.... the older boys as his imagination, but even at that early stage it was evident that the younger children were troubled by the little boy’s words. It must be noted at this point that there was no definite physical appearance to the beast because it was assumed to be the over-active imagination of little children at work. At the same time it is obvious that Golding uses the early chapters in the book to set the scene for the chaos and terror of the beast that follows. Soon it became evident that even the older boys had begun to wonder whether in fact some kind of beast did inhabit the island. It was also apparent that nobody was willing to admit t .....

.... trying to escape reality? Toni Morrison's, Song of Solomon, was inspired in part, by All God's Chillun Had Wings (Andrews et al 103). According to this folk tale, at one time all Africans could fly. Through transgressions, they lost the ability of flight. On occasion, someone would shake off the weight of their burdens and be able to fly. Only a select few held onto remnants of the memory of flight. According to a legend in Hurston, the transgression, was eating salt. The Africans brought to Jamaica could all fly. They had never eaten salt. Those who ate salt after they arrived, stayed and became slaves because salt made them too heavy .....

.... Johannesburg. While reading the pages, begin to envision Johannesburg being a polluted, very unkind, and rushed city. The setting is more of a emotional setting than a physical setting. As I stated it takes place in South Africa, 1946. This is a time where racial discrimination is at an all time high. The black community of this land is trying to break free from the white people, but having little success. It is this so called racism that is essential to the setting of the story. Without it, the book would not have as much of an impact as it does. The story begins, as many great stories have begun, with a solitary .....

.... to reenter a life of slavery? By examining the complexities of Sethe's character it can be said that she is a woman who chooses to love her children but not herself. Sethe kills her baby because, in Sethe's mind, her children are the only good and pure part of who she is and must be protected from the cruelty and the "dirtiness" of slavery(Morrison 251). In this respect, her act is that of love for her children. The selfishness of Sethe's act lies in her refusal to accept personal responsibility for her baby's death. Sethe's motivation is dichotomous in that she displays her love by mercifully sparing her daughter from a horrific life, yet Sethe refu .....

.... narrative rhythms. Like the intricate percussion of the Indian tabla, the fabric of Woolf's narrative comprises a polyrhythmic texture that subtly undermines London's booming metronome: Big Ben. The beautiful and complex narrative of Mrs. Dalloway seems to defy readers' powers of description. David Dowling's Mapping Streams of Consciousness exemplifies a sense one must ``reconstruct'' the text in order to understand it. In a section entitled ``A Reading,'' Dowling dissects the novel into neat structural packages so the reader can easily study its anatomy. He includes maps of London showing various characters' movements and intersections, an hour .....

.... of life and the lack of appreciation her character displays. Her mother states, "I didn't want to bring up how I had offered Dee a quilt when she went away to college. Then she had told me they were old-fashioned, out of style." Dee does not appreciate things unless it is for her own self-gratification. After being away at college, she is demanding to be given the quilts that her grandmother and aunt have made, for she now sees these precious items as fashionable objects. "Dee wanted nice things. At sixteen she had a style of her own and knew what style was." She has a selfish mind of her own. Mama is more simple. She learned about life by working har .....

.... Frost, born in San Francisco, Mar. 26, 1874, was one of America's leading 20th-century poets and a four-time winner of the Pulitzer Prize. An essentially pastoral poet often associated with rural New England, Frost wrote poems whose philosophical dimensions transcend any region. Although his verse forms are traditional--he often said, in a dig at archival Carl Sandburg, that he would as soon play tennis without a net as write free verse--he was a pioneer in the interplay of rhythm and meter and in the poetic use of the vocabulary and inflections of everyday speech. His poetry is thus both traditional and experimental, regional and universal. Afte .....

.... words. In those scenarios that require thorough contemplation, Hamlet is impulsive. An example of this is seen when hears a "rat" listening in on his dialogue with his mother in Act III, iv. Without the necessary thought, Hamlet draws his sword and kills Polonius. Another example to support this premise is in Act I, iv when Hamlet threatens his friends and follows the potentially dangerous ghost into the forest without any contemplation. The contention that Hamlet's tragic flaw is "external difficulties" can be disproven in Act III, iii when Hamlet has his knife drawn and is only a swift motion away from Claudius' death. Hamlet's tragic flaw is not .....

.... respectable man; a work involved with more than magic; a work created through a strong basis of trust and love. “The love business is a powerful thing. I must say it is probably the greatest force on Earth.” (p110) Merlin said this line with such assurance and confidence that young Arthur, formerly known as the Wart, only longed to believe that this statement was true. He was unaccustomed to such “petty” things as love, in which he was blind to, so in the beginning, he was hesitant on Merlin’s teachings on the topic of love and trust. In his earlier years of his life, growing up for Arthur consisted of constant diff .....

.... first appearance in the play speaks with a remarkable eloquence despite his deformed image, "As wicked dew as e'er my mother brushed/ With raven's feather from unwholsome fen/ Drop on you both!" (1.2.324-326). These lines show how Caliban speaks in the same eloquent tongue that Prospero speaks with. His lines are long and his words are filled with imagery: "wucked dew", "unwholesome fen", "raven's feather".Caliban doesn't in the play ever seem to be at a loss for words when describing his situation. Later in Act 1 Scene 2 Caliban describes how he once the island was his. Caliban acts like a tour guide for the reader describing the water, berries, to .....