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    Love´s True Reply

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    Love's True Reply There are many notions of love and perhaps numerous discerning views of the role that courtship plays between a man and women. The fact remains true: love like all emotions is directly tied to time, the passage of time and its effects on the given situation. The idea that the “courtier”, most often the active male, and the “courted”, or notably the passive female, represents a structure of power so prominent in traditional roles of courtship. This noted relationship between man

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    Contrasting As You Like It, The Passionate shepherd to His Love, and The Nymph's Reply to the Shepherd The pastoral settings in Shakespeare's As You Like It, "The Passionate shepherd to His Love" by Christopher Marlowe, and "The Nymph's Reply to the Shepherd" by Sir Walter Raleigh collectively portray contrasting ideas about nature. Marlowe idealizes pastoral life while Raleigh's companion piece shows its negative aspects. As You Like It explores both the positive and negative qualities.

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    Comparing The Passionate Shepherd To His Love, Her Reply, and Cecil Day Lewis When looking at these three poems,  it immediately becomes noticeable that all of them are very similar.  They often share the same lines,  almost word for word,  and furthermore follow a smilar tone,  as well as having an identical rhyming pattern.  „The passionate shepherd to his love“ (poem number one)  is followed by an answer from his lover (poem number two),  and is then followed up by a further poem by Cecil

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    Comparing Sir Walter Raleigh's "The Nymph's Reply to the Shepherd" to Christopher Marlowe's "The Passionate Shepherd to His Love" Sir Walter Raleigh wrote "The Nymph's Reply to the Shepherd" in 1600 to respond to Christopher Marlowe's "The Passionate Shepherd to His Love" written in 1599. In " The Passionate Shepherd to His Love", the Shepherd used double-entendres and hidden sexual images in an attempt to trick the Nymph into performing sexual intercourse with him. The Shepherd attempted to

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    Word Play in Hamlet

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    Word Play in Hamlet A principal theme in Shakespeare's Hamlet is the strength and flexibility of language. Words are used to communicate ideas, but can also be used to distort or conceal the truth and manipulate. Throughout the play characters comment on the properties of language and exploit these for their own advantage. Claudius, the shrewd politician is the most obvious example of a man who manipulates words to enhance his own power, possessing a professional grasp of the language

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    at it whenever he had a chance, and tried to be candid about it.  When it became apparent that Aylmer was quite concerned with this, Georgiana asked him to elaborate.  He was more disgusted by the mark than Georgiana assessed. Her most significant reply to him was “You cannot love what shocks you!” She is indeed compromising, offering her life in exchange for her husband’s contempt.  The bandwagon effect modifies Georgiana’s thinking towards the mark.  She then becomes critical of it, begging her

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    Existence of God

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    perfect island. This is a reduction of Anselm’s position: it shows it to have absurd consequences. However, it is not clear that there is a coherent concept of the perfect island to start with: how many palm trees is the perfect number? Anselm’s own reply seems to distinguish the perfect island – which is a perfect example of one kind of thing – from the perfect being – which is a perfect example of a thing, with no restriction to kind. It is no virtue, excellence, perfection of an island qua island

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    My Miracle

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    performance, and we had been practicing before and after school. While I waited for an answer from my dad, the game show, "Who Wants to be a Millionaire," sounded in the background. "Dad, I am going to run to Hailey's real quick," I repeated my shout. A reply came: "It's snowing pretty hard, wait for my show to end and I will take you. I am on my way to the store anyway." I looked out the window to see snow coming down pretty heavy. On any other day, I would have argued to leave right away, but for some

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    Macbeth - Manipulation

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    she would have to push Macbeth into performing the deed and she starts by telling him "Thy letters have transported me beyond this ignorant present and I feel now the future in the present" (1.5.57-59) the moment they meet. From Macbeth’s reply "We will speak further" (1.5.69) he is obviously noncommittal, but was already thinking about it. The first step of manipulation has started. Not much further in the play, we see that Macbeth decides not to murder Duncan but rather, carry

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    Old Friends

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    it. Squinting, for a better look, I carefully separated the hair that grew from his temples, ordinarily bristling white, but now suspiciously black and tarry. Interrupting my cutting, I ventured, "Doug, what's all over your hair?" As I awaited his reply, I contemplated my long professional relationship with the man seated before me. I cut hair and work with hairpieces for a living. I design, install, and maintain them for fees far below those of large companies whose lavish infomercials are viewable

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