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Prologue

A prologue is an introductory section that precedes the main body of a literary work, such as a play, novel, poem, or longer narrative, typically providing essential background information, contextual details, or thematic setup to orient the audience or reader before the primary action unfolds.^[1] The term derives from the ancient Greek word prologos, combining the prefix pro- ("before" or "forward") with logos ("word," "speech," or "plan"), reflecting its role as a preliminary discourse or opening statement.^[1] In its historical origins within ancient Greek drama, particularly tragedy, the prologue served as the initial scene delivered by one or more actors to exposit the play's subject, characters, and circumstances prior to the chorus's entrance, thereby establishing the dramatic premise and engaging the audience from the outset.^[2]^[3] This structure influenced later theatrical traditions, including Roman comedy, where prologues evolved to defend the playwright's work or appeal directly to spectators, as seen in the metatheatrical addresses by Terence.^[4] Over time, the device extended beyond theater into prose fiction and poetry, where it functions to hook readers, foreshadow events, deliver exposition that might otherwise disrupt the narrative flow, or offer a distinct perspective—such as a future glimpse or historical overview—separate from the main storyline.^[5] Notable examples illustrate the prologue's versatility and enduring impact. In William Shakespeare's Romeo and Juliet (c. 1597), the chorus recites a 14-line sonnet prologue that succinctly outlines the tragic feud, lovers' fate, and star-crossed theme, priming the audience for the ensuing action.^[5]^[6] Similarly, Geoffrey Chaucer's General Prologue to The Canterbury Tales (c. 1387–1400) introduces the diverse pilgrims, their social types, and the framing pilgrimage narrative through vivid character sketches and iambic pentameter, setting a satirical tone for the tale collection.^[7] In modern novels, Vladimir Nabokov's Lolita (1955) employs a foreword-like prologue from a fictional psychiatrist to frame Humbert Humbert's unreliable confession, adding layers of irony and moral distance.^[5] These instances highlight how prologues can enhance thematic depth, manage narrative complexity, and distinguish themselves from chapters by their standalone yet preparatory nature, though contemporary usage sometimes debates their necessity to avoid info-dumps or spoilers.^[5]

Definition and Etymology

Definition

A prologue is an introductory section or speech that precedes the main action in a literary work, such as a play, novel, or poem, often providing background information, setting context, or addressing the audience directly.^[8]^[9] In dramatic contexts, it typically consists of a monologue or dialogue delivered by one or more characters to introduce key elements of the narrative.^[8] This opening device originated in ancient Greek drama as a means to establish the story's premise before the chorus's entry.^[10] The primary functions of a prologue include foreshadowing events to come, explaining character motivations or historical context, establishing the overall tone, and bridging potential gaps in narrative continuity for the audience or reader.^[11]^[12] By delivering essential exposition outside the primary plot progression, it allows the main story to unfold without immediate interruptions for backstory.^[13] For instance, it might reveal pivotal past incidents or thematic undertones that inform the central conflict.^[14] A prologue differs from an epilogue, which serves as a closing section after the main narrative to provide resolution, reflection, or a glimpse into the future.^[11]^[15] It also contrasts with a preface, which is an author's non-fictional address to readers about the work's purpose, creation, or intended audience, rather than an integral part of the story itself.^[16]^[17] Structurally, prologues are positioned before Act I in plays or Chapter 1 in novels, and in classical Greek tragedies, they precede the parodos—the chorus's entrance—effectively substituting for other expository conventions.^[18]^[10]

Etymology

The term "prologue" derives from the Ancient Greek word prólogos (πρόλογος), a compound of pró (πρό), meaning "before," and lógos (λόγος), meaning "speech," "word," or "discourse," thus literally signifying "before-word" or "preliminary speech."^[19] This Greek term was adopted into Latin as prologus, where it denoted an introductory speech or preface, particularly in Roman plays and literary works.^[20] The Latin form retained the dramatic connotation from its Greek roots, referring to the opening address by a character or chorus before the main action of a performance.^[19] From Latin, the word evolved through medieval Latin into Old French as prologues or proloque, entering Middle English around the early 14th century as "prologe," initially used to describe introductory sections in literary and theatrical contexts.^[19] A related term in Greek rhetoric is prooímion (πρόοίμιον), from pró ("before") and oimḗ ("song" or "chant"), which designated a prelude or introductory invocation, often in poetic or oratorical settings, influencing later rhetorical structures.^[21] In modern usage, the term has also inspired derivatives like "Prolog," the name of a logic programming language, short for Programmation en Logique (French for "programming in logic"), reflecting a conceptual parallel to preliminary logical discourse.^[22]

Historical Development

Classical Antiquity

In ancient Greek tragedy and comedy of the 5th century BCE, the prologue emerged as a foundational element, typically consisting of a monologue or dialogue delivered by a character or the chorus to provide essential exposition before the main action unfolded. This introductory section preceded the parodos, the chorus's entrance, and served to outline the backstory, introduce key conflicts, and establish the dramatic tone, allowing audiences familiar with myths to contextualize the ensuing episodes. Unlike later forms, these prologues were integral to the structured format of Greek drama, which alternated between episodes of actor dialogue and choral odes (stasima), ensuring clarity in narratives drawn from well-known legends.^[23]^[24] A prominent example appears in Euripides' Medea (431 BCE), where the nurse opens the play with a prologue that recounts Medea's exile from her homeland, her passionate aid to Jason in obtaining the Golden Fleece, and her current anguish over his betrayal and impending remarriage to Creon's daughter. This speech not only delivers critical backstory but also foreshadows Medea's vengeful turmoil, blending narrative summary with emotional depth to evoke sympathy and tension from the outset. In broader Greek tragedy, prologues often featured divine intervention, such as a god appearing to explain cosmic stakes or predict outcomes, as seen in Euripides' Hippolytus (428 BCE), where Aphrodite's prologue reveals her plot against the protagonist. Similarly, in comedy, Aristophanes employed prologues for satirical setup, though tragedy emphasized pathos and inevitability. These elements positioned the prologue as a bridge between myth and performance, heightening audience engagement without disrupting the ritualistic flow.^[25] Roman adaptations of the prologue, particularly in the comedies of Plautus and Terence during the 3rd and 2nd centuries BCE, built upon Greek models while introducing distinct innovations to suit Roman audiences and theatrical contexts. Plautus, active around 205–184 BCE, often used elaborate prologues spoken by a god or allegorical figure to clarify complex plots derived from Greek New Comedy, as in Rudens (The Rope, c. 191 BCE), where the star-god Arcturus delivers an expository speech detailing a shipwreck, a kidnapped girl, and impending recognitions to orient viewers unfamiliar with the source material. Terence (c. 195–159 BCE), in plays like Andria (The Girl from Andros, 166 BCE), similarly employed prologues for exposition but with greater restraint, defending his artistic choices against rivals. These Roman prologues retained Greek expository functions—providing backstory and plot outlines—but frequently incorporated metatheatrical commentary, with speakers directly addressing the audience about the play's themes, the playwright's intentions, or performance conventions, fostering a self-aware intimacy that blurred the line between fiction and reality.^[26]^[27] This evolution influenced subsequent dramatic forms by emphasizing the prologue's versatility as both narrative device and audience liaison, where Greek solemnity merged with Roman wit to create emotionally charged setups that substituted for extended preludes in oral storytelling traditions. In antiquity, such prologues often evoked a sense of romantic entanglement through vivid recountings of love, betrayal, and reunion, drawing spectators into the characters' passions before the episodes proper.^[28]^[29]

Renaissance and Elizabethan Era

The prologue underwent a significant revival during the Renaissance in 16th-century Europe, as playwrights drew upon classical Roman models from Plautus and Terence to structure their works, adapting the form to suit emerging vernacular drama. In Italy, the commedia erudita elevated the prologue beyond mere exposition, transforming it into a dynamic, audience-addressing device that combined plot summary with witty commentary on the play's themes and the art of performance itself; this evolution reflected the refined tastes of Renaissance courts, where prologues often praised patrons or defended the comedy's moral intent.^[30] These Italian innovations influenced broader European theater, blending classical expository functions—such as the systatic prologue that outlined key events—with local dramatic traditions to bridge the gap between spectators and the stage.^[31] In France, this revival manifested in the works of 17th-century neoclassical dramatists, who incorporated prologues to establish tone and context while echoing ancient precedents. Molière's Amphitryon (1666) opens with a prologue spoken by Mercury, which succinctly recaps the mythological premise of Jupiter's deception, thereby clarifying the ensuing confusions of identity and preparing the audience for the tragicomic blend.^[32] Similarly, Jean Racine's Esther (1689), written for performance at Madame de Maintenon's school at Saint-Cyr, features a prologue delivered by the allegorical figure of La Piété, who invokes divine grace and frames the biblical narrative as a moral lesson on piety and providence.^[33] These French examples highlight the prologue's role in moral and thematic orientation, adapting classical structures to align with the era's emphasis on decorum and religious edification. The Elizabethan period in English theater, spanning the late 16th century, further adapted prologues to navigate the public playhouses' diverse audiences, where they served to transition viewers from everyday life into the dramatic world and elucidate intricate plots, often merging classical expository styles with lingering medieval influences from morality plays. In works like the anonymous Everyman (c. 1510), a Messenger's prologue directly addressed the crowd with a moral invocation—"I pray you all give your audience, / And hear this matter with reverence"—setting a didactic tone that echoed in later Elizabethan openings and underscored themes of judgment and redemption.^[34] Elizabethan prologues were commonly spoken by a chorus or induction figure, a neutral presenter who invoked audience complicity in the illusion, thereby clarifying narrative complexities in history plays or comedies amid the era's rapid scenic shifts.^[35] Prominent examples illustrate this evolution: Ben Jonson's Every Man in His Humour (1598) employs a prologue that satirically frames the comedy as a realistic depiction of human "humors," rejecting fantastical elements in favor of everyday follies to critique social pretensions.^[36] Shakespeare used the form more selectively, as in the Chorus's quasi-prologue to Henry V (1599), which begins "O for a Muse of fire, that would ascend / The brightest heaven of invention," acknowledging the stage's limitations while urging imaginative expansion of the historical epic.^[37] This era's prologues increasingly incorporated metadramatic commentary, reflecting on theatrical conventions and the collaborative act of performance to heighten irony and engagement, thus marking a departure from purely expository roles toward self-aware artistry.^[38]

Literary and Dramatic Applications

In Drama and Theater

In drama and theater, the prologue serves as an opening speech or scene delivered by a single actor, known as the prologue-speaker, or by a chorus, directly addressing the audience to establish the play's context and engage viewers before the main action unfolds. Often composed in verse, this performative element not only sets the rules of the dramatic world but also frequently invokes the audience's indulgence for any perceived flaws in the performance, employing tropes like pleading for leniency akin to legal or clerical mercy to preempt criticism.^[39]^[40] Prologues in dramatic works typically fall into two main types: expository, which provide essential plot setup and background information to orient the audience; and apologetic, designed to ward off potential criticism by humbly acknowledging the production's limitations and seeking the viewers' goodwill.^[40] The evolution of prologues in theater traces back to ancient Greek tragedy and comedy, where they functioned primarily as expository devices, delivering monologues or dialogues to outline forthcoming events and immerse the audience without dramatic tension. By the Renaissance, prologues shifted toward metatheatricality, self-consciously commenting on the artifice of the stage and blurring lines between performers and spectators, as seen in Elizabethan examples like those in Shakespeare's works. This tradition persists in modern revivals, particularly in opera, where prologues maintain an introductory role; for instance, Giuseppe Verdi's Attila (1846) opens with a prologue that establishes historical and thematic foundations through choral and solo elements.^[41]^[39]^[42] Fundamentally, prologues act as a bridge between the audience's reality and the fictional realm of the play, facilitating direct interaction that contrasts with internal monologues spoken by characters within the story.^[43] In the improvisational form of commedia dell'arte during the Renaissance, prologues—also known as introductory speeches—were typically extemporized by actors to adapt to local audiences, introducing the troupe and tailoring content to the performance's context while preparing viewers for the ensuing scenarios.^[44]

In Narrative Fiction

In narrative fiction, prologues serve to establish contextual frameworks for the ensuing story, often providing historical, temporal, or social orientation that immerses readers in the narrative world. In Geoffrey Chaucer's The Canterbury Tales (late 14th century), the General Prologue functions as an expansive introduction, depicting the springtime pilgrimage to Canterbury while portraying a diverse array of 29 pilgrims from various estates, thereby introducing key characters, their social tensions, and thematic concerns like estates satire and the interplay of "sentence" (moral wisdom) and "solaas" (entertainment).^[45] This layered setup not only frames the tale-telling contest but also reflects late medieval English culture through ironic character sketches that highlight societal ambiguities and collaborations.^[45] In poetic forms, prologues often frame epic or allegorical works by setting a moral or cosmological tone, drawing on symbolic imagery to prepare readers for profound journeys. Dante Alighieri's Divine Comedy (completed around 1320) begins with a prologue in Inferno Canto I, where the narrator, midway through life, finds himself lost in a dark wood symbolizing spiritual disorientation, establishing an introspective tone of moral reckoning and foreshadowing the guided traversal of the afterlife realms under Virgil's tutelage.^[46] Similarly, in medieval romances such as Chrétien de Troyes' Erec et Enide (late 12th century), the prologue acts as an introductory frame, emphasizing the creation of an enduring "tel chose" (a meaningful narrative) that blends adventure with ethical themes, thereby anchoring the chivalric tale in cultural and spiritual contexts.^[47] Unique to prose fiction, prologues enable narrative techniques like foreshadowing plot twists, hinting at unreliable narrators through subtle discrepancies, or excerpting future events via flash-forwards to build anticipation and depth. These elements allow authors to tease revelations, such as impending conflicts or character deceptions, without disrupting the main timeline, enhancing reader engagement through layered revelations.^[13] In medieval prose romances, this manifested in expanded, multiple prologues that offered layered introductions—rhetorical prefaces justifying the work's moral utility and authorship—contrasting with the concise proem in Virgil's Aeneid (1st century BCE), a brief invocation to the muse that succinctly outlines the epic's heroic theme of fate and empire-building.^[48] The evolution of prologues in narrative fiction progressed from medieval pilgrimage or frame narratives, which emphasized communal and moral setups like Chaucer's, to 19th-century realist configurations that grounded stories in detailed social milieus. By the Victorian era, prologues in works by authors like George Eliot often provided temporal or historical backdrops to illuminate character motivations within evolving societal structures, shifting focus toward psychological and environmental realism while retaining introductory functions.^[49]

Modern and Contemporary Uses

In Literature and Prose

In 20th- and 21st-century literature, prologues have evolved into tools for experimental innovation, particularly in novels and short fiction where authors challenge traditional narrative structures. A seminal example is Macedonio Fernández's The Museum of Eterna's Novel (The First Good Novel) (1967), which features fifty-seven prologues that delay the main narrative and subvert reader expectations through self-reflexive digressions on authorship and fiction itself.^[50] These nested prologues exemplify postmodern experimentation, transforming the introductory space into a labyrinth that questions the boundaries between prelude and story. Contemporary prologues in prose often serve multifaceted functions, such as building suspense through fragmented glimpses of future events, offering alternate perspectives on central characters, or delivering meta-commentary on the act of writing and reading. In Italo Calvino's If on a winter's night a traveler (1979), the opening sequence functions as a meta-prologue by directly addressing the reader ("You are about to begin reading Italo Calvino's new novel..."), blurring the line between narrative instruction and literary theory while commenting on the reader's engagement with text.^[51] This approach highlights how prologues in postmodern works foster self-awareness, inviting readers to reflect on the constructed nature of fiction. In genre fiction, particularly fantasy and science fiction, prologues remain prevalent for establishing intricate world-building, providing essential historical or cultural backstory without disrupting the main plot's momentum. J.R.R. Tolkien's The Lord of the Rings (1954–1955) employs a prologue titled "Concerning Hobbits" to detail the origins, customs, and societal evolution of hobbits, grounding the epic's expansive mythology in concrete details that enhance immersion.^[52] Such uses underscore the prologue's role in speculative genres, where it efficiently conveys lore that would otherwise require lengthy exposition within chapters. A key trend in modern literature involves a shift toward brevity or outright omission of prologues in minimalist styles, reflecting a preference for immediate immersion over prefatory explanation, as seen in works by authors like Ernest Hemingway or Raymond Carver, where narrative economy prioritizes in medias res openings.^[53] Conversely, prologues have experienced a revival in historical fiction, where they provide contextual immersion into past eras, often through dramatic vignettes or factual overviews to bridge temporal distances for contemporary readers.^[54] This resurgence aligns with the genre's emphasis on authenticity, using prologues to evoke historical atmospheres succinctly. In literary translations, prologues are frequently adapted or added to address cultural gaps, incorporating explanatory notes or introductory essays that clarify idiomatic expressions, historical references, or societal norms unfamiliar to the target audience, thereby facilitating cross-cultural accessibility without altering the original text's integrity.^[55]

In Film, Television, and Other Media

In film, prologues often manifest as opening sequences, voiceovers, or textual crawls that deliver essential backstory and contextualize the narrative, drawing from earlier theatrical traditions to immerse audiences immediately.^[56] During the silent era, prologues were live performances staged in theaters before screenings, featuring actors reenacting key scenes or providing thematic introductions to bridge the gap between stage and screen, as seen in the elaborate prologues at Grauman's theaters in the 1920s.^[57] This practice evolved with the advent of sound and visual effects; by the mid-20th century, prologues shifted to integrated film elements like intertitles or montages, enhancing exposition without live intervention.^[58] A seminal example is the opening crawl in Star Wars (1977), which scrolls expository text against a starry backdrop to outline galactic conflicts and propel viewers into the story, a technique inspired by 1930s serials and refined through optical effects.^[59] Similarly, in The Godfather (1972), the initial wedding sequence serves as a prologue by immersing audiences in the Corleone family's dual worlds of celebration and criminality, establishing power dynamics and cultural norms through visual and auditory cues before the main plot advances.^[60] Modern prologues frequently employ CGI montages for dynamic world-building, as in epic fantasies, where they hook viewers and signal genre expectations, evolving from static intertitles to immersive digital spectacles that prioritize visual storytelling over dialogue. In television, prologues adapt to episodic structures through cold opens or teasers, which preview conflicts or flash-forwards to build suspense and differentiate from film's linear setup, accommodating recurring narratives across seasons.^[61] Breaking Bad (2008–2013) exemplifies this with its flash-forward cold opens, such as the pilot's RV explosion sequence, which teases high-stakes transformations and compels viewers to unravel the backstory, influencing subsequent prestige dramas by integrating prologue functions into serialized tension.^[62] Beyond traditional screens, prologues appear in video games as interactive tutorials or cinematic intros that frame lore and mechanics, allowing players to engage with backstory before core gameplay. In The Legend of Zelda series, prologues like the manual's narrative in the original 1986 game or the dream sequence in A Link Between Worlds (2013) establish mythological contexts and character motivations, blending exposition with player agency to ease immersion.^[63] In podcasts, introductory episodes function as prologues by outlining series arcs, host backgrounds, and thematic hooks, often in 10–30 seconds to retain listeners amid episodic formats.^[64] In opera and musical theater, prologues retain classical roots as overtures with sung exposition, serving as musical introductions that allegorically preview themes and characters, bridging orchestral preludes to dramatic action. Early 17th-century operas like Monteverdi's works featured prologues as standalone scenes invoking muses or patrons, a convention echoed in modern musicals such as The Phantom of the Opera (1986), where the overture-prologue sequence evokes gothic mystery through instrumental swells and choral hints.^[65] This form emphasizes auditory immersion, contrasting visual media by prioritizing vocal narrative to set emotional and structural tones.^[66]

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https://deepblue.lib.umich.edu/bitstream/handle/2027.42/172692/lsirota_1.pdf
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Museum of Eterna's Novel (The First Good Novel) « Three Percent
Dec 1, 2010 · Thus, he prolongs the start of his novel with fifty-seven prologues: in part to provoke the novel to be “thrown violently to the floor most ...
[51]
[PDF] Narrative Theory : core concepts and critical debates
ning of Italo Calvino's If on a winter's night a traveler (1979): “you are about to begin reading Italo Calvino's new novel, If on a winter's night a traveler.Missing: prologue | Show results with:prologue<|separator|>
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The Fellowship of the Ring Prologue Summary & Analysis
Summary: Prologue. Dense with detail, the Prologue is an extended introduction to the history and customs of the race known as the Hobbits.
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Avoid the Novel Prologue. Here's Why. - Good Story Company
Jun 24, 2020 · Many industry professionals recommend against novel prologues. The key word is backstory. You want to include as little backstory in your opening as possible.
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Prologues in Historical Fiction - Acts of Revision
Sep 11, 2022 · Some common uses of prologues: To foreshadow events to come. Some of the best prologues tell the end of the story, and the main narrative takes readers back to ...
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Prologue | Tradition, Translation, Trauma: The Classic and the Modern
Abstract. This prologue begins by considering the nature of translation, describing it as a means of recovering the past, of bringing the dead back to life, ...
[56]
“Adding to the pictures”: The American Film prologue in the 1920s
Scripts or production records of these acts are nearly nonexistent; as a result, any study of prologues or interludes involves the difficult work of cobbling ...
[57]
https://news.colgate.edu/researchmagazine/2019/07/pulling-back-the-curtain-on-silent-movie-prologues.html
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Prologue to Hollywood Sid Grauman and the San Francisco Origins ...
Recent scholarship has revisited prologues, with scholars like Rick Altman and Vinzenz Hediger examining their historical significance, defining traits, and ...
[59]
Star Wars: Episode IV A New Hope - Opening Crawl
May 15, 1977 · In the original May 1977 release of Star Wars, the opening crawl did not feature an Episode number or the subtitle “A New Hope.” Those would be added with ...
[60]
Is The Godfather Opening Scene the Best Opening Scene EVER?
Jul 25, 2022 · We analyse The Godfather opening scene in order to answer the question: is The Godfather opening scene the best opening scene of all time?
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This Breaking Bad technique has influenced everything from ... - Vox
Oct 11, 2016 · The Breaking Bad cold opens take things a step further. Rather than consistently introducing one plot element (a corpse, a monster, etc.), they consistently ...<|separator|>
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Ranking: Every Breaking Bad Cold Open | TV - Consequence.net
Sifting through all 62 of Breaking Bad's cold opens to find out which ones serve as the best examples of the format.
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Prologue - The Legend of Zelda: A Link Between Worlds Guide - IGN
Nov 22, 2013 · The Prologue for The Legend of Zelda: A Link Between Worlds begins in a dream. A mighty demon appears before Link before everything fades to black.
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Podcast Intro: How To Hook Listeners With It (+ Free Script & Expert ...
Jul 25, 2025 · A podcast intro is the opening segment of your episode used to introduce the host and topic, and set the tone for the show. It usually lasts 10 ...
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ON THE PROLOGUE IN EARLY OPERA - jstor
A FEATURE particularly significant in early opera, especially of the 17th century, but almost entirely absent from later opera, is the so-called Prologue .
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[PDF] Benjamin Britten: Stylistic Devices and Characteristics of Peter Grimes
Jun 22, 2022 · 38). I. FORM. Prologue. Operas traditionally have begun with an overture which alluded musically to the ensuing drama. In ...