Rabelais emphasizes this transitionary period from the medieval ages into that of the renaissance through a satirical depiction of Gargantua's diligence. This humor becomes evident in this chapter of the first book as he employs themes of enlightenment to emphasize this period of protestant reformation and evolution in philosophical process. As in this section, Gargantaua’s days become an extreme repetition of development where he “is constantly focused on self-improvement and becoming essentially a perfect well-rounded version of himself … [creating] an obvious parody of the obsessed efforts of men in Rabelais’ time period to be the ideal, ‘Renaissance Man" (Merritt). Essentially, the transitionary themes of reformation and evolution in philosophical process that occurred in Rabelais’s time, are evoked though Gargantua's extreme Renaissance education and establish this shift towards scientific and humanistic discovery.

Merritt, Yvonne. “The Unquenchable Thirst to Understand: Francois Rabelais’ Satire of Medieval and Renaissance Learning In Gargantua and Pantagruel .” Ampersand The Science of Art, The Art of Science , Florida Gulf Coast University, 1999, http://itech.fgcu.edu/&/issues/vol2/issue2/rabelais.htm.

In Tale X, Parlamente depicts a female's honor through the preceding story of Amadour and Florida. Parlamente models this in conjunction with the continued themes on the essence of love that influence the collective tales as a whole. As the account of Amadour and Florida unfold, these themes are further established, and once told, the proceeding conversation only emphasizes this nature. Here, Oisille’s dialogue on framework of love, “where the lady is elevat- ed to a higher spiritual position and the potential male lover assumes the position of a "devoted servant,’” solidifies this courtly archetype established in the tenth tale and maintained throughout the entire narrative (Zahi).

Zalloua, Zahi. “MARGUERITE DE NAVARRE AND THE CHALLENGE OF ETHICAL CRITICISM: HISTORY, LITERATURE, AND EXEMPLARITY IN THE ‘HEPTAMÉRON.’” Romance Notes, vol. 45, no. 2, 2005, pp. 131–39. JSTOR, http://www.jstor.org/stable/43801855. Accessed 28 Mar. 2023.

The Jinni (commonly referred to as a genie) serves as a significant icon in the story of The Thousand and One Nights as it appears in various stories throughout this book. The Jinni is a hidden treasure that represents the concept of magic as a causality. In this scene specifically, a very poor fisherman finds the Jinni in a locked jar. It is in the element of the Jinni's reveal that the story deliberately presents the notion of magic. It should be noted how this magic stimulates the "belief that besides the causal relations we know, there is another causal relation," magic (Borges 570). This relationship occurs as an accident or from physical objects such as the ring and lamp we learn about in the story. Together, these themes of magic and discovery work as a central themes in this story.

Borges, Jorge Luis, and Eliot Weinberger. “The Thousand and One Nights.” The Georgia Review, vol. 38, no. 3, 1984, pp. 564–74. JSTOR, http://www.jstor.org/stable/41398722.

The Green Knight proposes the question that someone plays a "game" with him that involves a contract. These lines in the poem explores the themes of chivalry as the contract alludes to bravery and probity since it deals with an agreement. He fools Gawain into this contract by disclosing that he will grant him the initial strike, allowing him to slice his head off. Ironically, the Green Knight's characteristics of "Trickery and deceit" are in opposition to the traditional attributes of chivalry (Maldonado 13). This deceit comes as the Green Knight fails to tell Gawain that after he strikes him, he will still be alive. The Green Knight essentially disguises his true identity which "feigns ignorance about Gawain and his quest" (Maldonado 13). In other words, the Green Knight fails to inform Gawain of his immortal-like characteristics considering he survives decapitation, and through his inability to speak the truth, he breaks the chivalric code.

Maldonado, Joshua David, "The Game at the Green Chapel: A Game-Oriented Perspective on Chivalry in Sir Gawain and the Green Knight" (2020). Senior Projects Spring 2020. 122. https://digitalcommons.bard.edu/senproj_s2020/122

Here, Krishna refers to himself as Vishnu—the supreme form from which Krishna is incarnated. Krishna is the human form of the Hindu God, Vishnu, who serves as a consultant for advice. Charles Rarick discusses Vishnu in Expanding Managerial Consciousness: Leadership Advice from the Bhagavad Gita by highlighting how in traditional “Hindu belief, God consists of three manifestations, Brahma, Vishnu, and Shiva” (Rarick 2). Rarick notes how of these three manifestations, Vishnu serves as the God of preservation and can exhibit Himself in countless forms. Vishnu can return to earth at any time to uphold order and operation. When Krishna reveals to Arjuna that he is Vishnu, he certifies that he's everything.

Rarick, Charles A., Expanding Managerial Consciousness: Leadership Advice from the Bhagavad Gita (December 15, 2007). Available at SSRN: https://ssrn.com/abstract=1082214 or http://dx.doi.org/10.2139/ssrn.1082214

Wool plays an important theme in Lysistrata and she uses it to emphasize the valuable contributions that women held in both the home and social society. In this scene, she presents her plan of action to bring the Peloponnesian war to an end through a simile using the process of creating a cloak from raw wool. In his text, The Manipulation of Theme and Action in Aristophanes’ Lysistrata, John Vaio highlights the significance behind Lysistrata’s comparison of wool work as it merges both home and social attributes to indicate social reform (Vaio 374). During this period women remained in the home where they were to refrain from an interest in public diplomacy and instead engaged in activities such as wool work (Vaio 5). Lysistrata uses the wool metaphor to break down the political conditions of society and to verbalize where those conditions need improvement.

Westlake, H. D. “The ‘Lysistrata’ and the War.” Phoenix, vol. 34, no. 1, 1980, pp. 38–54. JSTOR, https://doi.org/10.2307/1087757. Accessed 1 Feb. 2023.