As seen throughout the text, insatiability seems to be a theme. Gargantua is a giant and I would say that this would lend itself to Rabelais' humanist approach as man being the center of the experience. There are many instances of the constant cycle of eating and drinking, as well as other bodily functions, which demonstrates that "the body is not in stasis, but in a constant state of flux" (Bromilow 28). Hence the body's insatiability and the line highlighted as drinking had "neither end nor rule."

Bromilow, P. “Inside out: Female bodies in Rabelais.” Forum for Modern Language Studies, vol. 44, no. 1, 1 Jan. 2008, pp. 27–39, https://doi.org/10.1093/fmls/cqm120.

While the highlighted portion discloses the group's intention to tell stories, it also introduces the complexity of multiple interpretations due to "the presence of several storytellers, each reacting in turn to the story, produces a variety of interpretation" (Losse 591). It is almost necessary to read the stories multiple times as to develop a full rounded view and understand the different reactions from the group.

Losse, Deborah N. “The representation of discourse in the renaissance nouvelle.” Poetics Today, vol. 5, no. 3, 1984, p. 585, https://doi.org/10.2307/1772381.

All throughout the poem, the author used duality to remind the audience that life is not black and white, but rather complex. This can be seen in the Green Knight being beheaded and surviving as "the poet calls attention to a binary of an impermanent world and a world of renewal [...]" (Martinez 116). Though, this is not the only instance of a dualistic symbol being brought to light as Sir Gawain later battles both internal and external conflicting circumstances.

Martinez, Ann M. “Bertilak’s Green Vision: Land Stewardship in sir Gawain and the green knight.” Arthuriana, vol. 26, no. 4, 2016, pp. 114–129, https://doi.org/10.1353/art.2016.0052.

Shahrazad expertly utilized her knowledge of her community to essentially manipulate the King into keeping her alive. This is seen when she states that the King will "turn from his blood thirsty custom." Now, while she is trying to do right by all women, as well as the general population under his rule, she is using the Islamic world's "strong tradition of transmitting wisdom and information through teaching stories" (Irwin 248). So, while the King might or might not see through this charade, he will nevertheless fall victim to her scheme due to storytelling's deep roots in their culture, as well as her flawless method of storytelling.

Irwin, Robert. “Political thought in the thousand and one nights.” Marvels &Amp; Tales, vol. 18, no. 2, 2004, pp. 246–257, https://doi.org/10.1353/mat.2004.0039.

This definition provides a great deal of explanation for the play ahead. Since "Lysistrata" is both the name of the play and the name of the main character, it brings forth the character as both the center of attention, as well as her strength and influence. Her name meaning "Army Disbander" is a show of her strength and a self-fulfilling prophecy. All of this to say, the name lends to the theme of Greek comedies, as well as the historical examination of gender in society.

Mambrol, Nasrullah. “Analysis of Aristophanes’ Lysistrata.” Literary Theory and Criticism, 30 July 2020, literariness.org/2020/07/30/analysis-of-aristophanes-lysistrata/.

In this monologue, Krishna is reteaching what it means to sacrifice. In religious history, sacrifice was typically made by offering life, or material things. However, Krishna makes clear that simply by acting in the right order, one will properly pay that sacrifice, as stated in this line. Krishna places emphasis on acting without expectation of either negative or positive consequence as he's stated previously.

Goswami, D. A. (2020, July 19). Krishna’s concept of sacrifice. The Pioneer. https://www.dailypioneer.com/2020/sunday-edition/krishna---s-concept-of-sacrifice.html