Preface Quotes
It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing.
Jorge Luis Borges
Say that a thing is so, according to the Pope or the Bible, and it will be dismissed as a superstition without examination. But preface your remark merely with "they say" or "don't you know that?" or try (and fail) to remember the name of some professor mentioned in some newspaper; and the keen rationalism of the modern mind will accept every word you say.
G. K. Chesterton
I [Boswell] was somewhat disappointed in finding that the edition of The English Poets, for which he was to write Prefaces and Lives, was not an undertaking directed by him: but that he was to furnish a Preface and Life to any poet the booksellers pleased. I asked him if he would do this to any dunce's works, if they should ask him.
JOHNSON: "Yes, Sir, and say he was a dunce."
Samuel Johnson
Darwin himself told us in his last book (The Formation of Vegetable Mould Through the Action of Worms) that we should never underestimate the power of worms on the move.... The inversion of a humble worm, especially when disturbed, may bring down empires. Shakespeare told us that "the smallest worm will turn being trodden on." And Cervantes wrote in his author's preface to Don Quixote that "even a worm when trod upon, will turn again." ...Geoffrey, it seems, was correct after all - not in every detail, of course, but at least in basic vision and theoretical meaning. And the triumph of surprise, the inversion of nuttiness to apparent truth, stands as a premier example of the most exciting general development in evolutionary theory during our times.
Stephen Jay Gould
To doubt everything or to believe everything are two equally convenient solutions; both dispense with the necessity of reflection. (Note: This quote, although found in the 1985 sci-fi novel, 'Lucifer's Hammer', by Larry Niven and Jerry Pournelle, may be erroneously attributed to Pournelle. As this quote can also be found in the Preface of Henri Poincare's "Science and Hypothesis" the 1952 Dover abridged edition)
Jerry Pournelle
Editor's Preface In this book, originating in the year 1848, the requirement for being a Christian is forced up by the pseudonymous author to the supreme ideality. Yet the requirement should indeed be stated, presented, and heard. From the Christian point of view, there ought to be no scaling down of the requirement, nor suppression of it-instead of a personal admission and confession. The requirement should be heard-and I understand what is said as spoken to me alone-so that I might learn not only to resort to grace but to resort to it in relation to the use of grace. S. K.
Søren Kierkegaard
An authorship that began with Either/Or and advanced step by step seeks here its decisive place of rest, at the foot of the altar, where the author, personally most aware of his own imperfections and guilt, certainly does not call himself a truth-witness but only a singular kind of poet and thinker who, without authority, has had nothing new to bring but "has wanted once again to read through, if possible in a more inward way, the original text handed down from the fathers” Preface P. 165.
Søren Kierkegaard
...by the term Hypnotism, or Nervous Sleep, I mean a peculiar condition of the nervous system, into which it may be thrown by artificial contrivance, and which differs, in several respects, from common sleep or the waking condition. I do not allege that this condition is induced through the transmission of a magnetic or occult influence from my body into that of my patients; nor do I profess, by my processes, to produce the higher [i.e., supernatural] phenomena of the Mesmerists. My pretensions are of a much more humble character, and are all consistent with generally admitted principles in physiological and psychological science. Hypnotism might therefore not inaptly be designated, Rational Mesmerism, in contra-distinction to the Transcendental Mesmerism of the Mesmerists.[ Braid, Observations on Trance or Human Hibernation, 1850, 'Preface.
James Braid
The preface is usually that part of a book which can most safely be omitted. It usually represents that efflorescent manifestation of egotism which an author, after working hard, cannot spare either himself or his readers. More often than not the readers spare themselves. When, however, the writer is a daily perpetrator of high treason, his introductory remarks may command from the English public that kind of awful veneration with which £5000 confessions are perused in the Sunday newspapers, quite frequently after the narrator has taken his last leap in the dark.
William Joyce
One of Collingwood's earliest attempts to define the aesthetic essence of art. His aim, he writes in the preface, is to state a general conception of art and develop its consequences. His conception is one already familiar through the writings of others -- "that art is as bottom neither more nor less than imagination" -- but from his observation he goes on to outline the various distinctions between subordinate conceptions of art, and to attempt to demonstrate their place in the general conception, and the place of both in life. He urges that the meaningfulness of art cannot be torn from the imaginative setting in which it is embedded, and that we must attempt to explain the process by which an artist reaches a particular point of view on reality.
R. G. Collingwood
In 1680, Robert Boyle published the Second Part of his Continuation of New Experiments Physico-mechanical, Touching the Spring and Weight of the Air.... According to Boyle's preface, the experimental work... was mainly done by a remunerated technician... Denis Papin. The air-pump with which the experiments were performed was... of Papin's own design... At least some, and perhaps the greatest part, of the design of the experimental project was also owing to the technician.... It seems also that the technician was partly, if not mainly, responsible for the composition of the experimental narratives.
Steven Shapin
