• The Prince Essay | Contradiction in The Prince | …
  • Contradiction in The Prince Peter Winchell
  • Hamlet Simplified | Hamlet Notes

Just think if no one talked to each other and we never made friends, this world would be a ticking time bomb.

Revenge, Honor, and the Elizabethan Christian Ethics | Hamlet

Shakespeare's Hamlet Act 1 Scene 1 - Horatio sees the …

But Hamlet and Horatio, best of friends, are not even separated by the hero’s death.
Veblen's critical analysis of American capitalism is evident in (1899), and (1918) comments on the devastating effect of treating higher education as a business.

Hamlet 1.1 in performance & on film | Shakespeare II

Lennie, like his dog, was innocent and unaware of the cruel world around him.
They find their way into a remote basin surrounded by dangerous cliffs and difficult terrain, where they are completely safe and cut off from the rest of the world....


Contradiction Dance | Powell Play

They find their way into a remote valley surrounded by dangerous cliffs and difficult terrain, where they are completely safe and cut off from the rest of the world....

Bradley in Shakespearean Tragedy notes a problem involving Horatio in Shakespeare’s Hamlet: When Horatio, at the end of the soliloquy, enters and greets Hamlet, it is evident that he and Hamlet have not recently met at Elsinore.

SparkNotes: Middlemarch: Important Quotations …

"GREAT WAR": While the Great War is usually used in reference to World War I, in scholarship, the term applies to a long-running argument or philosophical discussion between C.S. Lewis and his friend, Owen Barfield. Barfield described The Great War as "an intense interchange of philosophical opinions" and Lewis called it "an almost incessant disputation, sometimes by letter and sometimes face to face, which lasts for years" (qtd. in Duriez 83). The dialogue between them started around 1922, when Barfield became an anthroposophist, and lasted until about 1931, when Lewis converted to Christianity. The primary focus of the debate was the nature of the imagination and metaphor, and Lewis claimed Barfield cured him of , instilling in him a loathing of modernism (83).

Matt Smith and Karen Gillan Interview DOCTOR WHO | …

In fantasy literature, a similar motif frequently appears. In Lloyd Alexander's Chronicles of Prydein, for instance, Taran the Assistant-Pigkeeper must leave behind the confines of the farm when events thrust him into the wilds of the forest. As part of his adventures in the forest, he must learn true wisdom and maturity while separated from his normal (stifling) support network on the farm. At the end of his adventures, rather than leaving for the paradise Summer Country, he chooses to return to his original community as a leader to work with the people he once spurned. In the first half of C.S. Lewis's Chronicles of Narnia, the journey to Narnia is a sort of Green World hidden in a wardrobe. The young children enter this Green World, experience spiritual revelations, and then return (like Eustace) to the real world of London as better people, altered by the experience of being thrust into a beautiful wonderland where magic is real and mundane rules no longer seem to apply. In Tolkien's The Hobbit and Lord of the Rings, various hobbits live a peaceful (but dull) bourgeois existence in the Shire, but adventures call them to dangerous journeys in the unfamiliar wilds, and at the end of the tale, they return back to the Shire. Their experiences abroad render them now able to confront new evils that have taken root in their own little world, such as the disgraced Saruman's attempt at seizing power there.

MA English-Literature – NEOEnglish

GREEN WORLD: In Shakespearean scholarship, Northrup Frye introduced the idea of the Green World in The Anatomy of Criticism. In many Shakespearean comedies, the story begins in a stifling urban setting where the characters face conflicts--often romantic dilemmas, intergenerational strife, or financial woes. In the course of the play, for one reason or another, the characters end up leaving the city proper and find themselves lost in a nearby wild setting such as a forest or glen. Frequently, the transition is involuntary. This new natural environment usually embodies both danger and beauty simultaneously. It frees the characters from the constraints or conventions of their regular city life. The transition often initially confounds or baffles the characters who find themselves lost (both literally and figuratively) in the woods, facing adversity with no outside help. However, this Green World allows the characters room to metamorphosize into something new. Free from civilization, they have space to reimagine themselves, their societies, and their place in society. At the end of the play, the characters typically return to the original setting of the city (and human community), but they have now grown and can recommit themselves to familial obligations, to marriage or relationships, and to the shared life that makes society feasible. The key example here is A Midsummer Night's Dream.