.... They really don’t look like white elephants. I just meant the coloring of their skin through the trees" (465). Just as the hills have their distinct beauty to her, she views pregnancy in the same fashion making the reference to the hills having skin—an enlarged mound forming off of what was once flat. The man views pregnancy just the opposite. When the girl is talking about the white elephants and agrees that the man has never seen one, his response is, "I might have, just because you say I haven’t doesn’t prove anything" (464). This shows the defensive nature of the man, and when the woman implies the he is unable to differentiate between what is ....

.... and ordered a shepherd to abandon him on a mountainside. The shepherd pitied the child and gave him to a herdsman from Corinth. The herdsman then gave the child to Polybus and Merope, the childless king and queen of Corinth. They adopted him and raised him as their own. Oedipus grew up thinking he was the prince of Corinth. He heard rumors that he was not the natural son of Polybus and Merope, so he went to consult the oracle of Delphi to find the truth. The oracle repeated the same prophecy that was told to Laius and Jocasta. Thinking that Polybus and Merope were his parents, Oedipus left Corinth. Fate then stepped in and Oedipus met an old man accompanied by sev ....

.... too intellectual and lacks emotion, Othello is a rage of emotions and requires some intellect or rationality. One stylistic device both authors used to demonstrate this unbalance is foreshadowing. On page 84 in Crime and Punishment, Raskolnikov says, "If they question me, perhaps I will simply tell. Fall to my knees and tell." This foreshadows Raskolnikov's confession to the police and his subsequent sentencing to Siberia. Raskolnikov is obviously unbalanced if he can detachedly hypothesize about his confession. Similarly, Desdemona's willow song foreshadows her own death. In this way we realize Othello must be extremely unbalanced if his wife can foresee her own death ....

.... Modest Proposal ) the entire human race. The least offensive form of satire is Horatian satire, the style used by Addison and Steele in their essays. A much more abrasive style is Juvenalian satire, as used by Jonathan Swift in the aforementioned essay A Modest Proposal. To better understand satire as a whole, and Horatian and Juvenalian satire in particular, these essays can provide for further comprehension than a simple definition of the style alone. Horatian satire is noted for its more pleasant and amusing nature. Unlike Juvenalian satire, it serves to make us laugh at human folly as opposed to holding our failures up for needling. In Steele's essay The Spectator ....

.... Angels, closed in 1940 because of poor reviews1 and a censorship controversy (Roudane xvii), his early amateur productions of Candles to the Sun and Fugitive Kind were well received by audiences in St. Louis. By 1945 he had completed and opened on Broadway The Glass Menagerie, which won that year's New York Critics Circle, Donaldson, and Sidney Howard Memorial awards. Before his death in 1983, Williams accumulated four New York Drama Critics Awards; three Donaldson Awards; a Tony Award for his 1951 screenplay, The Rose Tattoo; a New York Film Critics Award for the 1953 film screenplay, A Streetcar Named Desire; the Brandeis University Creative Arts Award (1965); a Medal of ....

.... from speaking out against their oppressors. Instead they are encouraged to "speak well of the law…and leave the law to take care of itself." (68). The fact is, that the blackened hearts of the aristocracy saw capital punishment as a convenience, rather than justice. The guillotine "cleared off (as to this world) the trouble of each particular case, and left nothing else with it to be looked after" (62). This negative light that the ruthless use of capital punishment casts upon the rulers of France is exactly what Dickens had intended. When the revolution actually takes place, the Jacques become drunk with bloodlust. Their methods of restoring order and peace are ....

.... continues to increase in its cruelty until he commits an inconceivable crime. Edmund has reached a point in his pursuit of power that he will stop at nothing to gain more. He writes another letter. This one is similar to the first, except instead of implicating his brother to his father, it implicates his father in a plot with France to kill The Duke of Cornwall. The King decides that Gloucester’s supposed treachery cannot be tolerated and orders that his eyes be torn out. At this point, Edmund seems to be unequivocally evil. This is undoubtedly false. Two of the other characters of the play, Goneril and Regan surely equal Edmund’s fero ....

.... knights were not upholding chivalry. To understand the poems more fully, modern readers need to understand the complexity of chivalry in Sir Gawain and the Green Knight. Chivalric behavior in the sense of a knight can be defined as having courtesy, gallantry, and honor. The practice of chivalry forms the basis of gentlemanly conduct for the Middle Ages. Sir Gawain, written in the 14th century, definitely does not practice perfect chivalric conduct throughout the poem. At Camelot, in the first part of the poem, chivalry appears as a social code defining the aristocracy. When the Green Knights demands a challenge, not one member of King Arthur’s court steps up. Only unt ....