In a powerful and moving epilogue
of his own, Weimann opens up the book to issues involving contemporary literary and performance theory: he clearly wants to "revitalize a legacy" of doubleness that is not hopelessly divided between text and performance in a "traditional" sense or between signifier and the world in a "deconstrucrionist" sense: "The rupture cannot be denied; and yet there is a linkage behind the dislinkage allowing for separate and sometimes incompatible practices to convolve and communicate" (248).
These original e-book epilogues, of two of her most popular books, provide a perfect lead-in to the publication of On the Way to the Wedding, the final installment in her beloved Bridgerton series.
I'm thrilled to serve up The Bridgerton 2nd Epilogues -- the story after the story, in this unique book format.
Modern historical plays were mostly written in prose; therefore, the verse form itself made the prologues and epilogues separate from the drama text (1).
Comedies were to teach a moral, though the moral was given only in the prologues and epilogues.
He accepted that more people switched off the Epilogue
than watched it but argued that it helped many viewers, particularly the elderly, to cope with their anxieties.
Over 100 pages of appendix cite prologues and epilogues
up to 1660.
Two possibly Shakespearean epilogues are behind this new preoccupation.
Though epilogues directed to the monarch--and therefore necessitating his or her presence--do exist, it will argue, there also seem to have been public playhouse prayers about the monarch that did not demand the dignitary to be there.
This would show that the primary function of the funerary rituals and royal tombs mentioned in these epilogues was to deal with the political problems which could be posed by a king's death and to ensure the dynastic succession.
Of course, Suriano has no problem in chapter six in relating the notice of the successor, the final element of the epilogues, to his theory.
, curtain-raisers, and afterpieces; the rest of the eighteenth-century London stage.
It shows, moreover, that a close analysis of the prologues and epilogues
to lesser known Restoration plays might yield new data on casts and repertory.