ACT II

PROLOGUE

_Flourish. Enter Chorus_

_Chorus._ Now all the youth of England are on fire, And silken dalliance in the wardrobe lies. Now thrive the armourers, and honour's thought Reigns solely in the breast of every man. They sell the pasture now to buy the horse, Following the mirror of all Christian kings, With winged heels, as English Mercuries. For now sits Expectation in the air, And hides a sword from hilts unto the point With crowns imperial, crowns, and coronets, Promis'd to Harry and his followers. The French, advis'd by good intelligence Of this most dreadful preparation, Shake in their fear, and with pale policy Seek to divert the English purposes. O England! model to thy inward greatness, Like little body with a mighty heart, What mightst thou do, that honour would thee do, Were all thy children kind and natural! But see thy fault! France hath in thee found out A nest of hollow bosoms, which he fills With treacherous crowns; and three corrupted men, One, Richard Earl of Cambridge, and the second, Henry Lord Scroop of Masham, and the third, Sir Thomas Grey, knight, of Northumberland, Have, for the gilt of France,--O guilt indeed!-- Confirm'd conspiracy with fearful France; And by their hands this grace of kings must die, If hell and treason hold their promises, Ere he take ship for France, and in Southampton. Linger your patience on, and we'll digest The abuse of distance, force a play. The sum is paid; the traitors are agreed; The King is set from London; and the scene Is now transported, gentles, to Southampton. There is the playhouse now, there must you sit; And thence to France shall we convey you safe, And bring you back, charming the narrow seas To give you gentle pass; for, if we may, We'll not offend one stomach with our play. But, till the King come forth, and not till then, Unto Southampton do we shift our scene. (_Exit._) _Henry V._

As audiences, becoming more interested in characterization and less in mere story, grew to expect that each act would show the central figure growing out of the preceding act and into the next, they balked more and more at hearing of changes instead of seeing them. They insisted that the effective forces must work before their eyes. Hence the disappearance of Dumb Show and Chorus. With _Lady Bountiful_[31] the public did not object strongly to what was supposed to happen between the fourth and fifth acts, because it took the whole play as a mere story. But in _Iris_, when the author asked it to accept all the important stages in the moral breakdown of Iris as taking place between the fourth and fifth acts, there was considerable dissent. Contrast the greater satisfactoriness when an auditor can watch important changes, as he may with Sophy Fullgarney in the third act of the _Gay Lord Quex_,[32] or with Mrs. Dane in the fourth act of _Mrs. Dane's Defence_. To assume that a lapse of time stated to have passed in a just preceding _entr'acte_, and a change of environment there, have produced marked difference in character is not today enough. A dramatist may assume that only as much time has passed between acts as he makes entirely plausible by the happenings and characterization of the next act. For any needed statement of what has happened since the close of a preceding act he must depend only on deft exposition within the act in question.

Recent usage no longer insists that acts may not somewhat overlap. "Toward the end of Act II of Eugene Walter's _Paid in Full_, Emma Brooks is disclosed making an appointment with Captain Williams over a telephone. In the next act we are transferred to Captain Williams's quarters, and the dramatic clock has, in the meanwhile, been turned back some fifteen minutes, for presently the telephone bell rings, and the same appointment is made over again. In other words, Act II partly overlaps Act I in time, but the scene is different."[33] There is a similar use in _Under Cover_. At the beginning of the last act, a group, sleepily at cards, is startled by the burglar alarm. The climax of the preceding act was that same alarm.

The most difficult kind of off-stage time to treat comes not within or between the acts. It is the time before the play begins in which events took place which must be known as soon as the play opens, if auditors are to follow the play understandingly. Every dramatist, as he turns from his story to his plot, faces the problem: How plant in the mind of the audience past events and facts concerning the characters which are fundamental in understanding the play. The Chorus and the Dumb Show again were, among early dramatists, the clumsy solution of this problem.

THE PROLOGUE

In Troy, there lies the scene. From isles of Greece The princes orgillous, their high blood chaf'd, Have to the port of Athens sent their ships, Fraught with the ministers and instruments Of cruel war. Sixty and nine, that wore Their crownets regal, from the Athenian bay Put forth toward Phrygia; and their vow is made To ransack Troy, within whose strong immures The ravish'd Helen, Menelaus' queen, With wanton Paris sleeps; and that's the quarrel. To Tenedos they come, And the deep-drawing barks do there disgorge Their warlike fraughtage. Now on Dardan plains The fresh and yet unbruised Greeks do pitch Their brave pavilions. Priam's six-gated city, Dardan, and Timbria, Helias, Chetas, Troien, And Antenorides, with massy staples And corresponsive and fulfilling bolts Spar up the sons of Troy. Now expectation, tickling skittish spirits, On one and other side, Troyan and Greek, Sets all on hazard; and hither am I come A prologue arm'd, but not in confidence Of author's pen or actor's voice, but suited In like conditions as our argument, To tell you, fair beholders, that our play Leaps o'er the vaunt and firstlings of those broils, Beginning in the middle, starting thence away To what may be digested in a play. Like or find fault; do as your pleasures are. Now good or bad; 'tis but the chance of war.[34]

A growing technique led the dramatists from Dumb Show and Chorus to soliloquy, in order to provide this necessary preliminary exposition. Is Richard, Duke of Gloucester, at the opening of _Richard III_, much more than a re-christened Chorus?