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Green World is a literary concept defined by the critic Northrop Frye in his book Anatomy of Criticism (1957). Frye defines this term using Shakespeare's romantic comedies as the foundation. In Anatomy of Criticism, Frye describes the Green World as "the archetypal function of literature in visualizing the world of desire, not as an escape from "reality," but as the genuine form of the world that human life tries to imitate."[1] The plots of these comedies often follow the formula of action starting in the normal world and then progressing to an alternate one in which the conflict is resolved before returning to the normal world. The plot of the Shakespearean romantic comedy is built upon the tradition established by the medieval "season ritual-play,"[2] the plots of which thematically deal with the triumph of love over the wasteland. The concept of the Green World is used to contrast the civilized world of man with the often harsh natural world.

Presence in Literature

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As noted in Frye's Anatomy of Criticism, the "drama of the green world" is embodied in the works of William Shakespeare.[2] The thematic tones of the plays contain the overarching appearance of humanity eclipsing the natural worlds displayed.

In Shakespearean Works

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A Midsummer Night's Dream serves as an exploration of the green world through the fairies' interference in the romantic entanglement of the Athenian lovers. The majority of the play's action takes place in the woods outside of Theseus' Athens, with Shakespeare primarily using Athens to frame the narrative in civilization.[3] The woods of A Midsummer Night's Dream serves as an analogy to a dream-like world created out of our desires that serves to contrast the "stumbling and blinded follies of the world of experience."[1]

As You Like It also contains considerable references to the green world. The Forest of Arden is both idealized through the usage of pastoral terms, but is also depicted in a way that shows how humans manipulate and exploit it.[4] While the play makes use of typical pastoral motifs in describing the forest, these are often juxtaposed with images of the wood as a wild place–showing a dialectic tension between the new inhabitants and long standing forest.[4]

The Two Gentlemen of Verona also presents an image of the literary green world. The comedy's protagonist, Valentine, enters the woods and shortly becomes the leader of a band of outlaws; afterwards, however, the other characters all venture out into the forest and become converted. As Frye notes using this example: "...the action of the comedy begins in a world represented by as a normal world, moves into the green world, goes into a metamorphosis there in which the comic resolution is achieved, and returns to the normal world."[2]

In Sir Gawain and the Green Knight

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In Sir Gawain and the Green Knight, the Green Knight is completely green, right down to his skin: he is "nature anthropomorphized."[5] He challenges King Arthur's court by accusing them of being too indulgent rather than courageous. Sir Gawain must travel through winter's brutal conditions to arrive at Bertilak's court, which is described [by... ] as the "antithesis of winter."[6] Despite Sir Gawain being attacked by "unnamed giants," it is made clear that the greatest threat to his survival is the harsh winter landscape as made evident in line 726 of the poem: "For werre wrathed hym not so much þat wynter nas wors."[7]

Upon entering this alternate world, Sir Gawain is surrounded by abundance and warmth. The Green World is represented both by the frightening challenge made by the Green Knight, as well as by the refuge of Bertilak's court.[8] Nature's cruel forcefulness as well as its power to protect are aspects of the Green World, as it offers an alternate reality in which a problem is resolved. The Green Knight, representing nature, threatens the comfortable lives of the members of King Arthur's court.[5] The Green Chapel is described as a bare wasteland which shows another way in which nature is presented.[9]

Relationship to Ecocriticism

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References

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Sources

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  • Forker, Charles (1985). "The Green Underworld of Early Shakespearean Tragedy". Shakespearean Studies. 27: 26–27. ISSN 0582-9399.
  • Frye, Northrop (2000). Anatomy of Criticism (15th ed.). Princeton University Press. ISBN 0-691-06004-5.
  • Goldhurst, William (November 1958). "The Green and the Gold: The Major Theme of Gawain and the Green Knight". College English. 20 (2). National Council of Teachers of English: 61–65. doi:10.2307/372161. ISSN 0010-0994. JSTOR 372161.
  • Rudd, Gillian (2014). "Being Green in Late Medieval English Literature". In Garrard, Greg (ed.). The Oxford Handbook of Ecocriticism. Oxford Handbooks. Oxford University Press. pp. 27–39. ISBN 9780199742929.
  • Siewers, Alfred (2014). "The Green Otherworlds of Early Medieval Literature". In Westling, Louise (ed.). The Cambridge Companion to Literature and the Environment. Cambridge: Cambridge University Press. pp. 45–58. doi:10.1017/CCO9781139342728. ISBN 9781139342728 – via Cambridge Core.
  • Sobecki, Sebastian (2006). "Nature's Farthest Verge or Landscapes beyond Allegory and Rhetorical Convention? The Case of Sir Gawain and the Green Knight and Petrarch's Ascent of Mount Ventoux". Studia Anglica Posnaniensia. 42. Adam Mickiewicz University in Poznań: 463–475.
  • Umunç, Himmet (December 2015). "The Green Shakespeare: An Ecocritical Reading". Edebiyat Fakültesi Dergisi/Journal of Faculty of Letters. 32 (2). ISSN 1301-5737.
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Green World

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The Green World is a literary developed by Canadian critic , first articulated in his 1948 essay "The Argument of Comedy" and expanded in his influential 1957 book , denoting a verdant, enchanted natural setting—often , garden, or pastoral landscape—that contrasts with the repressive structures of ordinary society, providing a space for characters to escape, reconcile conflicts, undergo personal transformation, and return renewed to integrate harmony into their world. Frye's concept, rooted in archetypal criticism, emphasizes the green world's role in the mythos of and romance, where it embodies ritualistic themes of fertility, love's triumph over sterility, and seasonal renewal, as seen in the "drama of the green world" that assimilates plots to the of life overcoming . This is vividly illustrated in Shakespearean comedies and draws from broader traditions. Beyond its origins in , the green world has shaped subsequent criticism, serving as a lens for analyzing environmental themes in early medieval texts and adapted to modern genres to explore regenerative natural spaces.

Definition and Origins

Core Concept

The Green World is a literary denoting a or natural realm in structures, serving as a temporary refuge from the constraints of civilized . In this space, characters embark on journeys of personal transformation, confront and resolve internal and external conflicts, and experience renewal, ultimately reintegrating into the with restored . This archetype underscores the cyclical of human experience, where into nature facilitates growth and reconciliation. Symbolically, the Green World embodies chaos, fertility, instinctual drives, and a profound harmony with the natural order, often manifested through settings such as dense forests, lush gardens, or untamed wild landscapes. These environments represent a counterpoint to the rigid, artificial structures of urban or courtly life, evoking themes of seasonal rebirth and the triumph of vitality over stagnation. The archetype draws on ancient pastoral traditions, where nature acts as both a disruptive force—challenging societal norms—and a regenerative one, fostering instinctual wisdom and communal bonds. Northrop Frye introduced and elaborated the concept of the Green World in his seminal 1957 work , positioning it within the "mythos of spring" as a core pattern of comedy. Frye describes it as an idyllic, enchanted realm—often a forest or fairy domain—that enables the resolution of comedic tensions, symbolizing the victory of summer over winter and the integration of youthful energy into mature society. In this framework, the Green World operates as a rhythmic movement from the "normal world" of repression to a space of liberation and back, ensuring narrative closure through renewal. Key characteristics of the Green World include its transient quality as an escape rather than a permanent abode, the incorporation of ritualistic elements such as marriages, disguises, or reconciliations that ritualize social reintegration, and its stark contrast with the "courtly" or urban domain of convention and conflict. This structure highlights the archetype's role in affirming life's affirmative potential, where natural settings mediate between disorder and order. Frye illustrates this pattern briefly in Shakespearean comedies like and , where the Green World catalyzes harmonious endings.

Historical Development

The concept of the Green World finds its earliest literary precursors in classical pastoral traditions, where nature serves as a refuge from societal constraints and a locus for personal renewal. Virgil's Eclogues, composed around 39 BCE, established the pastoral genre by portraying idyllic rural landscapes as sites of exile for shepherds displaced by political turmoil, emphasizing harmony with nature amid themes of love, song, and escape from urban corruption. This vision of a verdant, transformative space influenced subsequent European literature, framing the countryside as an alternative realm to civilized order. Similarly, Ovid's Metamorphoses (8 CE) weaves tales of exile and metamorphosis set in wild, natural environments, such as the forest exiles of Io and Actaeon, where human forms dissolve and reform under divine or natural forces, prefiguring the Green World's role as a domain of radical change. Medieval roots of the archetype extend these classical motifs into Celtic folklore and Arthurian traditions, where enchanted forests embody otherworldly trials and revelations. Celtic myths, preserved in texts like the Welsh Mabinogion (compiled circa 12th-13th centuries), depict woodlands as portals to the sidhe or fairy realms, sites of enchantment, abduction, and heroic testing that parallel the Green World's liminal quality. Arthurian legends further develop this, as seen in Sir Gawain and the Green Knight (late 14th century), where the eerie Green Chapel and surrounding wilderness challenge knightly virtues through supernatural encounters, blending pagan green motifs with chivalric narrative to evoke nature's disruptive yet regenerative power. These elements collectively shaped a European literary imagination that viewed forested spaces as archetypal arenas for exile, metamorphosis, and return. Northrop Frye's articulation of the Green World in (1957)—a natural domain in facilitating escape, renewal, and reintegration—drew on these antecedents while influencing subsequent criticism. Post-Frye, the concept permeated structuralist approaches in the and , integrating with analyses of ritual and to interpret dramatic form. C. L. Barber's Shakespeare's Festive Comedy (1959) complemented this by examining Elizabethan holiday customs like May games, positing festive release in green settings as a mechanism for social critique and harmony, thus bridging Frye's mythic framework with historical context in archetypal studies. Twentieth-century scholarship evolved through debates on the Green World's scope, questioning its specificity to Shakespeare versus its universality as a motif. Others, building on Frye and Barber, argued for its cross-cultural recurrence, as in pastoral survivals from classical to Renaissance texts, fueling ongoing discussions in structuralist and mythic criticism.

Literary Representations

Shakespearean Comedies

In Shakespearean comedies, the Green World motif manifests as a recurring structural device where natural or enchanted settings—such as forests or islands—function as liminal spaces for narrative progression and resolution, prominently featured in plays like A Midsummer Night's Dream, As You Like It, and The Tempest. These locales provide a retreat from the constraints of civilized society, enabling the unfolding of comic plots through magical or restorative elements that culminate in harmonious reintegration. Northrop Frye identifies this as an archetypal pattern in his analysis of comic form, where the Green World symbolizes the triumph of life and renewal over societal discord. The plot functions of the Green World emphasize escape from courtly intrigue, encounters with nature's transformative forces, and ultimate resolutions through communal rituals like weddings or acts of forgiveness. In As You Like It, the Forest of Arden offers refuge from Duke Frederick's tyrannical rule, allowing exiles to navigate romantic entanglements and social upheavals before returning to a reformed court. Similarly, in A Midsummer Night's Dream, the Athenian forest becomes a site of fairy-mediated chaos, where lovers flee oppressive marital expectations only to resolve their conflicts via Oberon's magical interventions, leading to multiple betrothals. The Tempest adapts this structure to an island setting, where Prospero's orchestration of storms and enchantments propels the narrative toward forgiveness, as seen in the reconciliation between Prospero and his usurping brother Antonio, echoing the play's broader theme of restored order. Character transformations within the Green World highlight personal growth and identity shifts, often catalyzed by disguise, magic, or introspection. Rosalind in As You Like It uses her male disguise in the Forest of Arden to explore roles and self-discovery, emerging with deepened insight into love and that facilitates her union with Orlando. In The Tempest, Prospero's island exile prompts his renunciation of , marking a transition from vengeful isolation to benevolent wisdom, as he frees Ariel and pardons former enemies, symbolizing redemption. These arcs underscore the Green World's role in liberating characters from rigid personas imposed by society. Thematically, the Green World serves as an antidote to social rigidity, foregrounding contrasts between artificial constraints and natural fluidity to explore , identity, and . Frye describes it as a space where "the irrational enthusiasms and confusions of are resolved into a higher ," as in the fairy-driven resolutions of , which affirm erotic innocence against patriarchal control. In , Arden's pastoral freedom critiques courtly hypocrisy while celebrating romantic and fraternal bonds, leading to a vision of integrated community. Likewise, 's island evokes a serene communal ideal, where themes of and chastened prevail over conflict, reinforcing the motif's emphasis on renewal.

Medieval and Earlier Works

In the anonymous late 14th-century romance Sir and the , the Green Chapel emerges as a central of the , functioning as a site of profound chivalric testing where nature imposes moral imperatives on human conduct. Described as a eerie, grass-covered mound amid craggy cliffs and rushing waters, the chapel challenges Sir to fulfill his beheading bargain with the enigmatic , symbolizing the raw, cyclical forces of death and renewal that demand integration with the natural order beyond courtly artifice. This confrontation underscores nature's role as an impartial arbiter of knightly virtues like truth and , compelling Gawain to confront his human frailties in a unbound by civilized norms. Other medieval exemplars further illustrate the Green World's folkloric and chivalric dimensions. In Geoffrey Chaucer's The Knight's Tale (c. 1387–1400), the enclosed garden in Thebes serves as an idealized paradise fraught with contested desires, where the imprisoned knights Palamon and Arcite spy Emily amid blooming flora, igniting their fatal rivalry over her as an emblem of unattainable beauty and divine favor. This verdant enclosure, lush with trees and flowers, juxtaposes harmonious natural beauty against the disruptive passions of chivalric love, reflecting the era's tensions between order and chaos. Similarly, the Welsh Mabinogion (compiled c. 12th–13th centuries), a cycle of prose tales drawn from oral traditions, depicts enchanted woods as liminal realms of otherworldly trials; for instance, in the First Branch, Pwyll enters an otherworldly forest hunt led by Arawn, king of Annwn, navigating supernatural perils that test kingship and reciprocity with the natural and faerie worlds. These woodlands, teeming with magical beasts and invisible boundaries, embody Celtic folklore's view of nature as a gateway to transformation and ethical reckoning. Classical antecedents laid foundational motifs for these medieval developments, particularly in Theocritus's Idylls (3rd century BCE), a collection of short poems that pioneered the pastoral through vignettes of Sicilian shepherds retreating to shaded groves and meadows to lament love, pipe songs, and commune with nymphs away from urban corruption and strife. These rural idylls idealize the countryside as a serene to city toil, where nature fosters simplicity, erotic longing, and communal harmony among herdsmen. This tradition influenced eclogues, such as Virgil's (1st century BCE) and later adaptations by poets like , which retained the focus on shepherds' dialogues in pastoral retreats—often allegorizing political or social discord through harmonious natural settings that offered temporary escape and renewal. Distinctive elements across these pre-Shakespearean works highlight the Green World's mythic undertones, including seasonal cycles that mirror human fortunes—as seen in Sir Gawain's winter hunt paralleling the beheading game's ritual timing—and hunts as symbolic rites bridging civilization and wilderness. Supernatural beings, from the Green Knight as a verdant enforcer of oaths to the Mabinogion's faerie huntsmen, act as guardians of natural law, intervening to uphold balance and punish hubris in encounters that blend chivalric heroism with folkloric enchantment.

Critical Interpretations

Ecocritical Perspectives

Ecocritical perspectives on the Green World have gained prominence since the , coinciding with the formalization of as a field through foundational works like Cheryll Glotfelty and Harold Fromm's The Ecocriticism Reader (1996), which emphasized literature's role in examining human-nature relationships. Scholars such as Gabriel Egan extended this framework to Shakespeare's Green World , interpreting the retreats in comedies as bioregional spaces that foster ecological awareness and critique anthropocentric dominance over the environment. In these readings, the Green World serves as a counterpoint to urban exploitation, promoting bioregionalism's emphasis on place-based sustainability and interconnected ecosystems. Central to these perspectives are environmental themes portraying nature as an active, agentic force rather than a passive backdrop, challenging human-centered narratives. For instance, in , the Athenian forest exerts agency through its fairies and generative energies, resolving societal conflicts and restoring while subverting attempts at control, as Oberon's herbal manipulations highlight nature's independent vitality over anthropocentric interference. This depiction aligns with broader ecocritical views that position the Green World as a site where nonhuman elements disrupt human dominance, urging reevaluation of nature-culture binaries. Critiques within debate the Green World's potential to romanticize , overlooking historical ecological contexts, while expansions apply the to contemporary , where idealized Green Worlds symbolize lost paradises amid . A seminal text in this reframing is Timothy Morton's Ecology without Nature (2007), which employs dark to dismantle romanticized views of the , advocating for an that acknowledges the "strange stranger" of agency without idealizing as a harmonious escape. This approach influences cli-fi interpretations, portraying Green Worlds as cautionary emblems of ecological loss rather than attainable utopias.

Other Theoretical Frameworks

In psychoanalytic interpretations, the Green World in Shakespeare's comedies serves as a liminal space where characters confront the unconscious and primal instincts, aligning with Julia Kristeva's concept of the as that which disturbs identity and boundaries between self and other. Kristeva describes as a reaction to what threatens the clean and proper self, often linked to archaic drives and the maternal body, manifesting in the chaotic, transformative forests of plays like and , where characters encounter repressed desires and semiotic disruptions. This framework posits the Green World not merely as a restorative but as a site for the return of the , enabling psychic renewal through confrontation with the unconscious. Feminist readings reframe the Green World as a contested site of female empowerment and subversion, particularly through explorations of maternal imagery and gendered power dynamics. In The Tempest, Janet Adelman examines the island's natural landscape as an embodiment of "maternal nature," where Prospero's control over Sycorax's legacy reflects anxieties about female generative power and its suppression in patriarchal narratives. This perspective underscores how the Green World allows for the subversion of traditional gender roles, with female figures or archetypal maternal elements challenging male authority and fostering agency amid colonial and familial tensions. Adelman's work traces these fantasies across Shakespeare's late plays, emphasizing the transformative potential of nature as a maternal force that both nurtures and threatens. Structuralist and mythic approaches draw on Joseph Campbell's monomyth, or , to interpret the Green World as the "belly of the whale" stage—a threshold of trial and immersion in the unknown that facilitates rebirth and integration. In this model, the hero's descent into the forest or pastoral realm mirrors a symbolic death and renewal, resolving societal conflicts through archetypal trials, as seen in the restorative arcs of Shakespeare's romantic comedies. Campbell outlines this phase as a plunge into the depths, akin to Northrop Frye's Green World as a comic archetype of liberation and harmony. Postcolonial extensions apply Homi Bhabha's theory of to view Green Worlds as contested borderlands where colonial identities negotiate and cultural . Bhabha's concept describes the "third space" of enunciation, where dominant and subaltern cultures intersect, producing unstable identities in liminal environments like the enchanted isles or forests of . In works such as The Tempest, the Green World becomes a hybrid zone of colonial imposition and resistance, embodying the "almost but not quite" dynamics of power and otherness.

Modern Applications and Adaptations

Contemporary Literature and Media

In modern literature, the Green World archetype persists as a space of transformation, often reimagined through fantastical or dystopian lenses. J.R.R. Tolkien's depiction of Middle-earth forests, such as Fangorn in The Lord of the Rings (1954–1955), embodies this motif as ancient, nurturing wilds where characters like Merry and Pippin undergo profound growth amid ent-like guardianship, reflecting nature's dual role as protector and peril. Similarly, Margaret Atwood's The Handmaid's Tale (1985) inverts the archetype, portraying nature not as a restorative escape but a dystopian wilderness that underscores oppression and failed renewal, to critique patriarchal control over fertility and the environment. Film adaptations have urbanized or darkened the Green World, adapting Shakespearean roots to contemporary settings. Baz Luhrmann's William Shakespeare's Romeo + Juliet (1996) relocates the lovers' transformative retreat to a neon-lit, industrialized , where fleeting natural elements like the ocean serve as brief sanctuaries amid urban chaos, subverting the pastoral escape for a of modern alienation. David Lowery's The Green Knight (2021), based on the medieval poem Sir Gawain and the Green Knight, reimagines the knight's quest through enchanted woodlands as a hallucinatory journey into an untamed natural world blending danger and wonder. Recent developments in fiction and interactive media extend the to spaces of resistance and wonder. Suzanne Collins's trilogy (2008–2010) casts the arena woods as arenas of rebellion, where protagonist forages and allies in forested defiance against totalitarian surveillance, transforming the Green World into a site of survivalist agency. Video games like Nintendo's The Legend of Zelda series (1986–present) feature enchanted natural realms, such as the Lost Woods, as labyrinthine domains for heroic trials and mystical encounters, echoing literary motifs of as a threshold to self-discovery. Post-2000 works reflect a shift from romantic escapism to portrayals of the Green World as a locus of ecological crisis, mirroring heightened environmental awareness. This evolution appears in narratives where forests symbolize vulnerability to climate disruption and human , as seen in broader Anglophone fiction that integrates anthropogenic threats into archetypal journeys. For instance, Powers's Bewilderment (2021) uses forested settings as spaces for emotional and ecological renewal amid planetary crisis, highlighting the archetype's adaptation to contemporary .

Cultural and Environmental Relevance

The archetype resonates deeply in modern environmental movements, serving as a powerful for the untamed natural realm that demands protection amid industrialization and . In , the concept evokes a vision of ecological restoration, as highlighted in discussions around events where groups like Green World advocated for action against . Indigenous storytelling traditions often portray the Green World as a sacred, living entity central to cultural preservation and harmony with nature. For instance, botanist describes in her creation narrative the formation of the "good green world" by Skywoman and animal helpers, who layer earth on Turtle's back to create a verdant home sustained through reciprocal relationships between humans and the land. This underscores the role of natural spaces as spiritual repositories, guiding indigenous efforts to safeguard ecosystems against encroachment. Contemporary national parks and designated wilderness areas function as real-world analogs to the Green World, providing urban populations with retreats for psychological renewal and reconnection to . Established to preserve and offer respite from city life, these protected zones embody the transformative escape of the , yet they face critique for no longer representing untouched due to pervasive human influences like climate alteration and . Bill McKibben's seminal work articulates this tension, arguing that global warming has fundamentally ended the era of pristine , rendering even remote parks symbols of a compromised green ideal rather than pure sanctuaries. In climate activism literature, the Green World informs discourses blending scientific urgency with cultural wisdom, promoting sustainable stewardship. Kimmerer's "Braiding Sweetgrass" exemplifies this by weaving indigenous reciprocity—such as practices toward —with ecological science, positioning the green natural world as a resilient partner in addressing environmental crises rather than a passive backdrop. Non-Western cultural traditions offer parallel expressions of the Green World through motifs of enigmatic, sacred nature. In , yūgen in classical poetry and theater conveys a subtle, profound awareness of the universe's mysteries, often evoked through natural imagery like mist-shrouded forests that mirror the enchanting, transformative allure of verdant realms. Similarly, African folktales frequently depict spirit forests as enchanted domains inhabited by ancestral beings, where human protagonists undergo trials that reinforce communal bonds with the living environment, as seen in West African narratives emphasizing forest spirits' guardianship over ecological balance.

References

  1. https://www.jstor.org/stable/126112
  2. https://press.princeton.edu/books/paperback/9780691202563/anatomy-of-criticism
  3. https://monoskop.org/images/5/59/Frye_Northrop_Anatomy_of_Criticism_Four_Essays_2000.pdf
  4. https://www.cambridge.org/core/books/cambridge-companion-to-literature-and-the-environment/green-otherworlds-of-early-medieval-literature/E62F80353274901FD8A4A7C5CA3F0EA3
  5. https://digitalcommons.wku.edu/theses/276/
  6. https://press.princeton.edu/books/paperback/9780691149523/shakespeares-festive-comedy
  7. https://courses.cit.cornell.edu/engl2080/FryeComedy.pdf
  8. https://internetshakespeare.uvic.ca/m/doc/AYL_GenIntro/index.html
  9. https://www.litcharts.com/lit/sir-gawain-and-the-green-knight/symbols/the-color-green
  10. https://chaucer.fas.harvard.edu/pages/knights-tale
  11. https://www.academia.edu/7281829/Otherworld_in_the_Mabinogi
  12. https://oxfordre.com/literature/display/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-1078
  13. https://www.academia.edu/115364862/Virgils_Eclogues_An_Introduction
  14. https://www.routledge.com/Green-Shakespeare-From-Ecopolitics-to-Ecocriticism/Egan/p/book/9780415311816
  15. https://www.questjournals.org/jrhss/papers/vol6-issue7/I06075052.pdf
  16. https://www.tandfonline.com/doi/abs/10.1080/17450910802501246
  17. https://www.hup.harvard.edu/books/9780674034853
  18. https://www.routledge.com/Suffocating-Mothers-Fantasies-of-Maternal-Origin-in-Shakespeares-Plays/Adelman/p/book/9780415900393
  19. https://www.jstor.org/stable/30225166
  20. https://www.universitypressscholarship.com/view/10.7228/manchester/9780719099748.001.0001/upso-9780719099748-chapter-001
  21. https://www.theatlantic.com/culture/archive/2021/07/the-green-knight-dev-patel-movie-review/619588/
  22. https://oasis.library.unlv.edu/fwpca/34thannual/three1/2/
  23. https://wires.onlinelibrary.wiley.com/doi/10.1002/wcc.105
  24. https://www.nytimes.com/2021/09/21/books/review-bewilderment-richard-powers.html
  25. https://www.thetedkarchive.com/library/christopher-manes-green-rage
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