merely the catastrophe which had inevitably to ensue 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 rationalism. 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 plays 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 Gorbuduc of 1562; and he also wrote a famous Induction, which is, practically, a prologue, to a miscellany of short romantic epics by diverse hands. In the Elizabethan drama the prologue was very far from being universally employed. In the plays of Shakespeare, for instance, it is an artitice which the poet very rarely introduced, although we find it in Henry V. and Romeo and Juliet. Sometimes the Elizabethan prologue was a highly elaborated poem; in 1603 a harbinger recited a sonnet on the stage, to prepare the audience for Heywood's A Woman Kill’d with Kindness. Often the prologue was a piece of blank verse, so obscure and complicated that it is difficult to know how its hearers contrived to follow it; such are the prologues of Chapman. Among Elizabethan prologues the most ingenious and interesting are those of Ben Jonson, who varied the form on every occasion. For instance, in The Poetaster (1602), Envy comes in “as Prologue,” and speaks a long copy of heroics, only to be turned off the stage by an armed figure, who states that he is the real prologue, and proceeds to spout more verses. ]onson's introductions were often recited by the “stage-keeper,” or manager. Beaumont and Fletcher seem to have almost wholly dispensed with prologues, and the form was far from being universal, until the Restoration, when it became de rigueur. The prologues of the last thirty years of the 17th century were always written in rhymed verse, and were generally spoken by a principal actor or actress in the ensuing piece. They were often, in the hands of competent poets, highly finished essays on social or literary topics. For instance, the famous prologue to Dryden's Aurengzebe (1675) is really a brief treatise on fashions in versification. Throughout the 18th century the prologue continued to flourish, but went out of vogue in the early part of the 19th.
PROME, a district in the Pegu division of Lower Burma, with an area of 2915 sq. m. and a population (1901) of 365,804.
It occupies the whole breadth of the valley of the Irrawaddy,
between Thayetmyo district on the north and Henzada and
Tharrawaddy districts on the south, and originally extended
as far as the frontier of Independent Burma, but in 1870
Thayetmyo was formed into an independent jurisdiction.
There are two mountain ranges in Prome, which form respectively
the eastern and western boundaries. The Arakan Yomas
extends along the whole of the western side, and that portion
of the district lying on the right bank of the Irrawaddy is broken
up by thickly wooded spurs running in a south-easterly direction,
the space for cultivation being but limited and confined to the
parts adjacent to the river. On the eastern side lies the Pegu
Yomas, and north and north-east of the district its forest-covered
spurs form numerous valleys and ravines, the torrents from which
unite in one large stream called the Na-weng River. The most
important of the plains lie in the south and south-west portions
of Prome, and extend along the whole length of the railway that
runs between the towns of Paungdē and Prome; they are mostly
under cultivation, and those in the south are watered by a series
of streams forming the Myit-ma-kha or upper portion of the
Hlaing. There are in addition large tracts of land covered by
tree-jungle which are available for cultivation. The principal
river is the Irrawaddy, which intersects the district from north
to south; next in importance are the Tha-ni and its tributaries
and the Na-weng system of rivers. In the hills near the capital
the soil is of Tertiary formation, and in the plains it is an alluvial
deposit. The climate is much drier than other districts in
Lower Burma, the annual rainfall being about 48 in. The
temperature ranges from about 100° in June to 60° in January.
The staple crop is rice, but some cotton and tobacco are grown,
while the custard apples are famous. Sericulture is extensively
carried on by a special class. The forests yield teak and cutch,
cotton and silk-weaving are important industries; there are
also manufactures of ornamental boxes, coarse brown sugar and
cutch.
The early history of the once flourishing kingdom of Prome, like that of the other states which now form portions of Burma, is veiled in obscurity. After the conquest of Pegu in 1758 by Alompra, the founder of the last dynasty of Ava kings, Prome remained a portion of the Burman kingdom till the close of the second Burmese War in 1853, when the province of Pegu was annexed to British territory.
PROME, the chief town of the district, is situated on the left bank of the Irrawaddy, 161 m. N. of Rangoon, population (1901),
27,375.
To the south and south-east the town is closed in by low pagoda-topped hills, on one of which stands the conspicuous gilded Shwe Tsan-daw. The town was taken by the British in 1825 and again in 1852, on both occasions with hardly any opposition. In 1862 it was almost entirely destroyed by fire, and was afterwards relaid out in straight and broad streets. It was erected into a municipality in 1874, and since then great improvements have been made, including waterworks. Its principal manufactures are silk cloths and lacquer ware. It is the terminus of a railway from Rangoon, which runs through the district. The other chief towns in the district are Shwedaung (pop. 10,787) and Paungde (pop. 11,105).
PROMENADE, a walk taken for exercise or more especially for social amusement, hence a road, drive or other public place
laid out for the purpose, a parade. The French word promenade
was formerly pourmenade, and came from pourmener, promener,
to take for a walk, Late Latin prominare, to drive an animal out
to pasture, from pro, forward, minare, to drive on with cries and
threats (minae). “Promenade concerts,” so called from the
fact that the audience are free to walk about or “promenade,”
were first introduced from Paris to London in 1838 under the
name of “promenade concerts à la Musard,” after the concerts
given by the French musician and conductor, Philippe Musard
(1793–1859). They were given at the Lyceum Theatre (English
Opera House).
PROMETHEUS, son of the Titan Iapetus by the sea nymph Clymene, the chief “culture hero,” and, in some accounts, the
