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A prologue or prolog (from Greek πρόλογος prólogos, from πρό pró, "before" and λόγος lógos, "word") is an opening to a story that establishes the context and gives background details, often some earlier story that ties into the main one, and other miscellaneous information.
The first and last books of Diane Duane's Rihannsu series of Star Trek novels pair quotations from Lays of Ancient Rome with imagined epigraphs from Romulan literature. F. Scott Fitzgerald 's The Great Gatsby carries on title page a poem called from its first hemistich "Then Wear the Gold Hat," purportedly signed by Thomas Parke D'Invilliers .
The opposite is a prologue—a piece of writing at the beginning of a work of literature or drama, usually used to open the story and capture interest. [2] Some genres, for example television programs and video games, call the epilogue an "outro" patterned on the use of "intro" for "introduction".
Prologue. This book tells a story that will not happen again, because the state I lived in for thirty-five years ceased to exist in 1990. ... People who need to fight for majorities in a democracy ...
Preface to the poem Milton by William Blake. A preface (/ ˈ p r ɛ f ə s /) or proem (/ ˈ p r oʊ ɛ m /) is an introduction to a book or other literary work written by the work's author. An introductory essay written by a different person is a foreword [contradictory] and precedes an author's preface.
The foreword to Men I Have Painted, by John McLure Hamilton; 1921 Foreword, to a 1900 book in German. A foreword is a (usually short) piece of writing, sometimes placed at the beginning of a book or other piece of literature. Typically written by someone other than the primary author of the work, it often tells of some interaction between the ...
But the book spends much more time laying out the social, political and ethical circumstances in Oz, as well as the nature of good and evil, than it does the entanglements of its characters.
The author does his part, but he cannot transfer his book like a bubble into the brain of the critic; he cannot make sure that the critic will possess his work. The reader must therefore become, for his part, a novelist, never permitting himself to suppose that the creation of the book is solely the affair of the author."