I. READ THE STORY AGAIN--has she (we?) missed something? Why is Hilde upset? Has her reading only demonstrated her father's power?

II. MUST HILDE CONTINUE WHERE SOPHIE'S NARRATIVE HAS ENDED? HILDE NOW PLANS HER PARTY?

A. SOPHIE AND ALBERTO ARE OUT OF THE NARRATIVE in OSLO?

1. RECALL THE PREVIOUS CHAPTER--THE CAR, THE TREE, THE FINANCIAL ADVISOR.
2. THE CAR CRASH 'DISTRACTED' THE MAJOR'S ATTENTION FROM SOPHIE / ALBERTO?
3. BUT DOES THE MAJOR KNOW ALL OF THIS?

B. SOPHIE AND ALBERTO LIKE HILDE MUST DEFINE THEIR OWN REALITY AS POST- FICTIONAL CHARACTERS?--WHAT IS THE NATURE OF THEIR REALITY?

1. WHERE ARE THEY NOW?
2. DO THEY HAVE AN EXISTENCE?
3. CHECK THE ENDING OF KEATS' EVE OF ST. AGNES. WHERE DO THE LOVERS GO AFTER ESCAPING THE CASTLE/ [GARDEN]?
   

III. THE ARRIVAL OF THE MAJOR FROM LEBANON

A. THE MAJOR GETS MESSAGES FROM HER DAUGHTER, HILDE, RELEVANT TO THE GARDEN PARTY AND ITS FICTIONAL [?] BASE.

B. IS THE MAJOR BEING CONTROLLED BY HILDE BASED ON WHAT THE MAJOR CREATED FOR HER TO READ, SOPHIE’S WORLD?

C. HOW DOES THE MAJOR REACT TO THE SERIES OF LETTERS HILDE SENDS HIM? GAARDER'S SKILLFUL USE OF THE SEVERAL KINDS OF IRONY SHOULD BE CONSIDERED.

1. HIS "FIRST IMPULSE" IS TO___? (P. 485)
2. BUT WHY FIRST? HE IS ALSO____ABOUT HIS DAUGHTER? WHY?
3. NOTICE THE SEVERAL REFERENCES TO THE MIRROR (p. 491 ff.)

IV. SOPHIE AND ALBERTO AND THE WORLD OF ETERNITY--THE OLD WOMAN WELCOMES THEM TO ETERNITY--THE FAIRY TALE WORLD?

A. "WE ARE OUT OF A BOOK OF PHILOSOPHY" , BUT WHERE ARE WE?

B. IN WHAT SENSE CAN HILDE CONTROL HER FATHER NOW?--WHAT DOES. 'CUT THE UMBILICAL CORD TO YOUR MORAL PROGENITOR ' MEAN? (p. 491)

C. WHEN SOPHIE AND ALBERTO ARRIVE AT THE PARTY, IN WHAT SENSE DO THEY SEE HILDE?

V. HILDE’S PARTY BEGINS...FICTION AND REALITY MEET: SOPHIE AND HILDE---WHAT DOES "IRONY LIVES" MEAN?--DO SOPHIE AND HILDE SEE ONE ANOTHER? (p. 493). WHAT PHILOSOPHICAL THEME HAS THE NOVEL TRACED THAT IS DRAMATIZED NOW. PERHAPS IT IS THE MOST VEXING ONE OF ALL TO UNDERSTAND.


A. HILDE MEETS HER FATHER BACK FROM LEBANON; WHAT IS HEARD ON PAGE 493 ff. AT THE DOCK?

B. DOES THIS OCCUR IN THE WORLD OF SOPHIE?


VI. MEETING OF HILDE AND HER FATHER IN ‘REALITY,' (p.. 495).

A. SOPHIE IS ENVIOUS OF HILDE AS ‘REAL--BUT THERE ARE TWO SIDES TO EVERYTHING--WE MUST RECALL WHAT PLATO SAID ABOUT IDEAS AND MATTER:

*RECALL AN ARCHETYPAL CONCERN IN WESTERN PHILOSOPHY--THE PROBLEM OF CHANGE AND PERMANENCE.

*MATTER CHANGES, BUT WHAT PERMANENCE EXISTS AND WHERE? ARE IDEAS A NECESSARY CONDITION FOR THE EXISTENCE OF PHYSICAL REALITY? IF SO, WHERE MAY THEY BE FOUND, AND HOW DO THE RELATE TO THE MATERIAL WORLD:

B. SOPHIE WILL NEVER DIE, THOUGH,--SHAKESPEARE'S SONNET XVIII HAS A HINT:

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summers lease hath all too short a date:
Some time too hot the eye of heaven shines,
And often is his gold complexion dimm'd,
And every fair from fair sometimes declines ,
By chance or nature's changing course untrimm'd:
But thy eternal summer shall not fade,
Nor lose possession of that fair, thou owest,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou growest,
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

1--WHAT ARE THE TWO MEANINGS OF FAIR.?
2--WHY DOES ONE "DECLINE" FROM THE OTHER?
3--WHY IS TIME AN IMPORTANT MOTIF?
4--THE COUPLETS IN SHAKESPEARE'S SONNETS OFTEN IRONICALLY REVERSE THE QUATRAINS: WHAT DO THEY MEAN PHILOSOPHICALLY?

C. THE IMMORTALITY OF ART, AND PERHAPS HILDE?:

2. CHECK A STAR TREK EPISODE CALLED CHARLIE X.

IX. THE EXPRESSION OF IDEAS THROUGH ART WILL TRANSCEND THE REALITY OF THE MAKER, AND ACHIEVE IMMORTALITY.

X. WHERE DOES SOPHIE LIVE? ..LOOK AT THE CHAPTER'S CONCLUSION CAREFULLY--ESPECIALLY THE "SQUEAKING" WHAT DOES THE METAPHOR MEAN? RELATE TO ONE OF THE OLDEST PROBLEMS IN PHILOSOPHY: THE RELATIONSHIP BETWEEN MIND AND MATTER.