Where can I find direct information regarding the influences that the telegraph had on Westward Expansion?

Several ideas come to mind with regard to your question.
The U.S. Library of Congress is a gold mine of primary source information. As the
telegraph lines made there way across the U.S. early telegraph offices were government
operated. A good way to start is to locate the railroad stations west of Chicago and St.
Louis. Early telegraph lines usually followed the rail lines ( because the land was
already cleared). You can look through old city/town records by contacting the local
historical societies for information regarding local railroad histories which most
likely include telegraph histories as well.

In addition,
the archives of newspaper publications can both offer you information as well as lead to
to other sources.

During an illness, a patient's body tempT satisfied the inequality |T - 98.6| £ 2. Find lowest temp patient could have had during llness.

The temperature of the patient is given by the relation,
|T-98.6| < = 2.

To find the lowest temperature the
patient had during the illness.

|T-98.6| < =
2

Therefore  for  T > 98.6 , the relation is T -98.6
< = 2. Or

T < = 96.6+2 = 98.6 . But this
solution of T is not giving us the required information , as it gives the information of
maximum temperature.

So we gor for T < =
98.6.

When T< =98.6 , the relation |T-98.6| <
2 implies 98.6 -T < 2. Or

98.6 - T+T <
= 2+T.

98.6 < =2+T

98.6
-2 < = 2-2 +T

96.6 < =
T.

Therefore this gives the information that lowest
temperature the patient had was 96.6 during his illness.

In "The Cask of Amontillado", what are the two requirements for the best revenge?It should say so in the first paragraph

Well, this is a very interesting question because some
critics would say that you can't consider "The Cask of Amontillado" as a typical revenge
story, because we as readers are unsure of how reliable Montresor is as a narrator, but
leaving that behind, the first paragraph establishes the position of someone who feels
(at least) that he has been grievously wronged by someone and wants to get his own back
against him - the two classic ingredients of a
revenge:

The
thousand injuries of Fortunato I had borne as best I could; but when he ventured upon
insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose,
however, that I gave utterance to a threat. At length I would be avenged; this was a
point definitively settled - but the very definitiveness with which it was resolved
precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is
unredressed when retribution overtakes its redresser. It is equally unredressed
when the avenger fails to make himself felt as such to him who has done the
wrong.

Montresor thus here
expresses how insulted he has been by Fortunato, and also is defiant in his desire to
see revenge visited upon Fortunato, but interestingly, in a way that lets Montresor get
away with the crime and also express to Fortunato how much he has been insulted. Thus
the stage is set for the rest of this chilling story...

Compare and contrast The Lovely Bones book and movie.

While The Lovely Bones is told from a
deceased person's point of view, it is not a fantasy. The film version devotes so much
time to the fantastical elements of Susie's time in Heaven, that much of the gritty
reality of a family's coping with the brutal murder of their daughter/sister is somewhat
lost. I think that much of the fantasy feel of the movie came from Peter Jackson who
also directed/produced The Lord of the Rings film trilogy. The
problem is that Sebold's novel focuses most on the harsh splintering of the Salmon
family because of Susie's death--not on Susie's posthumous fantasy world. Much of what
makes the novel such a popular read is Sebold's portrayal of reality; in fact, if
someone first reads Sebold's memoir Lucky which chronicles her
being raped and coping with the aftermath, much of The Lovely Bones
becomes even more real to the reader.

So, while
critics of film versions of popular books often cite characterization or event
discrepancies as reasons for not appreciating the movie version, The Lovely
Bones is different in that the filmmaker actually changes the book's focus
and tone which to me is a more significant alteration than leaving a couple events out
here and there.

What is the veto power of the Security Council?

All decisions taken by the United Nations are on matters
classified as either procedural or substantive. Each of them has to be ratified by the
Security council.

The United Nation's Security council
consists of 15 members nations. Five of them have a permanent membership and they
include the US, the UK, China, France and the Russian Federation. The other members of
the Security council are non-permanent and are elected for a term of two years by the
members of the General Council.

Draft resolutions
pertaining to procedural matters only need 9  affirmative votes by any of the 15 members
of the security council to be passed. Those involving substantive matters on the other
hand require 9 affirmative votes by any of the 15 member nations, as well as no negative
vote by any of the five permanent members. If any of the permanent members casts a
negative vote, the draft resolution being ratified cannot be accepted.
This special privilege given to the five permanent members is called the
veto power. It ensures any decision taken on substantive matters has the
approval of all the permanent members.

Briefly describe the heroism shown by Sarpedon as an ally of the Trojans.

The Lycian warrior Sarpedon was a son of Zeus and in the
Trojan War he was an ally of the Trojans. Sarpedon has a significant appearance in Book
5 of Homer's Iliad, where he spurs Hector on to action and then
later kills Tlepolemus, who was a son of Heracles (Hercules). In the process of killing
Tlepolemus, Sarpedon himself was wounded because "two long spears flew from their hands
together" (Iliad 5.657).

We also find
Sarpedon playing a significant role in Iliad 12, as the Trojans
make an assault on the Greek camp. It is Sarpedon who first makes a massive hole in the
wall of the Greek fortifications, before he is driven back by Ajax and
Teucer.

Sarpedon's final appearance in the Iliad
occurs in Book 16, as Sarpedon is killed in battle by Patroclus. Because
Sarpedon was a son of Zeus, Zeus briefly considers rescuing his son from death, but Hera
persuades him not to do this. Zeus agrees not to go against what is fated to happen and
thus Sarpedon dies.

A beautiful vase painting exists
showing Sleep and Death, under the direction of Hermes, carrying Sarpedon off of the
battlefield (see the theoi.com link).

How do the violent episodes in Of Mice and Men present Lennie's character to the reader?Refer to the series of events in which he killed the mice,...

Lennie is a classic example of someone who both doesn't
know his own strength and can't control his emotions.  When he gets angry or scared, the
reaction is always the same.  He only comes to the realization that he was wrong after
the fact, after the violence has happened, and then he regrets it loudly and
openly.

Even though he is violent, Lennie is still
presented as a sympathetic character.  He is likable and funny, even though he doesn't
know it.  The reader knows the things he does are really bad, and cannot go on without
Lennie getting locked up or killed, but in the end we still want him to get
away.

The girl in Weed is sort of a vague stroy about a
girl in a red dress.  George explains it to Slim later in the story, but we don't get a
lot of details.  With Curley, George told Lennie to fight back, and he did,
spectacularly, but feels very badly after he hurts Curley, unsure when violence is OK
since George told him to.  Curley's wife's death was accidental, like the killing of the
mice (by "petting them too hard"), again, Lennie not knowing his own
strength.

What kinds of indirect characterization are employed in Eveline?

While there are four different ways in which authors
develop their characters using indirection
characterization--

1. through a physical
   description


2. through the thoughts of the
   character


3. through the character's own
   actions


4. through the comments and reactions of
   other characters

--for the most part,
James Joyce employs only two of these techniques; namely #2 and #3. For, he makes use of
Eveline's thoughts by means of the Modernist technique of interior monologue. In
addition, Joyce utilizes imagery to connote Eveline's being "spiritually lost."  As she
sits, leaning against the dusty drapes watching the field where she used to play and the
brown houses, Eveline reflects upon how her father "was not so bad then" and her mother
was yet living. Eveline also contemplates her intentions to leave
home.

Glancing around the house, Eveline notices more dust,
suggestive of immobility and death-in-life as she deliberates her decision to leave,
qestioning its wisdom. But, she recalls her subservient positions both in the home and
at work where Miss Gavan "had an edge on her": 

readability="8">

"Miss Hill, don't you see these
ladies?...Look lively, Miss Hill,
please."

So, Eveline
concludes, she will not miss the Stores, hoping that in her new home people will treat
her with respect, and not as her mother has been
treated.

readability="7">

Even now, though she was nineteen, she
sometimes felt hersel in danger of her father's
violence.

Eveline
reflects upon the father's control, how he takes her salary and she must beg for money
for groceries. And, she thinks about how he squanders the money on drink, concluding
that hers is a difficult life, but she is going to leave it. However, Eveline also
thinks,

readability="6">

It was...a hard life--but now that she
was about to leave it she did not find it a wholly undesirable
life.

These
ruminations of Eveline provide much insight into her character. Eveline is of the abused
personality, submissive to others, hurt by others, yet reluctant to sever her
relationships with others. as the day grows "indistinct," so, too, does Eveline's
resolve.Eveline becomes somewhat paralyzed mentally as she continues to sit by the
window in the growing dusk. With imagery, Joyce expresses the approaching death of her
dream as she leans against the curtains and inhales the "odour of the dusty cretonne."
Suddenly, her promise to her dying mother comes into her mind and she hears her mother's
final desperate cries.

Terrorized, Eveline clutches the
idea that Frank will save her from her brown and dusty existence of obligation and
abuse. As she enters the dock, she prays to God for direction; the ship on which she is
to board blows "a long mournful whistle." But, just then "[A] bell clanged upon her
heart" and Eveline becomes paralyzed, fearful of her lover now, fearful of the unknown.
She grips the iron railing, refusing to board the ship. Eveline is so terrified with
uncertainty that she cannot escape her old life. Therefore, she trades her freedom for
duty and a "dusty" existence of mundane chores and abuse from her
father.

In what way is Japan described?

 The post-war Japan in which Makiko and her son live is
described in the present tense, interspersed with the past tense to describe Makiko’s
memories. Yoshitsune, for example, is a living presence for Makiko, a memory she
perceives "in the honeyed light of prewar years" (paragraph 60). But he is in the past,
and her son is "racing ahead" of her. Though she continues to blend the past and the
present in her consciousness, she by no means idealizes everything. Thus she recalls an
incident with her husband that made her annoyed and another incident in which she was
afraid of him. The strengths of the present, as shown in the present tense, are clearly
becoming stronger and stronger in her mind, and consequently the past tense will fade
away more and more. The story’s last two paragraphs demonstrate Waters’s blending of
tenses, beginning with the past but then, in the four last sentences, moving into the
future.

What are some examples of satire in The Adventures of Huckleberry Finn in Chapters 30 to the end of the book?

Mark Twain is of course a master of satire and so it is
fitting that perhaps his greatest novel should be used to satirise a number of things.
However, the chapters you have identified chart what is known as "the evasion", or the
period when Huck Finn and Tom Sawyer get back together and hatch an incredibly elaborate
plot to free Jim. All evidence of the thoughtful, maturing and developing Huck is gone
in these chapters, some critics argue.

However, I think it
is clear that Twain is satirising romanticism through the character of Tom Sawyer. It is
clear in these Chapters that Tom Sawyer envisions himself as a romantic, almost mythic
hero. For Tom, hatching an elaborate scheme is far more important than being honest with
his friend and telling him about Jim's release. Consider what Tom says about Huck's
practical and straightforward plan in Chapter 34:

readability="11">

"Work? Why, cert'nly it would work, like rats
a-fighting. But it's too blame' simple; there ain't nothing to it. What's the good of a
plan that ain't no more trouble than that? It's as mild as goose-milk. Why, Huck, it
wouldn't make no more talk than breaking into a soap
factory."

It is this desire
to have an incredibly exciting and romantic plan, fraught with danger and worry, that
drives Tom Sawyer to concoct his ridiculous escape plan, that even Jim has to play a
part in to help them out.

This is one of the central
aspects that Twain is satirising in these last few chapters - the romantic notions of
Tom Sawyer clearly show the absurd lengths to which he is prepared to go to have a
"proper" adventure and achieve a "real" feat.

What do Nick and Gatsby talk about after the party?only chapter 6 based answer please

After the swimming party, Gatsby talks to Nick about
Daisy.  Gatsby wants Daisy to leave her husband and completely repudiate her past with
him.  His plan is for him and Daisy to return to Louisville and get married.  He wants
to have what he and Daisy once had.  Nick tells him, "You can't repeat the past" (116). 
And Gatsby responds, "Why of course you can!" (116). Gatsby tells Tom the story of his
past with Daisy and of their first kiss.  This is one of the most beautiful passages in
the book.  The whole converation is important for what it reveals about Gatsby and his
dreams.

I want to know about a writer named Sandra Cisneros life and an in-depth analysis of at least three of his or her works.

In short, Sandra Cisneros is a writer whose voice is
indicative of the Chicano literary movement. Growing up in Chicago as an American, she
has deep cultural roots in the Mexican tradition. This has infiltrated her writing as
many of her works express the voices of varying Hispanic Americans at work and play
living in this melting pot society still longing for their own
identity.

One of my favorite pieces is "Salvador Come Late
or Early". It is about a boy who is introduced to responsibility at an early age because
he cares for siblings, but this makes him often late for school and late home. It may
create holes and make him late in his education. But it seems that this little boy is
learning much more common sense than many of the world's
adults.

Other famous works you should read criticism about
include:

• The House on Mango
  Street


• Los Boxers


• My
  Friend Lucy Who Smells Like Corn

I know that Marlow and Conrad are alter egos in the book Heart of Darkness, but how are Kurtz and Marlow alter egos in the novel?

This is a very deep question which I will try to do
justice in the space allotted, but just be aware that entire PhD theses have been
written on this topic! You are definitely right in suggesting that there is some kind of
deep connection between Marlow and Kurtz suggested in the
novel.

What is important to realise is that as Marlow
penetrates further into the unknown, his capacity for self-control and "inborn strength"
are tested. His real trial, however, only takes place when he feels he has been
"transported into some lightless region of subtle horrors" which Kurtz seems to inhabit.
Kurtz is repeatedly described as a shadow, and when Marlow tries to convey the essence
of his experience, he declares "I am trying to account to myself for - for - Mr. Kurtz -
for the shade of Mr. Kurtz." Though Kurtz exists as a character in his own right, there
is a sense in which he can be viewed as Marlow's shadow or "double". By declaring that
Kurtz is "a remarkable man" Marlow was lumped together with him and this identification
with the "nightmare" of Kurtz's "choice" leads to his confrontation with him. It
accounts for the "moral shock" Marlow receives when he realises that Kurtz has left the
steam-boat to join the natives; and for the following
statement:

I
was anxious to deal with this shadow by myself alone - and to this day I don't know why
I was so jealous of sharing with any one the peculiar blackness of that
experience.

When Marlow
states "I confounded the beat of the drum with the beating of my heart", he shows that,
like Kurtz, he has reached the heart of darkness, "the farthest point of navigation." It
is no longer with the wilderness outside that Marlow fights, but rather with its effect
on Kurtz and the spell it cast over him. "If anyone ever struggled with a soul, I am the
man" he says. That Marlow's involvement with Kurtz amounts to a plunge into the depths
of the self is confirmed when he explains that Kurtz's soul "had looked within itself,
and - gone man. I had - to go through the ordeal of looking into it myself." Whatever
Marlow's arguments, he not only succeeds in bringing Kurtz back to the boat, but remains
sufficiently detached to judge with precision the extent of his self-deception, the fact
that Kurtz still hides "in the magnificent folds of eloquence the barren darkness of his
heart."

So, whilst it is credible to maintain that Marlow
and Kurtz act as doubles in the story, this is only a partial "doubling", for Marlow
shows what Kurtz blatantly lacks - self-knowledge regarding his own involvement in the
colonial enterprise and imperialism at large.

In the concluding chapter of The Scarlet Letter, what does her name mean and how does it convey Hawthorne's attitude towards the characters?

In the concluding chapter of The Scarlet
Letter by Nathaniel Hawthorne, Hester's name comes to be revered.  As a woman
who has weathered tribulations of the greatest measure, she is perceived as a
counselor.  Realizing that Hester has "no selfish ends" in returning and resuming the
wearing of her scarlet letter, people come to her with their sorrows and "perplexities,"
seeking her counsel as one who can speak from experience, since she herself has "gone
through a mighty trouble."  They come asking why they, too, are as wretched as she has
been, and they ask for remedies.  "Hester comforted and counseled them as best she
might."

With his portrayal of the humbled, yet saintly
Hester as counselor, Hawthorne underscores his lesson that hypocrisy is the sin that
causes the greatest harm.  Hester's honest character serves the others; they are
comfortable talking with one like them, a sinner and a sorrowful
person.

Amazingly, Hester's faith in God and the hereafter
is strong.  She assures the wretched that there will be better days for them; she
assures them that one day "the world will be ripe for "a new
truth."

Evaluate x for dy=0 if y=(x^2-ax+b)(x+c).

For the beginning, let's differentiate the
given function.

dy=(x^2-ax+b)(x+c)dx

Since
the function is a product, we'll apply the product rule, when differentiating a
product.

(f*g)' = f'*g +
f*g'

We'll put f = x^2-ax+b and g =
x+c

We'll differentiate, to the right side, with respect to
x:

[ (x^2-ax+b)(x+c) ]' = (x^2-ax+b)' * (x+c) + (x^2-ax+b)
* (x+c)'

[ (x^2-ax+b)(x+c) ]' = (2x-a) * (x+c) + (x^2-ax+b)
* (1)

We'll remove the
brackets:

[ (x^2-ax+b)(x+c) ]' = 2x^2 + 2xc - ax - ac +
x^2-ax+b

Now, we'll put dy =
0

We'll substitute the expression for
dy:

2x^2 + 2xc - ax - ac + x^2-ax+b =
0

We'll combine like
terms:

3x^2 + x(2c - 2a) + b - ac =
0

If we'll plug in values for the a,b,c, we'll calculate
the values of x for dy = 0.

Since the expression is a
quadratic equation, we'll have the following cases:

For the
quadratic to have 2 distinct roots, we'll have to impose the constraint: delta >
0

delta = (2c - 2a)^2 - 12( b -
ac)

delta = 4c^2 - 8ac + 4a^2 - 12b +
12ac

delta = 4a^2 + 4c^2 + 4ac - 12b >
0

We'll divide by 4:

a^2 + c^2
+ ac - 3b > 0

From this expression, we'll conclude
that: a,c>b

For the quadratic to have 2 equal roots,
we'll have to impose the constraint: delta = 0.

a^2 + c^2 +
ac - 3b= 0

For the quadratic not to have any roots, we'll
have to impose the constraint: delta < 0.

a^2 + c^2
+ ac - 3b<0

In the 1930s was football part of the good old days or the depressed years?"For some people the 1930s were the 'good old days' and not 'the...

I think that the distinction brought up in the question is
actually one in the same.  The depressed years of the 1930s can be seen as "the good old
days" for FA football.  Certainly, political uncertainty, economic challenge, as well as
overall adversity was felt in many domains.  Yet, football was a sport that started to
emerge as a staple of life in England.  The dominance of Arsenal in the FA helped to
make the sport more appealing to Londoners, and those in England.  Their dominance, akin
to the New York Yankees' "Murderers Row" of the 1920s, was assisted by a foundation of
teamwork and spirit of cooperation.  Certainly, this resonated with the British who
found themselves struggling to rebuild after World War I and recognizing a certain
feeling in the air that the worst was year to come in World War II.  Arsenal's status as
the team of the 1930s, complete with five titles in the decade, helped to bring to light
that football passion and zeal was a part of those depressed years, helping to
illuminate much in the darkness of the times.

In Heart of Darkness, why do you suppose Conrad uses the story-within-a-story framework?I'm just wondering what might Conrad have been after by...

This is a great question, and to answer it we need to
think very carefully about what Conrad wanted to achieve through his choice of how he
told the story. The beginning and the end of the novel, presented by a first narrator
who introduces Marlow's tale and concludes on it, are usually referred to as the "frame"
of the story, with the inner story falling in between the two "frames". One major effect
of Conrad's use of a frame and two narrators is to provoke a chain-like reaction:
Marlow's story is told to four listeners, one of whom tells it to the readers, who may
react differently as the readers to. Among them are a lawyer, an accountant, the company
director, and their profession makes them participants in the imperialist venture, and
they serve its interests like the company director and the accountant Marlow meets in
Brussels and in Africa. The unnamed first narrator is the only one who takes part
imaginatively in Marlow's tale and is changed by it too, as his comment at the end of
the story that the Thames leads "into the heart of an immense darkness" indicates.
Certainly the first narrator has heard and understood what Marlow is trying to establish
- that at the heart of any imperial or colonial endeavour, no matter what "good
intentions" supposedly cover it, there lies a "heart of darkness" representing the
ability of man to exploit and degrade others, just as Kurtz did. The other listeners, on
the contrary, either sleep through Marlow's tale and thus remain unaware and untouched,
or do not understand what he is trying to say.

The contrast
between Marlow's audience and Marlow's attempt to understand and process his experience
underlines the importance of the frame. Although there is a brooding gloom hovering over
London, the first narrator uses expressions like "exquisite brilliance" and "unstained
light" to describe the end of the day. The optimistic perspective he has of colonialism
can be seen to mirror this description of the landscape. This view is of course
challenged when Marlow begins his narrative with the
statement:

And
this also... has been one of the dark places of the
earth.

The first narrator's
introduction therefore raises central issues about perspectives of colonialism that are
developed by Marlow's central narrative: the dark role of the city as a centre of
"civilisation", the nature of colonialism and the lastly the individual's capacity to
reflect on it and explore their own involvement and attitude towards
it.

Thus Conrad uses the framing mechanism to tell this
tale to explore the issues surrounding colonialism in a more profound fashion. The
audience that Marlow has allows us to see different attitudes towards colonialism, and
the first narrator permits us to see how such perspectives can change through the course
of hearing the tale, as Marlow talks of the potential dangers of colonialism to us
all.

Explain the phrase, “something flittered there in front of his mind like a bat’s wing” when Ralph yelled at the boys for rolling the rocks?

In my opinion, Ralph is getting completely frustrated at
this point, he just received a major cut on his arm and is trying to stop the bleeding,
he's looking for Jack and can't find him, and the boys are fooling around. After all of
Ralph's attempts to be a leader, after every moment of seeing what needs to be done and
trying to get it done, I think this moment demonstrated him being about to lose it. When
you keep track of so many things in your mind, you are bound to loose concentration,
there is just too much to keep track of. He is holding it together for the most
part.

OR, Ralph is going savage. It just may be that sanity
is leaving him just like the boys' discipline. It is one of those moments in time where
he might have just about let go of caring about leading. This phrase suggests a
fleeting nature. Ralph's sense and good nature might be getting
ready to leave him.

Little Buddha opens with a story about a monk killing a young goat. The monk changes his life and becomes a protector of goats. What is the point...

The Priest
dropped to his knees saying, "Forgive me, I beg you. From now on I will be the Guardian
and Protector of every goat in the
land."

[Giggling.]

"Now,
what does this ancient tale teach us?" says the Teacher.

All the boys
in unison slowly and distinctly say: "That no living creature must ever be
sacrificed."

The meaning of
the story is explained by the boys who are student monks in the Buddhist Paro Monastery
in Bhutan, India, Tibet. The story is meant to teach the sanctity of life of even the
humblest creatures. Not even the humble goat may be sacrificed to the gods as the High
Priest in the story had done and was about to do again.

The
story, with drawings shown from a book, tells of a High Priest who was about to perform
his duty to the gods he worshipped long ago in India by slaying the goat. Suddenly, the
goat laughs and tells the astounded High Priest that "after 499" lives as a goat, he was
now about to be reborn as a human.

To the further
astonishment of the Priest, the goat begins to cry. The goat says that "500 lives ago"
he was also a High Priest who sacrificed goats to the gods. It is this that compels the
High Priest to declare that he will no longer sacrifice goats but instead will be "the
Guardian and Protector of every goat in the land."

The
point of the story is the implication that because the goat
who was once a High Priest sacrificed goats, he was reborn as a goat. It may be that he
slew 499 goats since he has 499 goat lives. This implication stops the High Priest in
his act and causes him to have an epiphany and a change of life because of the
realization that if he continues to sacrifice goats, he too will be reborn as a goat
again and again to pay recompense for the goat lives he spilled. Thus he vows to make
amends by guarding and protecting "every goat in the
land."

The cinematic and thematic
point of this story is to introduce the topic of
reincarnation and to introduce the serious and important nature of reincarnation, since
the story is one about the quest for the reincarnated Teacher who had died nine years
earlier.

Explain the conceit in lines 25-36 of "A Validation" and what suggests about love.

A conceit is an extended, clever metaphor that is usually
considered pushed to its end degree.  In "Valediction:  Forbidding Mourning," Donne is
speaking to his wife, whom he must leave to go on a trip abroad.  Throughout the poem he
has used a variety of metaphors to explain that he and his wife's love is superior to
everyone else and that it can more easily undure a separation, because it is so
strong.

He uses a conceit in the last three stanzas of the
poem to better illustrated how their relationship works.  He says, if we are two people,
then let us be two like the two legs a compass.  (The kind of compass you would use to
draw a perfect circle.)  He explains that he is the fixed foot in the center -- it holds
the other leg in position and keeps it in line so that it can do its job, and return to
where it started and therefore make a perfect circle.  If Donne, then, is the moving
foot -- he is the one that must "run," but because of her steady love, he will return,
"and make me end where I begun."

The is a great example of
a metaphysical conceit in poetry.  Compasses are NOT an obvious symbol of love, but with
twleve short lines he makes his love and connection to his wife perfectly clear!  It is
very clever, extended, and "pushed to the limit."

"Shakespeare presents Othello as a heroic soldier." Using reference to the text as support, how far do you agree with this statement?

Since Shakespeare never shows Othello in any military
situation (most of the scenes in the play would be considered domestic), we must take
what others say about him as our textual proof that Othello is or is not "a heroic
soldier."

In Act I, scene iii, when Othello enters the
signiory, the Duke of Venice greets him with:

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Valiant Othello, we must straight employ
you,

Against the general enemy
Ottoman...

suggesting that,
first, he considers Othello valiant and, second, though Othello is not a Venetian, the
duke considers him the only man for the job of fighting the Turks on behalf of Venice. 
And later, the Duke all but tells Othello that he must not consider taking a honeymoon
with Desdemona, because:

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The Turks with most mighty preparation makes for
Cyprus:  Othello, the fortitude of the place is best known to you, and though we have
there a substitute of most allowed sufficiency, yet opinion, a sovereign
mistress of effects, throws a more safer voice on
you...

And
with these lines, the Duke, a disinterested voice in the play (and the most exalted)
pronounces that he, along with the voice of "opinion" considers Othello the most
qualified and best man to face the Turks.  And true to the Duke's faith, Othello earns
an easy victory in Cyprus, further cementing him as a noble and heroic
soldier.

It is also important for the tragic progression of
the play that Othello be seen as a "heroic soldier" in the beginning of the play.  His
demise as the tragic hero of the play is much more pitiful and heart-wrenching, two
important criteria in a classic Tragedy, if he begins from a very high place, falling
from his position of power and authority because of his tragic
flaw.

So, based upon the word of the Duke of Venice and the
requirements of a classically Tragic plot, yes, I agree. "Shakespeare presents Othello
as a heroic solider."

What is the grasshopper and the cricket basically trying to say?

In my opinion, the meaning of this poem is that life goes
on at all times and in all circumstances and that there is some aspect to life that is
always beautiful.  The poem is actually literally talking about nature, but I think that
you can see it as applying to human life as well.

In the
poem, beauty can be found no matter whether it is too hot for birds (things that we
usually think of as beautiful) or too cold for just about any life.  In both cases,
things seem bad, but there are still these things (the cricket and the grasshopper) that
make life beautiful.

By analogy, you can say that there are
times in our lives that may seem bleak, but if we look hard enough, we can find things
that are beautiful and should give us hope.

How does Mr. Solicitor-General try to discredit John Barsad's testimony?

Chapter 3 of Book I in A Tale of Two Cities
 recounts the trial of Charles Darnay for treason.  The Attorney-General sets
out the case against Darnay, painting him as a traitor against England.  He outlines act
after act which, if true, would certainly condemn Darnay to his death.  The first
witness he calls to the stand is John Barsad. Barsad is led through his paces by the
prosecuting attorney, and Barsad conveniently repeats nearly every word and accusation
which has already been spoken. 

When the Solicitor-General
cross-examines Barsad, though, some interesting things about his character come to
light.  Through a series of seemingly innocuous questions, we discover he has spent time
in debtor's prison, he has cheated at dice and been kicked down the stairs for it, and
he owes money to a fellow prisoner.  Each question ledto the next, until each of these
confessions were made.  The result, of course, was to discredit Barsad as a
witness. 

Write the equation of ellipse if short axis is 2sqrt10. The point (10;-sqrt5) lies on the ellipse.

The equation of the ellipse
is:

x^2/a^2 + y^2/b^2 =
1

where a = long
semi-axis

           b = short
semi-axis

 To write the equation of the ellipse we'll have
to calculate a, because b, the short axis, is given by the
enunciation.

We also know that the ellipse passes through
the given point, meaning that the coordinates of the point are verifying the equation of
the ellipse.

x1^2/a^2 + y1^2/b^2 =
1

M(10,-sqrt5) belongs to ellipse if and only
if:

10^2/a^2 + (-sqrt5)^2/10 =
1

100/a^2 + 5/10 = 1

We'll add
-5/10 both sides:

100/a^2 = 1 -
5/10

100/a^2 = 5/10

We'll
divide by 5 both sides:

20/a^2 =
1/10

We'll cross multiply:

a^2
= 200

Now, we'll write the equation of the
ellipse:

x^2/a^2 + y^2/b^2 =
1

x^2/200 + y^2/10 =
1

Write about the ways Gatsby is presented in the first four chapters of The Great Gatsby.Language, setting, structure, poetic prose, narrative tone,...

Fitzgerald enlists his narrator, the commonsense Nick
Carraway, to "deliver" the mysterious title figure. Gatsby can be understood as the
1920s version of Benjamin Franklin, the boy without resources who made himself into a
tycoon. Gatsby's is the "rags-to-riches" American story, but without Franklin's prudence
and civic-mindedness. Gatsby is also (as we shall see) more sinister and far more
romantic than his 18th-century forebear.  Gatsby, we learn, bought this mansion and
gives these parties in hopes of one day re-encountering his lost love, Daisy. Daisy is
now married to Tom Buchanan and lives in a mansion across the bay in "East Egg," the
more traditionally wealthy part of Long Island. Gatsby can see the green light on her
dock, which comes to represent all his desire and longing. Gatsby tells Nick (his
neighbor) of falling in love with Daisy when he was stationed in the South, five years
earlier, an officer with infinite dreams but no real claims. This love affair was the
spiritual high point of his life, and Fitzgerald offers us an exquisite evocation of
love and sexual desire as the prime forces that move the world. The first few chapters
begin with Nick, then Daisy (Nick's cousin) and Tom, then Gatsby's fabulous parties, and
then the request that Nick invite Daisy to tea, so that Gatsby can at long last see her
again and make good on his dream. This long-awaited rendezvous is handled with
Fitzgerald's characteristic charm and wit and pathos. It moves from near-disaster to
tearful reunion to stunning triumph of love, glamour, and even wealth.  Gatsby's
character is elusive and full of pathos. His aura is reflected in the enormous parties
he throws, a wild pursuit of the American dream that is deeply
romantic.

Why is Elizabeth angry at Bingley, his sisters, and Darcy?Chapters 13-24.

Angry may be too strong a word, but she is frustrated and
annoyed by them all for the way they have treated Jane and the rest of the Bennet
family.  When Bingley's sisters first issue the invite to the Netherfield ball they
speak only to Jane and in passing to Elizabeth, they ignore everyone else and appear
very rude. 

At the Netherfield Ball, Darcy is beginning to
act like a gentlemen towards Elizabeth, but he is shy and quiet, and she is frustrated
with him.  By this time she has also just recently heard all of the negative stories
about him from Wickham, and even though it is all a bunch of lies, she doesn't know
that, and this knowledge prejudices her against anything good about Darcy and his
improved behavior here.

After the ball she is very upset
for Jane to learn, in a rather cold letter, that Bingley, Darcy and the sisters are all
leaving town and will not be returning anytime soon.  She  is dismayed the Bingley would
go from being so clearly in love with Jane to this cold-hearted man who would just leave
her without a word.  She hurts for Jane's broken heart.  She knows that the Bingley
sisters want him to marry Darcy's sister, but can't believe Bingley isn't enough of his
own man to follow his heart. 

In what short stories does Ernest Hemingway relate his life to events in the stories?

Ernest Hemingway often drew on events from his own life
when composing his short fiction. An especially significant example is his tale titled
“A Very Short Story.” In this extremely brief work, Hemingway’s personal experiences are
alluded to in a number of different ways, including the
following:

• Like the unnamed protagonist of the
  story, Hemingway was indeed an American in Europe during World War
  I.


• Like the protagonist, Hemingway was injured during the
  war, required hospital treatment, and fell in love with a nurse who treated him. In real
  life, the nurse was a fellow American named Agnes von Kurowsky.
  


• Like the protagonist, Hemingway was treated in Italy
  (where he had been injured).


• Hemingway implies a sexual
  relationship between the protagonist and the nurse.  Agnes von Kurowski denied that she
  had had any such relationship with Hemingway (see Jeffrey Meyers’ biography of
  Hemingway). According to Martin Smith, in his study of Hemingway’s book In Our
  Time,

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Despite what some biographers have claimed, and
despite the wishful thinking of some Hemingway "fans," it is highly
unlikely that Hemingway and Agnes von Kurowsky
had sex in his hospital
bed.

• In the story,
  Hemingway implies that the couple have serious, imminent plans to marry. Von Kurowski
  later claimed that she was never as serious about Hemingway as Hemingway suggested and
  that their relationship had been quite innocent. Nevertheless, in the story, the
  protagonist describes receiving letters from the nurse, who was smitten with him. Her
  letters, he says,

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were all about the hospital, and how much she
loved him and how it was impossible to get along without him and how terrible it was
missing him at
night.

• In the
  story, the protagonist returns to America, planning to find a job so that he and the
  nurse can marry – a detail that fits the basic facts of Hemingway’s
  life.


• In the story, the nurse falls in love with an
  Italian and breaks off her relationship with the protagonist – another detail taken from
  “real life.”


• In the story, the nurse’s letter is sent to
  Chicago, which was indeed Hemingway’s
  hometown.

In short, the events described in “A
Very Short Story” bear many resemblances to real events in Hemingway’s life, but
Hemingway seems to have taken a good deal of fictional liberty in creating the
story.

What are the rules to writing an ode?

Like so many things, the formal definition of an ode has
changed over the years.  One thing that is still the same is the tone and style of this
kind of poem; it is meant to be formal and dignified and is often written for a specific
person or occasion.  A funereal event would often be an occasion for an ode.  In today's
less formal world, this form is often used in parody--using that formal, dignified tone
to honor something more ridiculous or inane.  "Ode to a Broken Fingernail" or "An Ode to
My Rusted-out Chevy" would be examples of this kind of parody. It is the contrast
between a formal tone and style for something which is anything but formal which creates
the irony of parody.

Another element of an ode, in addition
to the formal tone, is a formal structure.  As mentioned above, the form was quite
precise and uniform.  Today, what usually matters is that there is some structure and
some rhyme scheme.  An ode must have a metrical and rhyming
pattern. 

Aside from these two criterion, an ode is
generally what you choose to make it. 

I have to do a narrative essay on anything. How do I begin?

The beautiful thing about a personal narrative essay is
that no one could ever write it but you.  That is, it's your story to tell, and it's
likely no one else could tell it any better.  That being said, the key to narrative
writing--and to all writing, for that matter--is choosing the right topic or issue.  In
this case, the topic is something which happened in your life and which you can now
write about with some reflection.

A good place to start is
by brainstorming incidents in your life which have had a significant impact on you for
any number of reasons.  Think about some of the following as ideas which generally work
well for a narrative essay: 

• Important firsts in
  your life (first bicycle ride without training wheels, first time you attended a
  funeral, first time you got caught lying, first time you drove the car on your own,
  first time you scored in a basketball
  game...)


• Significant changes in your life (divorce,
  moving, changing schools, a sibling being
  born...)


• Moments of revelation (understanding adults in
  your life are fallible, realizing death is nearer than you imagined, being betrayed by
  what you thought was a friend...).

Generally
speaking, these kinds of moments will be easiest to write about if they are both
memorable and meaningful.  Also, be sure you haven't just "romanticized" the event--be
certain you can recall enough details and insight to make the story meaningful and
interesting to others.

Best wishes on your
essay!