Prefaces and prologues to famous books : with introductions, notes and…

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Overview: A unique anthology of literary forewords, this collection compiles the often-overlooked introductory writings from seminal works across centuries...
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according to his temper, against the criticisms which he anticipates. It thus happens that a personality which has been veiled by a formal method throughout many chapters, is suddenly seen face to face in the Preface; and this alone, if there were no other reason, would justify a volume of Prefaces. But there are other reasons why a Preface may be presented apart from its parent work, and may, indeed, be expected sometimes to survive it. The Prologues and Epilogues of Caxton were chiefly prefixed to translations which have long been superseded; but the comments of this frank and enthusiastic pioneer of the art of printing in England not only tell us of his personal tastes, but are in a high degree illuminative of the literary habits and standards of western Europe in the fifteenth century. Again, modern research has long ago put Raleigh's "History of the World" out of date; but his eloquent Preface still gives us a rare picture of the attitude of an intelligent Elizabethan, of the generation which colonised America, toward the past, the present, and the future worlds. Bacon's "Great Restoration" is no longer a guide to scientific method; but his prefatory statements as to his objects and hopes still offer a lofty inspiration. And so with the documents here drawn from the folios of Copernicus and Calvin, with the criticism of Dryden and Wordsworth and Hugo, with Dr. Johnson's Preface to his great Dictionary, with the astounding manifesto of a new poetry from Walt Whitman's "Leaves of Grass"--each of them has a value and significance independent now of the work which it originally introduced, and each of them presents to us a man._ PREFACES AND EPILOGUES BY WILLIAM CAXTON[A] THE RECUYELL OF THE HISTORIES OF TROY TITLE AND PROLOGUE TO BOOK I Here beginneth the volume entitled and named the Recuyell of the Histories of Troy, composed and drawn out of divers books of Latin into French by the right venerable person and worshipful man, Raoul le Feure, priest and chaplain unto the right noble, glorious, and mighty prince in his time, Philip, Duke of Burgundy, of Brabant, etc. in the year of the Incarnation of our Lord God a thousand four hundred sixty and four, and translated and drawn out of French into English by William Caxton, mercer, of the city of London, at the commandment of the right high, mighty, and virtuous Princess, his redoubted Lady, Margaret, by the grace of God Duchess of Burgundy, of Lotrylk, of Brabant, etc.; which said translation and work was begun in Bruges in the County of Flanders, the first day of March, the year of the Incarnation of our said Lord God a thousand four hundred sixty and eight, and ended and finished in the holy city of Cologne the 19th day of September, the year of our said Lord God a thousand four hundred sixty and eleven, etc. And on that other side of this leaf followeth the prologue. When I remember that every man is bounden by the commandment and counsel of the wise man to eschew sloth and idleness, which is mother and nourisher of vices, and ought to put myself unto virtuous occupation and business, then I, having no great charge of occupation, following the said counsel took a French book, and read therein many strange and marvellous histories, wherein I had great pleasure and delight, as well for the novelty of the same as for the fair language of French, which was in prose so well and compendiously set and written, which methought I understood the sentence and substance of...

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Overview: A unique anthology of literary forewords, this collection compiles the often-overlooked introductory writings from seminal works across centuries, framed by scholarly commentary.

Plot: The "narrative" is one of context and craft. Readers journey through the authorial voices of figures like Henry James, Charles Dickens, and Mary Shelley, not in their famed novels, but in the moments before—where they explain intentions, defend choices, or directly address their audience. These prefaces, prologues, and introductions are presented as self-contained literary artifacts.

Analysis: This volume achieves classic status by fundamentally altering how we perceive canonical texts. It illuminates the creative process, revealing the anxieties, polemics, and artistic manifestos that shaped masterpieces. By isolating these front matter pieces, the book argues that the preface is not merely a preamble but a critical key—a meta-text where author and reader first meet on philosophical ground. It’s essential reading for understanding literature not as a finished product, but as a deliberate, and often contested, act of communication.



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James Perez
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Text is crisp, making it easy to focus.

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