What does MILL insist on freedom of thought and expression in on LIBERTY? JOHN STUART MILL ON LIBERTY

In the end, I would say that the fear of "the tyranny of
the majority" is what helps to motivate Mill's insistence on freedom and expression. 
Mill was convinced that the prevailing attitude of liberal political thought of the time
was steeped in popular sovereignty, and then living purely with the results of such a
principle.  In the end, Mill understood that government has to be driven by both
consensus and the need to appreciate the voices of those who might have been on the
lesser end of such decisions.  For Mill, liberty and choice are moral and political
notions that cannot be negotiated away with percentage votes.  In preserving the right
to liberty, Mill speaks for a notion that is absolute, a condition or reality that is
absolute.  In his commitment to freedom and choice, one understands that Mill's
insistence is motivated by the belief that liberal democracy exists with compromise, but
there are some conditions and realities that are transcendent, incapable of compromise. 
Freedom of thought and expression are such conditions.

What is 1 aspect of indirect and direct characterization in "The Interlopers"? Saki's "The Interlopers"

Characters in narratives are developed and revealed in a
number of indirect
ways:

1. through a physical
   description of the character


2. through the character's
   actions


3. through the character's thoughts, feelings, and
   speeches


4. through the comments and reactions of other
   characters

In Saki's "The Interlopers" one use
of indirect characterization comes in the presentation of
the feud between Ulrich von Gradwitz and Georg
Znaeym:

In another use of indirect
characterization, after disaster has struck the two men, Ulrich von Gradwitz has a
change of heart from his bloodlust for his enemy.  After realizing the value to life,
von Gradwitz tells Znaeym:

readability="13">

"Neighbour,...do as you please if your men come
first.  It was a fair compact.  But as for me, I've changed my mind.  If my men are the
first to come you shall be the first to be helped, as though you were my guest.  We have
quarrelled like devils all our lives over this stupid strip of forest, where the trees
can't even stand upright in a breath of wind.  Lying her tonight thinking I've come to
think we've been rather fools; there are better things in life than getting the better
of a boundary dispute.  Neighbour, if you will help me to bury the old quarrel I--I will
ask you to be my friend."

In
direct characterization, the author
tells rather than dramatizes as illustrated
above in the indirect characterization.  Here is an example of direct
characterization in which Saki tells the reader about the two enemies in
his exposition to the story:

readability="7">

...as boys they had thirsted for one another's
blood, as men each prayed that misfortune might fall on the
other....

In how many of the arrangements in a row of all ten bricks in Question 12 are: (a) the three bricks separated from each other (b) just 2 of the...

a)

The total number of ways
of arranging 10 bricks in a row = 10P10 =10!.

The number of
ways the 3 bricks staying together consecutively in all arrangements  is as good as 
treating those 3 bricks as a one single block  for pemuting purpose.This block together
with   other 7 bricks, we have to arrange in 8 places in 8places . This is possible
in 8P8 = 8!. But within the block 3 paticular bricks, they could be arranged in 3! ways.
Thus the number of arrangements of particular blocks are together = 3!*8P8 =
3!*8!

Therefore 10! - (3!*8!) is the number of ways of
arrangements where particular 3 blocks are not
together.

ii)

Particular 2 red
bricks are next to each other- with this condtion we treat the two particular red bricks
as one block and the remaing 8 bricks as different. So we arrange the 9 different things
on a row. This is possible in 9P9 = 9!. If the two red bricks are also distinct between
themselves, then they could be arranged 2! ways between themseves within the block. Then
the arrangments become 9!*2! 

Therefore the number of
arrangements that 2particular red bricks are together = 9! (red are not distinct between
themselves). Or 9!*2! (if reds are distinct between themselves).

How can you write in the style of Jeremy Clarkson?My English teacher wants me to write the story 'A Day in the Life of a Penny' in the style of...

Using Jeremy Clarkson's March 7, 2010 article "What a daft
way to stop your spaniel eating the milkman" as an example, Clarkson's authorial style
has some marked features that your imitation will need to -- imitate. First, Clarkson is
given to repetition and opposition ("one man once got on one plane in a pair of
exploding hiking boots and as a result everyone else"). In this quote, "one" is repeated
and then opposed to "pair" and "everyone else."

Secondly,
Clarkson is given to hyperbole, often with a sarcastic undertone intended to indicate
criticism delivered in a humorous way: e.g., "everyone else in the entire world is now
forced to strip naked at airports and hand over their toiletries to a man in a
high-visibility jacket."

Sarcasm, surprisingly, is a word
that seems difficult to define with consistent agreement. href="http://dictionary.cambridge.org/dictionary/british/sarcasm">Cambridge
Dictionary Online seems to define it best as: "the use of remarks which
clearly mean the opposite of what they say, and which are made in order to hurt
someone's feelings or to criticize something in a humorous way." In Clarkson's case,
sarcasm accompanies hyperbole as an undertone (it isn't necessarily direct sarcasm;
e.g., the men may really wear high-vivibility jackets) to make criticism
emphatic.

href="http://www.uky.edu/AS/Classics/rhetoric.html#23">Hyperbole, a figure
of speech of the literary device/literary technique classification, is exaggeration used
for dramatic or other effect. For example, Clarkson writes: "forced to strip naked at
airports... ." Clearly, no one strips naked at airports, through force or otherwise, but
the ritual that is imposed at airports is nonetheless -- shall we say -- ridiculous --
or absurd -- and Clarkson's hyperbole with sarcastic undertone ("toiletries to a man in
a high-visibility jacket") makes this point perfectly well because our toiletries
(shampoo and what not) are (besides oftentimes being toxic) perfectly innocent and not
worthy of the attention of a "man in a high-visibility
jacket."

Another feature of Clarkson's style is that he is
direct in pronouncements of his feelings, reactions and opinions--direct yet not
vulgarly harsh:

readability="9">

It just changes the pattern of everyday life for
everyone else. This is what drives me
mad.

We now think it’s normal behaviour to
take off our clothes at an airport. But it isn’t. Nor is it
normal to stand outside in the rain to have a cigarette or to do 30mph on a dual
carriageway when it’s the middle of the night and everyone else is in bed.
It’s
stupid.

And he
is, in his humorously sarcastic hyperbolic manner,
realistic:

at
the extremes, you have 5% who are goodie-goodies and who become vicars, and 5% who build
exploding hiking shoes and starve their children to death... . We must start to accept
that 5% of the population at any given time is
bonkers.

Your imitation of
Clarkson will incorporate these stylistic features and any others you identify for
yourself, like sentence length and rhythm, vocabulary tendencies, use of examples, other
figures of speech, etc.

What is the value(s) of x? x^2 = 10x + 16

Well, the first thing is to move the terms from the right
side, to the left side, changing their signs. Since both terms are positive to the right
side, they will become negative, to the left side.

x^2 =
10x + 16

x^2 - 10x - 16 =
0

Now, we'll solve the quadratic equation, using the
quadratic formula.

x1 = [-b+sqrt(b^2 -4ac
)]/2a

x2 = [-b-sqrt(b^2 -4ac
)]/2a

The coefficients a,b,c are the coefficients of the
quadratic: ax^2 + bx + c = 0

We'll identify
a,b,c:

a = 1

b =
-10

c = -16

delta = b^2 -
4ac

delta = 100 + 64

delta =
164

sqrt delta = 2sqrt41

x1 =
(10+2sqrt41)/2

x1 =
5+sqrt41

x2 =
5-sqrt41

The values of x that verify the
expression x^2 = 10x + 16 are {5-sqrt41 ;
5+sqrt41}.

In how far does the novel "Christ in Concrete" reflect the particular Italian immigrant experience?What was characteristic for the Italian...

Catholicism played a big part in the lives of early
twentieth century Italian-American immigrants and DiDonato's novel powerfully depicts
this religious dimension. The novel thematizes the contrast between the Old World ways
of the parents' generation and the assimilationist tendencies of the children by showing
their contrasting attitudes towards religion. While his mother is deeply religious,
Paul progressively loses his Catholic faith. This loss starts when his father dies on
Good Friday, a death that has a Christ-like resonance for the day on which it occurs.
American capitalism has other gods and tellingly the narrative contrasts the Lord of
Catholic believers with the allegorical characters of Job and Boss, the divinities and
oppressors of workers.

Christ in Concrete
shows how for Italian immigrants Catholicism could easily mix with
superstition and paganism (see the episode of "the Cripple", a woman who claims to be
able to enter into contact with the world of the dead and the spirits). For Italian
peasants, official religion and dogma also have an obscure and dubiously mystical
quality.

Although Christ in Concrete
has often been described as the novel that introduced the Italian American
experience onto the American literary scene, I personally find Stud Terkel's remarks in
his introduction to the Signet Edition interesting and challenging. Terkel does
recognize the novel as based on the Italian American experience. Yet, he also finds in
it elements common to other immigrant groups. "Pietro di Donato's story," writes
Terkel,"is the story of so many immigrant peoples whose dreams and realities were in
conflict".

You can read the introduction following this
link:

href="http://books.google.it/books?id=YWLZVbGMjFYC&printsec=frontcover&dq=christ+in+concrete+italian+immigration&source=bl&ots=RAXdrKnm3i&sig=uP2tsrNxLHCndir0nGC-nBM8u2Q&hl=it&ei=QU2STI-oDI2IOIOJ1ZUH&sa=X&oi=book_result&ct=result&resnum=2&ved=0CCEQ6AEwAQ#v=onepage&q&f=false">http://books.google.it/books?id=YWLZVbGMjFYC&printsec=frontcover&dq=christ+in+concrete+italian+immigration&source=bl&ots=RAXdrKnm3i&sig=uP2tsrNxLHCndir0nGC-nBM8u2Q&hl=it&ei=QU2STI-oDI2IOIOJ1ZUH&sa=X&oi=book_result&ct=result&resnum=2&ved=0CCEQ6AEwAQ#v=onepage&q&f=false

Who were the progressives?

In the late 19th century, a group known as the
Progressives was created. They became more prominent during the early 20th century in an
effort to reform politics, economics, and moral society. They believed that reform could
come from within man, and therefore, rejected the belief of Social Darwinism and natural
selection. They were responsible for the passage of many laws including prohibition, the
Sherman Anti-Trust Act, and the Interstate Commerce
Act.

They pushed for a reform of government and Theodore
Roosevelt ran for office on the Progressive platform. Progressives pushed for better
working conditions, womens' rights, and increased monitoring of the nation's health. Due
to the progressive era, we have the FDA and the Federal Reserve System in
place.

What are characterstics of human language?

It sounds to me like you are asking for the major aspects
of what makes up all human language. Obviously you understand many languages are used by
humans, so we need to identify what makes them similar.

1.
Human language has sound. A study of linguistics will teach
you that these different sounds are phonetic pieces of
words.

2. Human language has semantic
meaning. Each language has either characters, letters, or images that
represent meanings. Each small piece (in English these are roots and affixes) when
combined with other small pieces contribute to a new meaning of a
word.

3. Human language serves the purpose of
communication among people. People who live near each other
must articulate their ideas to one another to co-exist, otherwise they would struggle
with relationships and the ability to cooperate with each other. Language is agreed upon
sets of rules and meanings of word parts for the entire purpose of
communication.

What are the themes in act 5 scenes 2 and 3 of Macbeth?

Scenes in plays do not have themes so I will speak about
the focus or purpose of the scenes.

The purpose of Act V,
scene 2 is to show us that men like Lennox are deserting Macbeth and joining forces with
Malcolm's army.  If you recall, Birnam Wood is critical to the predictions.  The army is
meeting at Birnam Wood for their final assault on
Dunsinane.

The next scene is important for two reasons. 
First we find a confident Macbeth ready to fight to the death and also we find out that
Lady Macbeth is incurablely ill.  The doctor explains that her illness is something only
she can cure.  It is beyond any physician's
skill.

Remember, a theme is much greater.  It is the main
point being made about the entire play.  For example, the theme of power corrupts but
absolute power corrupts absolutely is a theme of this
play.

These two scenes help to clarify what is going on in
Scotland.  Malcolm, the rightful king, has returned with a mighty army to claim his
throne and men are flocking to his banner at Birnam Wood.  We further learn that Lady
Macbeth, who we have not seen for a long time, is mentally ill.  Macbeth is ready, or so
he thinks, for the coming battle.

At the beginning of the
play men followed Macbeth because he was a great warrior.  By the end of the play they
are leaving him in droves because he is a bad leader.  He rules by fear which is not
good.

What is the irony of the importance and function of the handkerchief in Othello?I know what it represents to all the characters but not sure what...

Two kinds of irony are called into play with the
handkerchief.  The first is dramatic irony, in which the reader knows more than the
characters.  We know, for instance, that Emilia stole the handkerchief when Desdemona
dropped it and gave it to her husband Iago.  We also know through Iago's soliloquies
that he will plant the handkerchief in Cassio's quarters.  Iago uses this tiny trifle as
his main evidence that Desdemona is cheating on
Othello:

readability="5">

Trifles light as
air

Are to the jealous confirmations
strong

As proofs of Holy
Writ.

This handkerchief
provides the "ocular" proof that Othello demands of Iago, and all the while the reader
has followed the true course of the handkerchief from Desdemona to Emilia to Iago to
Cassio and finally to Bianca.

Situational irony is also
employed here.  Othello believes that Desdemona gave the handkerchief to Cassio when he
actually is the one who pushes the handkerchief out of her hands as she is trying to
soothe him.  He is the one truly responsible for the handkerchief winding up in other
characters' hands.

Further irony is shown when Othello
states that

There's magic in the web of
it.

In Act 1, Othello declares to the Senate that the only
magic he used to win Desdemona's affections was love.  Here in Act 3, though, Othello
does a reversal and seems to believe that the love between him and Desdemona is held
together by this trifle of a handkerchief, which supposedly had magical powers.  This is
another example of situational irony in which the cool, rational Othello becomes
superstitious and
accusatory.

How do I go about to mark the syllables, separate the feet and indicate the rhyme scheme of this part of Keats' "Ode on a Greacian Urn"? When old...

Marking syllables, separating
metrical feet and indicating rhyme scheme are all steps in
scansion, the process by which a poem's
rhythm, meter and rhyme are analyzed. Marking
syllables refers to finding the stressed and unstressed beats of the
rhythm. It's very much like music: some beats of a measure
of music are emphasized while other are softened.

Poetry
has a number of possible rhythms. A common one is iambs.
These have a rhythm of a soft beat followed by an emphasized beat. Poetic
terminology for this is unstressed stressed and may be
typed like this ^ / , with the ^ meaning unstressed and the / meaning stressed. Another
example is dactyls. These have a rhythm of stressed unstressed unstressed / ^ ^. The
words accented and unaccented can be used in
place of stressed and
unstressed.

Look at the first line in
Keats poem: "When old age shall this generation waste." In the first line there is a
problem and a clue to scansion. The problem is that Keats varies the rhythm so that
old age shall this isn't exactly in a smooth rhythm, so save the
first half of the line for last.

The clue is the word
generation. Look it up and you see that its syllabic pronunciation
is gen e RA tion, or stressed
unstressed stressed unstressed, or / ^ / ^ . This means generation
fits either an iamb ( ^ / ) or a trochee ( / ^ ) rhythm. Choose which by scanning the
first line using these marks ' (stressed) ^ (unstressed). Try it both
ways:

When' old^ age' shall^ this' gen' e ^ ra' tion^
waste',
When^ old' age^ shall' this^ gen' e^ ra' tion^
waste',

Scanning the line with an emphasis on
When' creates a problem between this
and gen-. While this can be either
stressed or unstressed, gen- must be stressed. We now know that the
opening line is ^ /, or unstressed stressed, or iambic, not
trochaic.

Now how many repetitions of the pattern, or how
many divisions of metrical feet, are there?  Indicate a
division between every iamb ^ /:
When^ old' / age^ shall' / this^ gen' / -e^
ra' / -tion^ waste',

The rhythmic pattern falls into five
repetitions, or five feet, or pentameter.
Meter has two meanings. If someone
asks, "What is the meter of this poem?" the answer includes
both rhythm and feet. One answer might be, "The meter is trochaic trimeter." If someone
asks you, "How many feet are there in each line of this
poem?" it is correct to answer, "The meter is five
feet, or pentameter."

Check
each line to see if they are all the same. Poets may vary
the rhythm. Line 4 has a significant variation. Scanning beauty
according to its syllabic division causes a problem between
is and truth. Keats varied the stress this
way:  Beau^ ty' / is^ truth', / truth^ beau' / -ty^, - that' / is^
all'.

The line rhymes are
waste, woe, say'st, all and know. Some rhyme,
one doesn't. Assign a letter code to the words to see the rhyme scheme
emerge:

waste    a
woe    b 
say'st   
a
all    c
know    b

The
rhyme scheme is a b a c b. Each end word that does not
rhyme with one ahead of it gets a new letter designation. For example, dog,
see, cat, lap, down, crown would have a rhyme scheme of a b c d e e, with e e
forming a closing couplet (two rhymes lines).

What is the limit as x=>0 of sin(x)/x+tan(x) ?

It is not clear if the denominator of the ratio is just x
or is (x+tan x).

This thing must be specified with the help
of the brackets.

If the denominator of the ratio is
x:

lim [sin(x)/x+tan(x)] = lim [sin(x)/x] + lim
tan(x)

lim [sin(x)/x] is an elementary limit and the result
is1.

We'll calculate lim tan
x.

We'll substitute x by the value
0.

lim tan x = tan 0 = 0

So,
the limit is:

lim [sin(x)/x+tan(x)] = 1 + 0 =
1

Now, if the denominator is
(x+tan x), we'll calculate the limit:

lim
[sin(x)/(x+tanx)]  = sin 0/(x + tan 0)

lim
[sin(x)/(x+tanx)]  = 0/0

"0/0" is an
indetermination

We'll use l'hospital rule. We'll
differentiate separately numerator and denominator.

(sinx)'
= cos x

(x+tanx)' = 1 + 1/(cos
x)^2

lim [sin(x)/(x+tanx)]  = lim
(sinx)'/(x+tanx)'

lim (sinx)'/(x+tanx)' = lim cos x/[1 +
1/(cos x)^2]

We'll substitute x by
0:

lim cos x/[1 + 1/(cos x)^2] =cos 0/[1 + 1/(cos
0)^2]

cos 0/[1 + 1/(cos 0)^2] = 1/(1+1) =
1/2

lim
[sin(x)/(x+tanx)]  =
1/2

How do Romeo and Juliet not fit in to a patriarchal society?yuky pic

A patriarchal society is one in which the male head of a
family has a great deal of power.  In such a society, the father of the family can
pretty much do as he wants and he can order the other members of the family around. 
They are expected to do as he says.  To us, this seems like a pretty old-fashioned way
of doing things.

Romeo and (especially) Juliet do not fit
in to such a society because they (especially her) are willing to go against their
fathers' wishes.  We don't really know much about what Romeo's father thinks, but we do
see that Juliet's father is really angry at her.  He is ordering her to marry Paris
(like a patriarchal father would do) and she is disobeying.  She continues to disobey
him even to the point of being willing to kill herself rather than marry
Paris.

So the point is that these kids (especially Juliet)
are not obeying their fathers the way they are supposed to in a patriarchal
society.

What is the extreme values of the function f(x)= 6x^3+ 3x^2+ 4

To calculate the local extreme values of a function, we'll
have to do the first derivative test.

To do this test,
we'll have to differentiate the function:

 f'(x)= (6x^3+
3x^2+ 4)'

If you are familiar with the derivative of the
functions, we'll solve the problem in this way:

 f'(x)=
(6x^3)'+ (3x^2)'+ (4)'

 f'(x)= 18x^2 +
6x

The values of x for the first derivative is cancelling
are the extreme values for the function f(x).

Let's
calculate the derivative zeroes:

18x^2 + 6x =
0

We'll factorize by
6x:

(6x)(3x + 1) = 0

We'll set
each factor as zero:

6x =
0

We'll divide by 6:

x =
0

3x + 1 = 0

We'll subtract 1
both sides:

3x = -1

We'll
divide by 3:

x = -1/3

The
extreme values of the function are:

f(0) = 6*0^3+ 3*0^2+
4

f(0) =
4

f(-1/3) = 6*(-1/3)^3+ 3*(-1/3)^2+
4

 f(-1/3) = -6/27 + 1/3 +
4

 f(-1/3) = -2/9 + 1/3 +
4

 f(-1/3) = (-2 + 3 +
36)/9

 f(-1/3) =
37/9

What can I use, as a title, for the following essay on "The Open Window"?The essay's topic is: Why is Mr. Nuttel susceptible to Vera's story? What...

Another approach to think through might be to consider the
theme or message of this excellent short story by Saki. Instead of just using the title,
you might want to think about what Saki is trying to convey or celebrate in this amusing
tale. For me, this text talks about the tremendous power of storytelling - the fact that
the "very self-possessed young lady of fifteen" is able to trick both Mr. Nuttel and
then her family in quick succession with fabulous stories without even raising a
suspicion that she is fooling them to me shows that she is a master storyteller without
equal. Of course, the fact is, that we as readers are taken in by Vera's first
performance as well - we believe her yarn about the Open Window, and thus it is we who
are as shocked as Mr. Nuttel. It is only when we find out the truth that we realise how
skilfully Vera has manipulated us as she has Mr. Nuttel and her family. Therefore a
statement such as "The power of storytelling" might be an alternative title to think
about. This would allow you to unpack how Vera establishes that Mr. Nuttel is
"vulnerable" to her skill and goes on to exploit his weakness to the
utmost.

Parsons agrees that the Ministry of Plenty did a "good job this year". (pg.53) Why is the question that he asks Winston at that point ironic in 1984?

To answer this, just look at two things.  First, what
should it look like if the Ministry of Plenty did a good
job?  Second, what does Parsons ask Winston?

If the
Ministry of Plenty is truly doing a good job, you would think that the people would be
well off.  They should be well fed and they should have (at the very least) all the
essentials of life.

But look at what Parsons asks Winston. 
He asks Winston whether he has any spare razor blades he could give Parsons.  This means
that there is a razor blade shortage -- Winston says he's been using his for 6 weeks and
no one thinks that's strange.

To me, this is ironic because
Parsons somehow believes the Ministry is doing a great job when, at the same time, he
can't even get something as basic as a razor blade.  That's ironic because the two ideas
(Ministry doing great; he can't get a razor blade) are so
contradictory.

What is Lionel Trilling trying to say when he states, "It is now life and not art that requires the willing suspension of disbelief"?

This is a take on a quote from Samuel Taylor Coleridge,
which talks about the "willing suspension of disbelief" when immersed in a work of art. 
By art is meant poetry and literature in particular.  Coleridge's statement is often
quoted in application to these, and I have often seen it quoted in application to movies
and theater, too.

The idea of the original quote is that
the reader or viewer should allow him or herself to be so immersed in the world of the
poem, novel, or movie that there a complete belief in that world.  Have you ever been to
a movie with someone who insists on finding the flaws in the movie or who keeps
explaining how the special effects were done?  That person has no suspension of
disbelief.  He or she is trying to deconstruct the movie, rather than to be immersed in
the world of the story.

Now, as for what Lionel Trilling
has to say, I believe his idea is that people are acting so outrageously in today's
world that in order for us to even process their behavior, we must suspend our disbelief
in their behavior.  Lionel Trilling is, of course, a humorist, and my guess is that this
quote is not meant exclusively as a social commentary, but also as
humor.

I do not know anything about the context of his
statement, but as I read the news every day, I can think of any number of situations for
which his comment is appropriate.  When people pretend their child has disappeared in a
balloon, when people crash White House dinners, when people go on television shows to
talk about their messy personal lives, all we can do is sit there and take it in without
trying to figure it out because there is no figuring out this kind of
behavior.

What does Rosicrucian means in James Joyce' The sisters?Is there any special meaning implied by Joyce

Rosicrucian refers to a secretive, ascetic order founded
by the legendary Christian Rosenkreuz, who may or may not be an actual historical
figure.  (Early 17th century).  Rosicricianism is the philosophy of a secret
mystic/religious society founded during this (17th cent.) time, which was built on
esoteric truths; concealed from the average person.  It is said to have influenced other
secretive societies such as the Freemasons. 

In the context
of the Joyce story, the uncle refers to the boy as Rosicrician because the boy spends
too much time with the priest; not enough playing outside. You can draw different
interpretations here, but the main point is that, while the boy's family knows the
priest has been somewhat of a mentor, they don't know exactly all the things the priest
and boy talked about or did together.  There may be an implication of misconduct here,
but that is subject to interpretation. I think the point is simply about secrecy as it
applies to the hidden nature of Church doctrine, which is alluded to in the story; and
of course, the closeted feature of the confessional, secrets and hidden spaces. Given
that the last image of the priest is in the confessional and the coffin, there is
probably something to that - perhaps the analogy of being isolated from the world; or
more in tune to the spiritual (being dead, close to god, etc.).  This is certainly
possible considering the Rosicrucian Order claimed extraordinary communication with the
spiritual realm.

Young Goodman Brown: 1. What is the tone of the tale's several references to the Native Americans? 2. With what rites are they associated?3. What...

These are all good questions, but I suspect that you'll
need to put the questions in separate posts if you want them all answered. I can help
you out with the first item: what is the tone of the tale's several references to the
native Americans?

The tone is certainly not flattering. The
Native Americans are depicted as being all that the village of Salem is not (at least
not on the surface, that is): the Native Americans are connected to the wilderness and
are said in the story to be in strong communion with the
devil.

This portrayal of Native Americans in "Young Goodman
Brown" is very much in keeping with Puritan views of the indigenous peoples of the New
World (which matches the setting of the story) but not at all in keeping with the
movement of Romanticism (which matches the publication date of the
story).

How do you explain the meaning of a dialogue quote?For example, how do I explain a quote like: "You, you with your face bent to the ground, do you...

Some points of reference for analysis might
include:

• THE SPEAKER: Who said this quote? Why
  did they say it? What type of character are they? Was it typical or unusual compared to
  their original character traits?


• THE TONE: Is the speaker
  using a friendly, angry, malicious, or cordial tone? When you label the quote with a
  tone, you might consider why they are saying it. Which words are charged with emotion?
  


• POETIC OR LITERARY DEVICE: Are there any metaphors or
  similies? Is language used literally or figuratively or both? What is the connotation of
  the speaker's words as compared to the dennotation? Are there repetitions or parallel
  ideas? What effects do these devices have on readers or an
  audience?


• CONTEXT: What else is going on right after or
  before this quote is said? With whom is the speaker speaking?
  Why?

Each of these are worthy questions that
could lead to a few sentences of analysis and interpretation. Maybe a sentence about
each would fulfill your assignment's task.

Why is it ironic that Othello doesn't believe Emilia when she tells him Desdemona is innocent?

Emilia declares Desdemona's innocence at the opening of
Act IV, scene ii.  Othello is grilling her as to whether she has seen anything between
Desdemona and Cassio, and finally Emilia says:

readability="19">

I durst, my lord, to wager she is
honest,

Lay down my soul at stake:  if you think
other,

Remove your thought, it doth abuse your
bosom;

If any wretch ha' put this in your
head,

Let heaven requite it
with the serpent's
curse...

The
irony here, in the lines I have bolded, is that she is referring to exactly what has
happened.  The audience knows this to be true, since they have seen Iago work his evil
"serpent's curse."  So, it is dramatic irony as well, as Othello does not know what the
audience knows, that Emilia speaks the truth about the "wretch" who put the idea of
adultery "in [his] head."

It is also a great moment to
wonder how much of what is happening Emilia suspects (or actually knows).  If she does
know what's going on, it is hard to see her as so loyal to Desdemona as she professes to
be.

How does Mrs Weatherall character evolve over the course of the story

Considering that the story is narrated as a stream of
consciousness, one might want to start stating that she is narrating from one same
setting, but jumping from memory to memory.

It would not be
100% accurate to state that Granny went through a complete change. If we part from her
biggest life changing event, the day she was jilted at the altar, we notice that her
entire life revolved around that incident: One which she quotes "she has prayed for 60
years to forget about". It is obvious that the incident sank her into a deep state of
despair which, in turn, ruled every decision she made
thereafter.

So, she went from a hopeful bride who got
jilted to a woman who finds a new husband and devotes herself entirely to make their
family happy. Yet, we see cracks in that solid surface.

She
obviously did all that she did in life to avoid thinking about the jilting. She would
attempt an exaggerated normality which may have obsessed her to the point of neglecting
other things. At all times, every decision she made was away to demonstrate to herself
that she had gotten over it. She shows regrets. There was a point in her life when she
got sick and she remembers listing down (like now) whether she had done all she had to
do with her children and her late husband. There is obviously a sign of unfinished
businesses.

In the end, she realized how every single
memory of her life has been opaqued by that fateful day when the cake was thrown away
wasted, when she had worn the white dress and veil, and when she waited endlessly for
her former fiance to show up at the church. As she is still trying to shake that off,
despite trying to convince herself that the incident did not affect her, she deflected
her thoughts once she saw that the moment of death came
near.

At this point, she began to wait, again, for a "sign"
to show up. This time, it was not a sign of whether her fiance would show up, but a sign
of whether God would show her a sign of the afterlife. It did not come. Just like her
fiance did not show up. This is when she went in despair and felt jilted for the second
time. Only worse.

From the story FRANKENSTEIN, please give me as many quotes as you can that emphasize the themes of "fate and destiny".

I will answer this question and hopefully the dozen or so
people who are asking this same question today will be able to get an answer, at least
from my point of view.

If you want to find quotes that
emphasize fate and destiny in this novel, you should look at the beginning and end of
the novel, when Robert Walton is writing to his sister, outlining his reasons for making
the voyage. Then, at the end of the novel, in the letters that Walton writes to his
sister when it appears as if he may be shipwrecked, he makes many comments about his
pride in attempting such a voyage that would endanger his crew. You should also check
out the last words of Frankenstein as he tells the end of his story. He, too, shares
what he has learned about his warped pursuits of science to further his own fame, and
not for the improvement of mankind. Also, the Monster's last words after Frankenstein
dies also address the idea of fate and destiny, and how things would have turned out if
only Frankenstein had not created him.

You will have to do
this digging on your own to find valuable quotes, but I will give you a couple of
examples. Walton tells the Monster at Frankenstein's
deathbed:

If
you had listened to the voice of conscience and heeded the stings of remorse before you
had urged your diabolical vengeance to this extrimity, Frakenstein would yet have
lived.

Before dying,
Frankenstein tells Walton, as a means of warning him that Walton's destiny will be the
same as Frankenstein's if he is not careful because he detects the same pride in Walton
as he once had:

readability="8">

Farewell, Walton! Seek hapiness in tranquility
and avoid ambition, even if it be only the apparently innocent one of distinguishing
yourself in science and
discoveries.

Finally, Walton
writes to his sister, explaining that he has changed his mind and decided to thwart the
destiny that his blind ambition would have led him to, and thus doomed his
crew:

The die
is cast; I have consented to return if we are not destroyed. Thus are my hopes blasted
by cowardice and indecisions. I come back ignorant and disappointed. It requires more
philosophy than I possess to bear this injustice with
patience.

Get the point? OK,
now it is your turn.

Should "victim impact" statements be considered in criminal cases?

I, too, have a hard time deciding whether victim impact
statements, which are by definition emotional in nature, are more for the healing and
sense of justice on the part of the victims, or if it should make a legal difference if
the criminal for all intents and purposes did more "damage" with their particular crime,
or created more victims.

For example, should a person who
murdered someone with a family of ten be considered a more serious criminal because
there are nine other grieving survivors, as opposed to "only" one or two?  I think we
can get into philosophical and legal trouble by going down that
road.

That being said, someone who stole my car from my
driveway vs. someone who carjacks me at gunpoint is not the same degree of
criminality.

If I had to make a choice, I would say leave
victim impact statements out of the sentencing process. There is just too much potential
for subjective punishments and inequalities in the justice
system.

In Austen's Pride and Prejudice, Volume II, Chapter XI, what are the various emotions Darcy and Elizabeth feel as the chapter unfolds?

Chapter XI of Volume II (Chapter 34) presents Darcy's
proposal of marriage to Elizabeth while the Collins household is away to dine with Lady
Catherine. The scene follows upon Elizabeth's learning from Colonel Fitzwilliam that
Darcy congratulated himself upon having saved Bingley from an ill-advised marriage to
Jane. Elizabeth is full of (1) resentment and anger at what Darcy has done and is
reading all of Jane's letters to rekindle her perception of Jane's suffering. It is then
that Darcy arrives to (2) anxiously inquire after her health as she had claimed headache
for her reason for staying home.

Darcy won't sit, but
impulsively stands and (3) nervously walks up and down the room in silence. Elizabeth is
(4) surprised at Darcy's behavior but waits in silence for him to speak. When he does
speak, he declares his (5) love for her, saying:

readability="6">

In vain have I struggled. It will not do. My
feelings will not be repressed. You must allow me to tell you how ardently I admire and
love you.

In reaction,
"Elizabeth's (6) astonishment was beyond expression." Darcy continued to express his
feelings of (7) tenderness toward her while at the same time expressing his feelings of
(8) pride that would suffer degradation by the inferiority of her position and family
(Mrs. Bennet!!).  Despite her (9) dislike of Darcy, Elizabeth felt (10) complimented by
the proposal of such a man as Darcy. She quickly moves from compliment and (11)
compassion for him to more resentment and anger. Before she gives Darcy her answer, he
speaks of (12) apprehension and (13) anxiety but she only sees secure (14)
confidence:

He
spoke of apprehension and anxiety, but his countenance expressed real
security.

Her (15)
exasperation was heightened and lay simmering under the words of her refusal of his
offer. Now it's Darcy's turn for (16) resentment, though mixed with (17) surprise and
seasoned with his own (18) anger. He forces himself to sound and appear calm and
incredulous and tranquil, but these are assumed (i.e., pretend) emotions and not his
real ones.

When Elizabeth brings up Wickham, Darcy responds
with deep (19) contempt. When she goes on to say to Darcy that no representation of his
feelings could have inclined her to accept his offer, he adds to his feelings of (20)
astonishment and incredulity the feeling of mortification. He leaves her with feelings
of (21) shame for the love he has felt for her. Elizabeth is left alone with deeper
feelings of (22) astonishment and anger.

How has Rudyard Kipling manipulated language in his poem 'If' to clearly communicate the messages about life?What SPECIFIC poetic devices have been...

Kipling's poem "If" is a message to a young man dictating
how he ought to live his life if he wants to be successful.  There seem to be two main
aspects to the speaker's opinion about how a man should
live.

The first aspect is that a man should always be
persistent and never give up: this is most evident in the lines, "[If you can] watch the
things you gave your life to broken, / And stoop and build 'em up with wornout tools." 
However, Kipling uses the syntax of the poem to drive home
this message further: each new instance of "if" is a new clause to a very long sentence
that only is completed with the last two lines of the poem (i.e., the poem is a very
long sentence).  As a result, just like the young man must never quit in life, the
reader must also never quit in reading to discover the final
thought.

The second aspect that the speaker advises is that
the young man should value moderation, and never go to extremes, as in the lines, ""If
you can dream - and not make dreams your master; / If you can think - and not make
thoughts your aim."  The young man should value dreams, but shouldn't be ruled by them,
expressing moderation.  Kipling uses form to highlight this
message in the poem: though the poem is divided into four stanzas of eight lines, the
stanzas seem to come in "units" of two lines each.  For example, the lines, "If you can
keep your head when all about you / Are losing theirs and blaming it on you," are a
complete thought and are bound together syntactically, while the lines "If you can talk
with crowds and keep your virtue, / Or walk with kings - nor lose the common touch,"
both reference walking and are bound together thematically, and finally, the
aforementioned lines about dreaming and thinking are bound together by a parallel
structure.  By balancing his lines in sets of two, Kipling suggests that the young man
should also balance his passions and interests to lie between two
extremes.

Do you think Mr. Harvey is a developing character?

The term character
development can be used in two senses, and one sense is
sometimes used interchangeably with
characterization. In the
first sense, character development
refers to the facts and information revealed about a character in various parts of the
narrative, or over the course of the story, in order to make clear the character's inner
and psychological traits and qualities, beliefs, values, motivations, and intentions
(intent). [This sense is sometimes used interchangeably with the term
characterization.] These revelations
may all be consistent with each other. In other words, what the character thinks,
believes, wants, understands, etc. may be the same at the end of the story as they are
at the beginning. On the other hand, what a character wants, believes, etc. may undergo
an alteration, or change, through the course of the narrative. This leads to the second
sense in which character development
is used.

In this second sense,
character development is used to
indicated the alterations, or changes, a character undergoes throughout the course of a
story in response to other characters
and events over time as time is represented by the story in the narrative. In other
words, this sense of character
development refers to the way or ways in which a character
comes to believe or want different things as a result of a revelation or epiphany; to
understand something different about life, the world, themselves or other people; to
develop different psychological dynamics, motives, or intents;
etc.

In the first sense of the
term, Mr Harvey does have character
develop throughout the course of the story because new traits are revealed over time,
for example, after Lindsey breaks in to his house and when he decides to end Lindsey's
life. In the second sense of the term, Mr. Harvey
does not have character development
throughout the course of the story because his psychological dynamics, his motives, his
beliefs, his desires, his intents remain the same (though details may vary, e.g.,
Lindsey instead of Susie; retaliation murder instead of otherwise; etc.) from the
beginning of the story throughout to the end of the story.

Identify the type of stanza used by Robert Burns in "A Red, Red Rose." Is it a standard habbie, ballad stanza, ottava rima, or spenserian stanza?

Robert Burns poem, "A Red, Red Rose" is written in (b) the
ballad stanza.  This stanza is a quatrain, in a form that consists of four and
three-stress lines. And, usually, only the second and fourth lines rhyme. The
traditional rhyme scheme of abcb is followed for two
stanzas. In place of the lines that do not rhyme, assonance is
often used:

readability="5">

That's newly sprung in June  [the schwa sound of
vowels is repeated]

In
Burns's poem, which is based upon a folk song that he heard on his travels, there is a
repetition of lines in keeping with the musicality of the poem, much like refrains, but
they are within the stanzas rather than at the ends.  In each stanza the second and
fourth lines are in masculine rhyme--the final syllable mimcs the final syllable of
another word.

It is the last stanza that clearly reads like
a ballad with the "fare-thee-weel" of the first line repeated in the second as a
refrain.  However, the poem is more that a simple love ballad, as the speaker meditates
upon time--"Till a' the seas gang dry"--he also promises to transcend
time.

I need suggestions how to make my paper a better paper. It's an argumentative essay.If I need to add or change the sentences around. Check for...

In the writing of an argumentative essay, structure is
extremely important.  Be sure to have a narrow enough topic that can be supported by
three points, beginning with the most important one.  It is advisable to include
counterarguments in persuasive essays, counterarguments that are eliminated with logical
reasons and solid data.  Careful and thorough researching of the topic is essential, as
well; in addition, a variety of evidence--statistics, testimonials from authorities,
logical reasons--is essential.

It may be a good idea to let
another person read your essay as that person will detect any subjectivity in your
writing, or other flaws that are harder for you yourself to discern.  This person will
also detect any irrelevant sentences, as well, or notice that you may need transitional
words or phrases between ideas.

For more suggestions, see
the site listed below.  Good luck! 

I'm writing a compare and contrast essay between football and basketball, how can i write it?

I think that you can structure this in an elemental
manner.  Much of this is going to be dependent on what has to be done with it in terms
of the requirements of the assignment.  In assessing this, I think that you will be able
to figure out how the essay should progress.  Naturally, I believe that you are going to
have to make very clear the idea that both sports are similar in skill sets.  Both
require coordination, extreme level of practice and repetition, and both involve the
success of one merging with the success of others.  I think that being able to
specifically identify how each sport represents these conditions and then contrasting it
with the levels of difference in both might be a good idea.  I think that you can find
levels of difference in the specificity of refining skills in both and how training
programs in both differ.

What does the knocking on the wall signify?

Certainly the narrator’s knocking on the wall should be
construed as a mark of his arrogance. That the cat answers from within the walled-off
area might be interpreted by such phrases as “pride goes before a fall” and “murder will
out.” The answer is thus that knocking on the wall is both a mark of arrogance and an
admission of guilt. It is certainly an interpretive remark if a student suggests that he
didn't really hear anything, and the ending is similar to The Tell-Tale
Heart. If a reader thinks that there really was no sound of the cat, it might
be  a stretch to produce any tangible evidence for that, for that would go against the
crux of the story in the style that Poe wrote it.

Can you please explain this is easy steps?A small corral is to be built so that is also has fence splitting the corral into two smaller areas to...

Since there are 60 m of fencing, then the perimeter of the
rectangular fence + the separation fence = 60.

Let x and y
be the sides of the rectangle, let x also be the measure of the fence that separate both
areas.

==>  2x + 2y + x  =
60

==> 3x + 2y =
60

==> 3x = 60
-2y

==> x= 20 -(2/3) y
.........(1)

Now we need to determine the maximum area we
could have from using the 60 m fence.

We know that the area
A is:

A = x*y

But from (1) ,
x= 20 -(2/3) y

==> A =
(20-2/3y)*y

==> A =20y -
(2/3)y^2

Now we need to caclulate the maximum value for
A.

First, since the factor of y^2 is negative, then the
function has a maximum value.

Let us find the derivative's
zero.

A1' = 20 - (4/3)y =
0

==> 20 =
(4/3)y

==> y = 20 * 3/4 =
15

==> x= 20 -(2/3)y = 20 - (2/3)*15= 20 - 10 =
10

Then A = 15*10 = 150
m^2

Then the maximum area we could have from
the 60 m fence is 150 m^2 and that by fencing a square area
15X10.

Why was 911 chosen as the emergency phone number?

Many countries' public telephone networks have a single
emergency telephone number, sometimes known as the universal emergency telephone number
or occasionally the emergency services number, that allows a caller to contact local
emergency services  for assistance. The emergency telephone number may differ from
country to country. It is typically a three-digit number so that it can be easily
remembered and dialed quickly. Some countries have a different emergency number for each
of the different emergency services; these often differ only by the last digit. Inside
the European Union, 112 has been introduced as a common emergency call number during the
1990s, and is a well known emergency number in the world today alongside with 911 and
999.

=D

What is the equation of the perpendicular bisector drawn between the points joining (4,2) and (4, 6) ?

To find the equation of the perpendicular bisector for
line segment joining A(4,2) and
B(4,6).

Solution:

The
perpendicular bisector passes through the midpoint of the line segment joining  A and B
. and is perpendicular to AB.

The mid point of the line AB
is (Mx , My) = ( (Ax+Bx)/2 ,  (Ay+By)/2) ) = ( (4+4)/2 , (2+6)/2 ) =
(4,4).

The slope of the line through the mid point M(4,4)
shoulf be perpendicular to AB.

The slope of AB =
(By-Ay)/(Bx-Ax) = (6-2)/(4-4) = infinite  or AB is parallel to y
axis.

So the perpendicular to AB should be parallel to x
axis ( or perpendicular to y axis). Ao the equation of this line is y =
k.

Since y=k should pass thruogh  mid point of AB , that is
M(4,4).

So y = 4 is the line which is the perpendicular
bisector of A(4,2) and B(4,6)

In "Everyday Use", compare the characters of Dee and Maggie.

What is vital to understanding this story is first of all
identifying how Dee and Maggie differ, as your question asks, but then you must also go
on to consider how Mama's relationship with both of them is different too, which is
unavoidable given that the point of view is from Mama's perspective and thus all we know
about her two daughters is from her point of view.

Let us
start by focussing on Maggie. Consider how Maggie is introduced in the first
paragraph:

readability="11">

Maggie will be nervous until after her sister
goes: She will stand hopelessly in corners, homely and ashamed of the burn scars down
her arms and legs, eyeing her sister with a mixture of envy and awe. She think her
sister has held life always in the palm of one hand, that "no" is a word the world never
learned to say to her.

This
quote clearly establishes some of the central differences between the two sisters. Dee
is confident, outgoing, ambitious and determined to make something of life, whereas
Maggie is shy, reclusive and passive. Consider how the narrator describes her daughter
as a "lame animal" who sidles "up to someone who is ignorant enough to be kind to him".
Maggie, described in this fashion, is clearly painted as someone who has such a low
sense of self-worth that they are amazed that anyone would actually want to talk to
her.

However, the narrator says of Dee, "Hesitation was no
part of her nature":

readability="6">

She was determined to stare down any disaster in
her efforts... At sixteen she had a style of her own: and knew what style
was.

It is clear then that
Dee is incredibly self-confident and self-assured. She, as is amply evidenced later in
the story, knows what she wants and will not stand for anyone getting in her way, which
makes the narrator's decision to not give into her all the more
remarkable.

If you want to think about Mama, too, I will
add this paragraph. One of the key events in the short story that reveals Mama's
character is her refusal to give Dee what she wants, and her insistence that Maggie
receives the quilts. It is clear that she loves both of her daughters, but is
exasperated by both of them in different ways. However, her decision to give the quilts
to Maggie rather than Dee indicates what a high value she places on the family heritage
and history, of which the quilts are a symbol. Note too that this is the heritage that
Dee has rejected and turned her back on.

I hope this helps
you establish the opposite characters between Dee and Maggie in the story - although
they are sisters they show themselves to be incredibly different, and Walker could be
using them to represent, in Dee, those African Americans that have turned their backs on
their family history in their attempt to embrace their African roots, and in Maggie,
those African Americans who are perhaps ashamed of themselves and their
history.

What are three points that prove the theme of women being powerless?In my mind, the theme of the story is how the woman, the narrator, is...

It is very evident the narrator of "The Yellow Wallpaper,"
the wife, feels completely powerless; when she does attempt to stand up for herself and
make suggestions that she feels would better her condition, those ideas are dismissed or
even laughed at.  This sad truth is evident in the narrator's conversations, thoughts,
and activities.  Those around her do not give credence to her perspective or consider
that she is more aware of her own condition than another person could be; when the
narrator addresses the topic of her own well-being, her husband, John, who is a
physician, acts as though there is no possibility that she could offer valuable
insight.

Near the beginning of the story, the narrator
describes her husband.  She states that he "laughs at {her}, of course, but one expects
that in marriage."  In addition, she feels that he is practical, impatient, far from
superstitious, and "he scoffs openly at any talk of things not to be felt and seen and
put down in figures."  The narrator goes on to exclaim that her own husband, despite her
assertations, fails to agree that she is ill.  Immediately after making this point, the
narrator asks, "And what can one do?"  The asking of this question makes it very clear
that the narrator feels there is, in fact, nothing she can
do.

Later in the story, the narrator tells the reader that
John laughs at her about the wallpaper.  It appears that John originally intended to do
away with wallpaper, as well as other unsettling aspects of the room, but then decided
it was not worth the money it would cost to do so.  Despite his wife's feelings about
the subject, he persists in his own opinion that "the place is doing {her} good."  When
she asks to change bedrooms to one that is downstairs, he calls her "a blessed little
goose" and fails to take the idea seriously.  John's lack of sensitivity to his wife's
suffering is reinforced when he jokes that "she shall be as sick as she
pleases."

One of the most obvious places in which a theme
of powerlessness is suggested is in the narrator's detailing of what takes place behind
the pattern of the wallpaper.  She believes that the woman behind the pattern, who is a
represention of herself, struggles to escape her confinement
there.

Then
in the very bright spots she keeps still, and in the very shady spots she just takes
hold of the bars and shakes them hard. 

And she is all the
time trying to climb through.  But nobody could climb through that pattern--it strangles
so; I think that's why it has so many heads.

They get
through, and then the pattern strangles them off and turns them upside-down, and makes
their eyes white!

Clearly,
the narrator wants to escape the sense of confinement and helplessness imposed up on
her.

What is important about group 6A from periodic table

The Group 6A is the one where there are observed
variations of properties of the elements.

For example,
Polonium is a metal, tellurium is a metalloid and selenium, sulfur and oxygen are
nonmetals.

Though, there are like properties, such as: all
the elements form oxygen-compounds and sodium-compounds.

In
the Group 6A the 2nd and 3rd period elements have different structures: oxygen has an
allotrope (O3) and sulfur has many allotropes.

Sulfur,
tellurium and selenium are also called chalcogens because they are found in copper ores
(khalkos is the Greek name of copper).

Sulfur is also known
as the "burning stone" and the sulfur compounds are smelling and poisonous. The well
known H2SO4 is an important compound of sulfur.

Sulfur and
selenium are important elements in human diet.

What is the conflict?

Many traditional explanations of conflict include things
like Man vs. Man, Man vs. Nature, but these don't seem appropriate for "Young Goodman
Brown."   The conflict in this story is between man (Brown) and his unreasonable demands
on other people to be what he wants/needs them to be.

You
always have to remember that we have no solid evidence that ANYTHING happened in this
story; the end seems to suggest that it was all a dream, our "common sense" seems to
suggest that it's a dream, but it doesn't make any difference.  Brown comes back to town
unable to accept what he perceives to be the "evil" in the people he once admired---but
there is no evidence that any of them are evil, just not
perfect.

So the best conflict may be Man vs.
Illusions.

The Enemy of the Good is the
Perfect.

(I guess I should use "Person" in all of these :)
)

What are the wishes of Carton as expressed to the seamstress in Book the Third, Chapter 13 in Tale of Two Cities?(pages 359-260 in Bantam Classic...

The singular wish of Sydney Carton as expressed in his
conversation with the poor seamstress who is to be executed with him is to follow
through on his resolve to sacrifice his life for the happiness of Lucie Darnay and her
child. His second desire, though not directly expressed, is to extend his newfound
dignity and sense of humanity to include the need of the little
seamstress.

Sydney Carton has lived a degenerate life
because of a fatal flaw, which is his inability to find the strength to make something
of his life. Gifted with uncommon intelligence, he works as a lackey for a lawyer who
has none of his abilities because he has no ambition and cannot rise above the curse of
his alcoholism. Carton recognizes his weaknesses and longs to overcome them, but cannot
find it within himself to do so. His one redeeming characteristic is his love for Lucie,
even though he understands that he can never attain her because of the life he leads. As
he carries out his plan to sacrifice his life so that Charles Darnay, the man Lucie
loves, can live, Carton finds a sense of fulfillment and peace. His newfound feeling of
self-worth gives him a nobility he has never experienced, and as a human being newly
realized and with something to give, he is able to love others besides Lucie, as he
promises to hold the hand of the frightened little seamstress to the
last.

It is significant that, among the few words
attributed to Carton in this exchange, is his clear declaration that he is dying for the
wife and child of Darnay. The seamstress, upon recognizing that Carton is not the man
she knows as "Citizen Evremonde," asks him if he is dying for Darnay, and while Carton
does not deny this, he makes it clear that he is giving himself for "his wife and child"
as well. This is the wish of Sydney Carton at that moment, to do what he can for his
beloved Lucie, and those who are dear to her because they are what makes her happy. In
the act of giving, "his heart...warm(s) and soften(s) to this pitiable girl;" he
achieves the other overriding desire in his life and becomes a fully realized human
being, capable of love that is real and substantial, worthy, and valuable to the world
(Book the Third, Chapter 13). 

In Oedipus Rex, what is the significance of Oedipus's slow coming into awareness of his identity?

You have made an excellent point. Part of the suspense of
this amazing play is thanks to the way that Sophocles casts Oedipus as a kind of
detective, trying to work out who killed the old King of Thebes, Laius. As the play
progresses, Oedipus discovers more and more clues that continue to point towards the
fact that it was he who was the murderer.

Of course,
central to this process of gradual realisation is dramatic irony. Dramatic irony occurs
when the reader or audience knows something important that a character in a story or
drama does not know. The fundamental irony in this play stems from the fact that the
audience knows King Oedipus's true identity, while he is unaware of it. Sophocles
ingeniously creates numerous variations on this central irony throughout the play,
increasing the audience's suspense and heightening their pity and
horror.

This after all is what explains the reason why
Sophocles chose to reveal the truth about the identity of Oedipus gradually - we, the
audience, already know who he is, and it is with mounting terror and trepidation that we
await for the inevitable to occur. Sophocles, by spinning the play out, greatly
increases the suspense as we await that final moment of tremendous yet terrifying
self-knowledge when Oedipus realises who he is and
utters:

I,
Oedipus,

Oedipus, damned in his birth, in his marriage
damned,

Damned in the blood he shed with his own
hand!

In not more than 60 words, write on what should and should not be done by a citizen of a country in order to make progress.

It's not clear what kind of progress you mean - social
progress? Personal progress?  National?  I'll assume you mean social.  The previous post
is right in that 60 words is hardly going to do it.  But since you have a focused
assignment that requires it, you'll want to choose your topics
wisely.

I would focus on the
following:

1) Service - giving
back to the community or the country in a tangible way, at no
charge

2) Activism - not only
voting, but holding elected officials accountable, and reminding them when they go
astray or need to make a change for a cause or issue

3) 
Education - That is, pursue your own so you can be
informed, and educate your children and your community, so that they can follow your
example.

In To Kill a Mockingbird, what does "sandwiches" mean in this statement - "Let the county come and bring sandwiches?"Chapter 30

The word "sandwiches" by itself does not have any
particular significance in this statement, but used as a whole, the statement reinforces
the idea that Atticus wants all the details about what happened that night to be out in
the open. Atticus is under the impression that Jem killed Mr. Ewell in self-defense, and
when Mr. Tate suggests that "Jem never stabbed Bob Ewell," Atticus thinks that he is
proposing that what really happened be covered up, to protect Jem. Atticus, while
expressing his appreciation to Mr. Tate for trying to save his son from the censure of
the community, objects, saying that "Nobody's gonna hush anything up." He wants
everything to be handled in an honest and straightforward manner, and uses the
statement

"Let
the county come and bring
sandwiches"

to illustrate his
point. The image of everybody coming out with their sandwich lunches, like
a picnic, to sit back and hear and watch and see the truth play out presents an attitude
of complete transparency. Instead of hiding what he believes is the
truth, Atticus wants to be completely honest and let everyone learn, at their leisure,
what really happened, in the belief that justice will prevail (Chapter
30).

What literary device is used in the poem "Messy Room" by Shel Silverstein?

I'm not sure there is just one literary device at work
here.  There are several poetic devices
used.

Because it is Shel Silverstein (a children's poet)
you should automatically look for the humor.  Nearly all of Silverstein's poetry is
written with a tone of childish, lighthearted humor.  This
poem is no different.

The poem, though short, is full of
"messy room" imagery.  In fact, the room is described as
"mucky" and "damp," and there is a "lizard" in the bed.  It is almost as if this room
has turned into a swamp of mess.

The humor could actually
be classified as irony at the end.  The speaker is quite
descriptive about the state of the room, asking over and over whose room it is.
 Ironically (but not unexpectedly), it turns out it is the
speaker's room.  He has just given a rather embarrassing
explanation of his own filth, which was at such a repulsive level that he apparently
didn't even recognize his own room through it.

What is one practical application of Newton's first law

According to the first law of newton,eveybody continues to
be in its state of motion or uniform motion in asraight line , unless compelled bysome
external to act or otherwise. This imlies that the acceleration of the body is zero when
the net forces is zero. The acceleration could be there if only there is some external
force is acting on the body. 

In case of a spaceship  when
it is in space free from all gravitational  forces, if suddenly the rockets are turned
off, the spaceship will not have  acceleration, but still it continues in motion with a
uniform velocity. To bring it to the zero velocity we must give it a  breaking force by
turning on the rocket.

Sometimes  we feel that an object is
at rest  and  we may feel that there is no force acting on it. An example  is a book on
the table.It  is at rest because it has  two equal forces acting in opposite directions-
force of its own weight due to gravity pulling it down  and another force of normal
reaction by the table acting on the book. 

Which is that one factor you look out for while purchasing a car?

Of course, this will differ greatly depending on the
person answering.  For me, when I go to buy a car, I know what size of car I want and
then I look for something that is going to give me good value for my
money.

Specifically, I look at the car ratings,
particularly in Consumer Reports.  I want a car that is going to be durable and
reliable.  I do not want one that is going to be needing repairs all the time and I do
not want one that is going to have safety issues.

What I
care about is really quite boring -- I want a reliable, safe, utilitarian car for a good
price.  I don't care about style, power, things like that.

Why did delegates think the Articles of Confederation needed to be replaced?

The Articles of Confederation were deeply flawed, could
not tax to pay the nation's $4 million war debt, could not easily pass laws, required
unanimous consent for amendments, and could not raise an army for security.  After
Shays' Rebellion ravaged the Massachusetts countryside largely unchecked, reformers
called for the convention to replace the Articles with something more
effective.

The problem was that many of the revolutionaries
still feared government power, and saw any attempt to increase it as dangerous to
democracy, states rights and the Revolution.  They would attend the convention in force,
opposed to the very idea of reform, and try to sabotage the effort from the beginning. 
They would be very difficult to convince to support the Constitution, and their support
was crucial to uniting a country under the new form of
government.

I am having difficulty to find an appropriate topic for an essay on "No One's a Mystery," any clues?

In writing your essay on "No One's a Mystery," I would
first suggest that you pay attention to this very short story's
title.

In studying the title, a reader can often find
direction in discerning the author's intent for writing the
story.

The fact that there is a diary is important in that
it's a five-year diary; is the fact that it won't open symbolic? Is there foreshadowing
with regard to the stubborn lock and also the narrator's use of the book in five years?
Jack has a clear idea of what he thinks will happen, and what will or will not be in the
book.

Our narrator is very observant.  She notices the
bleaching of Jack's jeans and the wedge of manure--does this detail speak to you?--in
the heel of the boots he has worn in the two years he has known her.  (We learn from
this description that this older guy has been seeing the narrator since she was
sixteen.)  His car is a mess, and in trying to hide her from his wife passing in her
car, he pushes her onto the floor where her jeans get dusty and she is face-up against a
stinky ashtray.

If I were to write an essay, I might write
about the narrator, and whether or not you feel she should look elsewhere or follow her
dream of being with him.  If so, I would speak to how he treats her, and what he really
has to offer her.  There is alcohol and sex, but she's really just a kid--even he admits
it.  Is there a future for her here? Does he believe there is a
future for her here?  Look to the last line that refers to the smell of mother's milk as
being bittersweet.  He must have children.  How does he seem to feel about this based on
his statement? (And remember that children are a part of her dream.)  Does he seem
enthusiastic about buying into the dream?

If you feel there
is more evidence in the story to support another viewpoint, you could describe Jack, how
he looks at life, and where he thinks his life is going?  Does he
see a bright future? Is he still alive with wonder and anticipation as the narrator is?
 How do you know?

Either topic would be acceptable because
there is enough from the dialogue and the descriptions to support your point; supporting
examples for each main point that supports your topic are absolutely necessary in order
to get the best grade.  If you prove your point of view with facts
(details from the story), your "take" on the novel is as relevant and accurate as
anyone's.  Just don't skew what you read into something it's not in order to "make it
fit."  I tell my students that unless the story talks about outer space and creepy stuff
happening, don't try to tell me there are aliens.

Also,
state your point of view clearly in the introductory paragraph. Give a clear conclusion
where you do more than restate your introduction (e.g., what does it all really mean?),
and don't put new details in the conclusion.  Good luck!

In The Scarlet Letter, explain the symbolism of Pearl.

Of course, it is highly significant that not only does
Hester choose to embroider the "A" on her breast with such beauty, but also that she
calls the fruit of her "sin" Pearl - gained at great price. Pearl in the novel is seen
as an "elf-child", a denizen of the world of romance, rather than a socially oriented
individual of the kind encountered in realist novels. The child's laughter and tears are
extreme responses to situations, signalling a lack of proportion that makes social
intercourse and reciprocity difficult. Of course, the fact that Pearl lives in isolation
does not help her social interaction.

In the novel, Pearl
seems to act as an incarnation of physical pleasure and imaginative freedom, standing in
direct opposition to the Puritan way of life. Her vitality and attractiveness serve to
highlight the limitations of the Puritan lifestyle, though her unruliness also indicates
the dangers of uncontrolled indulgence. She is, after all, the living embodiment of the
same illicit passion that led to the imposition of the scarlet "A." Significantly, her
mother sustains her love for Pearl, the symbol of illicit passion, and that indicates
Hester's staunch refusal to acknowledge her own act of sin in begetting Pearl, thus
giving another sign that Hester refuses to be categorised and labelled as a sinner under
the Puritan rules of conduct.

Pearl then arguably acts as a
symbol of the forces of celebratory life-giving that oppose the bleak life-denying
aspects of Puritanism which have caused both Pearl and her mother such
grief.

Which are the central themes in "Frau Brechenmacher Attends a Wedding," written by Katherine Mansfield?

I must admit that one of the qualities I really appreciate
about the short fiction of Katherine Mansfield is the way that her stories often linger
on in our minds and can haunt us. Out of the many short stories of hers I have read,
this has easily been the most disturbing as it presents us with a marriage which marked
by complete patriarchal superiority and the suggestion of domestic abuse. This is one of
the biggest themes of this short story, in my opinion. Note how at the beginning of the
story, Frau Brechenmacher submits herself to the every whim of her arrogant and
dismissive husband: she gets dressed in the dark because he wants to have "the light" to
get himself ready, she has to fasten his buckle, he refuses to slow down because he is
afraid of getting his feet damp, forcing her to hurry in the
darkness.

As Frau Brechenmacher sits with her friends at
the wedding and they talk about the new bride and her husband, they talk about the lot
of a wife, saying that each wife has her own "cross" to bear. When this is said to Frau
Brechenmacher, she looks at her husband:

readability="12">

Frau Brechenmacher saw her husband among his
colleagues at the next table. He was drinking far too much, she knew--gesticulating
wildly, the saliva spluttering out of his mouth as he
talked.

"Yes," she assented, "that's true. Girls have a lot
to learn."

Thus we are
presented with a time when women were completely secondary to their husbands and had to
bow to their every whim. Most disturbing however comes when the Brechenmacher's return
home after the wedding and Herr Brechenmacher is talking fondly of their first night
together. After throwing his boots into the corner, which she of course has to go and
pick up, he describes her as being "an innocent one" on their first night together.
Although domestic abuse is never referred to openly, it is clear that there is the
suggestion of violence from such lines as:

readability="5">

"Such a clout on the ear as you gave me... But I
soon taught you."

The
reference to Herr Brechenmacher "teaching" his wife has sadistic overtones, as does the
final paragraph of the story, when Frau Brechenmacher goes to bed and prepares for her
husband to come to her:

readability="6">

She lay down on the bed and put her arm across
her face like a child who expected to be hurt as Herr Brechenmacher lurched
in.

Thus themes of abuse in
marriage and the patriarchal supremacy of males are uppermost as we read this moving and
poignant story of one woman's marriage and the struggles she
faces.

In Great Expectations, what do you think Pip's new understanding of life and true importance of friendships is after he leaves Joe and Biddy?

It is fascinating to note how Pip narrates his last days
with Joe and Biddy before he leaves. We must remember the narrative style that is
employed in this excellent novel, which some argue is the best produced by Dickens. He
uses first person retrospective narration, which means the story is told in the first
person but by an older, maturer narrator looking back at his youthful ways and faults,
and often sadly critical of his own mistakes which he was so unaware of
then.

This explains Pip's feelings of uneasiness of the
night of the discovery of his fortunes. Consider his feelings on this night, at the end
of Chapter 18. He says: "I drew away from the window, and sat down in my one chair by
the bedside, feeling it very sorrowful and strange that this first night of my bright
fortunes should be the loneliest I had ever known." He goes on to
comment:

I put
my light out, and crept into bed; and it was an uneasy bed now, and I never slept the
old sound sleep in it any
more.

Clearly Pip, even in
his unenlightened youthful state, is able to discern that something is wrong, even
though he lacks the necessary self-reflection to see how his Great Expectations have
changed him for the worst. The awkwardness of his parting and his own awareness that he
should have left Joe and Biddy better marks the end of the first book, but crucially he
lacks the willpower to go back and make things right:

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I deliberated with an aching heart whether I
would not get down when we changed horses and walk back, and have another evening at
home, and a better
parting.

However, Pip
continues to London, leaving broken relationships (on his side) behind him. Note how the
first stage ends with an allusion to Paradise Lost, which surely
foreshadows the problems Pip will face with his Great
Expectations:

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And the mists had all solemnly risen now, and the
world lay spread before
me.

Leaving the innocence and
safety of his home in the marshes will expose Pip to ever greater dangers of corruption
that will truly affect his character for the worse.

Why is private property a source of economic growth?It is for Macroeconomics

I would say that private property is a source of economic
growth because people who have (or are allowed to have) private property want to get
more of it.

In a free market economy, the desire for
property (and money) is one of the major drivers or economic growth.  People will try to
create new products and new ways of making products so that they will be able to get
more money.  This allows the economy to grow as people come up with new things to make
and better ways to make things.

So private property gives
people a powerful motive to work hard and that often leads to economic
growth.

For a more detailed statement of this idea, read
the first few paragraphs of the paper that I have linked to
below.

Discuss the theme of John Milton's sonnet "How soon hath time."i dont really get this stuff

Well, you are sixteen years old, or something like that,
right? Don't feel bad for not getting it. The poem was written by a young man who was a
good seven years older than you are now. Thus fret not about the fact that Milton's
Sonnet 7 "ON HIS BEING ARRIVED AT THE AGE OF 23" is a bit tough for you to
understand.

Generally, the theme of the poem deals with age
and aging. The narrator (you wouldn't be wrong if you figured it was Milton himself on
or near his twenty-third birthday) is talking about being and acting his age. In the
first eight lines, he says something like: My, how time flies, and here I am
twenty-three already. How did that happen so fast. And, although I may not look my
age:

Perhaps
my semblance might deceive the truth,
That I to manhood am arrived so
near,

nonetheles, here I am
almost a man.

The last six lines are a reassurance. He
realizes that whether or not he looks it, or is quite ready, he will soon enough blossom
into the man and poet he has so diligently prepared himself to
be.

Discuss the dramatic irony in Twelfth Night. Provide at least two examples.

Shakespeare's comedy Twelfth Night
follows the outline of Elizabethan comedy as it has the elements of mistaken
identity, separated twins, and gender-crossing disguise.  With these elements comes the
dramatic irony that contributes to the comedic effect of the
play.

1.  Perhaps the most salient example of dramatic
irony is the disguise of Viola, who is saved after being shipwrecked by a captain who
puts in to shore on Illyria.  After learning that the captain knows the Duke of Illyria,
Viola asks him to disguise her as a eunich so that she may work in his service.  In this
disguise, that only the audience is privy to, Viola is better able to perceive the true
nature of the characters as they confide in Cesario, her male disguise.  When she goes
to work for the Duke, he has Cesario go to Olivia's house to plead his love for him. 
However, Viola who is actually in love with the Duke, says in an aside after telling the
Duke,"Ill do my best to woo your lady,"

readability="6">

Yet a barful
strife!

Whoe'er I woo, myself would be his wife.
(1.5.41-42)

The original love
connection of the Duke has been skewered by the end of this scene since there are two
twists to the plot:  Viola states her attraction to the Duke Orsino; Olivia reveals a
liking for Cesario/Viola.  The effect of this dramatic irony is to demonstrate the
subjectivity of love.  For, when a person sees someone with whom he/she falls in love,
this love is felt in the person who does the loving of another.  And, a person cannot be
made to feel love simply by the attraction of the other for
him/her.

2. Another example of dramatic irony occurs when
the Puritan Malvolio mistakenly believes that Olivia is in love with him after he
receives a forged letter actually written by Maria that he believes is from Olivia.  In
Act I, Scene 5, the letter to Malvolio, supposedly written by Olivia, he is instructed
to wear yellow hose and crossed garters.  When he approaches Olivia, she is astounded by
his attire and smiles.  This scene about the "full of water Malvolio" affords
Shakespeare the opportunity to assail the hypocrisy and judgmental nature of Malvolio, a
hypocrisy not untypical of the unpopular
Anabaptists.

3.  In Act IV, Sebastian and Olivia are
brought together.  Since Olivia has already spoken to Cesario about her love, she
assumes again that she is speaking to Cesario when it is Sebastian that she addresses. 
Even though Sebastian is confused by her declaration of love, he enjoys the sentiment,
and takes part in the illusion:

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What relish is in
this?

Or I am mad, or else this is a
dream.

Let fancy still my sense in Lethe
steep;

If it be thus to dream, still let me sleep!
(4.1.60-3-63)

The irony here
produces the result of enlightening the audience to the fact that some lovers delight in
the illusions of love and often are satisfied with being the object of someone's else
love.