Epilogue

“ No epilogue, I pray you; for your play needs no excuse. Never excuse; for when the players are all dead there need none to be blamed. Marry, if he that writ it had played Pyramus, and hanged himself in Thisbe’s garter, it would have been a fine tragedy; and so it is, truly; and very notably discharged. But come, your Bergomask; let your epilogue alone.
[Here a dance of Clowns.]
The iron tongue of midnight hath told twelve.
Lovers, to bed; ’tis almost fairy time. ”

“ Prologue by the Poet Laureate“ will look well in the bill. We must have an epilogue ready, even though’—here he smiled grimly—’we never get so far as that.’
The suggestion of such a contingency—which, of course, meant total failure—in cold [90] blood, filled up the cup of the antiquary’s indignation. He almost resolved, whatever this man offered, to decline his proposition to bring out the play.
‘Mr. Merry will write the epilogue,’ he replied icily.
‘A very good man—for an epilogue,’ replied the manager drily. ‘Well, we must strike while the iron’s hot, or not at all. ”

“ As to the epilogue, it is spoken to get rid of the idea of the tragedy altogether, and to ward off the fury of the pit, who may be bent on its damnation. The greatest incongruity you can hit upon is, therefore, the most proper for this purpose. But I deny that the hero of a tragedy, or the principal character in it, is ever pitched upon to deliver the prologue. It is always, by prescription, some walking shadow, some poor player, who cannot even spoil a part of any consequence. ”

“ Sometimes it adds further information with regard to what has been left imperfectly concluded in the work itself. For instance, in the case of a play, the epilogue will occasionally tell us what became of the characters after the action closed; but this is irregular and unusual, and the epilogue is usually no more than a graceful way of dismissing the audience. ”

“ Stage Direction: Spirit epiloguizes, i.e. sings the epilogue or concluding stanzas. In one of Lawes’ manuscripts of the mask, the epilogue consists of twelve lines only, those numbered 1012-1023. From the same copy we find that line 976 had been altered by Lawes in such a manner as to convert the first part of the epilogue into a prologue which, in his character as Attendant Spirit, he sang whilst descending upon the stage:—
From the heavens now I fly,
And those happy climes that lie
Where day never shuts his eye,
Up in the broad field of the sky. ”

“ The epilogue is truly described as one displaying a strange and singular aspect of the human heart.
“The soirée had been accepted as one of a purely literary character, and every celebrity appertaining to every branch of literature came, of course. The fair hostess recited in costume every one of her principal tirades, from all the great tragedies wherein she has acquired undying fame, and then withdrew amid the hearty applause and unfeigned expressions of delight of the whole company. ”

“ I thank you sincerely for your epilogue, which, however, could not be used, but with your permission shall be printed. The story in short is this. Murphy sent me rather the outline of an epilogue than an epilogue, which was to be sung by Miss Catley, and which she approved ”

“ So darkness drops between the days, an interlude
When night's low sighing stirs the sleepy solitude.
So, when the little cycle of this life is rounded,
Before the spirit enters into life unbounded,
It waits to hear, with bated breath,
The solemn interlude of death. ”

“ There are phases in nature which correspond to every phase of human thought and emotion; and this stern, cloudy scenery answers to the melancholy fatalism of Greek tragedy, or the kindred mournfulness of the Book of Job. ”

“ Behind her lay the first story, a rampart, of achievement and promise, and ahead, calling her on, the one that was yet to be attempted, difficult and strange, a little thread of story upon a background of dark thoughts, like a voice heard through a storm. Even the heaviest parts of the afternoon could be used, in an engrossed forgetfulness of time and place. ”

“ The end of a short story comprises the climax and the conclusion. The climax is the chief surprise, the relief of the suspense, or the greatest relief, if there is more than one; it is the apex of interest and emotion; it is the point of the story; it is really the story. The conclusion is the solving of all problems, the termination of the narrative itself, and the artistic severing of all relations between narrator and reader. ”

“ Dawn on our darkness, and lend us thine aid.
Epiphany.
By cool Siloam's shady rill
How sweet the lily grows!
First Sunday after Epiphany. No. ii.
When Spring unlocks the flowers to paint the laughing soil.
Seventh Sunday after Trinity.
Death rides on every passing breeze,
He lurks in every flower.
At a Funeral. No. i.
Thou art gone to the grave; but we will not deplore thee,
Though sorrows and darkness encompass the tomb. ”

“ Something in the perfection of the saga is to be traced to the long winter’s evenings, when the whole household, gathered together at their spinning, weaving, and so on, would listen to one of their number who told anew some old story of adventure or achievement. In very truth the saga is a prose epic, and marked by every quality an epic should possess. ”

“ Yet this scene of the great drama she regards as only one of the units of a similar series of changes that have gone by or will hereafter come; the chain stretching so far into the eternity that is past and the eternity that is to come, that the extremities are lost to mortal vision. ”

“ And being past, these events appear as it were at a distance, at arms' length and remote; they lack the vivid reality of things present. Moreover, since the past is finished, unlike the present which is ever moving and creating itself anew, the epic, in comparison with the drama, comes to us with its parts as it were coexisting and complete, more after the manner of space than of time. ”

“ In a beautiful passage, Timon compares death to initiation into the Great Mysteries—an initiation in which gloom and weariness and perplexity and terror are followed by the shining of a wondrous light, which beams on lovely meadows, whose atmosphere resounds with sacred voices that tell us all the secret of the mystery, and whose paths are trod by pure and holy men. ”

“ In such ethereal apparitional dawns one walks with the Eternal, and all temporal things fade away. Those pale silver daybreaks have a rapture of their own, they suggest a fresh creation straight from the looms of God. ”

“ In the first place, we must find something to write about; some condition, experience or deed that is worthy of a plot, a story or a play. As we consider this or that item of plot material, in our search for a plot germ, we pause and ask of it: To what end? To what good? The moment we discern the culmination of a big moment, or the performance of a decisive action, or the accomplishment of a great deed, we have found our plot germ. This is not the beginning of our play, but its culmination, or climax. ”

“ It is accorded, and of necessity, by the people in a drama: how necessary is it in a novel?
Let us define a plot. We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. "The king died and then the queen died," is a story. "The king died, and then the queen died of grief" is a plot. The time-sequence is preserved, but the sense of causality overshadows it. ”

“ Emboldened by his gaze into the past, this petty race, children of yesterday, can overstep chaos, can raise a psalm without end, and outline for themselves the story of the Universe in an Apocalypse that reveals the past. ”

“ The amplifications of the Scripture narrative are often conceived with high poetic insight, and this “Dream of the World’s Tragedy” is, despite some trifling incongruities, a lofty and not inadequate paraphrase of the supreme climax of the inspired narrative.’—Dublin Review. ”

“ Was it a nightmare? Was it something presented to me in a vision,—a strong delusion to make me think that the old fables which had been told concerning the end of mortal life were true? When I looked back it appeared like an allegory, so that I might have seen it in a dream; and still more like an allegory were the gold mines in the valley, and the myriads who labored there. Was it all true, or only a reflection from the old life mingling with the strange novelties which would most likely elude understanding on the entrance into this new? ”

“ Another great convenience will be found in my system; apparitions may be evoked, in open day,—at noon, if the case should be urgent, in the midst of a field, on the surface of water, or in the glare of a patent-lamp, quite as easily, as in the ‘darkness of chaos or old night.’ Nay, a person rightly prepared may see ghosts, while seated comfortably by his library-fire, in as much perfection, as amidst broken tombs, nodding ruins, and awe-inspiring ivy. ”

“ And even in those earlier crises, which are but types of death—when we are cut off abruptly from the life we have known, when we can no longer expect tomorrow to resemble yesterday, and find ourselves by some sudden shock on the confines of the unknown—there is often the same sort of lightning-flash through the dark and unfrequented chambers of memory. ”

“ The life beyond the grave, when the short life in this world is ended, is to many a source of dread—to all a mystery. 'A Little Pilgrim' has apparently solved it, and, indeed, it seems on reading this little book as if there were a great probability about it. ”

“ From the second book of his romance,—an afterthought, probably, of continuation to his unexpectedly successful first book,—we take the last paragraph of the prologue, which shows this. The veracious historian makes obtestation of the strict truth of his narrative, and imprecates all sorts of evil upon such as do not believe it absolutely. We cleanse our extract a little:—
And, therefore, to make an end of this Prologue, even as I give myself to an hundred thousand panniers-full of fair devils, body and soul,... ”

“ The interest of the narrative intensifies itself to the deepest pathos. The closing scene is in the highest degree tragic, and the whole management of the story exhibits unquestionable genius and originality.”—The Daily News. ”

“ On Death, whose sateless mouth it fed in turn.
Kingdoms abased, and Thrones that starward yearn,
All are but ghouls that batten on the past.
Monstrous and dread, must it forever abide
This inescapable alternity?
Must beauty blossom, rooted in decay,
And night devour its flaming hues alway?
Sickening, will Life not turn eventually,
Or ravenous Death at last be satisfied? ”

“ The spirit of meditation and retrospection seems to hover over those solemn effigies resting in their eternal sleep, guarding in inimitable and awful silence secrets of the historic past that can never be solved. ”

“ Second, the Apocalypse is poetry, in the highest and justest sense of the word. All prophecy is poetry. The sublimity of such thoughts can not be expressed in the plain unbroken detail of a prose narrative; and even when the events of past history are combined in one harmonious series with wide views of the future, they too rise from the dull unpictured record of a mere narrator, and share in the elevation of the mighty whole. The spirit of the writer, replete, not with mere particulars, but with vivid images, seeks language that paints, “thoughts that breathe, and words that burn;” ”

“ I seemed to hear the heavy resounding bell of time, tolling mournfully the dying year, whilst angels with covered faces, and forms that bent with sorrow, waited to receive the finishing scroll of the world’s existence, that the fearful record guarded in darkness and silence might at last be unrolled in the terrible light of eternity! ”

“ Every word of the uttered line of poetry, viewed in its reference to the other words, or to previous and later experiences, is present in its own place in the series, is over and done with before later events can come, or when they are present, and is not yet when the former events of the succession are present. ”

“ And I saw the dead, small and great, stand before God; and the books were opened, and another book was opened, which is the Book of Life: and the dead were judged out of those things which were written in the books, according to their works. ”

“ In any narrative, or section of a narrative, that is designed to be read in a single sitting, the last moments are of necessity emphatic because they are the last. When the reader lays the narrative aside, he remembers most vividly the last thing that has been presented to his attention; and if he thinks back to the earlier portions of the story, he must do so by thinking through the concluding passage. ”

“ The near approach of death--the plunge, as it were, into the jaws of the grave, from which she had been rescued as by a miracle--had seemed to waken in her new sensations towards all the warm relationships of life, a clinging to her kindred beings of the world, a tenderer, a nearer affection for the thrilling ties of human life. ”

“ And again: the most powerful elements of attraction in Tragedy, the Peripeties and Discoveries, are parts of the Plot. A further proof is in the fact that beginners succeed earlier with the Diction and Characters than with the construction of a story; and the same may be said of nearly all the early dramatists. We maintain, therefore, that the first essential, the life and soul, so to speak, of Tragedy is the Plot ”

“ Climax.+—You have already noticed in your reading that usually somewhere near the close of the story, there is a turning point. That turning point is called the climax. At this point, the suspense of mind is greatest, for the fate of the principal character is being decided. If the story is well written as regards the plot, our interest will continually increase from the incentive moment to the climax. ”