the ensuing piece . They were often, in the hands of competent poets, highly finished essays on social or See also:

• LITERARY

literary topics . For instance, the famous prologue to See also:

• DRYDEN, JOHN (1631-1700)

Dryden's Aurengzebe (1675) is really a brief See also:

• TREATISE

treatise on fashions in versification . Throughout the 18th century the prologue continued to flourish, but went out of See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue in the early See also:

• PART

part of the 19th . See also See also:

• EPILOGUE

EPILOGUE . (E . G.) See also:

• PROME

PROME, a See also:

• DISTRICT

district in the See also:

• PEGU

Pegu See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division of See also:

• LOWER

Lower See also:

• BURMA

Burma, with an See also:

• AREA

area of 2915 sq. m. and a See also:

• POPULATION (Lat. populus, people; populare, to populate)

population (1901) of 365,804 . It occupies the whole breadth of the valley of the See also:

• IRRAWADDY, or IRAWADI

Irrawaddy, between See also:

• THAYETMYO

Thayetmyo district on the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north and See also:

• HENZADA

Henzada and See also:

• THARRAWADDY

Tharrawaddy districts on the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south, and originally extended as far as the frontier of See also:

• INDEPENDENT

Independent Burma, but in 1870 Thayetmyo was formed into an independent See also:

• JURISDICTION
• JURISDICTION, CRIMINAL LAW, DIVORCE

jurisdiction . There are two See also:

• MOUNTAIN (0. Fr. montaigne; popular Lat. montanea, an adjectival form from the classical mons, montis, whence Eng. " mount," a form usually used along with the name of an individual mountain, e.g. Mt Everest)
• MOUNTAIN, THE (La Montagne)

mountain ranges in Prome, which form respectively the eastern and western boundaries . The See also:

• ARAKAN

Arakan Yomas extends along the whole of the western See also:

• SIDE
• SIDE (mod. Eski Adalia)

side, and that portion of the district lying on the right See also:

• BANK

bank of the Irrawaddy is broken up by thickly wooded spurs See also:

• RUNNING

running in a south-easterly direction, the space for cultivation being but limited and confined to the parts adjacent to the See also:

• RIVER

river . On the eastern side lies the Pegu Yomas, and north and north-See also:

• EAST
• EAST, ALFRED (1849- )

east of the district its See also:

• FOREST

forest-covered spurs form numerous valleys and ravines, the torrents from which unite in one large stream called the Na-weng River . The most important of the plains See also:

• LIE, JONAS LAURITZ EDEMIL (1833—1908)
• LIE, MARIUS SOPHUS (1842–1899)

lie in the south and south-See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west portions of Prome, and extend along the whole length of the railway that runs between the towns of Paungde and Prome; they are mostly under cultivation, and those in the south are watered by a See also:

• SERIES (a Latin word from serere, to join)

series of streams forming the Myit-ma-kha or upper portion of the Hlaing .

There are in addition large tracts of See also:

• LAND

land covered by See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree-See also:

• JUNGLE (Sans. jangala)

jungle which are available for cultivation . The principal river is the Irrawaddy, which intersects the district from north to south; next in importance are the Tha-ni and its tributaries and the Na-weng See also:

• SYSTEM

system of See also:

• RIVERS
• RIVERS, ANTHONY WOODVILLE, or WYDEVILLE, 2ND EARL (c. 1442—1483)
• RIVERS, EARL
• RIVERS, RICHARD SAVAGE, 4TH EARL (c. 1660—1712)

rivers . In the hills near the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital the See also:

• SOIL

soil is of See also:

• TERTIARY

Tertiary formation, and in the plains it is an alluvial See also:

• DEPOSIT (Lat. depositurn, from deponere, to lay down, to put in the care of)

deposit . The See also:

• CLIMATE

climate is much drier than other districts in Lower Burma, the See also:

• ANNUAL

annual rainfall being about 48 in . The temperature ranges from about too° in See also:

• JUNE

June to 6o° in See also:

• JANUARY

January . The See also:

• STAPLE

staple See also:

• CROP (a word common. in various forms, such as Germ. Kropf, to many Teutonic languages for a swelling, excrescence, round head or top of anything; it appears also in Romanic languages derived from Teutonic, in Fr. as troupe, whence the English " crupper "

crop is See also:

• RICE (Greek 6p6 a, Latin oryza, French riz, Italian riso, Spanish arroz, derived from the Arabic)
• RICE, EDMUND IGNATIUS (1762-1844)
• RICE, JAMES (1843-1882)

rice, but some See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

cotton and See also:

• TOBACCO

tobacco are grown, while the custard apples are famous . Sericulture is extensively carried on by a See also:

• SPECIAL

special See also:

• DASS, PETTER (1647 – 1708)

dass . The forests yield See also:

• TEAK

teak and See also:

• CUTCH, GULF OF
• CUTCH, or KACH
• CUTCH, RUNN OF, or RANN OF KACH

cutch, cotton and See also:

• SILK

silk-See also:

• WEAVING

weaving are important See also:

• INDUSTRIES

industries; there are also manufactures of ornamental boxes, coarse See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown See also:

• SUGAR

sugar and cutch . The early See also:

• HISTORY

history of the once flourishing See also:

• KINGDOM

kingdom of Prome, like that of the other states which now form portions of Burma, is veiled in obscurity . After the See also:

• CONQUEST

conquest of Pegu in 1758 by See also:

• ALOMPRA, ALOUNG

Alompra, the founder of the last See also:

• DYNASTY (Gr. &vvaareta, sovereignty, the position of a hevnori7r, lord, ruler, from SuvaaBay to be able, Suvaµas, power)

dynasty of See also:

• AVA

Ava See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings, Prome remained a portion of the Burman kingdom till the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the second Burmese See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War in 1853, when the See also:

• PROVINCE
• PROVINCE (Lat. provincia; perhaps a contraction of providentia)

province of Pegu was annexed to See also:

• BRITISH

British territory .