What is the effectiveness of the repetition of "is" in lines 1-4 in the poem "Dover Beach"?

Arnold’s poem represents a doubt in both faith and
society, a theme common to the Victorian era. In the first and second stanzas, Arnold
describes the beachsetting in terms of poetic techniques: The rhythm and cadence of the
ocean createa mood. He remarks how Sophocles once heard in those same sounds “athought,”
as if poetic thought cannot help but arise from observations on nature.But Arnold’s
crisis of faith makes it impossible for him to see the landscape asanything but symbolic
of the loss of faith which he believes is breaking apart thesociety of his time.
The repetition of "is" allows the poem to shift from the realistic to the symbolic with
an extreme sense of subtleness. Without the repetition, the shift would be forceful, and
not what Arnold was looking for. This shift from the realistic to the symbolic allows
him to express his idea that a loss of faith is symbolic  for the world, is much more
dramatic and thought evoking.

Explain how Poe's "Tell-Tale Heart" and Alfred Hitchcock's film Psycho use techniques to create suspense e. g. language and film techniques?

In both Poe's "The Tell-Tale Heart" and
Hitchcock's Psycho there is mounting suspense and a terrible sense
of foreboding.  Suspense in Poe's story is generated as the narrator of Poe's story
"cautiously--oh, so cautiously...." opens the door to the room and shines the lantern
upon the sinister vulture eye of the old man for seven days.  In
Psycho, the strange man in the uninhabited motel is accomodating to the
customer, an attractive woman; however, later, he peers through a peep hole into the
motel room where the woman who has stolen from her bank resides.  Later, he is seen by
her in the upstairs of a dark, gothic house above the motel. There are shadows that pass
before the window and even an argument between the man and what appears to be an old
woman.  Fears grow upon the woman and upon the narrator's victim in "The Tell-Tale
Heart" who springs up in bed, shouting "Who's there?"

On
the eighth day, Poe's narrator feels his powers.  He enters the room stealthily just as
the "old mother" enters the woman's motel room.  Soon both the old man and the female
victim utter groans of terror.  The beating of the heart is heard by the narrator:  "But
the beating grew louder and louder."  This beating of the woman's heart is suggested by
the sharp, staccato of the music of the movie as Norman Bates enters dressed as his
mother and stabs the woman in the shower.  In the end, both Poe's narrator and Norman
Bates completely lose their minds.

In Beloved, why does Sethe seem to "urinate endlessly" after seeing the girl on the stump?

This scene is one of intense symbolism. Beloved, the
mysterious girl sitting on the stump, provides a connection for Sethe to the older
woman's dead daughter, who she killed in an attempt to protect them from a cruel master.
Sethe, in her inner soul, believes Beloved to be a reincarnation or a ghost of that dead
daughter. In the scene, seeing Beloved sitting on the stump causes Sethe to develop a
sudden need to urinate:

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Not since she was a baby girl... had she had an
emergency that unmanageable. She never made it to the outhouse. Rigt in front of its
door she had to lift her skirts, and the water she voided was endless... there was no
stopping water breaking from a breaking womb and there was no stopping
now.
(Morrison, Beloved, Google
Books)

The moment echoes the
breaking of amniotic sac that protects a baby during gestation. When a woman's "water
breaks," the amniotic fluid that surrounds and protects the baby begins to flow out of
the vagina; this is often misrepresented as a sudden and fast gush of fluid, but is
often a slower seepage, easily controlled. For Sethe, the sudden need to urinate is
symbolic for going into labor again; Beloved is "born" in this moment, and Sethe's body
unconsciously repeats some of the physical characteristics of labor and birth. In fact,
is is passing ordinary urine, but her mind and body associate the act and the appearance
of Beloved with birth, further connecting the two women.

What quotations in Hamlet define Claudius?

I like Hamlet's assessment of
Claudius:

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Smile and smile and be a
villain!

Claudius is the
consummate politician.  In his ceremonial speech announcing his marriage to Gertrude, he
soothes over what might have been a sticky public relations problem: a marriage to his
dead brother's wife.  But by explaining that the marriage was necessary for the state
and by rapidly taking care of other business at hand, Claudius assumes the role of king
with apparent ease.  Yet, it must be remembered that his killing his brother is what
begins the conflict in Hamlet.  This act results in the destruction of many lives around
him and has consequences beyond what he thought possible.  So while he is happy and
content in his new role as king, other lives have been and will be
shattered.

5 log x - log x^3 = log ( 1-2x) find x

We'll impose constraints of existence of
logarithms:

x>0

1-2x>0

-2x>-1

2x<1

x<1/2

The
interval of admissible values of x is (0 , 1/2).

5 log x -
log x^3 = log ( 1-2x) 

We'll use power property of
logarithms for the first term:

5 log x = log
x^5

log x^5- log x^3 = log (
1-2x) 

We'll add log x^3 both
sides:

log x^5 = log ( 1-2x)  + log
x^3

We'll use the product property
of  logarithms:

log a + log b = log
a*b

We'll put a=( 1-2x)  and
b=x^3

log ( 1-2x)  + log x^3 = log
x^3*(1-2x) 

The equation will
become:

log x^5 = log
x^3*(1-2x) 

Since the bases are matching, we'll use one to
one property:

x^5 = 
x^3*(1-2x) 

We'll divide by
x^3:

x^2 = 1 - 2x

We'll
subtract 1-2x:

x^2 + 2x - 1 =
0

x1 = [4-sqrt(4+4)]/2

x1 =
(4-2sqrt2)/2

x1 =
2-sqrt2

x2=2+sqrt2

Since
neither of x values belong to the interval of admissible values for x, the equation has
no solutions.

Where did most of the action in The Red Badge of Courage take place?I have been looking for additional information in the web about the novel....

Most critics agree that the setting of Stephen Crane's The
Red Badge of Courage is in Virginia, and the battle that is mentioned with the
question:  The Battle of Chancellorsville, a major battle of the Civil War which took
place from April 30 to May 6 in 1863.  This battle pitted the Union Army against a
Confederate army half its size, a battle that came to be known as Lee's "perfect battle"
because of its risky but successful division of his army in the presence of such a
puissant force.

The Chancellorsville campaign began with
the crossing of the Rappahannock River by the Union Army on the morning of April 27,
1863.  Heavy fighting began on May 1 and did not end until the Union forces retreated
across the river on the nights of May 5-6.

Crane's
descriptions of the bush and thicket is suggestive of the wilderness a few miles west of
Fredericksburg, Virginia and the battle on May 1, 1963, in which Hooker ordered an
advance to strike Anderson. a battle seen by many Union commanders as a key to victory. 
Perhaps, this is the victorious battle in which Henry Fleming and his friend Wilson lead
the 304th regiment so valorously.

Give examples of Iago's two-faced behaviour. How might an actor convey this?

A major "two-faced behavior" that Iago has is his jealousy
for Othello, believed to be from a deep sexual connection he feels he shares with
Othello. He plots against Othello, while deeply longing for his love. He consequently
lies to himself and acts out of this internal
struggle. 

The dream sequence in Act III Scene III where
Iago is describing a dream that Cassio had about Desdemona is dripping with sexuality
and showcases the sexual nature of male relationships in the time of the play. Iago says
that Cassio "kiss [him] hard" and climbed on top of him, kissing him repeatedly and
moaning. Othello upon hearing this homoerotic tale does not question why Cassio and Iago
were in bed together, why Iago didn't wake him up after the first kiss, or anything or
the nature. The fact Iago freely talks about sleeping with Cassio and it is not a big
deal, nor does Othello act surprised to hear this or question what they were doing
together, illustrates that men had sexual relationships that were more than acceptable,
but common. 

So, within Iago, his motives are not
explicitly stated, but his jealousy for Othello is apparent and the reader is meant to
question why? I argue that it is all from the fact Iago wants the love Othello gives
Desdemona, and when he cannot receive it (and possibly assumes he never will), allows
his jealousy to blind him and sweep him into a plot with no turning
back.

An actor lucky enough to play Iago should relish in
the implicit sexuality the character carries himself with throughout the play. Deciding
how to express this sexual frustration, through body language or adopted word play that
emphasized his burden of love (inflections of tone when talking to Othello, showing
disdain for Desdemona), and show the audience that unlike today, homosocial relations
were also often homoerotic. Expressing Iago through his most primal, animalistic
emotions of hunger and sexual desire for Othello would surely show internal conflict,
where he disguises the truth from the world, keeping his mask on and the truth
hidden.

In Fahrenheit 451, what plan did Montag and Faber devise ?

Montag shows up at Faber's house after suffering a mini
nervous breakdown after he realizes that he is completely unhappy and lives in a pretty
messed-up society.  Faber helps him to understand exactly what he has been missing out
on, and envigorated with the knowledge, Montag suggests that they try to fight back
somehow.  He suggests that they start reprinting books again.  Faber says that woudn't
work, because the fireman structure would never allow it; they would get caught and
burnt themselves.  He says he would consider it if they could somehow get rid of the
fireman system; a way to do that would be to

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"arrange to have books hidden in firemen's houses
all over the country, so that the seeds of suspicion would be sown among these
arsonists."

Montag picks up
on that immediately; he knows the firemen, and Faber knows old professors who could
print books.  So, that is the plan that they start with--to plant books in firemen's
houses, and call them in to be burnt.  They don't know the details, and are pretty
scared about it all, but it is a start.  For the first time in years, they feel happy
and motivated.

I hope that helps; good
luck!

List 4 symbolic meanings in tghe Myth of Atlanta.

The symbolic meanings of the various actions in the myth
may be considered as follows:

1. Atalanta’s name defines
her invincibility. This meaning suggests the power of women and the need for men to
become even more powerful if love, birth, and family—in short, society—are to be
established and maintained.

2. The golden apples symbolize
the power of men to confer home and consequent stability so that women may be confined
to their role of wife and mother.

3. The chopping off of
the heads of losing runners obviously symbolizes the idea that “only the brave deserve
the fair” (a quotation from Dryden’s poem “Alexander’s Feast”). A modern scientific and
symbolic interpretation of the destruction of the inferior suitors is that the
victorious ones win the right of maintaining the strength of the human gene pool.d. The
father’s abandoning the infant Atalanta represents an ancient way of maintaining
property (usually a woman gave her goods and titles to the man who married her) and also
a means of controlling population and inheritance through reducing the numbers of women.
That Atalanta was reared outside the home is a common element in many ancient
stories.

What is the rising action in "Miss Brill" by Katherine Mansfield?

The rising action is always important in a short story; in
Katherine Mansfield's "Miss Brill," the rising action literally sets the stage for the
tremendous crash (fall) which is to come.  We meet Miss Brill at her home, where she
puts on her funny little fur and makes her way, as always, to the park--which is where
it really all begins.  It's a beautiful Sunday, with all kinds of things happening
because it is a Sunday at the beginning of Season, when all social activities are at
their peak.  And Miss Brill notices all of it: the band playing, the
conductor

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who scraped with his foot and flapped his arms
like a rooster about to
crow,

the two old people who
always shared the bench with her and on whom she usually eavesdropped.  Today they were
silent, though she recounts in her head a very specific conversation between a couple
she listened to last Sunday.  Then there are the children playing,
couples meandering, a beggar selling flowers, toddlers taking their wobbly steps, and
the beautiful trees with their drooping yellow leaves.  An incident occurs in which a
woman tries to exchange pleasantries (with the intent, obviously, of exchanging more
than that), and the women is left, according to Miss Brill, broken-hearted.  All of this
"living" takes place around her. 

Her mental wanderings
bring her to a place of understanding that this entire scenario is one which is played
out in front of her, week after week, much like a play--a play in which
she is an actor.  She even imagines how she will explain this 
exciting revelation to the English pupils she tutors or the old man to whom she reads
the paper.  It's a thrilling prospect for her to think that she has a role in this
weekly drama.

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Even she had a part and came every Sunday. No
doubt somebody would have noticed if she hadn't been there; she was part of the
performance after all. How strange she'd never thought of it like that
before!

This series of images
and thoughts and even revelations--rising action--help endear us to her as we see this
sweet, quirky woman for what she really is.  She is a lonely soul, a creature of habit,
who is one of the "statues" or fixtures of this
routine. 

When a young couple join her on the bench and
force Miss Brill to face the reality of her stark existence, her world crashes.  That
kind of a fall is only possible through the effective use of details and exposition in
the rising action.

If you know only the following information can you always determine what the element is? (Yes/No).a. Number of protons (yes or no) b. Number of...

The key to this is first to understand that in a neutral
atom, the number of positive protons and negative electrons is always equal. Secondly,
the  number of protons is always the atomic number of the element and uniquely
identifies the element.

because of the existance of
isotopes for all elements, the number of neutrons will vary and cannot be used by itself
to determine the identity of the element.

That being said,
for a) the proton # identifies the element.

for b) neutrons
do not identify the element

for c) since it is neutral the
# of electrons = # of protons = atomic number = identity of the
element.

for d) since it does not specify if the substance
is neutral or not, the number of electrons cannot be used to identify the element. It
could be a cation or anion vs. a neutral ion, and could have a charge of anywhere from
+1 to +4 to -1 to -3.

Why did Rutherford conclude that an atom's nucleus has a possitive charge instead of a negative charge?

When Rutherford did his experiments the generally held
view of matter was that it contained a mixture of positive and negative particles but
that it was solid, with no space between the individual particles.  Physicists also knew
that like charges would repel and opposite charges would attract and that the closer
together the charges were the stronger the interaction between
them.

Rutherford designed an elegant experiment in which he
used alpha particles, given off in the decay of radioactive isotopes, as his bullets.  
The alpha particles were known to have a positive charge. He set up targets consisting
of thin films of various metals, primarily gold.  Around the film, opposite the "gun" he
placed a flourescent screen that would glow if hit by the alpha
particles.

When he ran his experiments he found that most
of the time the alpha particles went right through the metal film, as if there was
nothing being hit by the particles.  Occasionally the particles would deflect (bend) a
little bit, and very rarely the alpha particles would bounce off at a greater angle or
even bounce back toward the gun.  Rutherford described it as if a cannon ball hit a sail
on a ship and bounced back at the cannon that had fired the
ball.

After numerous experiments and observations he
determined that the metal films were not really solid but mostly empty space.  Because
of the behavior of the alpha particles he also concluded that something inside the film
had a strongly positive charge that was deflecting the alpha particles when they came
close. Furthermore, that positive charge was strong enough to actually stop the flight
of the alpha particle and reverse its direction.

Rutherford
contributed greatly to understanding in greater detail the structure of the
atom.

In "The Rules of the Game" what did Waverley mean when she said this quote?"My mother imparted her daily truths so she could help my older brothers...

Let us remember the context of this powerful story. The
tale concerns a migrant family who have come from China to live in the States. As such,
they have to conquer and master a number of different challenges, tasks and skills,
learning English being just one of the many. Therefore, for the children of the
migrants, they are being brought up in a country which is not strictly their home - they
do not look "American" and they come from a very different cultural background compared
to their peers at school. Not starting out with the same advantages as others would mean
a greater challenge to stand out from the crowd and do well. Thus this quote indicates
the role of the mother in helping them to "rise above" their circumstances, and not let
them be a hindrance. Waverley's mother wants her children to be a success and to do
well, and so she pours her energies into making this happen. The rest of the story shows
how she does this with Waverley and her ability to play chess very
well.

What was the title of Vincent Van Gogh's first piece?it would be great if you could help

Vincent Van Gogh's first painting is titled "The Potato
Eaters." It was painted in 1881 when Van Gogh was twenty-eight years old. It seems that
Van Gogh was bitten by a very powerful artistic bug. Over the next nine years Van Gogh
painted 900 paintings in total – at least those are the ones that have been found and
identified.

Ironically, Van Gogh's most famous paintings,
"Starry Night," Irises," and so forth were painted toward the end of his career while he
was institutionalized in Saint-Remy, France. As an aside, it has been proven that Van
Gogh was not actually mentally ill in the traditional sense, that many of his problems
were caused by physical afflictions.

For all intents and
purposes, Vincent Van Gogh's career ended in 1890.

Can someone compare and contrast "The Interlopers" by Saki and "The Cask of Amontillado" by Edgar Ellan Poe ?

Very interesting question. Of course, both stories contain
two characters of whom at least one hates the other and wants to gain vengeance. Both
stories end in at least one death and both contain grimly ironic
humour.

But these stories are more different than the same.
Let us think about the point of view. "The Interlopers" uses omniscient point of view
whereas "The Cask of Amontillado" famously uses the first person unreliable narrator to
show us the demented mind of Montresor. "The Interlopers" depicts a feud between two
families going back through centuries but which is actually halted due to the shared
experiences of the two main characters. "The Cask of Amontillado" is about a secret
feud, of which the justification is extremely doubtful. Lastly, tragically but
ironically, the two characters in "The Interlopers" both die in a tragic twist of fate.
"The Cask of Amontillado" ends with the death of the poor unsuspecting Fortunato at the
hands of the lunatic Montresor.

Both stories deal with
revenge yet have radically different perspectives on it. For Montresor, revenge is what
consumes him against a supposed insult. He plots a criminal way of ensuring that he is
able to dispense revenge himself in a horrendous fashion. In "The Interlopers", both
characters begin consumed by revenge, but actually spending time with each other shows
them each other's humanity and ends the feud between them. However, ironically, in spite
of this, they die together at the hands of wild wolves.

What is x for (2x+3)/3 + (x-1)/2 = (-x + 3)/6?

First thing, to determine x, we'll have to calculate the
least common denominator of the 3 ratios.

LCD =
2*3

LCD = 6

Now, we'll
multiply the first ratio by 2 and the second ratio by 3. The 3rd ratio has the
denominator 6, so it won't be multiplied.

2(2x+3)/6 +
3(x-1)/6 = (-x + 3)/6

We ca re-write the expression without
denominator:

2(2x+3) + 3(x-1) = (-x +
3)

We'll remove the
brackets:

4x + 6 + 3x - 3 = -x +
3

We'll move the terms from the right side to the left
side:

4x + 6 + 3x - 3 + x - 3 =
0

We'll combine and eliminate like
terms:

8x = 0

We'll divide by
8:

x = 0

The
solution of the equation is x = 0.

In "Greenleaf," what does the bull symbolize?

In many of O'Connor's short stories, an odious person
(sometimes called a "grotesque") is offered grace at the very moment of death. The
grandmother in the short story "A Good Man is Hard to Find" is an example of this - you
may have read this short story. In "Greenleaf" the bull is the Christ symbol. At the
very moment of her grisly death, Mrs. May is offered grace, and that is why when the
bull gores her, she

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has the look of a person whose sight has been
suddenly restored but who finds the light
unbearable"

and

"...she
seemed, when Mr. Greenleaf reached her, to be bent over whispering some last discovery
into the animal's ear."

At
her moment of death, she is offered grace. The bull has been present in her life for
many weeks, driving her crazy, resisting her attempts to send him away. He is like God
calling to her, and she is a sinner rejecting him. This is because up until her death,
she is blind - but at her death, her sight has been
restored.

Please ask the second part of your question about
the Mays and Greenleaf families at another time, as you may only have 1 question at a
time.

Can someone give me some ideas of cartoons of life of Haiti leading up to Haitian Revolution?

I would think that being able to draw a cartoon of
Toussaint L'Overture might be a good starting point.  I would probably depict the
conditions of slavery that he had to endure and also would integrate the idea of
teaching himself to read and write.  This becomes a major element of the life of slavery
throughout Haiti, in particular in San Dominique.  I think that being able to depict
this reality, from which Toussaint emerged might be a good starting point because it
lends itself to being mythologized in cartoon form.  It would be fairly easy to show the
harsh conditions of life and then how individuals flocked to Toussaint when he started
his campaign against Colonial leaders.  Being the commander of batallions of that
inspired other people of color to rebel could be another condition of life that you
could depict.  Overall, the fact that he was a revered figure for so many in Haiti might
be where this lends itself to being depicted quite powerfully in cartoon form without
trivializing it.

When did the fall of Hitler begin?

Tough question...  I would point to three incidents that
led to the fall of Hitler.  I guess you could say that the one that came first was the
beginning of his fall.

To me, there are three major points
that lead to Hitler's fall.  They are:

1. The
   failure to win the Battle of Britain.  By not defeating Britain, Hitler allowed Britain
   to remain as a potential haven for enemies and staging ground for an invasion of
   Europe.


2. Invading the Soviet Union.  This took too many
   resources and ended up depleting them without any
   benefits.


3. Declaring war on the US.  Hitler didn't need to
   do this.  When he did, he made an enemy of a country with huge resources.  This ended up
   dooming him.

What are the results for social movements?

Social movements in the United States have had mixed
results.  Ones that you have heard of typically have ended up having decent results, but
many others have not.

The most succesful social movement, I
think, was the movement for black civil rights.  This was very succesful in that it
achieved all of its goals.  It got the government to outlaw pretty much all forms of
discrimination based on race.

But social movements don't
always win.  For example, you can say that there was a second part of the civil rights
movement.  Between the 1964 Civil Rights Act and his death in 1968, Martin Luther King,
Jr. was working on a movement to try to improve the actual living conditions of blacks. 
He was trying to do things that would end de facto segregation and poverty, for
example.  He clearly failed in that and those problems continue to haunt the black
community 40 years after his death.

I would recommend that
you look at Piven and Cloward's "Poor People's Movements" for a discussion of why some
movements do not work.

I need to find an example of a biopoem about Tom Snout from A Midsummer Night's Dream.

A biopoem is a style of poetry not found in Shakespeare's
writings, so I think instead of "find" a biopoem, you will need to write a biopoem. I'll
give an overview of what a biopoem is and of the little--the very little-- we know about
Snout in A Midsummer Night's Dream and then you can put the two
together and write a biopoem for Snout. A biopoem is a biographical poem that follows a
specific form. ReadWriteThink.org presents the biopoem form as a href="http://www.readwritethink.org/files/resources/lesson_images/lesson398/biopoem.pdf">10
line free-form poem beginning with the subject's or character's first name and
ending with their last name. In between is biographical
information.

Line two holds adjectives that describe the
subject or character. Line three states important relationships, which may include those
of sister/brother or son/daughter etc. Line four presents the things loved by the
subject or character, including ideas or things. Line five describes the subject's
feelings. Line six describes his/er fears.

Line seven lists
their accomplishments in a "who wrote ... who said ... etc" format. Line eight lists
what the subject or character hoped would happen or hoped they would experience. Line
nine tells where they lived, their residence. That brings you back to line ten and the
subject's or character's last name.

The biopoem form is
somewhat variable. Some forms make it eleven to
thirteen lines instead of ten. These forms trade what the subject or character
accomplishes for what they give and add what they need, share and are. Applying this to
Snout will be fairly simple but also fairly difficult. It will be simple because there
isn't that much information to juggle through. It will be difficult because ... there
isn't that much information.

Snout's first name is Tom,
last name, Snout. These are biopoem lines one and ten. He is unobtrusive, quiet, prone
to asking questions, thoughtful to a fault. He likes acting, Peter Quince and Bottom. He
feels concern for not frightening the ladies in the audience. He fears giving cause for
the ladies to have fears of lions.

Snout has accomplished
getting himself into a theater group and being requested to play a noticeable role. He
would like to have a wall. He lives in Athens. And again, his last name is Snout. Here
follows all nine of href="http://www.opensourceshakespeare.org/views/plays/characters/charlines.php?CharID=Snout&WorkID=midsummer">Tom
Snout's lines:

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I,2,320: Here, Peter
Quince.
III,1,831: By'r lakin, a parlous fear.
III,1,843: Will not
the ladies be afeard of the lion?
III,1,850: Therefore another prologue must
tell he is not a lion.
III,1,864: Doth the moon shine that night we play our
play?
III,1,877: You can never bring in a wall. What say you,
Bottom?
III,1,932: O Bottom, thou art changed! what do I see on
thee?
V,1,1998: In this same interlude it doth befall
That I, one
Snout by name, present a wall;...
V,1,2049: [as Wall] Thus have I, Wall, my
part discharged so;
And, being done, thus Wall away doth
go.

How is the final solution achieved in the play Hamlet?

"Final solution" is an odd phrase to use in relation to
the deaths in Hamlet, since, in our most common use of the term, it
refers to a premeditated slaughter of many people.  There are many dead bodies by the
end of this play, but they are not the result of one masterminded
slaughter.

The deaths in Hamlet come
about it these ways:

• Hamlet kills Polonius
  having no idea who he is.  He only knows that there is an eavesdropper, and he kills
  him.  He asks if it is Claudius that he has killed, but there is no evidence in the text
  that he believes he is killing Claudius when he commits the
  murder.


• Ophelia drowns either intentionally at her own
  hand or by accident.  Whether this is suicide, is also is not made
  clear.


• Claudius first tries to have Hamlet murdered on
  his way to England, but Hamlet turns the tables and Rosencrantz and Guildenstern are
  killed instead.


• Claudius and Laertes join forces to
  murder Hamlet, either by the poisoned tip of Laertes sword or a poisoned drink that
  Claudius will offer Hamlet.


• Gertrude, by accident, drinks
  the poison and dies.


• Laertes is stabbed by Hamlet with
  the envenomed sword-tip.


• Claudius is stabbed with the
  poisoned sword and made to drink the poison -- both at the hands of
  Hamlet.


• And Hamlet finally also dies from the wound given
  him by Laertes.

Many deaths, most of them in
the final moments of the play, but not deaths that add up to one masterminded "final
solution."

Use partial fractions(3x-2)/(x-3)(x+1)

We'll decompose the given rational function in the
elementary quotients:

(3x-2)/(x-3)(x+1) = A/(x-3) +
B/(x+1)

We notice that the numerator of the original ratio
is a linear function and the denominator is a quadratic
function.

The irreducible ratios from the right side have
as numerators constant functions and as denominators, linear
functions.

We'll calculate LCD of the 2 ratios from the
right side.

The LCD is the same with the denominator from
the left side.

LCD =
(x-3)(x+1)

The expression will
become:

(3x-2) = A(x+1) +
B(x-3)

We'll remove the
brackets:

3x - 2 = Ax + A + Bx -
3B

We'll combine like terms form the right
side:

3x - 2 = x(A+B) +
(A-3B)

If the expressions from both sides are equal, then
the correspondent coefficients are equals:

3 =
A+B

-2 = A - 3B

We'll use the
symmetric property:

A+B = 3
(1)

A - 3B = -2 (2)

We'll
multiply (1) by 3:

3A+3B = 9
(3)

We'll add (3) to
(2):

3A+3B+A - 3B = 9-2

We'll
eliminate like terms:

4A =
7

We'll divide by 4:

A =
7/4

We'll substitute A in
(1):

A+B = 3

7/4 + B =
3

B = 3 - 7/4

B =
(12-7)/4

B =
5/4

(3x-2)/(x-3)(x+1) = 74/(x-3) +
5/4(x+1)

Describe and contrast the settings where Montresor meets Fortunato and the setting where Montressor takes Fortunato in The Cask of Amontillado.

The contrast in the two settings is part of Poe's talent
in creating an eerie mood. The time was carnival, a festive occasion involving much
food, drink, and merriment. From the lights and cheer of the square, Montresor and
Fortunado proceed to an area below the basement, the catacombs, or burial crypt, of the
Montresor family in search of an elusive cask of rare wine. Darkness, damp, hanging
spider webs and nitre on the walls make for a spooky setting. Only a flambeau or torch
lit their way, casting weird shadows in an already eerie place. A separate niche in the
wall decorated with metal shackles and building materials at hand would have warned a
sober person. But at this time of year, sobriety was not the norm. Fortunado would meet
his doom in a most uncomfortable, macabre setting.

I need one song that relates to power and has figurative language in it.

I went with the idea that music is a form of poetry, and
coupled with the use of figurative language, moved this question to the "Poetry" group. 
In reflecting on this, I would use a song from U2 that talks about the abuse of power. 
Off of their album, "The Joshua Tree," check out the track, "Mothers of the
Disappeared."  While there are different interpretations of it, the song is about
mothers whose children were kidnapped in South and Central America.  The song has
chilling references to the Dirty War in Argentina, where state sponsored terrorism
resulted in the abduction of thousands of children, such as students, journalists, or
any young person who spoke out against the government.  Similar practices in El Salvador
prompted the group to write the song.  Steeped in the voices of those who suffered from
the abuse of power, pay attention to examples of imagery such as, "Cut down and taken
from us" or the description of how the night "hangs like a prisoner," a deliberate
example to highlight governmental abuse of power.  The entire song of mourning and the
mood created within it help to bring to light how power and its abuse can create
profoundly sad and painful conditions on citizens.

What is the main point in "The Minister's Black Veil"?

You would be wise to consider why Hawthorne gave this
excellent short story the title that he did. The black veil clearly plays a massively
important role, and it is crucial to realise the symbolic significance of the black veil
in the story. The black veil represents the secret sins that all of us have and are not
honest about. Consider how Mr. Hooper explains himself to his betrothed,
Elizabeth:

readability="11">

"If it be a sign of mourning," replied Mr.
Hooper, "I, perhaps, like most other mortals, have sorrows dark enough to be typified by
a black veil."

Mr. Hooper is
therefore wearing the black veil because he has learnt the lesson that others shudder to
acknowledge and run away from - that in the heart of every human lies a darkness and sin
that we deny and pretend does not exist.

Thus the symbol of
the black veil is so potent because it literally separates us from others and even from
our Maker as we try to pretend that this darkness is not within us. However, as Mr.
Hooper recognises, we can only ever hope to wear this "veil" whilst we are on earth, for
when we die, this veil will be stripped away and we will see ourselves for who we really
are and others will see us as well. All pretence will be stripped away. This, I would
say, would be the most important point of this story. It would be worth your while to
consider how the other characters in this story respond to the "truth" that Hooper has
discovered and what their response shows about them.

In "The Most Dangerous Game", discuss the characterisation of General Zaroff.

It is clear from his first entrance that Zaroff is an
elegant, refined man. He is described as "an erect, slender man in evening clothes" who
speaks in a "cultivated voice marked by a slight accent" and in a manner that gives his
speech "added precision and deliberateness." At first, General Zaroff therefore appears
to be quite the gentleman, entertaining Rainsford in his "palatial chateau" and swapping
hunting stories, but of course, he shows his "darker" side when he reveals his latest
"game" of choice - humans.

It is this chillingly evil side
that comes to dominate the story, as we realise he has fashioned Ship-Trap Island to do
exactly as its name suggests. He places false lights to tempt ships in to a false
channel where the unfortunate ships will be crushed by "giant rocks with razor edges"
which "crouch like a sea monster with wide-open
jaws."

Interestingly, once the "game" has begun, Zaroff
plays with Rainsford, letting him go three times, before the finale. From Zaroff's
perspective, the "strong" are able to use the "weak" for their own pleasure and
enjoyment. His justification of the "game" is interesting to
observe:

readability="11">

"Life is for the strong, to be lived by the
strong, and if need be, taken by the strong. The weak of the world were put here to give
the strong please. I am strong. Why should I not use my gift? If I wish to hunt, why
should I not?"

Power and
skill, according to Zaroff, obviously give him the right to hunt as he wishes. What is
interesting about this story is how the description of him as an urbane, civilised and
intelligent man stands in brutal contrast to Zaroff's propensity to kill and
murder.

What is the reason behind Singapore becoming such a powerful dictatorship?

I disagree with the previous answer.  (And I believe it
does not answer the question since the question asks why
Singapore is a dictatorship while the first answer tries to talk about
if it is a dictatorship...) I would argue that Singapore
has essentially been a dictatorship (or at least a very strongly authoritarian country
with one man holding a dominant position) under Lee Kuan
Yew.

To quote Fareed Zakaria from the foreignaffairs.com
link below

readability="10">

Singapore’s government can best be described as
a "soft" authoritarian regime, and at times it has not been so soft. He was prime
minister of Singapore from its independence in 1959 (it became part of a federation with
Malaysia in 1963 but was expelled in 1965) until 1990, when he allowed his deputy to
succeed him. He is now "Senior Minister" and still commands enormous influence and power
in the country.

In my
opinion, the reason that Singapore got to be this way is a combination of the personal
characteristics of Lee and the fact that East Asian countries seem to have an affinity
for allowing autocracies.  (Please note that I am of Filipino ancestry and would assert
that the Philippines shares this affinity.  So I do not think I can be accused of
anti-Asian racism...)  There is clearly something in East Asian political culture that
has allowed dictatorships and single party governments to arise in many countries in the
region.

That said, I would argue that Lee's personal
abilities allowed Singapore to be the stable and prosperous country that it has
become.

So I would say that East Asia's political culture
helps make a dictatorship possible while Lee's personal qualities made it a very
successful dictatorship that has done pretty well for its
subjects.