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Prologue

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prologue (often US), prolog
1. 
a. the prefatory lines introducing a play or speech
b. the actor speaking these lines
2. in early opera
a. an introductory scene in which a narrator summarizes the main action of the work
b. a brief independent play preceding the opera, esp one in honour of a patron

Prologue 

the introductory part of a literary or dramatic work that provides information about the work’s meaning, plot, or themes or that briefly summarizes the events preceding the main action.

In the drama of classical antiquity, the prologue was a scene or monologue summarizing the situation or myth on which the plot was based. In the medieval mystery play, miracle play, and morality play, the prologue was a prayer or sermon containing the parable that was the basis of the play. In the dramas of Shakespeare, Goethe, and Schiller, the prologue often expressed the author’s aesthetic intention, in addition to setting forth the motivation for the succeeding events.

The prologue in its modern meaning and its use in a wide variety of genres took form in the 19th century; examples are found in Pushkin’s narrative poem The Bronze Horseman and in Thackeray’s novel Vanity Fair. Gradually, the prologue became an element of the plot. Examples may be seen in the prologues to N. V. Gogol’s novella The Terrible Vengeance, H. Longfellow’s narrative poem Hiawatha, and I. G. Ehrenburg’s novel The Extraordinary Adventures of Julio Jurenito. In narrative genres, such a prologue is sometimes called a Vorgeschichte (prehistory). Unlike the preface, the prologue is always a product of literary imagination.

V. A. KALASHNIKOV



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To say the truth, I believe many a hearty curse hath been devoted on the head of that author who first instituted the method of prefixing to his play that portion of matter which is called the prologue; and which at first was part of the piece itself, but of latter years hath had usually so little connexion with the drama before which it stands, that the prologue to one play might as well serve for any other.
The amiable applause which had greeted the beginning of his prologue was still echoing in his bosom, and he was completely absorbed in that species of ecstatic contemplation with which an author beholds his ideas fall, one by one, from the mouth of the actor into the vast silence of the audience.
Pelisson, his head leaning on his hand, was engaged in drawing out the plan of the prologue to the "Facheux," a comedy in three acts, which was to be put on the stage by Poquelin de Moliere, as D'Artagnan called him, or Coquelin de Voliere, as Porthos styled him.
 
 
 
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