.... addition, while one is sleeping, they are susceptible to almost anything. The most logical time to make an attack would definitely be after nightfall. Lastly and perhaps most importantly, is night's correlation with evilness. As children, we were all afraid of nasty monsters that lurked in the darkness of night. The night has long been believed to host supernatural beings and occurrences. As I read the play and came upon the word "night," I was surprised to discover that all four aspects of my hypothesis were correct. First, in act I, we see the first usage, night as a period for rest and revitalization. In scene iii, lines 19-23, the First Witch says, Slee .....

.... only”(342) thus declining an upper hand on his foe. Beowulf’s honor is apparent again when he describes the contest between himself and his boyhood friend Breca. Beowulf and Breca were in the midst of a swimming competition on the open sea. Breca couldn’t keep up with Beowulf, but being the honorable warrior, he refused to leave his side. Beowulf fought off monsters in the oceans deep, protecting Breca from the “grisly sea beasts.” (430) Beowulf’s morality came also in the form of loyalty to people and his word. Loyalty to his father remained throughout the epic. On numerous occasions he boasted of his father, Ecgtheow, who “was famous in many a folk-lan .....

.... of a pig slowly begins to take over the boys life, and they begin to go about this in a ritualistic way, dancing around the dead animal and chanting. As this thirst for blood begins to spread the group is split into the “rational (the fire-watchers) pitted against the irrational (the hunters) (Dick 121).” The fear of a mythological “beast” is perpetuated by the younger members of the groups and they are forced to do something about it. During one of the hunters’ celebrations around the kill of an animal a fire-watcher stumbles in to try and disband the idea of the monster. Caught of in the rabid frenzy of the dance, this fire-watcher suddenly becomes the .....

.... the Fall, Christ’s Agony and Crucifixion, man’s continuing sinfulness and rebellion, and the continuing presence and quiet work of the Holy Spirit. These images combine to assure the reader that although the world may look bleak, man may yet hope, because God, through the sacrifice of Christ and the descent of His Holy Spirit, has overcome the world. The opening line of "God’s Grandeur" is reminiscent both of the Creation story and of some verses from the Book of Wisdom. The word "charged" leads one to think of a spark or light, and so thoughts of the Creation, which began with a spark of light, are not far off: "And God said, Let there be light: and there .....

.... meaning to objects in his epic. Later in the letter, Spenser went on to tell that each of the twelve books that he intended to write would symbolize one virtue. Then combined as a whole, they would represent a truly noble person. However, only six of the twelve were completed. “Each book of The Faerie Queene has as its centre a hero or heroine whose task is to learn a particular virtue by facing, falling before but ultimately discovering how to master, the specific vices which beset it” (Evans 143). The second book portrays the virtue of Temperance through the knight Sir Guyon. The Fairy Queen ordered him to locate and destroy Acrasia's seductive Bower .....

.... under the rules of topsy-turvy, the licence of the temporary release from the world of work, Henchard means seriously and in that act which refuses the spirit of festival he places himself in a position of antagonism to the workfolk, an antagonism which grows with time. From this opening the motif of festival shadows the story and mimes the 'tragic' history of this solitary individual culminating in the ancient custom of the skimmington ride. This motif forms a counterpoint to the dominant theme of work and the novel develops on the basis of a conflict between various images of the isolated, individualistic, egotistical and private forms of 'economic m .....

.... were making him angry so she calmed the conversation down. She begged him to give her the truth of why he was up that morning and to try to prove that she was worthy she pierced her thigh and drew her own blood. This still did not get him to tell her his secret. Portia proved she was determined by not giving up without pressing for him to tell her. She also proved that she was loving by expressing her concern for her husband and offering herself as a person for him to vent his problems out to even though he refused to use her as it. She was also understanding by knowing that Brutus was getting angry and not doing anything to make him angrier. She p .....

.... evil and motiveless. A third variable here, the role of the setting, and its part in the tragedy also helps to explain the reasons for it. Through Iago’s motives, and Othello’s inherit weaknesses, the tragedy of the play is meaningful for the audience. By examining Iago’s actions and his soliloquies the audience is able to discern that Iago does indeed have motives for his actions, however weak they may be. Despite Iago recognising that indeed the moor ‘is of a free and open nature’ (Oth Act 1 Sc. 3 ll. 381), he still does despise him. Iago has to be examined closer to discover his motives: of course, he is jealous of Cassio’s appointment as Othello’ .....