I find this opening line, to the last section available to this text, incredibly interesting. The framework of time for the bridge to be built, initially, is 12 days - here we are on day 8, being told the bridge will be done sooner than expected (2 or 3 days from now). However, following the final 2 tales, there is no content for this story. No answer on the rest of day 8’s tales, nor the bridges finished construction. This got me researching the reasons as to why the work was never finished. Realizing the death of the author was the reason for the work's incompleteness, I decided to dig deeper into how the work itself was published after her death, as that was another question I had pertaining to this text. How was the work released to the public following her death? This question took me to Walter K. Kelly’s essay, included in his English translation of the work - The Heptameron of Margaret, Queen of Navarre - on the death of Marguerite de Navarre and the effects it had on the text. Kelly concludes that the state in which we know The Heptameron, is not the version many have read throughout history, as “the genuine Heptameron, after remaining in manuscript for more than three hundred years from the Queen of Navarre's death, was only published [in 1865]” (Kelly, Essay on the Heptameron). Kelly attributes this spreading of a false text (From the time of Marguerite’s death to when the correct and true manuscript was “published…by the Société des Bibliophiles Francais” (Kelly, Essay on the Heptameron).) to Pierre Boaistuau. Boaistuau altered various sections of the text, as well as the order, and took many editorial liberties that fundamentally changed the text for years to come. Thankfully, the original text is now the recognizable version of the work! All in all, a very fun rabbit hole to go down, following realizing the text does not have a clear ending. WORKS CITED Kelly, W. K. (n.d.). The heptameron of Margaret, queen of navarre. - University of Pennsylvania. Retrieved March 31, 2023, from https://digital.library.upenn.edu/women/navarre/heptameron/heptameron.html

This quote accurately depicts the gender-based social standing at the time period in which Gargantua and Pantagruel was written and released, the mid to late 1500's. This period of time is also known as the Elizabethan era, with "four main classes: the Nobility, the Gentry, the Yeomanry, and the Poor" (History.org, Social Structure) being societies basic structure. A woman’s importance was found in her class, her looks, her ability to procreate, and her willingness to smile through all hardships to come her way. The article The Role of Women During Elizabethan Times sheds great light on the accuracy of the above quote, claiming women who did not meet their “womanly standards” were unable to join John in his abbey in Theleme, as they were undesirable if they weren’t pretty and obedient (even to a Monk). In the article, the Elizabethan era is characterized as “patriarchal,” meaning “men were the leaders, superior to women…who were perceived as being not worthy of the same privileges and rights” (Edubirdie.com, The Role of Women). Here, and in various other moments of the text (such as Gargamelle, Gargantua’s mother being “lovingly” described as a “well-mouthed wench” (Rabelais, Book 1 Chapter 6) by Gargantua’s father) we see Rabelais openly state these ideals - sometimes in moments of satire, but always when writing about a woman. Therefore, we can infer that these ideals were topical and accurate to the time period, my cited articles worked to support that inference. WORKS CITED Social Structure / overview of Elizabeth I / historical association. Historical Association. (n.d.). Retrieved March 31, 2023, from https://www.history.org.uk/student/module/4536/overview-of-elizabeth-i/4543/social-structure “The Role Of Women During Elizabethan Times.” Edubirdie, 26 Feb. 2022, edubirdie.com/examples/the-role-of-women-during-elizabethan-times/

These opening lines effectively set up the story's context (within the main character's life) and setting (in a dark forest). They are waking up in a dark forest, in the middle of their life (implying they aren’t entirely dead, as it is not the end of their life). However, what I find really striking about these opening lines is the phrasing "our days," which allows the reader a look into the reflection of Dante the poet, onto Dante the pilgrim. Additionally, the word "our" creates a collective mindset for this character - allowing for the reader to project aspects of themselves (and humanity as a whole) onto Dante the pilgrim, as well. By making Dante the pilgrim an example of all of humanity, including the writer of the piece himself, the story elevates. In turn, Dante the pilgrim represents more than a Florentine man's journey of the soul, rather his story represents a spiritual journey of humanity coming back into, and rediscovering, their connection to God, in the modern era of Dante's time.

Citation: Fruhauff, B. (2022, August 29). Significant beginnings: Inferno, canto I. Carl F. H. Henry Center for Theological Understanding. Retrieved March 9, 2023, from https://henrycenter.tiu.edu/2015/12/inferno-canto-i/

This section foreshadows multiple aspects of the poem. Obviously, this is the act that foreshadows the Green Knight's true power. By resurrecting immediately following decapitation, we are seeing a glimpse into the supernatural power this mysterious figure possess. Additionally, this section foreshadows the intellect and followthrough of the Green Knight, by reciting (for the third time in the poem, via dialogue) the terms of the oath being made by Sir Gawain - the language used even indicates that the Green Knight views this as law-like and now guaranteed to play out. Effectively showcasing the Knight's "game master" level of thinking and Sir Gawain's "in over his head" level of unpreparedness for the remainder of the work.

Citation: Acosta, L. (n.d.). Sir Gawain and the green knight. Passage Analysis. Retrieved March 8, 2023, from http://csis.pace.edu/grendel/prjs2c/analysis.htm

This section allows for Euripides to use irony. Medea’s children and the children's Attendant return from the royal home with the news that Medea's children have been spared from exile, something a mother in Medea's position should rejoice over. When Medea reacts poorly to this, as she now has to go through with her plan to kill her children, the Attendant questions her. This conversation is an example of dramatic irony: the audience knows what Medea has planned, and therefore, why she is so upset by the attendant bringing her the news that the plan is on track. At this point in the play, Medea needs to make a definitive choice to kill her children.

Additionally, you can argue that Euripides attempts to form this dramatic irony into a joke of sorts that ultimately foreshadows what Medea is about to do. The Attendant claims Medea's children will one day bring her home (mistaking Medea's negative attitude as a result of grieving no longer seeing her children). In response, Medea states "Home? ...I have others to send home." (Euripides, 56). Here, Medea, unbeknownst to the attendant, admits she will be killing her children. She will not be returning home, she is sending others home - the "others" being her children, "home" being to God (by murdering them). This, undoubtedly, only makes sense to the audience and not the Attendant (therefore, was meant as a message to the audience), which is why I believe it could be seen as an attempt at a crude joke during a dark situation. Whether or not it was an attempt to joke by Euripdes is unclear, but the foreshadowing is apparent.

Citation: Caitlin. (n.d.). Literary Devices in The Medea. Owl Eyes. Retrieved January 31, 2023, from https://www.owleyes.org/text/medea/analysis/literary-devices

The "unknowing toil" and the "enlightened toil" both refer to groups of people in a community who have duties they must complete. The distinction between the two groups is found in the individual's relationship to their work. Those described as an "unknowing toil" are people who mean to complete their duties ignorantly and with the main goal of receiving a reward from their duties. While, those described as "enlightened toil" are those who complete their duties without selfishness, nor expectation. However, more importantly, this section reestablishes a previously stated, by Krishna, message: "What the wise choose the unwise people take; what best men do the multitude will follow" (481). Here, Krishna explains that what the good, "enlightened" people do in a community should and will be used as a learning example to those who need to be guided in the right direction, such as the "unknowing toil". This message really showcases the importance of the greater good.

Citation: Mukundananda, S. (n.d.). Chapter 3, verse 25 – bhagavad gita, the song of god – swami mukundananda. Chapter 3, Verse 25 – Bhagavad Gita, The Song of God – Swami Mukundananda. Retrieved January 31, 2023, from https://www.holy-bhagavad-gita.org/chapter/3/verse/25

Side note: I recommend the website above, if you have any questions pertaining to a specific section of this work! It was super helpful for me.