This comparison of Moira to a cat, to the cat catching mice, to the mice and Aunt Lydia shows the (foreshadows) her eventual power she has over the Aunts.

Does this foreshadow the duality and complexity of their relationship? Because there is a period of time when Elio is in an internal conflict with his desire and lack of desire for Oliver.

Does this also foreshadow or symbolize his desire for Oliver?

Desdemona is foreshadowing her own death

foreshadowing that truly the tempest will not allow his soul to see happiness like this again.

It is almost like he is welcoming the Tempest, because he feels as if nothing can ruin it now, with Desdemona -- this is a literal inviting of Iago to come ruin it. It is to show that his defencelessness and overconfidence invites the inner beast within to come rupture it.

Even after a second telegram "ensuring" that Mr. Mallard was dead, he turns up alive in the end.

Firstly, the joy that kills is ironic as joy is never associated with death. The ending also ties back to the first sentence where the author established that she had a heart condition. This was most likely purposeful foreshadowing done by the author.

Knowing she had a heart condition, why would no one follow her to make sure she is alright? This could imply some foreshadowing of how the character feels.

More foretelling of Beowulf's impending doom

Deep sense of foreboding: Beowulf is doomed to die.

Foreshadowing Heorot's demise

from Heaney (1999): "And soon it stood there / finished and ready, in full view, / the hall of halls. Heorot was the name / he had settled on it, whose utterance was law. / Nor did he renege, but doled out rings / and torques at the table. / The hall towered, / its gables wide and high and awaiting / a barbarous burning. That doom abided, / but in time it would come: the killer instinct / unleashed among in-laws, the blood lust rampant" (lns 76-85).

from Headley (2020): "So it rose: a greater hall than any other! / Hrothgar filled it, blood-brother by blood-brother, / and named it Heorot. his words were heard and heralded, / and yes, yes, bro! The man was more than just talk: / he gave good gifts. His war-wedded wore kings' rings, / and drank their leader's mead. Nightly, he / feted his fight-family with fortunes. The hall loomed, golden towers antler-tipped; it was asking for burning, but that hadn't happened yet. / You know how it is: every castle wants invading, and every family / has enemies born within it. Old grudges / recrudesce." (lns 75-84)

Foreshadowing perhaps Louisa's fall, Henrietta and Mary going into hysterics and, Anne being the only useful person

Research by Christian Heath indicates that in interpersonal communication that speakers gesture meaning before they form the related words and listeners begin nodding at the gestures before they hear the spoken words.

Something that was still begins to "turn", possibly hinting at events turning for the worse. This specific sentence is highlighted by the alliteration of the hard t sound in "time", "turn", and "tide". Furthermore, the peculiar repetitive form in "the of the of the _" emphasizes the intention behind this phrase.

Collins is clearly hinting to the reader of shifting forces behind the scenes. The "big brown face" could allude to the Indians and the curse of the Diamond.

Usually when crops die and storms come it is a bad sign.

Foreshadowing the caos of suicide when the house and floor is flooding. She was the the one to clean it at one point now mama is the one causing the mess.

This editor chose to keep the manuscript reading "Beowulf"; the editors of Klaeber 4 emended to "Beow." In their Commentary on line 18f (page 113), they note that "Beow" fits the meter in "Beowulf"'s second appearance at 53, and that traditional genealogies provide the name "Beow." However, I prefer the choice (as does Liuzza in his translation): whether poet or scribe, someone has made the name match that of the poem's protagonist. An earlier hero foreshadows a later.

I consider it foreshadowing because it literally has "this resolve for the future" in it. I believe that Brown is about to journey to go and take part in very bad actions considering he needed to "justify" his "present evil purpose".

Caesar, awoken by his wife Calpurnia’s nightmares, sends a servant to bid the priests to offer a sacrifice and tell him the results, which reveals an impossibly ominous future. Calpurnia enters and insists that Caesar remains home, but he rebuffs her, refusing to appear as a coward. But having witnesses the omens of the previous night (dead men walked, ghosts wandered the city, a lioness gave birth in the street, and lightning shattered the skies), she begs him to remain. Yet Caesar claims nothing can change the plans of the gods and deems the signs to apply to the world in general and refuses to believe that they bode ill for him personally.

Caesar is an illeist (refers to himself in third person) as if his very name deserves recognition in his own speech. He constantly suggests he is greater than man and even “danger knows full well that Caesar is more dangerous than he” as if overshadowing death. He claims he is “without a heart”, unbound by the limitations of life or the fear of death. He self claims a God title where danger is but a child to him. The scene reveals Caesar’s unending pride and overconfidence, as he remains ignorant to the evident extent of menace.

Although he is not tangibly introduced until the next scene, the audience is already presented with a fairly clear characterisation of Julius Caesar. However, Caesar's exact nature is determined through two juxtaposing attitudes towards the Empire.

The Roman common-folk praise the defeat of Pompey, in fact making a "holiday to see Caesar and to rejoice in his triumph." On the contrary, the noble classes express a more pessimistic attitude; Flavius cautions that the new leader will "soar above the view of men, and keep us all in servile fearfulness."

The tribunes believe that Caesar's power is too great for one man, and that his rise as Emperor will lead to the downfall of Rome. It is also a valid argument to say that they envy Caesar's might, especially since Flavius and Murellus are to lose an element of their own authority.

After commanding the people to weep for the coming events, Flavius and Murellus leave to "disrobe the images" of Caesar. This metaphor refers to removing the decorations off Caesar's statues, a crime which they are later punished for. The desperation of such an act is an indication of how strongly Caesar is feared and detested by the noblemen.

This scene leaves the audience with a preconceived image of Caesar as ambitious, influential and excessively powerful. The loathing of Flavius and Murellus towards the new Emperor foreshadow the upcoming conspiracy and the ultimate demise of Caesar.

This foreshadows the shooting and gives us this solemn feeling.

Hdt. 1.13 The oracle told Gyges that the Heraclidae would have vengeance in the fifth generation and they ignored this until it came true.