Prologue
Encyclopedia
A prologue is an opening to a story that establishes the setting and gives background details, often some earlier story that ties into the main one, and other miscellaneous information. The Greek prologos included the modern meaning of prologue, but was of wider significance. Preface, like the Latin praefatio. In a book, the prologue is a part of the front matter which is in the on the facts related in the prologue. The importance, therefore, of the prologue in Greek drama was very great; it sometimes almost took the place of a romance, to which, or to an episode in which, the play itself succeeded.
It is believed that the prologue in this form was practically the invention of Euripides
, and with him, as has been said, it takes the place of an explanatory first act. This may help to modify the objection which criticism has often brought against the Greek prologue, as an impertinence, a useless growth prefixed to the play, and 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 plan of producing a god out of a machine to justify the action of deity upon man, because it is 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 Hippolytus
, to be accepting a conventional formula, and employing it, almost perversely, as a medium for his ironic rationalismo.
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 Athens, and in the careful composition of the poems which 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 genius in his adroit and romantic prologues, usually placed in the mouths of persons who make no appearance in the play itself.
Molière
revived the Plautian prologue in the introduction to his Amphitryon
. Racine
introduced Piety as the speaker of a prologue which opened his choral tragedy of Esther
.
The tradition of the ancients vividly affected our own early dramatists. Not only were the mystery play
s and miracles of the Middle Ages
begun by a homily
, but when the drama in its modern sense was inaugurated in the reign of Elizabeth, the prologue came with it, directly adapted from the practice of Euripides and Terence
. Sackville, Lord Buckhurst
, prepared a sort of prologue in dumb show for his Gorboduc
of 1562; and he also wrote a famous Induction
, which is, practically, a prologue, to a miscellany of short romantic epics by diverse hands.
Bruster and Weimann further argue that the prologue of the Early Modern period serves as a liminal entity. Firstly, a prologue is at once the text which is spoken, the actor who speaks that text, and the performance given by the actor in speaking. Secondly, in ushering the audience from the real world into the world of the play, the prologue straddles boundaries between audience, actors, characters, playwrights, the fiction of the play, the physical theatre and the outside world. Ben Jonson
has been credited with using the prologue as a means to remind the audience of the complex relationships between themselves and all aspects of the performance they are about to view.
In performance, the actor appeared dressed all in black. This is in contrast to the costume of the play proper, where elaborate and colourful costumes were worn, in the fashion of the day. The prologue removed his hat and wore no makeup. He probably carried a book or scroll, or a placard displaying the title of the play. He was introduced by three short trumpet calls, on the third of which he entered and took a position downstage. He made three bows in the current fashion of the court, and then addressed the audience.
The Elizabethan prologue was unique in incorporating aspects of both classical and medieval traditions. In the classical tradition, the prologue conformed to one of four sub-genres: the sustatikos, which recommends either the play or the poet; the epitimetikos, in which a curse is given against a rival, or thanks given to the audience; dramatikos, in which the plot of the play is explained; and mixtos, which contains all of these things. In the medieval tradition, expressions of morality and modesty are seen, as well as a meta-theatrical self-consciousness, and an unabashed awareness of the financial contract engaged upon by paid actors and playwrights, and a paying audience.
It is believed that the prologue in this form was practically the invention of Euripides
Euripides
Euripides was one of the three great tragedians of classical Athens, the other two being Aeschylus and Sophocles. Some ancient scholars attributed ninety-five plays to him but according to the Suda it was ninety-two at most...
, and with him, as has been said, it takes the place of an explanatory first act. This may help to modify the objection which criticism has often brought against the Greek prologue, as an impertinence, a useless growth prefixed to the play, and 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 plan of producing a god out of a machine to justify the action of deity upon man, because it is 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 Hippolytus
Hippolytus (play)
Hippolytus is an Ancient Greek tragedy by Euripides, based on the myth of Hippolytus, son of Theseus. The play was first produced for the City Dionysia of Athens in 428 BC and won first prize as part of a trilogy....
, to be accepting a conventional formula, and employing it, almost perversely, as a medium for his ironic rationalismo.
Latin
Plautus
Titus Maccius Plautus , commonly known as "Plautus", was a Roman playwright of the Old Latin period. His comedies are the earliest surviving intact works in Latin literature. He wrote Palliata comoedia, the genre devised by the innovator of Latin literature, Livius Andronicus...
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 genius in his adroit and romantic prologues, usually placed in the mouths of persons who make no appearance in the play itself.
Molière
Molière
Jean-Baptiste Poquelin, known by his stage name Molière, was a French playwright and actor who is considered to be one of the greatest masters of comedy in Western literature...
revived the Plautian prologue in the introduction to his Amphitryon
Amphitryon (Molière)
Amphitryon is a French language comedy in a prologue and 3 Acts by Molière which is based on the story of the Greek mythological character Amphitryon as told by Plautus in his play from ca. 190-185 B.C. The play was first performed at the Théâtre du Palais-Royal in Paris on 13 January 1668...
. Racine
Jean Racine
Jean Racine , baptismal name Jean-Baptiste Racine , was a French dramatist, one of the "Big Three" of 17th-century France , and one of the most important literary figures in the Western tradition...
introduced Piety as the speaker of a prologue which opened his choral tragedy of Esther
Esther
Esther , born Hadassah, is the eponymous heroine of the Biblical Book of Esther.According to the Bible, she was a Jewish queen of the Persian king Ahasuerus...
.
The tradition of the ancients vividly affected our own early dramatists. Not only were the mystery play
Mystery play
Mystery plays and miracle plays are among the earliest formally developed plays in medieval Europe. Medieval mystery plays focused on the representation of Bible stories in churches as tableaux with accompanying antiphonal song...
s and miracles of the Middle Ages
Middle Ages
The Middle Ages is a periodization of European history from the 5th century to the 15th century. The Middle Ages follows the fall of the Western Roman Empire in 476 and precedes the Early Modern Era. It is the middle period of a three-period division of Western history: Classic, Medieval and Modern...
begun by a homily
Homily
A homily is a commentary that follows a reading of scripture. In Catholic, Anglican, Lutheran, and Eastern Orthodox Churches, a homily is usually given during Mass at the end of the Liturgy of the Word...
, but when the drama in its modern sense was inaugurated in the reign of Elizabeth, the prologue came with it, directly adapted from the practice of Euripides and Terence
Terence
Publius Terentius Afer , better known in English as Terence, was a playwright of the Roman Republic, of North African descent. His comedies were performed for the first time around 170–160 BC. Terentius Lucanus, a Roman senator, brought Terence to Rome as a slave, educated him and later on,...
. Sackville, Lord Buckhurst
Thomas Sackville, 1st Earl of Dorset
Thomas Sackville, 1st Earl of Dorset was an English statesman, poet, dramatist and Freemason. He was the son of Richard Sackville, a cousin to Anne Boleyn. He was a Member of Parliament and Lord High Treasurer.-Biography:...
, prepared a sort of prologue in dumb show for his Gorboduc
Gorboduc (play)
Gorboduc, also titled Ferrex and Porrex, is an English play from 1561. It was performed before Queen Elizabeth I on 18 January 1562, by the Gentlemen of the Inner Temple...
of 1562; and he also wrote a famous Induction
Induction (play)
An Induction in a play is an explanatory scene or other intrusion that stands outside and apart from the main action with the intent to comment on it, moralize about it or in the case of dumb show to summarize the plot or underscore what is afoot. Inductions are a common feature of plays written...
, which is, practically, a prologue, to a miscellany of short romantic epics by diverse hands.
Elizabethan
Though less prevalent in the Elizabethan than in the Classical or Restoration periods, prologues of Renaissance plays are an interesting composite of styles and forms. As a direct audience from one actor to the assembled audience, the functions of the prologue were to quieten and appease the audience, introduce the themes and particulars of the play they are about to hear, and beg their indulgence for any imperfections in the writing and/or performance.Bruster and Weimann further argue that the prologue of the Early Modern period serves as a liminal entity. Firstly, a prologue is at once the text which is spoken, the actor who speaks that text, and the performance given by the actor in speaking. Secondly, in ushering the audience from the real world into the world of the play, the prologue straddles boundaries between audience, actors, characters, playwrights, the fiction of the play, the physical theatre and the outside world. Ben Jonson
Ben Jonson
Benjamin Jonson was an English Renaissance dramatist, poet and actor. A contemporary of William Shakespeare, he is best known for his satirical plays, particularly Volpone, The Alchemist, and Bartholomew Fair, which are considered his best, and his lyric poems...
has been credited with using the prologue as a means to remind the audience of the complex relationships between themselves and all aspects of the performance they are about to view.
In performance, the actor appeared dressed all in black. This is in contrast to the costume of the play proper, where elaborate and colourful costumes were worn, in the fashion of the day. The prologue removed his hat and wore no makeup. He probably carried a book or scroll, or a placard displaying the title of the play. He was introduced by three short trumpet calls, on the third of which he entered and took a position downstage. He made three bows in the current fashion of the court, and then addressed the audience.
The Elizabethan prologue was unique in incorporating aspects of both classical and medieval traditions. In the classical tradition, the prologue conformed to one of four sub-genres: the sustatikos, which recommends either the play or the poet; the epitimetikos, in which a curse is given against a rival, or thanks given to the audience; dramatikos, in which the plot of the play is explained; and mixtos, which contains all of these things. In the medieval tradition, expressions of morality and modesty are seen, as well as a meta-theatrical self-consciousness, and an unabashed awareness of the financial contract engaged upon by paid actors and playwrights, and a paying audience.