.... away from worshipping Aphrodite. This is important because it sets in motion the actions of the play when Aphrodite decides to get revenge on Hippolytus. The divine relationship between the gods is a bit different, however. Over the course of the play, Artemis does not interfere in the actions of Aphrodite, which shows that the gods, while divine, do have restrictions; in this case, it shows the gods cannot interfere with each other. The gods are sometimes evil and revengeful, though, as can be seen by what Artemis has to say about Aphrodite: "I'll wait till she loves a mortal next time, and with this hand - with these unerring arrows I'll punis .....

.... waistlines gradually fell to around the hips, as hemlines steadily began to rise. In 1925, the hemlines rose to an unprecedented high -- the bottom of the knee. They stayed there until almost 1929 when they finally plummeted back down to the lower calf. It may surprise you to learn that in the 1920's, a lot of clothing was still made at home or by tailors and dressmakers. The brand-name, ready-to-wear industry didn't really exist until the 1930's. Therefore, many women obtained patterns that would allow them to create their own clothing out of fabrics such as wool, silk, linen or cotton. There were also two important ethnic influences on the fa .....

.... if it wasn't for the recent interference. Their conversation remains about their love for each other and then they kiss. It seems as though after the kiss, Hamlet realizes what might be going on and asks where Polonius is. Hamlet then realizes that he is in the room and continues his charade of acting mad. I think that this interpretation is the best one because it reflects my view of this scene as well as what I think Shakespeare's intentions were. Another version was the with Lawrence Olivier. Compared with the other two, this version didn't quite seem as realistic. When Hamlet enters them room, it seems like he already knows what's going .....

.... making rash and foolish actions. Thus every action should have a sound and logical purpose, based on the social norms. In the play, Egeus, the father of Hermia, has thoughtfully chosen what he considers an acceptable mate to wed his daughter. Egeus most likely based his decision on economic, political, and social factors in his choosing of Demetrius. He is making a reasonable decision based on Hermia's future in their society. Unfortunately Hermia is smitten by Lysander and vice versa. Although her father may have made his decision with every good intension, keeping with the traditional customs of his day, and even perhaps taking into considera .....

.... the story, he ask us to "release [him] from [his] bands with the help of your good hands." In other words, clap so that the sails of the boats his friends are riding in will be safely returned and Prospero can be "relieved by prayer" of the audience. All of what Prospero has said is very nice cute, but the most interesting part of this monologue is what Shakespeare himself is saying. "Now that my charms are all o'erthrown, and what strength I have's mine own" means, now my plays are over, and it's no longer my characters speaking. The "Island" or stage Shakespeare is on is now "bare" and it is time for "you" the audience to release Shakespeare an .....

.... to force Alex to suicide in order to gain a martyr, but Alex's attempt fails and he is nursed back to health and his natural mental state by the Government, who in the end comes out on top. Alex, whose last name is not mentioned in the book, is a violent, aggressive teenager of fifteen, who is the leader of a four-person gang. He truly enjoys violence, reveling in the sight of blood or weapons. Alex's love of hate is not simply a rebellious emotion, but as he explains, it is his very nature, and he could not change it if he wanted to. Despite his passion for what most see as ugly and disgusting, Alex does have a great appreciation for classical mu .....

.... flaw of irresolution, the uncertainty on how to act or proceed, is shown when Hamlet sees a play and the passion the actors had, after Hamlet's third soliloquy, in Hamlet's fourth soliloquy, and in Hamlet's indecisive pursuit in avenging his father's death. First, Hamlet's flaw of irresolution is shown when he sees a play and the passion one particular actor had. A group of players has arrived and Hamlet arranges a personal viewing of The Murder of Gonzago with a small portion of his own lines inserted. Hamlet then observes one portion of the play in which one of the players put on a great display of emotion. Hamlet, besieged by guilt and self-con .....

.... bloody man is that?". This is symbolic of the brave fighter who been injured in a valiant battle for his country. In the next passage, in which the sergeant says "Which smok'd with bloody execution", he is referring to Macbeth's braveness in which his sword is covered in the hot blood of the enemy. After these few references to honour, the symbol of blood now changes to show a theme of treachery and treason. Lady Macbeth starts this off when she asks the spirits to "make thick my blood,". What she is saying by this, is that she wants to make herself insensitive and remorseless for the deeds which she is about to commit. Lady Macbeth know .....

.... caring person, especially for his children. With Laertes, he speaks to him in what most would think is a sincere and wise manner; however his advise is nothing but hollow words without feeling. As he says: borrowing dulleth edge of husbandry. This above all, to thine own self be true,/ And it must follow, as the night the day,/ Thou canst not then be false to any man,"(I iii,ln 80) It is clear that his first priority, in talking to his son, is to teach him to act proper, to keep up his own appearance, and not to wish him well. From his later actions, one can see that Laetres honor is what concerens him the most, not his well being. When P .....

.... slowly as if, "by some instinct" it knows that the speaker doesn't really want to leave. The speaker "lov'd not speed, being made from thee." "Thee" refers to the person the speaker is parting with. The horse is, in a sense, the speaker's heart, reluctant to keep moving, although it must bear his grief. The speaker, in stanzas 9-12, frequently gets frustrated and tries to force himself on, as shown by the "bloody spur" which indicates repeated use. The groan that the beast makes from the spurring is "more sharp to me[the speaker] than spurring to his[the beast's] side". The more the speaker tries to force himself along, the worse his pain. Knowing .....