THE LIFE OF MAN - TO KNOW AND LOVE GODġ God, infinitely perfect and blessed in himself, in a plan of sheer goodness freely created man to make him share in his own blessed life. this is eternal life, that they may know you, the only true God, and Jesus Christ whom you have sent." 1 "God our Savior desires all men to be saved and to come to the knowledge of the truth." 2 "There is no other name under heaven given among men by which we must be saved" 3 - than the name of JESUS. Their style varies between metaphysical, humoristic, psychological, discussions about the art of the novel, etc.Catechism of the Catholic Church - PROLOGUE CATECHISM OF THE CATHOLIC CHURCH The Museum of Eterna's Novel by the Argentine writer Macedonio Fernandez has over 50 prologues by the author. Prologues have long been used in non-dramatic fiction, since at least the time of Geoffrey Chaucer's Canterbury Tales, although Chaucer had prologues to many of the tales, rather than one at the front of the book. : 13 In the medieval tradition, expressions of morality and modesty are seen, : 14 as well as a meta-theatrical self-consciousness, and an unabashed awareness of the financial contract engaged upon by paid actors and playwrights, and a paying audience. : 13 In the classical tradition, the prologue conformed to one of four subgenres: the sustatikos, which recommends either the play or the poet the epitimetikos, in which a curse is given against a rival, or thanks given to the audience dramatikos, in which the plot of the play is explained and mixtos, which contains all of these things. The Elizabethan prologue was unique in incorporating aspects of both classical and medieval traditions. He made three bows in the current fashion of the court, and then addressed the audience. : 24 He was introduced by three short trumpet calls, on the third of which he entered and took a position downstage. He may have carried a book, scroll, or placard displaying the title of the play. The prologue removed his hat and wore no makeup. The actor reciting the prologue would appear dressed in black, a stark contrast to the elaborate costumes used during the play. : 2 Ben Jonson has often been noted as using the prologue to remind the audience of the complexities between themselves and all aspects of the performance. : 1 In ushering the audience from reality into the world of the play, the prologue straddles boundaries between audience, actors, characters, playwrights-basically, it creates a distinction between the imaginary space within the play and the outside world. : 17 In this mode, a prologue, like any scripted performance, would exist as the text, the actor who speaks that text, and the presentation of the language as it is spoken. A direct address made by one actor, the prologue acted as an appeal to the audience's attention and sympathy, providing historical context, a guide to themes of the play, and occasionally, a disclaimer. Prologues of Renaissance drama often served a specific function of transition and clarification for the audience. Sackville, Lord Buckhurst, prepared a sort of prologue in the dumb show for his Gorboduc of 1562 and he also wrote a famous Induction, which is, practically, a prologue, to a miscellany of short romantic epics by diverse hands.
Not only was 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. The tradition of the ancients vividly affected our own early dramatists.
Racine introduced Piety as the speaker of a prologue which opened his choral tragedy of Esther. Molière revived the Plautian prologue in the introduction to his Amphitryon. 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. The play belongs to the subgenre of the " humours comedy" Title page of 1616 printing of Every Man in His Humour, a 1598 play by the English playwright Ben Jonson.
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