How does the work "Lady Lazarus" by Sylvia Plath uses the theme of identity?

Plath uses an extended metaphor, that of a cadaver wrapped
in burial cloth, to create an image of her outer covering, her skin, as her perceived
identity.  Lazarus was a man pronounced dead whom Jesus reportedly brought back to life,
though he had already lain for four days dressed in his burial shroud.  Plath compares
herself to this, creating images of her skin being "peeled" off or "unwrapped" as
allusions to this story from the New Testament.  In this poem, her skin becomes the
layers of cloth that create the shroud.

She describes her
skin as a "lampshade" and "linen" and
says:

Peel off the
napkin

O my enemy.

Do I
terrify? --

This images
conjures up the sort of suspense from a horror movie like The
Mummy, in which one wonders, "What's under all those bandages,
anyway?"

She goes on with the metaphor of
"unwrapping:"

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The peanut-crunching
crowd

Shoves in to
see

Them unwrap me hand and foot
--

The big strip
tease.

Gentleman,
ladies

These are my
hands

My
knees.

Here, she creates the
idea that the resurrected body is part of a sideshow or carnival, and people have paid
to see the "freak" be unwrapped and revealed.

So, Plath,
using the metaphor of a burial shroud, reminiscent of the Biblical reviving of Lazarus,
creates an image of her identity as being connected to the external, the skin-deep. 
This is contrasted with the horror to be found when this identity is unwrapped to reveal
the "real" identity beneath.

I edited out the second
question that you asked about relating the poem to themes of Auschwitz and Daddy, since
you must submit only one question at a time.  For more information on these themes,
please follow the link below for further analysis of the poem, or submit a new question
to the Lady Lazarus Group.

Assume the poem is about a loving father son relationship. What role would the author's tone and diction play in determining this?"My Papa's...

Most often, this poem is looked at as an example of harsh
discipline at best, and mild abuse at worse.  To take the lighter side and assume that
the relationship between the father and son is indeed loving, there are only a couple of
clues from the text, which much be greatly
stretched.

Diction means word choice. 
The title of the poem is called "My Papa's Waltz."  A waltz
is a lighthearted dance, and the poem suggests the dance is between him and his father. 
Ignoring the possibility of purposeful irony here, the fact that the son considers his
relationship with his father like a dance, could imply a loving
relationship.  Also, he talks about the whiskey on his father's breath that could make a
"small boy dizzy."  Young children actually enjoy spinning around and becoming dizzy. 
When looked at in isolation, the strength of the smell of whiskey causing potential
dizziness and the fact that the boy "hung on like death" could be a positive
thing.

Also, the use of the word
romped suggests playful
wrestling.

The final line of the poem also presents some
diction which could suggest a loving relationship.

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Then waltzed me off
to bed
Still clinging to your
shirt

Being "waltzed off to
bed" is actually a somewhat common figure of speech which is often presented in a loving
manner.  The boy is still "clinging" to his fathers shirt.  If it was really abuse,
would he not try to run and hide?

The entire tone of this
poem comes across as lighthearted and dance like.  The rhythm of the poem mimics the
rhythm of a waltz.  I do not, however, believe this is meant to mean that the
relationship between the father and son in loving.  Instead, I think it is done to give
the false pretense of a loving relationship with a hidden dark
side.  The boy tells the story, after all, and what child is able to understand, let
alone admit, that his father is an abusive drunk?  If the speaker is looking back on
this time from an adult perspective, he is most successful in showing the reality for
what it was, but presenting how his childhood-self interpreted it at the
time.

What is the concentration of diluted acid if 10cm3 of concentrated HCl are diluted to 100cm3 and 10cm3 diluted acid reacts with 40cm3 0.05M...

According to the information given first 10 cm^3 of HCl
was diluted to 100 cm^3 of HCl. The diluted acid reacted with 40 cm^3 of NaOH with a
concentration of 0.05 M.

Now we need to find the
concentration of the undiluted acid.

Now the concentration
of the diluted acid is 0.05 M as one molecule of HCl reacts with one molecule of NaOH,
so the dilute HCl has the same concentration as the NaOH or
0.05.

Let the concentration of the undiluted acid be C. 90
cm^3 of water is added to it to make 100 cm^3 of diluted acid. If there were M molecules
of HCl initially per cm^3, now there are M/10 molecules of
HCl.

So as the diluted acid is 0.05 M, the concentrated
acid has a molarity of 0.05*10 = 0.5M

The
molarity of the undiluted acid is 0.5M

What thoughts does the Grecian Urn arouse in the mind of the poet?Ode on Grecian Urn by John Keats

Our poet/narrator is contemplating a Grecian urn, of
course, and he sees and makes observations about life.  He sees two
scenes"

First, he sees a young man wooing a beautiful young
woman under a tree; they are about to kiss.  The contemplation
is

Bold
Lover, never, never canst thou kiss,
Though winning near the goal yet, do not
grieve;
She cannot fade, though thou hast not thy bliss,
For ever
wilt thou love, and she be
fair!

You may not get to kiss
her, he says, but she will always be beautiful.  There is also a tree in full
bloom whichwill never have to suffer the loss of its leaves, and the young man playing
his pipe will always be young anf have his passion--and his song will never grow
old.

Then he sees a scene of a quaint, empty
town.

What
little town by river or sea shore,
Or mountain-built with peaceful
citadel,
Is emptied of this folk, this pious morn?
And, little town,
thy streets for evermore
Will silent be; and not a soul to tell
Why
thou art desolate, can e'er
return.

What town it is and
why it's empty will forever be a mystery.

The first scene,
while beautiful and everlasting, is sad to him because the promised action of the scene
will never happen:  no kiss, no love, no spring, no
music.

In the second scene, the town will always be
beautiful but it will also forever be empty, not serving the purpose of a town which is
to hold a teeming, living community of people. 

The
narrator is reflecting on the fact that the history (story) of the urn will last far
longer than anything he might write or any story one might live, yet it is not alive. 
Life, while not always so beautiful and perfect, does have love and birth/death and
music and passion--even if it's ugly sometimes.

His final
lines are up for debate and speculation, though they are the most famous and
oft-quoted:

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"Beauty is truth, truth beauty,--that
is all
Ye know on earth, and all ye need to
know."

Keats himself saw the
ambiguity of these lines as a flaw, but that's what poetry is supposed to do--allow for
personal reflection.

Towards the end of the story, Elizabeth feels that she and her husband were two isolated beings eternally apart. Give reasons.

The mood of isolation permeates this entire short story.
From the very beginning, Elizabeth is isolated. She is waiting for Walter to return for
dinner. She is isolated and alone with her thoughts. Although her children are with her,
they too are isolated from her. The little boy plays in a corner, the little girl is
away at school. When Walter does not return, Elizabeth goes out looking for him, also
alone. She leaves her two children alone in the house while she searches for Walter.
When her mother-in-law arrives and they learn of Walter’s death, they each begin
grieving in their own way, but they are isolated from each other. Elizabeth’s thoughts
flow in one direction and by her actions, the mother shows that her thoughts are
entirely different than the wife’s. The mother remembers the dead man as her darling
son, the wife remembers him as someone who made her life miserable, a drunk. Even after
Elizabeth remembers that she lived with Walter for so many years, they had two children
together and one on the way, they were really strangers to each other. And now, the
child within her is “like ice to her” – another symbol of
isolation.

Elizabeth realizes that she and Walter have both
been guilty of causing each other’s isolation in their marriage. Perhaps this is why he
drank. His mother indicated that he was a happy, joyous man until he got married and
even Elizabeth remembers him thusly when they were first married. They had worked
against each other, however, over the years. She isolated herself from him because of
his drinking, and he drank because she isolated herself from him. It was a vicious
circle and now he is dead and she is alone.

How does the author use situational irony in "The Monkey's Paw"?ANSWER ASAP, this paper is due tomorrow! =|

I would say that the situational irony in this story is
used to emphasize the main point of the story.  I think that the main point is that you
can't really change fate or destiny -- if you try, it might end up backfiring on
you.

In the story, the White family tries to manipulate
their fate by using the monkey's paw.  This is where the situational irony comes in. 
Both times that they wish for something, they do not get it in the way that we think
that they might.  We expect them to get the 200 pounds in some lottery or something but
instead they get it from their son dying, for example.

So
the situational irony is meant to emphasize the main point of the
story.

Could 3 short stories of O. Henry--"The Gift of the Magi,""The Last Leaf," "The Cop and the Anthem"-- be set in a city other than NYC?I have to...

[Since my response, that I tried to post was just bumped
off somehow, I will try to reproduce it here, and hopefully, it will not be too
late.]

With O. Henry's setting being the turn of the
twentieth century, there may be only one other city that could be the setting for these
three stories--Chicago, Illinois.  While Chicago at this time lacked the sophistication
of New York and the bohemian life of Greenwich Village, there is documentation that
artists did congregate in parts of Chicago and the Midwest, though not to the extent
that they did in Greenwich Village where "The Last Leaf" is set.  For, in his
U.S.A. Trilogy (published in 1919), John Dos Passos writes of two women who
were aspiring artists.  Certainly, for the story "The Cop and the Anthem" Chicago was
urbanized enough to have beat policemen who would encounter a character such as Soapy,
and history records the city's element of criminality at the time to substantiate the
existence of Bob and Jimmy in "After Twenty Years."  Of course, Chicago has a similar
climate to that of New York City, so the brutal cold of "The Last Leaf" would be
realistic.

Nevertheless, although the setting of Chicago
has definite verisimilitude, since O. Henry was very familiar with New York, and since
people of his time would perceive New York as much more of a true city than Chicago,
which still was thought of in terms of its stockyards and as part of a state that was
not of the original colonies, it does seem that the setting of New York is more
appropriate.

What is the area of the triangle formed by the lines y = 7 , x = 8 and 4x+ 3y =7?

To determine the area of the triangle formed intersecting
the 3 given lines, we'll have to determine the length of the sides of the
triangle.

We'll determine the vertices of the triangle
first. The vertices of the triangles are the intercepting point of the given
lines.

We'll determine the first vertex, namely the
intercepting point of x=8 and 4x + 3y = 7.

We'll solve the
system formed by the
equations

x=8

4x + 3y =
7

We'll substitute x=8 in 4x + 3y =
7.

32 + 3y = 7

We'll subtract
32 both sides:

3y = 7 - 32

3y
= 25

y = 25/3

So the first
vertex is the point (8 , 25/3).

We'll determine the next
vertex for y = 7 and 4x + 3y = 7.

We'll substitute y = 7 in
4x + 3y = 7.

4x + 21 = 7

We'll
subtract 21:

4x = 7-21

4x =
14

x = 14/4

x =
7/2

The next vertex is (7/2 ,
7)

The 3rd vertex is
(8,7).

Since x is perpendicular to y, the triangle is right
angled and the area of a right angled triangle is the half-product of the
cathetus.

The base of triangle, AB, one cathetus, is
located between (8,7) and (7/2 , 7).

The length of the base
is:

AB = sqrt[(8-7.2)^2 +
(7-7)^2]

AB =
0.8

The height of triangle, AB, one
cathetus, is located between (8,7) and (8 , 25/3).

AC =
sqrt [(8-8)^2+(25/3 - 7)^2]

AC =
2/7

The area of triangle ABC
is:

A = AB*AC/2

A =
(8*2)/2*10*7

A = 4/5*7

A =
4/35

A = 114/1000 square
units

What was the background history that initiated the Trojan War?

Eris, the goddess of discord, became angry when she wasn't
invited to the wedding of Achilles' parents. As revenge, she threw a golden apple that
had "for the fairest" written on it into the hall where the wedding was taking place.
All the goddesses felt the apple was theirs, but the decision came down to Hera,
Aphrodite, and Athena. The three wanted Zeus to decide, but he knew better and sent them
to Mount Ida where Paris, the prince of Troy, was living, for Paris to decide among the
three. All three try to bribe Paris, but he chooses Aphrodite, making the other two
goddesses very angry. They vow revenge against Paris for his decision and make him fall
in love with Helen, the most beautiful woman on earth, and the wife of Menelaus, the
king of Sparta. When Paris visits Menelaus,  he and Helen run away to Troy, taking most
of Menelaus' treasure with them. Menelaus convinces the other kings to go with him to
Troy to avenge the dishonor and embarassment Paris had caused him and to retrieve Helen.
The war cost many lives, lasting twenty years.

In "The Open Window", what is the definition of principle, strategy and technique?

I have to admit I am not entirely sure that I understand
your question. What you seem to be talking about is how does Saki make this story so
effective in terms of his design of the short story. This is of course a darkly humorous
tale where a poor, sick man is exploited by a ferociously intelligent and quick young
lady. To me, this story celebrates the power of storytelling to deceive and to mislead -
it is highly ironic that the story ends with yet another tale that conveniently explains
away the strange behaviour of Mr. Nuttel.

Of course, what
is absolutely key to the success of this story is the fact that we only find out the
"truth" about Vera at the end of the tale when she weaves this second tale to explain
Mr. Nuttel's swift exit. The last, brief line seems to sum up so much of Vera's
character:

readability="5">

Romance at short notice was her
speciality.

It is only at the
end of the story that we realise how Framton Nuttel has been deceived and exploited for
Vera's own amusement - and how she has just done the same to her family. Although we as
readers have the benefit of discovering the truth at last, we, just like Framton Nuttel
and Vera's family have been taken in by her convincing performance and her sheer verve
at storytelling, and so, in a sense, the joke has been played on us as well. In this, I
believe, lies the success of this great story.

How did the Cold War change the role of the United Nations?

Before the Cold War, the United Nations was supposed to be
a body that would be able to maintain peace in the world.  It was supposed to represent
the consensus of all nations.  At the end of WWII, there were no formal rivalries
between any major countries and so it was hoped that the UN would represent all
countries in the world.

As the Cold War got started, this
fell apart.  The world started to split up into the Communist bloc and the US and its
allies.  This led to the UN being unable to do anything major because the two sides
would never agree.  So instead of being a major peacekeeping organization run on
consensus, the UN had to be content with doing minor, noncontroversial things like
UNICEF.

What are two unpleasant characteristics that Odysseus uses to describe Polyphemus?Consider why Polyphemus could attribute these...

Odysseus essentially calls Polyphemus stupid, gullible,
and easy to outsmart. He does this as he is going away from Polyphemus' island. Up until
this point, Odysseus effectively kept his identity a secret, but pride welled-up inside
of Odysseus for a few moments and he felt the need to let Polyphemus know who he was so
that Polyphemus could tell everyone who the great man was that had conquered him.
Unfortunately, Polyphemus used that information to pray to his father Posideon to hurt
Odysseus. Thus, Polyphemus could call Odysseus stupid
too.

Odysseus tried to call Polyphemus a poor host for not
sharing his wealth with poor traveling guests. Polyphemus could call Odysseus the most
terrible of guests because not only did Odysseus bring a gift, he used it to manipulate
Polyphemus by getting him drunk, but he also stole Polyphemus'
sheep!

How deep and wide is the impact of gandhi's personality and his thought on the theme of Kanthapura?

In general, I wonder if there is any way to compose a
novel on Indian independence and not have Gandhi's presence such an intense and major
part of it.  Certainly, Rao's work does feature Gandhi on many levels.  To a large
degree, the narrative of the village Kanthapura involves Gandhi.  As Rao indicates, the
story of the village is the story of every village in India.  The Gandhian presence is
evident on both political and social levels.  On one hand, the political movement of
Independence is present in the stirrings in the village, as just like India, it faces
severe resistance, but then over time is gradually embraced to a point where a massive
embracing causes lasting and seismic change to the political reality of the village.
 Gandhian principles are a part of this such as Moorthy's espousing of nonviolence,
wearing homespun, and demanding a level of structural change in how individuals interact
with one another.  This leads to the social displacement that is seen in Gandhian ideas.
 The advocacy for the dissolving of the caste system is a part of this and the
resistance it spurns is also a part of the Gandhian elements.  In disrupting the social
fabric of the village, one witnesses Gandhi's philosophy in action.  The simplistic call
to end the caste system in India has tremendous reverberations on all levels as
individuals realize how powerful the call for independence actually is.  It is also
representative when the women lead the charge for freedom, actively defying the men and
the British in the calls for freedom.

What is your interpretation of the relationship between father and son in "My Papa's Waltz"?

This is one of my favorite poems.  Roethke (the author)
vividly captures the joyful bond between father and
son.

The father and son in "My Papa's Waltz" have a close
relationship.  The father is a blue collar worker, someone who works hard with his
hands; his knuckle is scraped and his hands are caked with dirt from his day's
labors.

The son clearly feels his father's belt buckle
scraping his ear as he "hangs on for dear life," romping (a lively
word describing the playing of youngsters) in a waltz with his father—while his mother
frowns at the pans rattling off the shelf. (However, we don't get the idea that she is
really angry.) The boy even smells the whiskey on his dad's breath:
perhaps from stopping for a drink on his way home from a long day at
work.

The boy loves this time with his father: perhaps they
don't have much opportunity to do this kind of thing, with dad coming home late and
bedtime looming for the boy—this is what may make is so memorable for the son. And it is
a memory that stays with him long after his childhood years have passed. The father
beats the rhythm of the waltz on his son's head as they dance, bringing a sense of
movement to the verse. The poem ends as the father waltzes his son off to bed, with the
boy "...still clinging to [his] shirt."

The mood of the
poem is positive and joyful, and with the imagery provided, we know the son and father
enjoy each other's company greatly. The imagery and the sense of playful dancing before
bed allow this sense of joy to come through to the reader, along with a sense of
nostalgia from the now-grown son, who we can assume is the author of the
poem.

Discuss how gender relations are constructed between washerwoman, Delia Jones and her abusive, wayward husband, Sykes. How does Delia Jones learn...

Unlike the other African American writers of the period,
Zora Neale Hurston focuses on gender more than race.  As the woman, Delia is the center
of the home, ultimately responsible for stereotypical female jobs: cooking and
cleaning.  The first image of her is her bend over clothes as she "sorted and put the
white things to soak" on Sunday night.  Sykes then moves into a stereotypical "male"
postion as he tries to enforce the rules of the household, telling her about her habit
of working ont he Sabbath, "Ah done promised Gawd and a coule of other men, Ah ain't
gointer have it in mah house."  He tries to control her, and when the author says
"Delia's habitual meekness seemed to slip from her shoulders like a blown scarf," she
makes it clear that Delia usually allows Sykes to take that role as head of
household.

The men in town also see the world in terms of
men's work and women's work.  Walkter Thomas points out that, "He useter be so skeered
uh losi' huh, she could make him do some parts of a husband's duty."  This clearly
demonstrates that they believe that men and women both have particular roles to
fulfill.

Delia, however, has to learn to defend herself
when her husband fails to meet his obligations as her husband.  Even the men in town
consider taking Sykes and the woman with whom he's cheating and laying "on de rawhide
till they cain't say Lawd a'mussy."  However, Delia only turns to self-protection when
Sykes breaks the most basic "masculine" rule to protect the family. When she comes home
to find the snake out of the box, she felt "a new hope" that he had changed.  Only after
she found the snake in her basket in a clear attempt to murder her did she decide to
allow Sykes to step into the trap. 

Please give three citations that describe how Brother in "The Scarlet Ibis" deals with pride or self-esteem in this story.

One of the sad aspects of this story is the narrator's
sense of pride as he struggles to cope with having a brother like Doodle. This of course
forces him to try and make Doodle more socially acceptable, so that the narrator himself
would not be made fun of or feel bad for having a brother who wasn't able to do the
things that other children his age were able to do. We see this when he decides to teach
Doodle to walk:

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When Doodle was five years old, I was embarrassed
at having a brother of that age who couldn't walk, so I set out to teach
him.

Note that the narrator
does not teach Doodle for his own good--it is out of his own sense of embarrassment.
This is something that the narrator himself later admits when he and Doodle reveal
Doodle's ability to walk:

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They did not know that I did it for myself; that
pride, whose slave I was, spoke to me louder than all of their voices; and that Doodle
walked only because I was ashamed of having a crippled
brother.

Note how the
narrator admits and recognises that he is the "slave of pride." However, spurred on by
this success, he comes up with a training programme to teach Doodle how to "run, to
swim, to climb trees, and to fight" so that Doodle will be ready for school. However,
after the scarlet ibis incident, Doodle and his brother are forced to realise that
Doodle has failed in the programme his brother has created for
him:

He had
failed and we both knew it, so we started back home, racing the storm. We never spoke
(what are the words that can solder cracked pride?), but I knew he was watching
me, watching for a sign of
mercy.

Unfortunately, it is
the narrator's failure to give a sign of mercy to Doodle because of his own shame that
leads him to desert Doodle to his death. The narrator's pride has been cracked, and he
recognises that no words are able to "solder" that crack together
again.

The tragedy of this story is that the narrator is
unable to accept his brother for the unique and special individual that he is and feels
that he needs to transform him into a more socially acceptable individual because of his
own sense of shame at his brother. It is this that leads to Doodle's
death.

"Shaym Selvadurai's Funny Boy concerns the loneliness & humiliation of a person." Discuss your views with regard to the above statement.(A person...

I would argue that the statement only captures part of the
novel's scenario. There are certainly several instances through the narrative that
stress the humilation that Arjie has to endure, primarily because of his inability to
fit into the male-female gender dichotomy (ethnicity too plays an increasingly inportant
part as the novel unfolds). The novel tellingly begins with a description of the garden
of the house where Arjie's extended family lives. The space is clearly divided into two
parts: one for the boys and one for the girls. Yet, Arjie is included in the second
territory where he seems to "gravitate naturally". The humiliation initially comes from
within his family where his father obsesses that his son will turn out funny. This
obsession leads him to enroll his son into the "Queen Victoria Academy", an institution
where, as his brother warns Arjie, "you are a man. Either you take it like a man or
other boys will look down on you”. Ironically, it is thanks to the Victoria Academy that
Arjie will discover gay sex.

The ethnic riots between Tamil
and Sinhalese groups that violently erupt towards the end of the novel lead to the
destruction of Arjie's home. Arjie then articulates his despair and loneliness: "I felt
hot, angry tears began to well up in me as I saw this final violation. Then, for the
first time, I began to cry for our house. I sat on the verandah steps and wept for the
loss of my home, for the loss of everything that I held to be precious." This passage
comes right after Arjie his final meeting with his lover Shehan and stresses the
character's loneliness.

Yet, the book also powerfully tells
another story, that of Arjie's sexual awakening and his increasing acceptance of his
homosexuality. The novel affirms the central character's growth from boy to man as he
realizes that he has to challenge social conventions if he wants to be happy. The
distance that he feels from his family and his society is therefore liberating. The
novel finally affirms Arjie's sense of identity as a homosexual and his ability to
overcome the social humiliations he has been subjected to.

When is irony used in the short story, "The Rocking Horse Winner"?

There are two main forms of irony employed in this
excellent short story by D. H. Lawrence. The first is situational irony, and we are
presented with an example in the very first paragraph. Here the author introduces us to
the mother in the story who is undergoing a conflict between appearance and
reality:

She
had bonny children yet she felt they had been thrust upon her, and she could not love
them. They looked at her coldly, as if they were finding fault with her. And hurriedly
she felt she must cover up some fault in herself. Yet what it was that she must cover up
she never knew. Nevertheless, when her children were present, she always felt the centre
of her heart go hard.

The
woman appears to love her children, and in fact we are told that everyone else says of
her she is a very good mother because she "adores" her children, but in fact, her heart
was "a hard little place" that was incapable of loving
anyone.

The second type of irony we find is dramatic irony.
We, Paul and Uncle Oscar know the source of the money that Paul's mother receives, but
she does not. It is clearly ironic that what is a gift of love and a result of care and
concern for the mother is responded to with such avaricious greed and rapaciousness.
For, we are told that after receiving the first instalment of the money, Paul's mother
went that very day to the lawyer to ask for the whole money at once. It is likewise
ironic that Paul's mother doesn't realise what Paul is doing to himself until it is too
late.

What is the range between which the values of the function f(x) = 8x^3 - 7x^2 - 3x + 7 lie?

To find the range of  f(x) = 8x^3 - 7x^2 - 3x +
7.

The range of the function is the set of all real values
of the function for the  set of vaues of the domain of the
function.

The domain of the function is  x taking all the
real values .   Therefore x is in the interval (-infinity ,
infinity.)

Since the highest degree is 3, f(x)  = x^3
(8-7/x-3/x^2+7/x^3)  behaves like x^3 *(a positive
quantiy).

Therefore  f(x) = infinity  as x -->
infinity and

f(x) = -infinity as x-->
-infinity.

Therefore the range of f(x) is  (-infinity ,
infinity).

What is the whispering and what does it symbolize?

You only get one question, so I'll answer the first
regarding "The Rocking-Horse Winner."  The whispering is a personification (a coming to
life) of the stress and dissatisfaction found in the house.  The consistent whisper is
not literal (real), of course--but the feeling in the house is quite real and tangible
to everyone who lives there.  Paul, the son, seems to be the most sensitive to the
whisperings of the house. Mother feels she has no luck any more, and more money is the
only thing which will change things.  She's wrong, as we discover, but that's what she
thinks.

And so
the house came to be haunted by the unspoken phrase: There must be more money! There
must be more money!...  Yet nobody ever said it aloud. The whisper was everywhere, and
therefore no one spoke it. Just as no one ever says: "We are breathing!" in spite of the
fact that breath is coming and going all the
time.

Though this is a family
who apparently has plenty of money (as evidenced by the fact that they have servants and
stables and expensive gifts and other such extravagances), there's a constant hunger for
more.  This desperation is what is being whispered by the house.  Once money does come
into the mother's hands (thanks to her son, of course), the voices don't subside; in
fact, they get louder and more demanding. 

readability="13">

...the voices in the house, behind the sprays of
mimosa and almond-blossom, and from under the piles of iridescent cushions, simply
trilled and screamed in a sort of ecstasy: "There must be more money! Oh-h-h; there must
be more money. Oh, now, now-w! Now-w-w - there must be more money! - more than ever!
More than ever!"

Your
question is what does the whispering symbolize.  The answer, I think, is the discontent
and greed of Paul's mother.  She is never satisfied, and the the feeling in the house
(as represented by the whispers) is indicative of those two things.  It's similar to
walking into a room in which there is tension or guilt or whatever other emotion you
might think of, and recognizing that something is going on, even without knowing any
of the specifics.  It's just there, as if the room is whispering.  Same thing here.  The
house is speaking what's in the heart and mind of Paul's mother, and it's what
eventually kills her son.

Do heavier satellites orbit closer to Earth and lighter ones farther away?

For a satellite orbiting the Earth, there is force of
gravitation between the Earth and the satellite that keeps it in the required orbit.
Else the satellite would move in a tangential straight
line.

Now the Gravitational force is given as G*Ms*Me*/R^2,
where Ms is the mass of the satellite, Me is the mass of the Earth, R is the distance of
the satellite from the Earth and G is the universal gravitational
constant.

Now depending of the speed of the satellite the
centripetal force can be expressed as Ms*v^2/R

Equating the
two we get G*Ms*Me*/R^2 = Ms*v^2/R

=> G*Me/R =
v^2

=> R =
[G*Me/v^2]

So we see that the radius of the satellite’s
orbit or what is its distance from the Earth is not decided by its mass, but rather by
the speed it is moving at. A faster satellite orbits closer to the Earth and a slower
satellite orbits farther from the Earth.

How did the recent crash in real estate values affect California city revenues collected from property tax?

I'm going to assume you mean as a result of the recent
crash in housing values in California.  Because California has a large population, with
a huge economy and any number of large industries, property values in big cities have
been higher than the rest of the country for years, and in the last five years,
considerably higher.  The benefit of this is that property taxes, even if collected at
the same rate, would generate a lot more revenue for the cities and state to pay for
everything from schools to law enforcement to fire
departments.

The drawback is that housing bubbles burst,
and as services had been developed to match the amount of revenue that could be spent,
when the values dropped, the revenue did also, and sharply, which meant that existing
services had to be cut.  These cuts were sometimes drastic, and we even saw some
counties and municipalities declaring bankruptcy.

What are some explanations of the chain of custody: how is it used in court, and what is its purpose?

Chain of custody refers to official documentation of the
complete sequence of activities connected with collection, custody, transfer,
examination, and deposition of evidence used in legal
proceedings.

The evidence can be a physical evidence such
as drugs seized from a person, or a weapon used in a crime. It can also be some evidence
in electronic or other forms such as video recording or some storage medium in
computer.

The chain of custody must include detailed
information on persons collecting and handling the evidence, timing of various actions
by such persons, conditions under which the actions took place, and the precautions
taken to prevent tempering with the evidence.

The purpose
of chain of custody of evidence is to ensure and provide a proof that no unauthorised
access or tampering with the evidence took place. Without such back up of chain of
custody, no evidence is valid in a court of law.

For
example if a glass tumbler containing fingerprints of a person obtained from the scene
of crime is presented as evidence then the chain of custody will record details such
as.

• Description of the
  evidence.


• How obtained the evidence, from where and
  when.


• When it was handed over to forensic lab for
  examination, and the identity of person receiving
  it.


• Nature and timing of analysis performed on
  it.


• Details of handover of evidence to the evidence
  clerk.


• Details of the place of storage by the evidence
  clerk.


• Details of any other persons accessing and
  examining the evidence while it is in the custody of the evidence
  clerk.

log 2 (2x-3) = 3

itemtype="http://schema.org/Person"> href="/people/kjcdb8er">kjcdb8er
class="divider">|


Teacher

class="divider">|
(Level 1) Associate
Educator

Posted on href="/homework-help/log-2-2x-3-3-184405#answer-242161" itemprop="url">July 19, 2010
at 7:32 AM

In April 1963 the Birmmingham protests seemed likely to fail. What did James Bevel propose to save the protest?How successful was Bevel's plan?

Bevel's plan was conducted in coordination with Dr. King.
 At a time when some level of stagnation was being experienced in the 1963 Birmingham
protests, Bevel proposed the idea of using school aged children and university students
to help drive home the demand for Civil Rights for people of color, specifically
African- Americans.  Bevel worked with the kids and leading them, they marched onto the
steps of the Birmingham City Hall where they were met with police in riot gear and hoses
in order to break the spirits of the protestors.  At the time, President Kennedy and the
nation took notice of school aged children being abused by police officers and being
hosed down with fire hoses as well as having guard dogs attack them.  This was something
of a moral repugnance to the President, or something of really bad public relations.
 Kennedy asked Dr. King to stop the use of the children.  As part of their original
agreement to not relent until their goals of Civil Rights social and legal equality had
been reached, Bevel refused to stop the use of children and planned to expand their use.
 Bevel had realized that the use of children as part of the movement helped to enhance
its moral aims and place the burden of moral culpability on those in the position of
power.  In a shrewd move, Bevel reasoned that a nation which preached equality could not
justify mistreating a grade school child marching for Civil Rights.  When President
Kennedy understood that the leadership of the movement, of which Bevel had a large part,
would not stop using children in its aims, the President and his advisors began the
process of carving out legislation to ensure Civil Rights, asking the leadership what
they wanted to see in such legislation.  In terms of Bevel's success, I would say that
he was fairly successful in helping to bring about the overt racial social and
institutional practices in the South.  As he and the other Civil Rights leaders
understood, the battle against these covert practices in the Northern part of the United
States was much more difficult as the enemy was much more elusive and more evasive than
its Southern counterpart.

In regards to The Great Gatsby, what seems to be the feeling to towards divorce in the 1920s?

The word divorce is never used in the novel, and I think
that alone is part of your answer.  While Jay Gatsby clearly tries to enchant Dairy away
from her marriage vows and later tries to insist that Daisy tell Tom that she never
loved him, he doesn't tell Daisy to ask for a divorce.  He clearly wants to go back in
time and have her all to himself, and he is almost astonished when Nick tells him "you
can't repeat the past."  In an ideal world, Jay would just marry Daisy and he would have
his dream fulfilled.  In reality, she would have to divorce Tom, but in this echelon of
society in this time period, that is still a particularly strong taboo.  Daisy and Tom
married to connect families and wealth -- more like an old fashioned royal marriage for
alliance purposes.  Those kinds of marriages are about more than the relationship of the
two people; those marriages represent status and stability for in both the business and
the social worlds.  Divorce would have been considered an ugly idea that rarely happened
because the people involved had way too much to lose.

What is the symbolic significance of Lord of the Flies?

When thinking about the overall significance of this
amazing story you will want to think of how quotes reveal what Golding is trying to say
about humanity. Of course Golding is writing about opposition. The central opposition in
the novel is that between the forces of civilisation and savagery, or order and chaos.
Golding explores the competing instincts that dwell within us all: to live by rules,
obey morals and act for the greater good of society, and then the opposite side, which
is the desire to dominate, enforce one's will and act immediately to gratify
desires.

This conflict is explored throughout the novel
through examining the boys' gradual slide into lawlessness as they adapt to life in a
barbaric jungle away from the normal controls on their behaviour (law, parents, school
etc). These two forces are represented by the two characters Ralph (civilisation) and
Jack (savagery).

Golding's conclusion is that the instinct
for savagery wins out in the end. It is far more primal and fundamental to us than the
instinct of civilisation, which he sees as a result of social conditioning rather than
any moral goodness within humanity. We can see this through the example of the boys:
when left to their own devices without any external forces of control, the instincts for
savagery win out, even in the defender of civilisation, Ralph. The concept of the innate
evil within all of us is central to understanding this novel, and is symbolised by the
beast and the sow's head on the stake. This is the realisation that causes Ralph and the
other boys to weep at the end of the novel, ironically when they should have been most
happy: "Ralph wept for the end of innocence, the darkness of man's heart, and the fall
through the air of teh true, wise friend called Piggy." So the "darkness of man's heart"
is therefore the central moral of this story.

Another key
quote comes from Simon when the boys are discussing The Beast and if it is real or not:
"There isn't anyone to help you. Only me. And I'm the Beast . . . Fancy thinking the
Beast was something you could hunt and kill! . . . You knew, didn't you? I'm part of
you? Close, close, close! I'm the reason why it's no go? Why things are the way they
are?” Simon is the first boy to realise that the evil summed up in the beast isn't
actually external - but internal, based in themselves. This is something that he further
realises when he confronts the Lord of the Flies later on in the
novel.

Lastly, when Jack has killed his first pig, Golding
writes: "His mind was crowded with memories; memories of the knowledge that had come to
them when they closed in on the struggling pig, knowledge that they had outwitted a
living thing, imposed their will upon it, taken away its life like a long satisfying
drink." This quote clearly establishes that Jack is attracted to the killing of pigs not
because of the need to feed the boys but because of the joy of letting his primal
instincts loose and the desire to impose his will and strength upon another
creature.

So, there you have it - according to Golding, we
are savage, evil creatures, only barely kept in check by civilisation. When those
restraining influences are removed - well, you have read the book, so you know what can
happen!

What is the theme of the "Ain't I a Woman" by Sojourner Truth?be specific

"Ain't I a Woman," a speech given by Sojourner Truth at a
women's right to vote convention, is one of my students' favorites because it's real and
sensible--and humorous.  Truth is a strong black woman who actually won the first court
case against a white man in the nation, I believe--she sued a white man to buy her son
from him after he took her money but didn't release the son, if I remember correctly. 
In any case, this is one tenacious woman.  In this speech she is making a case for
women's rights by decimating the arguments put forth by all the speakers who came before
her on the podium.  She makes three primary
arguments.

First, she argues that the man who spoke before
her, claiming women are too fragile to bear the burden and responsibility of voting, is
not accurate in his assessment.  She says: 

readability="11">

That man over there says that women need to be
helped into carriages, and lifted over ditches, and to have the best place everywhere.
Nobody ever helps me into carriages, or over mud-puddles, or gives me any best place!
And ain't I a woman?

She goes
on to say she has ploughed and planted and has done the work of any man--and can eat as
much as him if she's given the chance (an example of her
humor).

Second, the argument had been made that women do
not posess the same intellect as men  Sojourner Truth has an answer for that, as well. 
Her answer:

readability="8">

What's that got to do with women's rights or
negroes' rights? If my cup won't hold but a pint, and yours holds a quart, wouldn't you
be mean not to let me have my little half measure
full?

Here's her final
argument in her own words:

readability="9">

Then that little man in black there, he says
women can't have as much rights as men, 'cause Christ wasn't a woman! Where did your
Christ come from? Where did your Christ come from? From God and a woman! Man had nothing
to do with
Him.

This is a
witty and determined woman who spoke effectively and intellectually, despite her
pronounced dialect, about a subject she felt passionate about, clearly. She closes with
this:

readability="10">

If the first woman God ever made was
strong enough to turn the world upside down all alone, these women together ought to be
able to turn it back, and get it right side up again! And now they is asking to do it,
the men better let them.

Her
theme is clear:  women are just as capable as men and should have the right to vote. 
I've included a great e-notes link (below) on Sojourner Truth which I think you'd find
interesting. 

Is it true or false that dust raised by the impact of a meteorite on earth may have blocked the sun's ray for many years?

Anything that causes large amounts of debris and dust to
be thrown into the atmosphere will also block some of the suns rays.  So, it is a
completely plausible (possible) theory that meteors which have struck the Earth in the
past have caused this to happen.  The typical effect is that the amount of light energy
from the sun is diminished, the debris acting sort of like a filter, and the average
surface temperature of the Earth can be lowered if enough material is thrown into the
upper atmosphere.

As a modern day comparison, I live not
far from Mt. St. Helens, in Washington State, and when it erupted in 1980, millions of
cubic yards of ash and dust were thrown upwards of 50,000 feet in the air.  For almost
five year afterwards, the sunsets were a more brilliant red as the debris stayed in the
atmosphere that long.  That one event did not significantly change the Earth's
temperature, but a large enough meteor might.

Some theories
suggest ice ages have been caused by large enough impacts, along with the extinction of
most species on Earth.

I need help creating my own film version of Macbeth and deciding which themes to concentrate on. Explain what you will do to emphasize the...

Thinking about themes can be a fun way to
create ideas for making a film version of Macbeth.  Some of the
common themes that come up when discussing the play are:  evil; ambition; guilt; and
gender or sex roles.  What theme do you think has the strongest effect on the play, or
might be easiest or most fun to show in things like costuming, use of lighting, music
and other symbols?

As an example let's look at the theme of
evil.  To begin with, what sort of landscape could you use for the initial battle scene
to reflect that evil is present?  Should it be a barren and desolate, bombed out patch
of dry land or something else?  Is it a dark and crumbling, modern-day street
corner?

How would you light it, to emphasize the evil? 
Would you make this scene one in full daylight, full darkness, or would it be that
moment of barely any light between day and night?  Would the light for the scene come
from natural (sun, moon) or artificial (streetlights, flashlights, etc.)
sources?

The witches are the first characters that appear. 
How could you costume them to show their evil?  Are they more like monsters from an
alien world rather than people?  Remember, this is a movie, so you can really think
outside the box, not all your characters would need to be
human.

In thinking of special effects and using music to
highlight the theme of evil, you might want to look at some classic horror movies -- old
ones like Dracula and Frankenstein as well as
newer ones -- to get more ideas about how the principles of film making can best be 
used to show evil in Macbeth.

You can
write out your scenes as a screenplay or create what's called a storyboard.  The links
below can give you more direction on these tools.

This
seems like a fun project, since Halloween is just around the corner.  Hope that these
suggestions help you understand your assignment!

What sounds are especially important in developing this piece and where do images foreshadow later events?I am trying to figure out ifI am...

Hmmm.  I assume you are for sure referring to
Lord of the Flies, since that's the group you tagged your question
with; however, after teaching this novel for years, I've never seen much recurring sound
imagery in the novel other than one thing--the blowing of the conch.  So, I guess that's
what I'll spend a little time on for you.

This is a
symbolic novel, and the conch is clearly a symbol of order and organization and even
civilization on the island.  It is found and used on their first day on the island, and
Ralph blows it only when Piggy suggests such a thing can be done.  The first time he
blows on it, "the shell remained silent."  Piggy coaches him a bit, and finally he blows
the conch with some power.

The effect is immediate.  Out of
the brush and trees, across the sand, boys come and gather around Ralph.  Jack, head of
the choirboys, approaches Ralph and asks,

readability="5">

"'Where is the man with the
trumpet?'" 

The sound of the
conch calls the boys to gather, and the sound is clearly the only rallying cry on the
island.

Soon, though, things fall apart.  The conch has
lost its strength as others choose to disregard order and civility.  In chapter 5, one
of their meetings has disintigrated. Piggy tells Ralph to blow it again, but Ralph is
hesitant. 

readability="5">

"'If I blow the conch and they don't come back;
then we've had it.'" 

Piggy
answers,

"'If
you don't blow, we'll soon be animals
anyway.'"

Jack, in chapter 8,
tries to call a meeting, but it is an "inexpertly blown conch" and this meeting marks
the end of any organization on the island.  When the conch shatters, it's over.  So,
what happens to the conch happens to order on the island--it starts strong but fades
to translucency, just like the shell.  There is only
silence.

There are a few other sound imageries throughout
the novel, though they aren't as symbolic as the conch: the sound of fire, the soft
"plop plop" of the parachutist Simon releases, the ululations of the boys at the end of
the novel as they hunt Ralph. 

Hope this
helps!

What is the summary of Chapter 3 of To Sir, With Love?

In the dining hall, Mr. Braithwaite observes the students
having dinner. It is a very organized affair, with the students seated in groups of
eight. Two students are assigned to be the servers for the day, and perform their duties
quickly and efficiently. When the meal is over, the students are allowed to use the hall
for an informal mid-day dance session, and Mr. Braithwaite, who passes through the
dancers with Miss Blanchard on his way to meet with the headmaster, is impressed with
their skill and a little discomfitted with the earthy suggestiveness in their
movements.

Mr. Florian wastes no time in getting to the
point when Mr. Braithwaite comes into his office. In answer to the headmaster's query
about if he would like the job, Mr. Braithwaite responds, "I'll have a shot at it."
Pleased, Mr. Florian outlines his policy for the school. He says that the majority of
the students have had problems with authority in the past and might be classified as
"difficult," but he believes that authority based on fear is bound to fail. Mr. Florian
points out that the students, for the most part, come from an environment of poverty,
and thus do not show much interest in abstract learning. The goal of the school is to
establish an atmosphere of disciplined freedom in which the students will learn to speak
up for themselves and become prepared to take their places in the working world. Mr.
Braithwaite is at first irritated that Mr. Florian is making such a big issue of the
students' difficulties, since they are all white, and as such, will never have to deal
with the realities of discrimination and racism. After awhile, his irritation passes,
and he discovers a sense of respect for the headmaster and his views, as well as some
doubt about if they will work. Mr. Braithwaite will be teaching Mr. Hackman's "top
class," the oldest students in the school, and will share responsibility for boys' P.T.
with the other male teachers. When he returns to the classroom, the other teachers
welcome him aboard, although Weston expresses cynical uncertainty as to whether he will
be able to handle the precocious students who make up the top class. Mrs. Drew offers to
brief Mr. Braithwaite on the daily routine he will be following, and he spends the rest
of the afternoon observing in her classroom.

On his way
home, Mr. Braithwaite is joyful to have at long last landed a job, and looks forward to
"working on terms of dignified equality in an established profession." He had not set
out to be a teacher out of "any sense of vocation;" his choice of career had been forced
upon him by "the very urgent need to eat," and "a chain of unhappy circumstances" that
began immediately after his demobilization from the Royal Air Force (Chapter
3).

What does the following line mean: "Charm by accepting, by submitting sway Yet have our Humour most when we obey."From Abigail Adams' letter to her...

When Abigail Adams writes this to her husband, she is
quoting part of a line from Alexander Pope.  Here is a bit more of the line she is
quoting:

She,
who ne'er answers till a Husband cools,
262 Or, if she rules him, never shows
she rules;
263 Charms by accepting, by submitting sways,
264 Yet
has her humour most, when she
obeys;

To me, what Adams
means here is that women are supposed to (and are able to) get their way by doing what
they are told.  They can "charm" the men by accepting (or seeming to accept) what the
men say.  They can "sway" them (persuade them) by appearing to submit (to give in).  She
is saying that women do have ways of getting what they want even when men try to keep
them down.  Before she quotes Pope, she writes

readability="11">

we have it in our power, not only to free
ourselves, but to subdue our masters, and, with out violence, throw both your natural
and legal authority at our feet
;

I think that what she
means, then, is that men should give women the vote and give them equal rights in part
because women already have power that they an use.

What is Chekhov’s understanding of an adulterous relationship in the "Lady with the Pet Dog" stories, and how is Oates’ similar or dissimilar?

Regarding "The Lady with the Pet Dog," two short stories,
one by Chekhov and one by Oates, one way to develop a theory of the stories to determine
the authors' understandings of adulterous relationships is to examine a thematic concern
from each story. Other ways to accomplish this may to be to examine character
interaction, character traits, various expressions of emotions, various expectations,
epiphanies (moments of enlightenment) that characters have, etc. For now, for
illustration purposes, we'll examine the thematic concerns that are expressed in the
paradoxes in the stories.

In Chekhov's version, Chekhov's
final expression of his understanding of Gurov's and Anna's adulterous relationship is
represented in the story's paradox (paradox: what seemingly cannot be true nonetheless
is true, e.g., letting go of self brings the fulfillment of self). Gurov lives a life in
which he has no deep bond with his wife, who is cold and distant, and so he contents
himself with frequent affairs of the heart in which he gives momentary happiness to
various women until he gets bored with them and pleasantly calls the affairs off. He
never feels deeply moved yet is proud of the fact that he gives happiness to the various
women he encounters. He believes this is a very good life and one that is profoundly
real when coupled with his work and social standing.

After
parting from Anna, however, Gurov's anticipated boredom and detachment fail to occur and
he finds himself more and more preoccupied with thoughts of her. Over time, after they
start seeing one another again, he comes to realize that she has become his real life
and the real life he did have in his work, social status, wife and family has faded to a
mere phantom experience in which his thoughts, heart and attention are always elsewhere.
Gurov's paradoxical turn occurs when suddenly his public life is seen by him as unreal
while his hidden secret life is seen as real. Interestingly, Anna never experiences a
paradoxical turn; she is miserable and ashamed because of her "fall," and she remains
miserable and ashamed of her "fall." The thematic concern expressed in the paradox is
that public life of wealth, position and family is unreal while a forbidden life of love
and compassion fraught with anguish is real.

In Oates'
version, Oates' final expression of her understanding of Anna's adulterous relationship
is represented in her story's paradox. Anna has been psychologically unhappy and
unfulfilled in her marriage and feeling guilty and torn about her place in life, or
about her marriage's place in her life. She is feeling psychologically unstable, which
is why she goes to the beach house. Anna finds that a marriage that is not a love and a
marriage of the heart is insupportable. After she starts (and stops then starts) her
affair, she also finds falseness insupportable. Anna's paradoxical turn occurs when she
realizes that her guilt-ridden relationship produces a real "marriage" of the heart
while her lawful relationship produces emptiness of the heart. The thematic concern
expressed in the paradox is that a true marriage of the heart is the relationship that
has been driving her to suicide and is unlawful, while lawful marriage is false.
Therefore Chekhov and Oates have similar understands of adulterous affairs, in terms of
these paradoxical themes, in the sense that both perceive adultery to paradoxically lead
to personal fulfillment and happiness, even if in the midst of
tears.

Please comment on the Colleen Dewhurst film version of Hemingway's short story "Soldier's Home".

Quite interesting in this film is the opening footage of
World War I scenes and the posing group of young men, showing the transition from life
to photograph. The part about the photograph is derived from Hemingway’s story. The
costuming is particularly noteworthy, and the vintage automobiles give authenticity to
the setting. For reader thought, one might wonder why the production shows Krebs making
a pass at the girl, and also why the friend seems angry. Other different scenes might
include the comparative importance of Krebs’s sister, the confrontation with his mother,
and the concluding scene in which he leaves town. Perhaps most important are the ways in
which story and film versions bring out Krebs’s sense of alienation and disaffection
with life in the small town after the action and excitement of the War. Does the line
quoted by Colleen Dewhurst, about how to keep young men on the farm “after they’ve seen
Par-ee,” explain Krebs’s feelings? One should wonder about that.

How did King Priam react after his son Hector was brutally killed by Achilles ?

The most famous description of Hector's death occurs in
Book 22 of Homer's Iliad. In this book, Achilles, having reconciled
his quarrel with Agamemnon, returns to the fighting and is intent on killing Hector, who
killed Patroclus, who was Achilles' best friend.

Early in
Iliad 22, Priam, watching Achilles close in on Hector, pleads with
his son not to face Achilles alone. After Achilles kills Hector and begins dragging
Hector's body around Troy behind his chariot, Priam "gave a pitiful groan" (22.408; Ian
Johnston's translation), expressed "frantic grief" (22.413; Ian Johnston's translation),
and began rolling about in the dirt and begging people to leave him alone in his
grief.

In Iliad 24, Priam manages, with the help of the
gods, to sneak into the Greek camp, make his way to Achilles' tent, and persuade
Achilles to ransom back to him the body of Hector.

What does "station" mean in "separate and equal station" in the Declaration of Independence?

The short answer to this is that the word "station" means
something like "status." What this part as a whole means is that if you have a status
that is separate (from other countries) and equal (to other countries) you are an
independent nation.

You can see this meaning from what the
rest of the sentence says.  Basically, what this sentence says is that countries have to
give reasons if they are going to break the ties that have connected them to some other
country (like the ones that connected the colonies to England) and become their own
separate and independent country (this is where the line you cite comes
in).

In Chapter 25 of To Kill a Mockingbird, what did Mr. Ewell mean when to Stephanie Crawford he said, "It made one down and two more to go?"

The one down was Tom Robinson as he was killed trying to
escape from prison. The two to go probably referred to Atticus Finch and possibly Heck
Tate, the sheriff or Linc Deas. Atticus showed the community during the trial what kind
of man Bob Ewell was. His evidence that Tom Robinson could not possibly have beaten
Mayella on the left side of her face because of his crippled arm should have acquitted
Tom. But, times as they were, a black man was tried and judged in the minds of people
long before the court trial. The evidence most likely showed that Bob Ewell did the
beating himself. As Atticus had shamed him publicly and defended a black man, Bob was
out for revenge. Sheriff Heck Tate showed no respect for Bob and the Ewell family. Linc
Deas testified in behalf of Tom as his former employer. Both of these white men stood up
for a black man instead of protecting their own in Bob Ewell's
mind.

What is the "great duty" of a Judge in South Africa in Cry, the Beloved Country? Why is it important that he be incorruptible?

The "great duty" of a Judge in South Africa is "to judge
and to pronounce sentence, even sentence of death." The Judge does not make the Law; the
People make the Law, and if the Law is not fair, it is not the fault of the Judge. The
Judge's only duty is to do justice by upholding the Law; if the Law is unjust, he still
must uphold it, because that is his job, to do justice according to the
Law.

South Africa at the time of the story is a land of
great fear. The power is held by the White People, and so it is the White People who
make the Law, and the Law is not always fair. In a land of terrible instability and
unrest, the Judge is nonetheless looked upon with much reverence, by "men both white and
black." The People are proud of their Judges, "because they believe they are
incorruptible;" the Judges alone are held in high estimation even when nothing else is
certain. Paradoxically, "even the black men have faith in (their Judges), though they do
not always have faith in the Law." The incorruptibility that the South Africans, black
and white, ascribe to their Judges "is like a lamp set upon a stand, giving light to all
that are in the house." This is why it is important that the Judges are indeed
incorruptible (Chapter 22).

What type of narrator is the poem "Full Moon and Little Frieda" and how does this effect poem?

The poem "Full Moon and Little Frieda" is told in the
second person point-of-view, which is the least popular viewpoint used in
writing.

The poet uses the word "you" twice, speaking
directly to the subject of the poem (Frieda).

I believe one
reason the poet writes in this "person" is because it is an unusual form, and it is
likely to grab the attention of the reader.

The second
reason I believe he uses this person is because it is important to the narrator to paint
a picture for the child that she will not remember when she is older, unless he takes a
"snapshot" with words of the moment right now.

Note the
following segment of the poem:

readability="8">

'Moon!' you cry suddenly, 'Moon!
Moon!' 

The moon has stepped back like an artist gazing amazed at a
work 
That points at him
amazed.

(This is like the
famous picture by M.C. Escher, called "Drawing Hands." If you have seen it, you realize
the trick the picture plays of two hands drawing each other—you cannot tell which
started first, or "who" is really drawing "who.")

Second
person point-of-view draws specific attention to the child. Through the tone and the
imagery used, we learn that the author's choice to speak directly to Frieda stems from
his fascination with her: he is amazed by her—as amazed as
she is by the moon, and the moon (through the use of
personification), by her.

(In case you did not know, Ted
Hughes was Frieda's father.)

What role do gender and gender roles play in The Epic of Gilgamesh?

This question about gender and gender roles in
The Epic of Gilgamesh is challenging. In going about answering it,
I think that I would first focus on the key characters in the story, making note of both
their gender and their actions, and then look to see if any sorts of patterns emerge.
For at least some of the male characters, maleness seems to be tied to destruction or
harm: they’re pretty harsh or unkind or wild, break things, kill things, and so on. At
least some of the main female characters, by contrast, seem to have a civilizing or
nurturing influence (e.g. the prostitute or courtesan, who civilizes Enkidu, or
Utnapishtim's wife, who doesn’t want Gilgamesh to leave empty-handed), but they aren’t
always all too peace-loving, either (e.g. Ishtar turned past lovers into animals and
lobbies to have Gilgamesh killed).

To me, it doesn’t appear
that the epic is making a clear and permanent distinction between all men and all women,
but the epic does seem to put emphasis on pairings of humans and/or gods. There are a
number of references to couples (gods, humans, and animals) throughout the story. Of
course, not all of the couples are heterosexual. Gilgamesh and Enkidu are easily the
most prominent couple in the story.

ln e ^x - ln e^2 = ln e^7

First, let's recall the property that ln e 
=1.

Now, we'll use the power property of logarithms, so
that:

ln e^2 = 2ln e  =2

ln
e^7 = 7ln e = 7

 ln e ^x = xln e =
x

Now, we'll re-write the
equation:

x - 2 = 7

We'll add
2 both sides:

x =
7+2

x =
9

What is cultural relativism, and what are its advantages and disadvantages?

You should get different responses to this question.  In
the nature of relativism, perhaps this makes sense.  Cultural relativism is the
philosophical approach which suggests that it is difficult to make assessments and
judgments against other cultures.  This is made out of the premise that we, as
individuals, are products of our cultures.  Therefore, what we might find distasteful or
inappropriate is a judgment made out of our own culture.  In contrast, what we do and
take for granted might be seen by other cultures as bizarre and in bad taste.  There is
an article on the "Nacirema" tribe that proves this point beautifully.  In examining
cultural relativism, I would examine this.  Relativism argues that not passing judgments
against cultures allows for a greater sense of cultural appreciation.  We don't lock
other cultures in judgments, but rather are tolerant and accepting of
them.

The arguments against relativism abound.  This is not
necessarily something that means it is bad, as much as it is more logically infeasible.
 For example, if judgments cannot be made about cultures and that "all cultures are
accepted," then this, by its very nature, is a judgment.  One has made a judgment by not
making a judgment.  Another challenge in the relativist logic is that it prevents anyone
from criticizing practices that might actually be in violation of basic premises of
human rights.  For instance, are we not to criticize Hitler and the practices of the
Nazis because "that's their culture?"  This might be one major challenge intrinsic to
cultural relativism

How does the narrator try to calm the signalman?It is about the short story The Signalman by Charles Dickens

I assume that you are talking about the part in the story
where the narrator has gone to see the signalman for the second time.  At this point,
the signalman is telling the narrator about the (he thinks) supernatural things he has
seen.  When he does this, the narrator tries to calm him down by providing explanations
of how the signalman might have been mistaken.

What is
going on here is that the narrator is representing an enlightened person who believes in
science and not in the supernatural.  Here is a quote that shows what the narrator is
trying to do:

readability="15">

I showed him how that this figure must be a
deception of his sense of sight; and how that figures, originating in disease of the
delicate nerves that minister to the functions of the eye, were known to have often
troubled patients, some of whom had become conscious of the nature of their affliction,
and had even proved it by experiments upon themselves. "As to an imaginary cry," said I,
"do but listen for a moment to the wind in this unnatural valley while we speak so low,
and to the wild harp it makes of the telegraph
wires."

In "By the Waters of Babylon," what is the chronological order of the Great Burning and Destruction?

I am not completely sure what you are asking
here.

Are you asking which of these events came first?  If
so, I do not believe that they are separate events.  I believe that these are both names
for the catastrophic war that destroyed New York City.  Here is the only place the word
"destruction" is used in the story:

readability="9">

When gods war with gods, they use weapons we do
not know. It was fire falling out of the sky and a mist that poisoned. It was the time
of the Great Burning and the Destruction. They ran about like ants in the streets of
their city—poor gods, poor
gods!

There is nothing in
this passage to indicate that these things happened at different
times.

If you are asking when they happened compared to the
story, clearly they happened a very long time before the time in which John
lives.

In Act 1 of The Crucible, why does Betty start to scream?

Well, you have asked an interesting question because when
Betty does start to scream it is highly revealing to watch how different characters
interpret her outburst. Note what we are told in the stage
directions:

readability="12">

The words "going up to Jesus" are
heard in the psalm, and Betty claps her ears suddenly and whines loudly.

ABIGAIL: Betty? She hurries to Betty,
who is now sitting up and screaming. Proctor goes to Betty as Abigail is trying to pull
her hands down, calling
"Betty!"

Of
course, Mrs. Putnam is eager to seize on the fact that it was the psalm - the words of
Holy Scripture - that started Betty screaming, interpreting it as another sign of
devilry and witchcraft. However, Rebecca has a completely different interpretation. With
the gentleness that "exudes" from her, she is able to calm Betty. Note what she says
about how she managed to calm her and what she thinks is the
problem:

readability="15">

I think she'll wake in time. Pray calm
yourselves. I have eleven children, and I am twenty-six times a grandma, and I have seen
them all through their silly seasons, and when it comes on them they will run the Devil
bowlegged keeping up with their mischief. I think she'll wake when she tired of it. A
child's spirit is like a child, you can never catch it by running after it; you must
stand still, and, for love, it will soon itself come back.

Crucially, we
have two very different interpretations here, which of course leads on to the rest of
the action in the film. People are too ready to side with Mrs. Putnam which leads to the
large numbers of people who are executed and who come to believe in witchcraft for
themselves, however, the position of Rebecca offers us an alternative approach which is
more rational, based on experience and love. Of course, Miller is really asking us which
camp we side with...

What are the three laws of Newton? Does he have other laws also.

Newton's role in describing the motion of an object is
primarily attributed to what are called Newton's three laws of motion which
are:

• Newton's First law of
  motion:

Every object in a state of uniform
motion tends to remain in that state of motion unless an external force is applied to
it.

• Newton's Second Law of
  motion:

The relationship between an object's
mass m, its acceleration a, and the applied force
F is F = ma. Acceleration and force are
vectors (as indicated by their symbols being displayed in slant bold font); in this law
the direction of the force vector is the same as the direction of the acceleration
vector.

• Newton's Third Law of
  motion:

For every action there is an equal and
opposite reaction.

In addition to these, as Isaac Newton
was a great Mathematician, Astronomer and Physicist, there are many other areas in which
he has worked. There is no Newton's Fourth Law of Motion but his works in other areas
have helped science and mathematics greatly.

What is the difference between a UK accent and a USA accent?

Accent in language has two meanings. Firstly, it is word
stress (syllabic stress), phrase stress and sentence stress. This enters significantly
into such things as poetics and sentence intonation. Secondly, accent is the realization
of phonemes in any given variety or dialect: how sounds are pronounced. Considering the
first definition, there are some differences in all three categories of accent/stress
between American English (AE) and British English
(BE). To give two examples, in AE the word
address is accented/stressed
'ad-dress while in BE it is
accented/stressed a-'dress, and
concerning sentence stress/accent, AE speakers may stress non-lexical (non-content)
words, whereas in BE speakers only stress lexical (high content) words. For instance, an
AE speaker might say, "And here Alice
began to get rather sleepy,"
but a BE speaker might say, "And here Alice began to
get rather
sleepy."

Accent most often
refers to realization of phonemes in any given variety or
dialect. For example, /p t k/ are usually realized (i.e., pronounced) with an
aspiration, although some American English realizations may has less aspiration than
most British English realizations, and South African English realizations of /p t k/
have no aspiration at all. For the general populace, the most notable elements of accent
as phonemic realization are usually most audible in vowel
sounds.

General American English (GAE,
GA) realization of vowels has some differences from British
English nonregional pronunciation (NRP), though there are
some significant differences in consonant realization as well. Some major
consonant differences between GA and NRP follow:

(1) GA realizes /r/ when it is in front of a consonant and at the the end of
words /foRk, woRkeR/; this is called rhotic, so GA is
rhotic whereas NRP is nonrhotic and only realizes /r/ when
it precedes a vowel /woRRy, caR is/.
(2) GA realizes a midial (middle
position) plosive /t/ as a voiced /d/ so that words like writer and
rider sound alike, whereas NRP realizes a plosive /t/ in front,
medial and final positions, while GA /t/ in final position is often entirely inaudible
as in bite.
(3) GA often, though not always, drops the
y-glide /j/ from words like new and
tune and studio, realizing these as /nu/,
/tun/ and /studiou/, whereas NRP maintains the /j/ y-glide
producing /nju/, /tjun/ and /stjudiou/.

Some major
vowel differences between the phonemic accents in American
English and British English as present in GA and NRP follow:
(1) Since GA is
rhotic (/r/ realized before a consonant /woRk/),
r-coloring changes the vowel in words spelled (or in NRP,
spelt) with the letter r, as
illustrated by the familiar example of the pronunciation of
Berkeley as /berkli/ in GA and /bokli/ in NRP.
(2) In GA,
the realization of the /a/ vowel as heard in TRAP appears in all
the words with an /a/ vowel in the BATH class, a class that is
still represented in GA by father. Thus while in NRP
laugh is a BATH class word (like
father), in GA it is a TRAP class word.  

(3) Most often in GA there is no distinction between LOT
and THOUGHT class words, so that there is no difference in
realization between words like cot and caught,
whereas in NRP the realizations are different and like caht and
cOught. The accents of GA and NRP are further varied by phonetic
considerations such as glottal stops on /t/, gravely voice and aspirated
voice.

In the play Macbeth by William Skakespeare, why do the Witches say they will meet "When the battle's lost and won?"Could they be saying this...

I love this question!  Let's look at the complete line in
context.  This line is part of conversation that opens the play, so there is no
preceding text or scene to use as any sort of reference
point.

readability="16">

First
Witch

When shall we three meet
again?

In thunder, lightning or in
rain?

Second
Witch

When the hurlybury's
done.

When the battle's lost and
won.

Third
Witch

That will be ere the set of
sun.

First
Witch

Where the
place?

Second
Witch

Upon the
heath.

Third
Witch

There to meet with
Macbeth.

They are definitely
planning to meet with Macbeth.  So, it is probably a safe bet to imagine that this line
refers in some way to that meeting and what they are meeting him
for.

If the Witches can, in fact, see into the future, then
they know already what will befall Macbeth in the course of the play.  The death of the
Thane of Cawdor in the very battle scene that they are standing over in Act I, scene i,
is the instigating action that will set in motion all the events of the play.  It is
similar to a victory in battle for Macbeth.  He will be made the next Thane of Cawdor,
which is quite an honor.

But this same victory or "battle
won," could be seen simultaneously as a "lost" battle, since it is being made Thane of
Cawdor which leads Macbeth to make all the self-destructive decisions (beginning with
murdering King Duncan) that comprise the majority of his action in the
play.

The Witches play a huge role in the idea of Macbeth's
decisions as battles "lost and won," because it is their predictions, both that Macbeth
will be made Thane of Cawdor and become King, that spurs Macbeth's
ambition.

So, though the Witches are standing amidst the
literal debris of a battle as they speak this text about a battle "lost and won," it
seems a pretty good bet that they are referring to Macbeth and his future course of
action.

Can plants survive in salt water?

While most plants cannot survive in salt water, there are
plants that can.

One example of a type of plant that can
survive in salt water is something called a marine seagrass.  I have attached a link
here to a page that talks in depth about this kind of
plant.

Another example of a plant that grows in salt water
is the mangrove.  Mangroves grow along the coasts of many tropical places, including the
island where I grew up.  Their roots go down into the floor of the ocean right along
shore.  The "wettropics.gov" site I have linked to gives more information about these
plants.

In general, though, plants cannot live in salt
water because they do not have genes that allow them to tolerate salt.  Mangroves and
marine seagrasses do have such genes.

What is the theme, language, and style/structure of "Oh, Oh, You Will Be Sorry" by Edna St Vincent Millay?What is the theme (insights about life in...

I am allowed to answer only one of your questions: the
parts must each be listed as separate questions.

Edna St.
Vincent Millay was a feminist and activist for women's rights during the beginning of
the twentieth century. This can easily be seen in her
poem.

In terms of the theme, the poem "Oh, Oh, You Will Be
Sorry" is about the cultural and intellectual repression of women. The speaker has
obviously tried to have an rational, "educated" conversation with her husband, and he
has discredited her ability to handle a discussion of consequence by saying, "What a big
book for such a little head!"

The title would indicate that
her husband has misspoken, and the wife (the narrator) is highly offended; she promises
that she will never again try to engage him in any kind of "scholarly" debate. She will
not read in front of him, but will behave herself like men expect their women to act
during this time period: she will offer him a kiss, or a look at look at her newest hat.
She will love him and be "sweet and soft," but their relationship will not be the same
from this moment on.

This wife informs her husband that one
day he will knock and enter her room, but she will be gone, and he can just whistle for
her, for she will have no time for
him.

The theme here is about a woman being a man's equal in
terms of "brain function." This was not a popular concept during this era. On one hand,
women were a force to be reckoned with in terms of helping the poor, and supporting the
church and morals within society and the home. At the same time, they were also trying
to earn the right to vote, and it was a long, hard battle. Millay is not only expressing
her belief that men and women were equals, but offering words of warning to men who were
unable to see this or accept it.

In today's society, these
messages will be lost in that opportunities are available to women today that could not
have been imagined a hundred years ago. While it is said that women generally only earn
seventy percent of what men make for the same job, women are no longer relegated to
inferior jobs because of gender, and can seek education and employment just as men
do.