A Book Of The Play Part 25

An Epilogue I asked; but not one word Our bard will write. He vows 'tis most absurd With comic wit to contradict the strain Of tragedy, and make your sorrows vain.

Sadly he says that pity is the best And n.o.blest pa.s.sion of the human breast; For when its sacred streams the heart o'erflow In gushes pleasure with the tide of woe; And when its waves retire, like those of Nile, They leave behind them such a golden soil That there the virtues without culture grow, There the sweet blossoms of affection blow.

These were his words; void of delusive art I felt them; for he spoke them from his heart.

Nor will I now attempt with witty folly To chase away celestial melancholy.

Apart from the epilogues that pertained to particular plays, and could hardly be detached from them, were the "occasional epilogues," written with no special relevancy to any dramatic work, but rather designed to be recitations or monologue entertainments, that could be delivered at any time, as managers, players, and public might decide. Garrick, who highly esteemed addresses of the cla.s.s, was wont, in the character of "a drunken sailor," to recite a much-admired "occasional epilogue."

Early comedians, such as Joe Haines and Pinkethman, now and then entered upon the scene, "seated upon an a.s.s," to deliver "an occasional epilogue," with more mirthful effect. Extravagances of this kind have usually been reserved for benefit-nights, however. In Tom Brown's works, 1730, there is a print of Haines, mounted on an a.s.s, appearing in front of the stage, with a view of the side boxes and pit. An "occasional epilogue" was delivered in 1710, by Powell and Mrs. Spiller, "on the hardships suffered by lawyers and players in the Long Vacation."

For some years before their extinction, epilogues had greatly declined in worth, although their loss of public favour was less apparent. They were in many cases wretched doggerel, full of slang terms and of impertinence that was both coa.r.s.e and dull. With a once famous epilogue-writer--Miles Peter Andrews, who was also a dramatist, although, happily, his writings for the stage have now vanished completely--Gifford deals severely in his "Baviad." "Such is the reputation this gentleman has obtained for epilogue writing, that the minor poets of the day, despairing of emulating, are now only solicitous of a.s.sisting him--happy if they can obtain admission for a couplet or two into the body of his immortal works, and thus secure to themselves a small portion of that popular applause so lavishly and so justly bestowed on everything that bears the signature of Miles Andrews!" A few lines make havoc of quite a covey of "bards" of that period:

Too much the applause of fashion I despise; For mark to what 'tis given and then declare, Mean though I am, if it be worth my care.

Is it not given to Este's unmeaning dash, To Topham's fustian, Colman's flippant trash, To Andrews' doggerel, when three wits combine, To Morton's catchword, Greathead's idiot line, And Holcroft's Shug Lane cant, and Merry's Moorfields whine, &c.

Criticism was not mealy-mouthed in Gifford's day.

The "tag" appears to be following the epilogue to oblivion; for though it is difficult to differentiate them, the tag must not be confused with the epilogue, or viewed as merely an abbreviated form of it. As a rule, the epilogue was divided from the play by the fall of the curtain, although this could hardly have been the case in regard to the epilogue mentioned above, delivered by "Mrs. Ellen," as Dryden calls her, after the tragedy of "Tyrannic Love." But the tag is usually the few parting words addressed by the leading character in a play, before the curtain descends upon it, to "our kind friends in front," entreating their applause. The final _couplets_ of a French vaudeville, it may be noted, usually contained an appeal of this kind; otherwise, tags, and epilogues are alike eschewed upon the French stage. But this "coming forward" of the player, to deliver his tag, is a practice of old date. The concluding speech in Ma.s.singer's "New Way to Pay Old Debts," addressed to the audience, and commencing--

Nothing wants then But your allowance--and in that our all Is comprehended--

is, according to the old stage direction, to be spoken by Wellborn "coming forward." So also Cozimo is directed to "come forward," to address to the audience the last lines of "The Great Duke of Florence."

Epilogues have rarely been employed as supplementary acts, continuing and completing the action of a play, as prologues in modern times have been converted into introductory chapters, explanatory of events to be presently exhibited upon the scene. Yet the interminable drama of "Marie Antoinette," by Signor Paolo Giacometti, in which Madame Ristori was wont to perform, presents an instance of this kind. "Marie Antoinette" is in five acts, with a prologue exhibiting the queen's life at Versailles, in 1786, and an epilogue showing her imprisonment in the Conciergerie, and her march to the guillotine in the custody of Samson the executioner.

The epilogue spoken, the entertainments are indeed terminated. The audience move from their seats towards the portals of the playhouse.

The lights are being extinguished; the boxes are about to be covered over with brown-holland draperies; the prompter has closed his book and is thinking of moving homewards.

It remains for us only to interchange "Good-byes"--and to separate.

THE END.