In da merchant of venice wat conditions must a suitor agree 2 b4 he sees the three caskets from which 2 choose
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The suitors must all agree not to pursue any other women if they lose, never to have children, and never to speak to or \npursue Portia.
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1) water\n2) ........\n3)himself
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Meeting is fate the rest is choice
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I advice u to choose one from 1,2,3 or 4.
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The best examples are probably in the "too too solid flesh" soliloquy.  There the distinction between earthly things and heavenly things, and the distinction between King Hamlet and Claudius.  Also, when Prince Hamlet is addressing Yorick's skull, he draws comparisons between living and dying
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Remember the first time you were introduced to Marsellus Wallace. The first shot of him was of the back of his head, complete with band-aid. Then, remember the combination of the lock on the briefcase was 666. Then, remember that whenever anyone opened the briefcase, it glowed, and they were in amazement at how beautiful it was; they were speechless. Now, bring in some Bible knowledge, and remember that when the devil takes your soul, he takes it from the back of your head. \n\nYep, you guessed it. What is the most beautiful thing about a person: his soul. Marsellus Wallace had sold his soul to the devil, and was trying to buy it back. The three kids in the beginning of the movie were the devil's helpers. And remember that when the kid at the end came out of the bathroom with a "hand cannon," Jules and Vincent were not harmed by the bullets. "God came down and stopped the bullets" because they were saving a soul. It was divine intervention.
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A Brother Who Sins Against You \n 15"If your brother sins against you,[b] go and show him his fault, just between the two of you. If he listens to you, you have won your brother over. 16But if he will not listen, take one or two others along, so that 'every matter may be established by the testimony of two or three witnesses.'[c] 17If he refuses to listen to them, tell it to the church; and if he refuses to listen even to the church, treat him as you would a pagan or a tax collector
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1.(c) 2.(d) 3.(b) 4.(a)
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1. What shall we have for lunch?\n\n2. Where shall we eat?\n\n3. Who's buying?
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Perfect man? I've never heard of such a thing. I'm still having a hard time with the three WISE men! :0)
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Polyneices and Eteocles, two brothers leading opposite sides in Thebes' civil war, have both been killed in battle. Creon, new ruler of Thebes, has declared that Eteocles will be honored and Polyneices disgraced. The rebel brother's body will not be sanctified by holy rites, and it will lay unburied to be the food of carrion animals. Antigone and Ismene are the sisters of the dead brothers, and they are now the last children of the ill-fated Oedipus. In the opening of the play, Antigone brings Ismene outside the city gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, fearing the death penalty, and she is unable to dissuade Antigone from going to do the deed by herself.\n\nCreon enters, along with the Chorus of Theban elders. He seeks their support in the days to come, and in particular their support for his edict regarding Polyneices' body. The Chorus pledges their support. A Sentry enters, reporting fearfully that the body has been buried. A furious Creon orders the Sentry to find the culprit or face death himself. The Sentry leaves, but after a short absence he returns, bringing Antigone with him. Creon questions her, and she does not deny what she has done. She argues unflinchingly with Creon about the morality of the edict and the morality of what she has done. Creon grows angrier, and, thinking Ismene must have helped her, summons the girl. Ismene tries to confess falsely to the crime, seeking to die with her sister, but Antigone will have none of it. Creon orders that the two women be temporarily locked up inside.\n\nHaemon, Creon's son and Antigone's fiancé, enters to pledge allegiance of his father. He initially seems willing to obey Creon. But when Haemon tries gently to persuade his father to spare Antigone, the discussion deteriorates and the two men are soon bitterly insulting each other. Haemon leaves, vowing to never see Creon again.\n\nCreon decides to spare Ismene but to imprison Antigone in a cave. She is brought out of the house, and she bewails her fate and defends her actions one last time. She is taken away, with the Chorus expressing great sorrow because of what is going to happen to her.\n\nTeiresias, the blind prophet, enters. He warns Creon that the gods side with Antigone. Creon accuses Teiresias of being corrupt, and Teiresias responds that because of Creon's mistakes, he will lose one child for the crimes of leaving Polyneices unburied and putting Antigone into the earth. All of Greece will despise him, and the sacrificial offerings of Thebes will not be accepted by the gods.\n\nThe Chorus, terrified, asks Creon to take their advice. He assents, and they tell him that he should bury Polyneices and free Antigone. Creon, shaken, agrees to do it. He leaves with a retinue of men to help him right his previous mistakes. The Chorus delivers a choral ode on/to the god Dionysis, and then a Messenger enters. He tells them that Haemon has killed himself. Eurydice, Creon's wife and Haemon's mother, enters and asks the Messenger to tell her everything. The Messenger reports that Haemon and Antigone have both taken their own lives. Eurydice disappears into the palace.\n\nCreon enters, carrying Haemon's body. He understands that his own actions have caused these events. A Second Messenger arrives to tell Creon and the Chorus that Eurydice has killed herself. With her last breath, she cursed her husband. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his child and his wife. The Chorus closes by saying that the gods punish the proud, but punishment brings wisdom. \n\n\nSee this for a summary and analysis:\n\nhttp://www.gradesaver.com/classicnotes/titles/antigone/
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1. adventerious.\n2. brave\n3. strong- willed\n\nhe is srong enoughTo be able to get on the ship, beginning\n\nHe takes the ship and sails it to the other side of the island when the pirates make themselves known and when he tries to get back with the rest of the crew.\n\nHe stood up for what he believed in the end when he has his last encounter with Silver
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The 3 Gs: Gold, God, and Glory\n\nGold: They wanted wealth.\n\nGod: They wanted to spread Christianity.\n\nGlory: They wanted to be famous.
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"Come, cords, come, nurse, I'll to my wedding-bed,\nAnd death, not Romeo, take my maidenhead!"\nJuliet, Act III, Scene ii, Lines 136-7\n\n"O, tell me, friar, tell me,\nIn what vile part of this anatomy\nDoth my name lodge? Tell me, that I may sack\nThe hateful mansion."\n[Romeo takes out his dagger and offers to stab himself.]\nRomeo, Act III, Scene iii, Lines 105-8\n\n"If all else fail, myself have power to die."\nJuliet, Act III, Scene v, Line 242
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You could use The Merchant of Venice for a project on gender roles.  Many critics agree that the nature of Antonio and Bassanio's relationship is homoerotic, and perhaps one-sidedly so.  The women in the book play a unique role in the fact that they provide the final judgement of Shylock, but their opinions/logic are only considered because they dress as men.  Lorenzo also admires Jessica in an erotic way when she dresses as a boy.  There's also the anti-Semitic facet of the text, if you wanted to go that route, as well as the role of merchants, money-lending, greed.  There is a wide range of criticism on this piece, because a lot of the themes and elements are somewhat ambiguous.
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1. Faber est suae quisque fortunae.\nEvery man is the artisan of his own fortune.\n(Appius Claudius Caecus)\n2. Exoriare aliquis nostris ex ossibus ultor \nMay an avenger one day raise from my bones.\n(Vergilius, Aenis)
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I think the reference you're making is probably to\nthe engraving which shows two tables, with Roman\nnumerals, which are probably depictions of the two\ntablets of the ten commandments.  At:\n\nhttp://www.firstamendmentcenter.org/rel_liberty/faqs.aspx?id=12147&\n\nit describes them as:\n\n  The bottom of one door to the courtroom has a\n  carving of two tablets with the Roman numerals\n  1 to 10, but no text.\n\nAnother reference (with a picture):\n\nhttp://politicaltherapy.blogspot.com/2005/03/supreme-court-could-rule-own-building.html\n\nsays:\n  ...display on the doors of the court itself, each of which\n  displays icons of the two tablets with an "implied\n  Ten Commandments" on them.\n\nFinally, however, other references discuss *other* things\non the doors:\n\nhttp://www.eteel.com/Washington_DC/photos/supreme_court.html\nhttp://www.supremecourtus.gov/about/courtbuilding.pdf\nhttp://www.usscplus.com/info/building.htm\n\n  One can enter the building through the opened bronze doors\n  of the west front, each of which weight six and one-half\n  tons and slides into a wall recess when open. The door\n  panels, sculpted by John Donnelly, Jr., depict historic\n  scenes in the development of law: the trial scene from the\n  shield of Achilles, as described in the Iliad; a Roman\n  praetor publishing an edict; Julian and a pupil; Justinian\n  publishing the Corpus Juris; King John sealing the Magna\n  Carta; the Chancellor publishing the first Statute of\n  Westminster; Lord Coke barring King James from sitting as a\n  Judge; and Chief Justice Marshall and Justice Story.