In Ancient history, what was their military strength, allies, culture achievements and education like?Thank you SO much!

On Warfare in
Antiquity:

History of the Art of War, Volume I
Warfare in Antiquity by Hans
Delbruck.

Ancient and Medieval Warfare
by Oliver Lyman Spaulding and Hoffman Nickerson.

Delbruck
is well regarded and will give you more information than most students ever get. Both
the above are old, so you should also examine a recent work: The Western Way
of War: Infantry Battle in Classical Greece by Victor Davis
Hanson.

On
Education:

Davidson, Thomas. 1894. The Education
of the Greek People and Its Influence on Civilization. I like this book. It
is about the evolution of civilization since ancient Greece. The philosophy of Socrates
and the philosophy of Jesus of Nazareth, when combined, gave a plan for living that
works. In only 229 pages, this book can be only the broadest-brush outline treatment of
such a broad subject, but it is very good.

Educational
Curriculum of the Ancients as Described in the First circa 50 Pages of: Campbell, Andrew
A. 2008. The Latin-Centered Curriculum: A Home Educator’s Guide to a
Traditional Classical Education, 2nd ed. Non Nobis
Press.

I. General
education

I.A. Elementary
education

I.A.1. The three
Rs.

I.A.2. Grammar

I.A.2.a.
Language mechanics and parts of speech

I.A.2.b. The great
historical and imaginative literary works of the culture, especially the epic
poets

I.A.2.c. Memorize poetry commemorating the deeds of
the culture’s heroes.

I.A.2.d.
Drama

I.A.2.e. Lyric
poetry

I.A.3. The mathematical
arts

I.A.3.a. Arithmetic (including business
math)

I.A.3.b.
Geometry

I.A.3.c. Astronomy (including weather
signs)

I.A.3.d.
Music

I.A.3.d.i. The scientific study of harmonics and
music theory

I.A.3.d.ii. Vocal, instrumental, and moral
instruction

I.B. Rhetorical
education

I.B.1. A graded series of written exercises
(e.g., paraphrase, simile, example, quotation)

I.B.2.
Lectures by rhetoric teachers

I.B.3. History texts (not
history as a discipline but as examples of rhetoric)

I.C.
Physical training in preparation for military service

II.
Higher education

II.A.
Science

II.B. Logic

In Hamlet, what rhetorical devices does Claudius use to persuade Laertes to kill Hamlet?

Act IV scene 7 is a classic Shakesperian scene of
manipulation and persuasion as Claudius meets with Laertes and convinces him to kill
Hamlet. It is well worth revisiting this scene and examining it closely because here we
see how Claudius persuades Laertes to kill Hamlet for
him.

One of the key elements of this scene to me is when
Claudius mocks Laertes to spur him on in anger to revenge against Hamlet. Note how
Claudius says to Laertes:

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Laertes was your father dear to
you?

Or are you like the painting of a
sorrow,

A face without a
heart?

Claudius is
deliberately angering Laertes to manipulate his emotions. By questioning the sincerity
of his love he goads Laertes into a rash revenge plot - completely unlike Hamlet, of
course, for Laertes does not hesitate at all in achieving his goal of revenge. Note how
Claudius goes on to challenge Laertes following this insulting
question:

What
would you undertake,

To show yourself your father's son
indeed,

More than in
words?

The challenge is clear
- if you do love your father, show it but not in words. What are you prepared to
do?

So is hatched the final revenge plan that brings death
to both Laertes and Claudius. I have highlighted some of the examples you will want to
think about but it is well worth considering the scene as a whole to pick up more
examples of persuasive language. Claudius shows himself in this scene to be a canny
manipulator of people, as Laertes himself discovers just before he
dies.

Why can't Linda adjust to the savages' society on the Reservation?From chapter 8 of Brave New World by Aldous Huxley

The conditioning of Linda is totally different from what
exists on the Reservation.  When Linda , who has never been made to do anything
manual, breaks a loom on which she is supposed to weave, the women are angry with her
and push her. 

Pope is a man who stays with Linda, and
because she has been conditioned to believe that "everyone belongs to everyone else,"
she engages in sexual acts with this man, drinking mescal, which
numbs her senses  like soma, but it gives her a headache the next
day.  When Linda sleeps with other men, the women break in and whip her, much to her
incomprehension and amazement. She tells John,

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"They say those men are their
men." 

Linda
misses "The Other Place" where there were games to play, delicious things to eat and
drink, and lights came on automatically.  Everybody is happy; at least, they are not sad
or angry.  There is tecnology, babies in bottles, clean, sterile things.  In short, the
world that Linda has left is the antithesis of the reservation.  Everything is
mechanical and programmed; nothing is spontaneous or natural and based upon
imagination.  Linda knows nothing about the world of the earth and sun and stars and
mothers and fathers and children; she is from another world, the New World.  As a
product of the Central London Hatchery and Conditioning Centre, Linda simply cannot
relate to what she has not been conditioned.

Integrate the function f(x)=1/(x^2-3).

We notice that the denominator of the function is a
difference of squares.

We'll re-write the function as a sum
of 2 irreducible quotients:

1/(x^2-3) =
1/(x-sqrt3)(x+sqrt3)

1/(x-sqrt3)(x+sqrt3) = A/(x-sqrt3) +
B/(x+sqrt3)

We'll multiply the first ratio from the right
side, by (x+sqrt3), and the second ratio, by (x-sqrt3).

1 =
A(x+sqrt3) + B(x-sqrt3)

We'll remove the brackets from the
right side:

1 = Ax + Asqrt3 + Bx -
Bsqrt3

We'll combine the like
terms:

1 = x(A+B) +
sqrt3(A-B)

For the equality to hold, the like terms from
both sides have to be equal:

A+B =
0

A = -B

sqrt3(A-B) =
1

We'll divide by sqrt3:

A-B =
1/sqrt3

A+A = 1/sqrt3

2A =
1/sqrt3

We'll divide by 2:

A =
1/2sqrt3

B = -1/2sqrt3

The
function 1/(x^2 - 3) = 1/2sqrt3(x-sqrt3) -
1/2sqrt3(x+sqrt3)

Int dx/(x^2 - 3) = (1/2sqrt3)*[Int
dx/(x-sqrt3) - Intdx/(x+sqrt3)]

We'll solve Int
dx/(x-sqrt3) using substitution technique:

We'll note
(x-sqrt3) = t

We'll differentiate both
sides:

dx = dt

 Int
dx/(x-sqrt3) = Int dt/t

Int dt/t = ln t + C = ln (x-sqrt3)
+ C

Intdx/(x+sqrt3) = ln (x+sqrt3) +
C

Int dx/(x^2 - 3) = (1/2sqrt3)*[ln (x-sqrt3)-ln (x+sqrt3)]
+ C

 We'll use the quotient property of the
logarithms:

Int dx/(x^2 - 3) = (1/2sqrt3)*[ln
(x-sqrt3)/(x+sqrt3)] + C

List the roles of each of the three anatomical regions of the pharynx in respiration.

The three anatomical regions of the pharynx
are:

Nasopharynx - air and secretions from the nose travel through
this passageway and connects with the oral pharynx on its path to the hypopharnx.  The
pharngeal tonsil is located near it so when it swells it may interfere was nasal
respiration.

Oral pharynx (oropharynx) - the soft palate at the
posterior of the oral cavity bounds it from the nasopharynx.  When you breather through
your mouth the air enteres the oral pharynx

Hypopharnyx - this is
where the pathway of air food cross each other: air from the nasal cavity flows to the
larynx, while food from the oral cavity is routed to the
esophagus.

See link for a photo of the
pharynx.

Which is the indefinite integral of f(x)=sin5x*cos3x ?

To calculate the indefinite integral of f(x)=sin5x*cos3x,
we'll apply the formula to transform the product of trigonometric functions into a
sum.

We'll use the
formula:

sin a * cos b =
[sin(a+b)+sin(a-b)]/2

We'll substitute a by 5x and b by
3x.

sin5x*cos3x =
[sin(5x+3x)+sin(5x-3x)]/2

sin5x*cos3x = sin 8x/2 +
sin2x/2

Now, we'll calculate Int
f(x)dx.

Int sin5x*cos3xdx = Int (sin 8x)dx/2 + Int
(sin2x)dx/2

Int (sin 8x)dx = -(cos8x)/8 +
C

Int (sin2x)dx = -(cos2x)/2 +
C

Int sin5x*cos3xdx = -(cos8x)/8 - (cos2x)/2
+ C

What are some signifcant literary techniques in "My Last Duchess" that appeal to the readers' senses?

When one thinks about appealing to readers' senses, one
probably first thinks of imagery, since imagery, by definition, appeals to the senses. 
In Browning's "My Last Duchess," the speaker uses imagery to describe his former wife's
portrait, as well as her looks and voice when she was
alive.

According to the Duke, people have asked him what
brought about the "glance" (visual imagery) seen on the wife's face in the portrait. 
And the glance is also referred to as a "spot of joy" (visual).  In life, she used
"approving speech" (auditory imagery), and at times she would "blush"
(visual). 

Imagery is also used to describe what gained his
wife's approval and made her blush:  "My favor at her breast," "The dropping of the
daylight in the West," "bough of cherries," "the white mule/She rode with round the
terrace." 

The speaker is a hideous, arrogant, overly-proud
human being, but, through imagery, he creates a beautiful vision of the wife he ordered
killed, as well as that which caused her beauty to be heightened in her facial
expressions and tender voice and words.    

Was Progressivism an inspirational movement to help the nation realize its democratic ideals? Comment.

Assuming that we are talking about the United States, I
would say that Progressivism was mostly helpful in allowing
the nation to realize its democratic ideals.

The
Progressives did a lot of things that promoted democracy.  For example, they enacted a
constitutional amendment allowing for the direct election of Senators.  They also
brought in things such as the secret ballot, initiatives and referendums.  All of these
things allowed for more democracy in terms of elections.  Importantly, they also gave
women the right to vote.

On the other hand, the
Progressives were somewhat anti-democratic on the level of personal rights.  The most
glaring example of this was Prohibition.  The Progressives disapproved of people
drinking alcohol (partly because of anti-immigrant sentiment) and more or less made that
illegal.  By doing so, they took away what is (arguably) a personal right just because
they disapproved of that particular activity.

Write a set of data in which the mean is 15, the median is 15 and the modes are 13 & 15.this is my daughter's homework question...she's in 6th...

To have a set of data with mean 15 = median and modes 13
and 15.

The median is the middle of the dat when arraged
according to increasing value of the characteristic.

Mode
or the modes are values of the variable for which the frequency is
hoghest.

Mean is the average value
.

 xi              fi          
xifi

12             
2          24

13              5         
65

14              1         
14

15              5         
75

16              3         
48

17              2         
34

18              2          36

19             
1          19

--------------------------------

Total        
21         315

Sum (fi) =
21

 So Mean = sum of(xi*fi) sum of (fi) = 315/21 =
15

Mode 13  and 15 with highest
frequency.

Median is the middle of xi = 15 since x i 's are
equal in number both above and below.

" en don't run no resk, 'kase it's down in de bills dat you's gwyne to git hung." ch.4 p.20. Please help me to understand.

In Ch.4 of "The Adventures of Huckleberry Finn" the
narrator Huckleberry spills some salt,

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One morning I happened to turn over the
salt-cellar at breakfast. I reached for some of it as quick as I could to throw over my
left shoulder and keep off the bad luck, but Miss Watson was in ahead of me, and crossed
me off.

and he fears that the
superstition that if one spills salt something evil will happen  to him will come true
in his life. His fears are soon realized when he discovers his abusive and alcoholic
father Pap's footprints on the snow.

He decides to take
protective measure and contacts Jim the negro slave who is famous for predicting the
future with a hair ball taken from the  stomach of an ox. Huckleberry wants to know what
his father's future plans are:

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Jim, had a hair-ball as big as your fist, which
had been took out of the fourth stomach of an ox, and he used to do magic with it. He
said there was a spirit inside of it, and it knowed everything. So I went to him that
night and told him pap was here again, for I found his tracks in the snow. What I wanted
to know was, what he was going to do, and was he going to
stay?

Jim begins to play upon
Huckleberry's fears and after extracting some money from him, he concludes by
saying,

You wants to keep 'way fum de water as much as you
kin, en don't run no resk, 'kase it's down in de bills dat you's
gwyne to git hung."

Jim confuses
Huckleberry by cautioning him to stay clear off water, implying that he will be drowned
and at the same time he tells Huckleberry that he need not fear death by drowning as he
is predestined to meet his death by hanging.

The
phrase, down in de bills in the
Missouri negro dialect means 'predestined' that is 'foreordained
by divine decree'

Needless to
say, this only terrifies and confuses  Huckleberry all the more.

What are the poetic elements in "The Midnight Ride of Paul Revere"?

Longfellow's "The Mignight Ride of Paul Revere" is laden
with many literary elements.

First and foremost, we can see
that  begins by Longfellow using rhyming couplets in the first stanza. The second stanza
he switches his rhyme scheme to ababaabbb. The third stanza reverts back to rhyming
couplets, the fourth to abbcabc, etc. It is important to realize that he uses rhyming
and that his format switch is purposefully done, as it follows along with the complexity
of Paul Revere's physical ride.

Longfellow also uses
synecdoche: "For the country folk to be up and to arm," to metaphorically describe how
the people will react to the news of the English heading toward the American soldiers.
Simile is used to describe the passing of time: "as the moon rose over the bay". To
emphasize the mystery, Longfellow also utilizes alliteration: "Wanders and watches with
eager ears."

How does Francis Nurse show that he is courageous at the beginning of act 3?

Francis courageously storms into the court presuming that
the magistrates will listen to him. He approaches them with his own voice of authority
claiming that he has proof that the girls were pretending. It is during this time that
he also slaps the judges with a biting and sarcastic
remark:

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Excellency, we have proof for your eyes; God
forbid you shut them too it. The girls sir, the girls are
frauds.

Not only does this
show great courage, but it demonstrates that Francis believes that they might be turning
an eye away from the evident truth and that they are choosing to believe these silly
girls.

Three times Francis suggests that the magistrates
are being deceived. Someone of their stature would take this as a complete insult and he
is happy to continue hurling it on them.

What is the signficance of Lord Byron?David Lurie seems to admire the poet Byron but for what reason?how does he contrubute to the...

I think that Byron is a significant inclusion in Coetzee's
work.  One might be able to take it from political and literary points of view.  If we
examine Byron from a literary point of view, perhaps Lurie's fascination with him is
driven by a desire to be like him.  The mystique of Byron is a large reason as to why he
is included in the Romantic movement and occupies a large place in the thought pattern
of Romanticism.  Byron lived out his own subjectivity without any regards for others.
 He was, as most Romantics were, self absorbed.  He believed himself to be a lover of
women, and played to the idea that he was adored by them.  Simply put, Byron loved to
make women swoon.  He was admired for that.  People spoke of his exploits in a
complimentary and laudatory fashion.  Yet, there were indications that Byron was not the
"ladies man" as he might have appeared to be.  There were many claims of his affairs
with men as well as with a half sister.  The basic premise is that what might have been
cast for all to see could have been illusory, masking a certain sense of sadness or
weakness present.  Such a description could be made to David, as well.  From a political
point of view, the Byron subject could be a metaphor for the changing social reality
that brings question to him.  If Byron carried on like he did in the modern setting,
there is much to indicate that he would not be praised, but rather reviled.  In a
changing social dynamic where women's rights and sense of identity is much more refined
and understood now then during Byron's time, he becomes an antiquated notion of how
things are.  When Byron was called, "mad, bad, and dangerous to know," it was seen as
almost a type of panache, a warning to bring to light his reputation that was whispered
in salacious gossip.  Now, Byron would be hit with assault charge followed by sexual
abuse charge.  Byron reflects the changing social dynamic, something that David might
resemble in his relationship with a changing South Africa.  In this realm, like women in
Byron's case, Africans are no longer subservient, but rather active voices in carving
out their own destiny.  The manner in which David deals with this change could be seen
as reminiscent as how Byron might have addressed the change with
women.

What are examples of irony in "A Sound of Thunder"?

The most re-published short story in science fiction
history, Ray Bradbury's "A Sound of Thunder" deals with the idea of time travel and how
subtle changes in the past can drastically affect the future. A group of people book a
hunting expedition through a travel agency that takes them back in time--to kill a
Tyrannosaurus Rex. They are warned to stay on a designated path from which they must not
stray; any change made by a visitor from the past may cause untold changes upon their
return. (The T-Rex they plan to kill has already been determined to have died, so his
death--repeated over and over upon return trips--will cause no changes, the guides
assure.)

There are several examples of irony in the story.
Perhaps the most obvious is how the simple death of a butterfly millions of years in the
past can totally alter the future from which the travellers come. Because of the
butterfly's death, a different--and more dangerous--President has been elected; the
language has changed; and the town appears different. Also ironic is how the man who
accidentally kills the butterfly is punished in a like manner. A final irony is the
title, which refers to both the sound of the T-Rex and the gunshot heard in the
end.

I am writing a paragraph on goals.Based on the quote "Those who attain any excellence commonly spend life in one persuit; for excellence is not...

It is a little hard to tell what you are asking for.  If
you simply need an introductory sentence, it sounds like you have a
pretty good idea that just needs a little tweaking.  Two things I would consider.  First
of all, will you be writing about your personal goals within this
paragraph?  If yes, then don't be afraid to go ahead and open the paragraph with a
personal statement (ie: get rid of the use of "one" and substitute "I.")  Second, if you
haven't yet stated the quote, you are going to need to give a direction as to where it
is.  I would not make the quote a title.

I think you could
tweak what you have to say something like, "I like to think that someday I will look
back on my life and consider what I have done excellent.  In order to do this, I plan to
keep in mind the wisdom from this quote: "..."

If this is
to be an entire essay on the persuit of goals, rather than just a
paragraph, I encourage you to brainstorm the meat of your essay before writing your
introduction.  The best introductions often come after fully outlining (and possibly
writing) the body paragraphs.  The first sentence, remember, is a hook.  It is a
throwaway sentence that gets the reader interested.  Perhaps the quote itself is your
opening sentence.  The rest of your introduction then will contain your thesis (the
foundation of your paper) and sub-points you will cover (the body paragraph topics). 
This is always easier to do once you've fully planned the rest of the essay in some
detail.

What is the significance of the title to the last part of the selection of "Rose of Emily"?William Faulkner's "A Rose for Emily"

Since the rose of the title is symbolic, the reader must
search for the meaning of this symbol. Interestingly, William Faulkner does not indicate
the color of the rose for Emily.  Therefore, the rose can have a number of meanings. 
Traditionally, of course, red roses symbolize love and passion; however, other colors
suggest innocence and truth (white), friendship and freedom (yellow), and desire
(coral), and grace, gentleness, and joy (rose).  The single rose conveys the meaning of
"I love you."

That Faulkner leaves the meaning of "A Rose
for Emily" rather ambiguous, the reader must look to the text for meanings.  In one
passage, for instance, the narrator suggests Emily's innocence in believing that she
need pay no taxes:

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Only a man of Colonel Sartoris' generatin and
thought could have invent it, and only a woman could have believed
it.

In Part II of the story,
the reader learns that Emily Grierson has been deserted by her sweetheart.  Here the
passion of Emily, the red rose of her life, has left, and the townspeople remember "all
the young men her father had driven away."  Then, after her father dies, the townspeople
feel that Emily has become humanized in her freedom from her
patriarchal domination as

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...she too would know the old thrill and the old
despair of a penny more or less. (yellow
rose)

However, with the
appearance of Homer Barron, Emily's passion seems to have been rekindled.  But, when he
departs, she is not seen on the streets for some time.  The narrator comments
that 

 Then we
knew that this was to be expected, too; as if that quality of her father which had
thwarted her woman's life so many times had been too virulent and too furious to die.
(coral rose)

In Part V, after
Emily dies, the authorities break down the door of Emily's home and amid the "thin,
acrid pall of the tomb," they find a room furnished for a bride with curtains of "faded
rose color" (pink), and they discover the body of Homer Barron lying on the bed in this
room of faded rose.

Thus, William Faulkner's title, "A Rose
for Emily," through the narrative, comes to symbolize the life of Emily, innocent,
passionate, briefly free and joyous, and faded.  In a telling passage the narrator
declares,

We
remembered all the young men her father had driven away, and we knew that with nothing
left, she would have to cling to that which had robbed her, as people
will.

Therefore, in the final
part of Faulkner's story, Emily clings to the single rose--"I love you"--in the form of
the man who is the last would not marry her, Homer Barron.  The title, "A Rose for
Emily" with relation to the final part symbolizes Emily's desperate attempt to hold all
from which she has been robbed: desire, passion, joy, and love.

log 4 (x) = sqrt(log 4 (x)) find x values

The first step is to eliminate the square root, and for
this reason, we'll raise to square, both sides of the
equation:

[log 4 (x)]^2 = [sqrt(log 4
(x))]^2

[log 4 (x)]^2 = log 4
(x)

We'll subtract log 4 (x) both
sides:

[log 4 (x)]^2 - log 4 (x) =
0

We'll use the substitution technique to solve the
equation:

log 4 (x) = t

t^2 -
t = 0

We'll factorize:

t(t-1)
= 0

t1 = 0

t-1 =
0

t2 = 1

log 4 (x) =
0

x = 4^0

x =
1

log 4 (x) = 1

x =
4^1

x = 4

The
solutions of the equation are: x1 = 1 and x2 = 4.

In Chapter 15 of To Kill A Mockingbird, why does Jem openly defy and disobey Atticus?In Chapter 15 of To Kill A Mockingbird, why does Jem openly...

In Chapter 15, Scout, Dill, and Jem venture
downtown--without anyone's permission--to find out where Atticus is and what he's
doing.  When they realize that Atticus is sitting outside outside of Tom Robinson's
cell, they decide that they should return home.  Before they are able to leave, though,
a caravan of cars pulls up to the jail and men dressed in heavy clothing (despite the
fact that it is a hot summer night) get out and confront Atticus.  When it seems that
there might be trouble, the children break through the mob and run to
Atticus. 

Atticus immediately orders Jem to go home, and to
take Scout and Dill home with him.  In his first act of defiance, though, Jem refuses. 
Interestingly, Scout notices a resemblance between Jem and her father, and notes that
though their physical features differ, "mutual defiance made them alike"
(152). 

Jem continues to refuse to leave the jail, as he is
old enough, and mature enough, to recognize that his decision to stay will probably
prevent the mob from causing Atticus harm and harming--or even killing--Tom
Robinson. 

In chapters 12-14, we begin to see Jem's
maturation process; at this point in the novel, he is 12 years old, and he is beginning
to act more like an adult.  Though Jem takes a risk by openly defying his father, he
realizes that the consequences of his defiance are much less severe than the
consequences of leaving would be. 

Though Scout is too
young to fully understand the situation, it is her innocence, not Jem's defiance, that
ultimately makes the mob, led by Water Cunningham, leave.  At the end of the chapter,
the naive Scout observes, "I assumed that Atticus was giving [Jem] hell for not going
home, but I was wrong.  As they passed under a streetlight, Atticus reached out and
massaged Jem's hair, his one gesture of affection" (155).  Obviously, Atticus is proud
of Jem for doing what he believed was the right thing--even though it was
difficult. 

What are the 3 different views of Tom Robinson's trial and its outcome as seen by Atticus, the children, and townspeople?

The town is, indeed, rather divided over this verdict. 
Those who wallow in prejudice think Tom got what he deserved, of course.  The others,
generally those we have met and know by name as outlined by mwestwood, are distraught by
the injustice which has once again occured in their town.  (I would add Sherrif Heck
Tate to the list, as he did what he could to protect Tom before the
trial.)

The kids have a variety of reactions to the
verdict.  Jem is visibly shaken by the injustice because he was mature enough to follow
the actual arguments and understand the laws of reason have been
violated. 

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"'It ain't right, Atticus....  How could they do
it, how could they?'" 

Dill
understands less, but he has the emotional reaction already listed--he is hurt by the
verdict and really can't explain why.  Scout's reaction is the least expressive of the
three.  Virtually no commentary or emotion.  Make of that what you
will.

Atticus is not surpirsed, but his hopefulness has
been diminished.  He really thought this time maybe, just maybe...but no.  He reassures
Jem as he is the most dejected, but he doesn't have much to say.  When his sister scolds
him a bit, he says,

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"'I'm not bitter, just
tired.'" 

That says it all. 
He has plans to appeal the case, but he knows the battle will be similar to the one he
just fought, and he's tired. 

What are 6 symbols and images in the short story "Boys and Girls" by Alice Munro?

The "odor of the fox itself" (imagery pertaining to smell)
is something the narrator describes as "reassuringly seasonal" and a comfort to her at
night.

(Sight/Touch) Images of light and dark: the
"brightly lit downstairs world," contrasted with the "stale cold air upstairs."  Light =
warmth and safety; dark = cold and fear.

Further images of
light and dark in her room: provide the narrator and her brother with boundaries of
safety.  At night, as long as the lights are on, they are
"safe."

Henry Bailey's laugh (imagery pertaining to sound):
the children "admired" the sound of "whistlings and gurglings...faulty machinery of his
chest."  Despite his sickness, Henry Bailey also provides a source of emotional comfort
and protection.

Description of the foxes pens as "a
medieval town" (sight imagery): symbolizes the safety and security her father is able to
provide, both for the foxes and for her.

Description of the
"hot dark kitchen in summer" (mostly sight but some sound imagery): shows that the
narrator feels caged in by inherently female tasks and contrasts directly with the
freedom she feels when working outside, like a man.

The
fact that the narrator remains unnamed throughout the story could be symbolic of her
search for an identity throughout the story.

What is the moral of A Christmas Carol?

The moral of A Christmas Carol has
everything to do with the transformation of the main character, Ebenezer Scrooge.  He
begins the story as a miserly, closed-hearted man.  Through the events of the novel, he
is transformed into a man whose heart is open to the pain and struggle (and love) of
others, a man who has become someone who will participate in the world around him,
rather than withdraw from it.

Dickens wrote his novels
during a time when the society around him was changing rapidly.  The working world,
especially the world of a city like London, was becoming more mechanized, more
factory-based, and it seemed to Dickens that the needs and good of the common man were
slipping through the cracks.  In all of his works, he appealed to his readers to
empathize with those who are without -- the poor, the destitute and the
orphaned.

The moral can be found in Scrooge's
transformation at the end of Chapter Four.  Scrooge
says:

'Good
Spirit,' he pursued, as down upon the ground he fell before it: 'Your nature intercedes
for me and pities me. Assure me that I yet may change these shadows you have shown me by
an altered life!'

'I will honour Christmas in my heart, and
try to keep it all the year. I will live in the Past, the Present, and the Future. The
Spirits of all Three shall strive within me. I will not shut out the lessons that they
teach.'

His appeal shows the
moral, which is that it is never too late to begin to act in a loving and caring way
towards one's fellow man in, as Dickens saw it, the necessary Christian spirit of love,
forgiveness and generosity.

What were Voltaire's major beliefs during the Scientific Revolution?Since I'm in Global History Part 2 I need to know what Voltaire's major...

Voltaire is the pen name for Francois-Marie Arouet who was
born in France in 1694.  Voltaire was an Enlightenment thinker who was a strong
supporter of freedom of thought and expression and spoke out for the right of free
speech.  He is credited with the quote “I disapprove of what you say, but I will defend
to the death your right to say it.”  He was concerned with religious freedom and was
critical of the Catholic Church because he felt it discouraged freedom of thought. He
believed in an “enlightened monarch”, that is, a monarch who studied the science of
government, was advised by philosophers such as himself, and protected the basic rights
of people. 

If you go to the website href="http://www.regentsprep.org/">www.regentsprep.org , click on Global
History, then click on Golden Ages. On the left side of that page click on
Enlightenment.  You will find a little bit of information about
Voltaire.

What are the new poetic techniques used in The Waste Land?

T. S. Eliot is one of the major contributor to
Anglo-American Modernism, the turn-of-the-century eclectic movement that revolutionized
literature and the arts. Eliot's poetry strives to observe the Modernist dictum of "Make
it new" by creating texts that are less emotional than Romantic poems and whose images
are more concrete and less vague. In his essay on "The Metaphysical Poets", Eliot writes
that poetry should respond to the complexity of modern life so "the poet must become
more and more comprehensive, more allusive, more indirect, in order to force, to
dislocate if necessary, language into his meaning."

These
are all features that we can observe in The Waste Land. The
complexity and the fragmentation of modern life is reflected in the fragmented style of
the poem and the juxtaposition of different images (a visual parallel could be drawn
with certain paintings by Picasso and Braque). Each section of the poem is formed by
several fragments put together whose narrative continuum is achieved through consistent
tone and atmosphere. These emphasize the sterility of the present as contrasted to the
fertility of a mythical past. Another important modernist technique employed in
The Waste Land is the comprehensive cultural, historical and
literary references to past epochs and mythological traditions. Talking about James
Joyce's Ulysses, Eliot defined this technique as "the mythical
method", a constant parallel between the writer's contemporary age and the past achieved
through mythological references in the depiction of ordinary and common sketches. Eliot
concluded that this techniques was "a way of  . . . giving a shape and a significance to
the immense panorama of futility and anarchy which is contemporary
history".

The poem's fragmentation is further heightened by
the juxtaposition of different poetic styles (ranging from passages in Elizabethan
English to lines that reproduce the jargon of the working class), forms such as
monolgues and choruses and metres.

Present an aspect of your understanding of 'citizenship' in a creative way, such as in a poster, poem, song lyric, illustration.

There are many ways to approach this.  I would reflect and
think about particular songs that reflect citizenship and integrate some of these ideas
into a lyric or poem of your own.  For example, think about songs from your own country
that represent citizenship.  These songs could be the national anthem, or other songs
that are widely accepted as representation of your nation.  When you think about these
songs, what are some common links?  Do they emphasize a part of your history?  Do they
emphasize a part of your national character?  What is the overall tone of these songs? 
For example, in my country, our national anthem reflects national character and
identity.  It is one of those moments where people hear the song and understand, to a
lyrical extent, a part of my country's identity.  When these questions are answered, you
should possess a decent feel for what defines "citizenship" in a lyrical sense and then
you can start to take some of these ideas into your own conception or visualization of
citizenship.  Perhaps, placing some of these in a poster or illustration could be
another avenue to pursue.  I think that this might be a good starting point with such a
task.

Can someone please give me the author's biography for William Golding?Can you suggest me two or more subheadings which i can talk about?

William Golding had a motto, "Nothing Twice," a motto that
seems, indeed to fit his life as he rose from obscurity to fame with the publication of
Lord of the Flies in 1954.  Then, he was lost in the public's eye
again until the end of the 1970s.  From 1979 to 1982 were suddenly profitable to him,
and in 1983, he received the Nobel Prize for
Literature.

Perhaps, then, you could create subheadings
derived from the motto of Golding.  With an inquiring mind and the courage to try
different approaches to his craft, Golding's writing was at times popular; other times
it was not.  Thus, it would seem that the periods of Golding's life mark different
periods of thought for Golding. Researching these different periods may reveal for you
his mode of thinking at the time.  For instance, his father, who had a profound
influence upon him, believed strongly in science and rational thought, but Golding's
switching from Science to English as a major in college indicates his disillusion with
the rationalism of his father.  In Lord of the Flies, for instance,
it is the intuitive Simon, not the rational Piggy, who truly recognizes the "beast" as
the innate evil in man.

In addition, Golding's experiences
in the British Navy had a profound influence upon his thinking.  He himself described
his experiences as having "one's nose rubbed in the human condition." This experience,
of course, along with his interest in philosophy, is what gave rise to his most famous
novel.

Is it Atticus that teaches his children the most important lessons in life?

What an interesting question!  I'd agree with my
colleagues, of course, that Atticus--by words and example--teaches Jem and Scout most of
the lessons they learn in the course of this novel.  I'd also make the case, though,
that others were responsible for some "life lesson teaching," as
well.

Dolphus Raymond showed the kids (including Dill) it's
possible to live beyond the stereotypes.  He's still having to do a ridiculous thing
like let thewhite world think he's a drunkard, but through him they're able to see
beyond that to the reality that color is relatively unimportant to living a contented
life--and the unnfairness of having to hide in order to be
content.

Miss Maudie demonstrates, in word and deed, what
it means to be a true believer and follower of Christ in thae face of hypocrisy (in the
form of the "foot-washin' Baptists").  She also helps them discover that their view of
Atticus as a feeble old man who can't do what other "cool" dads do is
flawed. 

Calpurnia takes them to church and is able to show
Jem and Scout a world they really don't understand much about.  They had assumed all
other Negroes were educated (could read), but they discovered that's not true--yet they
are perfectly able to worship together through linin'.  They also encounter Lula, a
Negro woman who treats them with prejudice, so they're able to see this ugly attitude is
a choice, not something inherent or inborn or specific to any one
race.

While Atticus is their primary teacher, as he should
be, others do contribute to their learning experiences.

Which process is used to test whether a solution containing a salt is saturated? A) add a crystal of the same salt to the solution, B) cool the...

A saturated solution means that at that specific
temperature you cannot dissolve more of the solute into the solvent.  In your case, if
the solution is saturated then adding a crystal of the same salt, and stirring, would
give you the best chance of determining of the solution is saturated or not.  It is
important not only to add the crystal but also stir because some salts dissolve slowly. 
If you just add the crystal and see it sink to the bottom that may indicate the solution
is saturated or it may mean it takes time for the salt to
dissolve.

Cooling the solution does not prove that the
original solution was saturated.  If it was saturated, cooling it may result in a
supersaturated solution rather than crystallization of some of the solute.  And if some
salt does crystallize that would be expected even if the original solution was not
saturated since most salts are less soluble at lower
temperatures.

Heating would prove nothing and stirring
vigorously would be pointless if there is no solute undissolved.

If the mass of Earth were to become half, how would you be able to measure your mass accurately, with spring weighing machines or balance scales?

If the mass of the Earth were to become half, the
acceleration due to gravity and consequently the downward force due to the Earth would
decrease. Devices that use springs to measure a person’s mass would fail to give the
correct result. This is due to the fact that these work on the principle that when a
spring is pushed or pulled by a force it compresses or stretches proportionate to the
force applied. Due to the difference in force exerted by gravity, the spring’s length
would no longer alter as it did earlier.

Balance scales on
the other hand will give you your correct mass. This is because the change in
acceleration due to gravity affects both your mass as well as the weight to the same
extent in relation to the unit you are being measured against, so the units will remain
the same. If 45 pieces were required earlier as a counterbalance for your weight, the
same 45 pieces will be required now.

How do we know how the responding variable changes for the manipulated variables in the formular PV=nRT(ideal gas law)?

An ideal gas approximately follows the ideal gas law which
gives the relation between pressure and temperature as pV= nRT, where p is the absolute
pressure of the gas; V is the volume of the gas; n is the amount of substance of the gas
in moles; R is the gas constant (which is 8.314472 J*K^-1*mol^-1 in SI units); and T is
the absolute temperature.

Now, here we can change any of
the variables in the equation, which includes the pressure, the temperature, the volume
and the amount of substance. The relation pV = nRT is only a relation between them. The
variables that are not manipulated are the ones that respond to the changes. So these
can be pressure, temperature and volume. The amount of substance does not change except
in the case where we allow the gas to escape from the enclosure or enter the
enclosure.

Baurind's work on Parenting Styles have an effect throughout each stage of our lives (yes, how we were parented affects us during adulthood!).(yes,...

As a parent of adult children, I can personally observe
the effects of my parenting styles upon them through the years and how it's shaped who
and what they are today! 

When my husband and I first
started out, we were very strict and not so very kind.  My oldest son remembers the
harshness and says he actually wondered if we really loved him!  He also remembers
watching us mellow through the years and rejoicing in the positive change it had on all
of us.  He admits he prayed and prayed that we would be softer and kinder.  It must have
worked because my middle and later children have the benefit of a very patient, kind,
and considerate father and mother. 

I think we as parents
need to set the finest example of what we expect from our children.  Children learn what
they live and will be a product of either a happy home or an unhappy one!  And, they in
turn, will pass on what they learned to their children. 

If
we want secure, loving, happy children we must provide that type of environment for
them.  We must not dictate in a miltary, authoritarian fashion, but give them
reasonable, intelligent choices, and allow them to take responsibility for and
experience the results of those choices.  We shouldn't hover over and around them to
prevent their making mistakes, but lovingly and willingly step back and let them make
mistakes, knowing they will learn valuable lessons along the
way.

I strongly recommend the "Love and Logic Approach to
Parenting."  It's something I'm trying with my youngest son, who is about to turn
twelve.  In just the few short months I've been using it, I've seen very positive
results.  I no longer have the huge battles of will and arguments and everything is much
more peaceful!  I've attached a link to the website so you can check it
out.

I love being a parent!  It's by far the most difficult
task I've ever taken on but by far the most rewarding overall!

Discuss Great Expectations as a classic 'bildungsroman' (a novel about growth and development of the hero).Charles Dickens's Great...

You have identified a vital element in this novel. It is
clearly a bildungsroman, just like Jane Eyre and other similar
novels, in that it traces the development of a main character from their youth and to
their maturity. At the end of bildungsromans, the characters have normally gone through
some hard times but have found their place in society and end up a maturer, wiser
individual because of what they have suffered.

Thus in
analysing this novel as a bildungsroman, it is important to note how Pip changes and
develops. Key to the early stages of the novel is Pip´s growing sense of class
consciousness and his dissatisfaction with his own position in society. We can see that
this comes through his first meeting with Miss Havisham and Estella, and how he becomes
ashamed of his humble roots. The end of Chapter 9 clearly marks this event as a
fundamental point of change in his life.

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That was a memorable day to me, for it
made great changes in me. But it is the same with any life. Imagine one selected day
struck out of it, and think how different its course would hgave been. Pause you who
read this, and think for a moment of the long chain of iron or gold, of thorns or
flowers, that would never have bound you, but for the formation of the first link on one
memorable day.

This passage
is key because it introduced the notion of being "bound" - something that is developed
in Ch. 13 when Pip is "bound" into his apprenticeship. This indicates how Pip sees his
lowly position. It is important to note that this awareness or realisation comes before
Pip receives his "Great Exepectations", and so it is likely that if Pip had not received
his Great Expectations he would have lived a frustrating and sad life, consciously aware
of the limitations of his position in society and unable to do anything about it. With
his visit to Estella, gone is the ability to accept his
fate.

Moving forward to the rest of the novel, it is key to
identify the retrospective omniscient voice that narrates Pip's tale, and how it
demonstrates how Pip has matured and become wiser. Certainly the wisdom that the
narrator demonstrates has only come through the sufferings and trials that the younger
Pip experiences - there is a definite sense that this is a novel of maturing, of change
and growth in character. The incident where Pip saves Miss Havisham from being burnt and
also burns himself in the process, and his loss of his "expectations" and the fever that
cripples him have a sense of purgatorial repayment for the wrongs that Pip has committed
- he learns just how much of a snob he has been, and how he has hurt others through his
actions, and begins to right his wrongs. Thus we see at the end of the novel a sadder,
but much wiser Pip, who has definitely learnt a lot through his experiences, and has
found his place in society working with Herbert.

It is
surely significant that at the end of the novel, Joe and Biddy call their son Pip after
the main character of the novel. After reading a novel which is so much concerned about
parental figures and the kind of (bad) influence they can have on their "children" (just
think of Miss Havisham and Estella and Magwitch and Pip), we can only think that this
naming will have a good impact, as the younger Pip now has an appropriate role model to
follow in his life - one that can guide him with sensitivity and
wisdom.

What is the most heinous crime someone could commit in Macbeth's time?in Macbeth

I suppose that this could be debated, but I would argue
that the worst possible crime that someone could commit in these times would have been
the crime of regicide -- the killing of one's own
king.

Back in these days, the world was seen in very
hierarchical terms.  People all had their appointed (by God) places in the world and
they were not supposed to try to get out of those places.  On the top of the heap was
the king.

If you killed the king, you were upsetting the
whole order of the world.  Not only that, you were upsetting a world order that had been
decreed by God.  So that would be a very heinous crime -- much worse than something like
murdering a normal person.

We wouldn't think this way now
because we don't believe in such a hierarchical world, but back in these days, things
were much different.

In "The Fall of the House of Usher", reflecting on the story as a whole as an allegory, what might Madelin represent?

I have to be honest with you and say at the beginning of
my answer that I don't actually believe an allegorical reading of this masterful tale of
horror bears much weight. This story does have to do with evil, though, and as the
narrator tries to make sense of what he observes Poe achieves an incredible ambiguity
that makes the character of Madeline very difficult to "read." It is clear that there is
some kind of deep connection between Roderick Usher and his twin sister. The only time
the narrator sees her before her "death" is during their first conversation together,
when she passes slowly by them:

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I regarded her with an utter astonishment not
unmingled with dread, and yet I found it impossible to account for such feelings. A
sensation of stupor oppressed me, as my eyes followed her retreating
steps.

Certainly her presence
is enough to make the narrator terrified, though he cannot explain why. The next time we
meet Madeline likewise is a piece of classic Poe-terror, as she comes back to life,
though it is unclear whether she, vampire like, destroys her brother, or embraces him
out of love:

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There was blood upon her white robes, and the
evidence of some bitter struggle upon every portion of her emaciated frame. For a moment
she remained trembling and reeling to and fro upon the threshold - then, with a low
moaning cry, fell heavily inward upon the person of her brother, and in her violent and
now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he
had anticipated.

It is clear
that however we read Madeline's character, she and her brother share some form of
supernatural evil that brings them both to their destruction, and not just them as
individuals, but the whole house, which is of course destroyed at the same time as the
last heirs are destroyed. Some kind of curse has wreaked its evil and successfully
brought about "The Fall of the House of Usher."

Paraphrase and explain Diamond's theory in Chapter 8 briefly.Found on pages 155-156 in my book.

If your book and mine are the same edition, then pp. 155-6
are at the very end of Chapter 8.  In those pages, Diamond tells us why it is (in his
opinion) that food production did not start in North America (the theory applies to
other areas as well).

Basically, what Diamond is saying is
that some places, like North America, just didn't ahve the right set of native food
sources.  They did not have enough different kinds of plants and animals that could be
domesticated and used for food.

By saying this, Diamond is
saying that you can't blame the people of North America for not coming up with
agriculture -- they just didn't have enough native kinds of plants and animals to let
them invent agriculture.

What is a good thesis statement for Fahrenheit 451?

This depends on what you are trying to prove about
Fahrenheit 451. Being a work that demonstrates that man should
value the ability to think for himself, or that the government should never have total
control, I suggest you pick a message (of the two I mentioned) to begin. Then, think
about how the author gets that message to the audience.

I
encourage my students to TAG their thesis statements. This means to use the
title, author and
genre. Then come up with a strong verb like demonstrates,
expresses, delineates, or portrays. Finally describe the message you think you
see.

When you get to topic sentences for writing about a
piece of literature, you might mention in each topic sentence a different strategy the
author uses to get his message across to an audience. In this case, this novel happens
to be a dystopia and that fact drives home many points... you write those points.
Another paragraph might be about character. Another one might be about
plot.

Can anyone tell me Appearance vs Reality in the movie Fight club, and the novel lord of the flies? Quotes if possible :)

I can answer the first part of the question, but I'll save
Lord of the Flies for someone else.

First, did you see the
movie?  *The fact that you asked the question suggests maybe you didn't, or at least not
all of it.  Anyway, I'm going to spoil the end.  Also, if you DID see the movie and if
you liked it (I loved it), the book is great also.

The most
obvious answer to the Appearance vs. Reality question in Fight Club is the fact that
throughout the story Brad Pit and Edward Norton appear to be two entirely different
characters - leading lives that each envies of the other.  As it turns out, they are the
same person.  The main character suffers from insomnia and this plays out by his
experiencing two completely separate personalities.

Another
one is the idea of the fight club itself.  It might appear to be something dangerous,
illegal, and possibly just silly/stupid - to an outsider - but for the men involved, it
is life-changing.  The rules "never talk about fight club" enhances this life-changing
aura it carries.  These men start to see each other in the day - noticing black eyes and
bloody knuckles, and it gives them a sense of comaraderie and pride.  They beat each
other to pulps, then hug and act like best friends.  It is a twisted display of
testosterone and desperation - and somehow, it is endearing.

Why does Ferguson rescue Mabel?

Fergusson’s rescue of Mabel is described in
paragraphs 110–115. The setting is wetness, dankness, muckiness, and a foul smell (the
smell is mentioned a number of times). To determine how this setting reinforces mood and
idea, one must conclude that Lawrence, by the rescue, is suggesting that even though
unpleasantness is necessary in life, and though at times the environment is ugly and
threatening, there can nevertheless be good results. In paragraph 150, Lawrence’s
narrator emphasizes Fergusson’s lack of intention about Mabel, and thus the story brings
out the idea that love is irresistible and overwhelming. To live without love leads
people, literally, to the dead end in which both Mabel and Jack find themselves in the
first part of the story. Therefore, the discovery of love is a power that cannot be
resisted, for without love there is no life.

Please give an example of a metaphor, simile, hyperbole, personification, and onomatopoeia in The Wednesday Wars by Gary Schmidt.

Holling Hoodhood is only in seventh grade, but he has a
vivid imagination and an effective vocabulary. He is the narrator of The
Wednesday Wars by Gary Schmidt and he makes his story come alive for his
readers by using figurative language. 

Figurative language
is useful because it utilizes the senses to enhance the meaning and experience for the
readers. Your question mentions five specific kinds of figurative language, and I easily
found multiple examples of each in the novel.

A metaphor is
a comparison between two things, and in the following metaphor, Holling compares his
baseball hero, Mickey Mantle, to a god. When he finally meets his hero, he is horribly
hurt and disappointed. He describes it this way:

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When gods die, they die
hard.

The baseball legend was
held in high esteem by Holling before this incident, and it was difficult for Holling to
see him fall (figuratively, die).

A simile is also a
comparison between two things; however, it uses either like or
as to make the comparison. When Holling is being threatened every
day in class, even by his friends, to bring them some cream puffs, he compares his
experience to a character in The Merchant of Venice by William
Shakespeare:

I
remembered the death threats hanging over me like Shylock’s knife hanging over Antonio’s
chest.

Hyperbole is
exaggeration used for effect, and we should not be surprised that a seventh-grader
demonstrates plenty of this as he recounts his experiences. (The Antonio and Shylock is
a bit hyperbolic, as well, since Shylock was literally going to cut a pound of flesh out
of Antonio and the worst thing Holling's classmates did is hiss a few words at him.)
When he is trying to clean the rats' cages, Holling inadvertently traps Sycorax and
Caliban. He looks down at them and describes what he
sees:

They
both turned their little black eyes toward me--bulging with demonic delight--and clawed
hysterically at the bars that were hardly holding them from
escape.

Obviously this is a
frightening scenario for the boy; however, the rats are certainly not
demon-possessed.

Personification is giving human qualities
or characteristics to something non-human or non-living, and Holling often uses
personification to create an effective image.

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The day was still a perfect blue October day, as
if it had been waiting for me since I’d missed it at lunch
recess.

We know this is an
example of personification because days are not capable of waiting--much as we sometimes
wih they would. Waiting is a human characteristic which is given here to something
non-human.

Finally, Holling uses onomatopoeia to add a
sense of excitement and color to his writing, as it uses words to make sounds. Every
time he is anywhere near the two rats, Holling describes their “clacking their yellow
teeth.” Though it is perhaps unpleasant to imagine the sound, it is an effective use of
onomatopoeia.

Why is an atom electrically neutral?

An atom consists of three kinds of particles: electrons,
protons and neutrons. Now the neutrons do not have any electrical charge on them and are
therefore electrically neutral.

Protons have a positive
charge that is usually expressed as +1 though in terms of coulombs it is + 1.602*10^-19.
The electron has a negative charge that is expressed as -1 and in terms of coulombs is
equal to -1.602*10^-19.

A neutral atom has the same number
of electrons as the number of protons in it. Therefore the net charge in an atom is
equal to zero. This makes an atom electrically neutral.

What does Rudyard Kipling's 'If' and Robert Frost's 'The Road Not Taken' have in common in terms of communicating messages about life?What...

Both poems concern life's choices.  Yet, Kipling and Frost
demonstrate very different approaches to this topic.  Kipling's speaker is clearly a
father addressing his son, and giving advice on how to live his life.  He cautions his
son to maintain his integrity in the midst of the world's evils, its vicissitudes in
fortune, and the fickleness of public opinion.  He is encouraging his son to choose his
responses wisely, cautiously, and nobly.

Frost's speaker is
much more subtle, much more ironic.  His poem is about choices too, but unlike Kipling's
father, Frost's speaker does not indicate a preferred choice of action.  His speaker
comes across a fork in the road.  He can take either path because they are about equally
worn and equally fair.  There is no way of knowing which path is the better one to take,
and also no way of knowing even in retrospect which would have been the better choice.
 He only knows that his choice made a difference--he does not know what kind of
difference his choice made.  His sigh at the end of the poem could be one of contentment
or regret.  Frost ends the poem in ambiguity.  The speaker's claim at the end that he
took the road less travelled by is unsubstantiated by the actual description of the
choice presented earlier in the poem, in which the speaker declares three times that the
paths were equal.  So, the reader must conclude that the speaker "ages and ages hence"
is misrepresenting the choice he made, that his boast that he took the "less traveled
road" is a vain one.

Technically, both poets use an
alternating rhyme scheme and four stanzas.  Both poets begin lines with a repeating
word:  Kipling uses "if" while Frost uses "and."

However,
Kipling's poem is inspirational; Frost's poem is realistic.

What is the theme of Robert Frost's poem "Birches"?

You asked two questions so I have had to cut it down to
one. In this poem the speaker contemplates a row of birches bent to the ground and he
imagines how the trees may have changed their shape in this way. When nature itself
bends the birches, during ice storms, they may stay bowed permanently. But the
speaker prefers to think of the trees as bent under the weight of a young boy repeatedly
climbing and swinging on them. The speaker describes this process on both a literal and
a symbolic level. As a boy the speaker also climbed birches, blissfully ascending toward
heaven but also gladly descending back to earth. As an adult the speaker remembers this
oscillation between heaven and earth and longs to be again a "swinger of
birches."

This climbing up the birches and then swinging
back down again obviously operates symbolically in the story. It seems that the theme
has to do with the human desire to accomplish something extraordinary, represented by
the climbing up to "heaven" on the birches, but at the same time the poem states the
necessity of returning to "earth" or reality, where love, which is the greatest human
joy, abides. Note how Frost describes his desire for both
states:

May
no fate willfully misunderstand me

And half grant what i
wish and snatch me away

Not to return. Earth's the right
place for love:

I don't know where it's likely to go
better.

I'd like to go by climbing a birch
tree,

And climb black branches up a snow-white
trunk

Toward heaven, till the tree could bear no
more,

But dipped its top and set me down
again.

According to Frost,
therefore, we as humans need both - we need to be climbing and reaching towards "heaven"
or the achievement of great deeds, but at the same time we need to return to "earth" to
experience love.

How does Roger Chillingworth, as a villain, enhance the meaning of The Scarlet Letter?

Interesting question, as some would argue that in this
novel Chillingworth is described in terms that put him beyond the description of a mere
"villain", yet others would say that such harsh descriptions are
unfair.

Chillingworth is often presented in this novel as a
demonic figure rather than a credible human being in his own right, and this is perhaps
largely a reflection of the way that the other main characters perceive him. Hawthorne
puns the old term for a doctor, a "leech", to aid in depicting the physician as a
parasite who is literally sucking the life and vital energies out of the minister in
revenge for committing adultery with his wife. Consider the following quote which
describes Chillingworth's reaction to discovering the self-made scarlet letter on
Dimmesdale's breast:

readability="9">

Had a man seen old Roger Chillingworth, at that
moment of his ecstasy, he would have had no need to ask how Satan comports himself when
a precious human soul is lost to heaven and won into his
kingdom.

Clearly,
Chillingworth is described in explicitly demonic terms.

He
is similar to Dimmesdale in that both live under concealment, and Chillingworth of
course goes so far to assume a false name to protect his identity. However, the
comparisons stop there. For, instead of putting his faith in God, he takes on himself a
God-like role, feeling he has the right to pry into the secrets of another man's
soul:

So
Roger Chillingworth... strove to go deep into his patient's bosom, delving among his
principles, prying into his recollections, and probing everything with a cautious touch,
like a treasure-seeker in a dark
cavern.

He is clearly a
godless practitioner of early modern science who seeks power through knowledge. But,
interestingly, when he loses his host, his parasitical existence soon
terminates.

However, in spite of the way he is presented as
a grotesque and diabolic caricature, he does show self-awareness in his recognition that
he was wrong to have married a young and attractive woman. However, this insight does
not result in any acts of compassion - it only drives him on in his desire to achieve
revenge.

total of 4543 patients were tested. total of 300 patients had cancer. 250 patients tested positive for cancer, of which 84% had cancer. I dont...

Let's look at true positives first.  They would be the
patients who tested positive for cancer and actually did have cancer. 250 tested
positive, but only 84% of them really had cancer.  This amounts to 210 patients with
true positive results.

Let's look at false positives next. 
These are the patients who test positive, but do not really have cancer.  This will be
the difference between the 250 positive and the 210 true positives, or 40
patients.

Next, let's look at the false negatives.  These
are patients with cancer who did not test positive.  We know from the problem that 300
patients really have cancer.  Only 210 were in the true positives.  That leaves 90 that
tested falsely as negative.

Finally we will look at the
true negatives. There were a total of 4543 patients tested. Of these, 300 were tested as
positives, that leaves 4243 as negative results.  90 of these were false negatives,
which means the difference 4243-90, or 4153 were true negatives.

The question of Iago’s motivation reverberates through the play and the history of its criticism. How do you understand the character’s motives?

I tend to think that it is envy that drives Iago.  He
feels slighted that Cassio received favor over him and is willing to do what is needed
to ensure that everyone feels this pain through his wrathful manipulation. I think that
the question is right in asserting that his scheming reverberates throughout the play. 
Part of this lies in the fact that Iago is the only character who is openly
communicative with just about everyone in it.  Contrary to most villains, he is not one
to isolate others, rather bringing them into his plan and schemes.  In this light, Iago
becomes quite a dangerous force in that his scheming knows no boundaries and afflicts
everyone.  It is this desire to impact others, to compel them to feel his own pain, and
to ensure that allows for his motivation to be understood in a totalizing
manner.

Where's the mechanical hound after Montag kills Beatty in Fahrenheit 451?

I assume that you are asking about where the hound is just
before.  Once Montag kills Beatty, we know just exactly where the hound is -- it is
chasing Montag.  It is there pretty much as soon as he kills Beatty.  Then it pounces on
him and gets him in the leg with the needle before he incinerates it.  So you know where
it is then.  But that seems a little obvious so I wonder if you are asking where it is
before that.

But where is it before that?  Faber tells
Montag that the hound is somewhere in the neighborhood of Montag's house.  We do not
know why it is there.  Maybe it always comes along when the firemen are called out.  Or
maybe Beatty had it come along as a special thing this time because he thought it would
be needed.  We don't know, but we do know that the hound was (or at least Faber said it
was) in the neighborhood even before Montag killed Beatty.

In the book The Boy in the Striped Pajamas, what did Bruno believe the place outside his window to be?

Actually, Bruno knew it was not a farm.  Gretel told him
that was a possibility, but they both agreed that there should be cows and pigs and
horses if it was a farm.  If they grew food, the ground would look a lot better.  (page
34) .  It isn't until chapter 19, when Bruno enters the concentration camp that we find
out what he expected to see.  In his imagination he thought that there was going to be a
lot of happy families sitting around in rocking chairs and telling stories about how
things were better in the good ol' days, and how they respected their elders more than
the children of today do.  He thought that the children would be playing with one
another the games that children play: football, hopscotch, and tennis.  He had an image
of a shop in the center of all the huts and maybe a small cafe and some fruit and
vegetable carts like they had in Berlin. (pg 207)  He saw none of
this.

Explain what Orwell means by, "When the white man turns tyrant, it is his own freedom that he destroys."

It is very important to read this quote from Orwell's
excellent essay in context and to read what he says in the rest of the paragraph. Orwell
uses a simile to describe how the massive crowd witnessing this situation is watching
Orwell:

They
were watching me as they would watch a conjurer about to perform a trick. They did not
like me, but with the magical rifle in my hands I was momentarily worth watching. And
suddenly I realised that I should have to shoot the elephant after all. The people
expected it of me and I had got to do it; I could feel their two thousand wills pressing
me forward,
irresistibly.

This comparison
to a conjurer shows that the narrator feels that people expect extraordinary
and powerful action from him. He has come to embody the myth of the all-powerful Empire
and cannot free himself from the role in which he has been cast. The comparison helps
Orwell show the effect of colonialism on those empowered to carry it
out.

This pressure sparks off an internal realisation in
Orwell - he sees that he is "seemingly the leading actor of the piece", but in reality
he is only "an absurd puppet pushed to and fro by the will of those yellow faces
behind." This is when Orwell uses the quote you have highlighted - in making himself the
"Great White Man", or "turning tyrant", the white man only gains for himself the
illusion of freedom whilst secretly annihilating it as he is forced to play his role
before his subjects. Note what Orwell says after your
quote:

For it
is the condition of his rule that he shall spend his life in trying to impress the
"natives" and so in every crisis he has got to do what the "natives" expect of him. He
wears a mask, and his face grows to fit
it.

It is this mask of white
man's own making that restricts him so utterly, as Orwell found in his dilemma with the
elephant.

Hope this gives you a few ideas! Good
luck!

What causes the bends?

This affects mainly scuba divers, who are swimming at
depths where the water pressure is much higher than near the surface, and they require
compressed air to breathe.  This presents some problems, because the nitrogen they
breathe from this compressed air is not metabolized by the body.  The longer the diver
is diving, the more nitrogen is absorbed into the tissues of the
body.

Then, as the diver returns to the surface, if they
ascend too quickly, the highly pressurized nitrogen in their tissues expands, causing
very painful symptoms in the tissues and muscles as blood flow is blocked.  A diver can
notice these symptoms immediately, or they may onset later, but if they are going to get
the bends, they will know within 24 - 48 hours at the most. This is why divers have to
swim slowly towards the surface, breathing the entire way, to expel some of the nitrogen
gas from their system.  This is known as decompression, and The Bends are sometimes
referred to as Decompression Syndrome.

What do you mean by term 'Research Methods' and Research Methodology' ? ExplainMy question is related with Research Methodology Subject

Research methodology is a term that basically means the
science of how research is done scientifically.  It is a way to systematically and
logically solve a problem, help us understand the process not just the product of
research, and analyzes methods in addition to the information obtained by
them.

Quantitative Research Methods (typically tests a
hypothesis):

• surveys


• experiments


• statistical
  analysis


• analysis of previous
  research

Qualitative Research Methods
(typically generates a hypothesis based on data
collection):

• case
  studies


• questionnaires


• personal
  accounts


• unstructured
  interviews


• participant
  observations

In Act IV, scene i of Macbeth, what do the apparitions of the bloody child and the crowned child stand for?

Macbeth is most concerned with two things when he visits
the Witches in Act IV, scene i:  Will he be murdered as he murdered Duncan?  And, since
he and Lady Macbeth have no children, who will follow him as king?  The two children
apparitions are symbolic representations of those who might bear the power to take his
life.

The bloody child is called the Second Apparition, and
it says:

Be
bloody, bold, and resolute; laugh to scorn

The power of
man, for none of woman born

Shall harm
Macbeth.

The image of a
bloody child, besides being just the sort of gore that Shakespeare's audience enjoyed,
suggests a child who is born in blood, naturally birthed from his mother's
womb.

The crowned child, or Third Apparition, carries a
tree in his hand.  He says:

readability="14">

Be lion-mettled, proud; and take no
care

Who chafes, who frets, or where conspirers
are.

Macbeth shall never vanquish'd be
until

Great Birnam wood to high Dunsinane
hill

Shall come against
him.

This apparition is
crowned to suggest that the kingship is at stake.  It carries a tree to suggest the wood
that it speaks of, but also to foreshadow how the seemingly impossible task of the wood
"coming" from one place to another.  It will be carried as camouflage for the soldiers
who make a sneak attack upon Macbeth.

Both apparitions are
technically correct in their assessments.  Macbeth is not killed by a man of woman born,
but a man born by Cesarean section, and the wood moves from one place to another, not
because it grows legs and walks, but because its sticks and branches are carried by the
soldiers coming to defeat Macbeth.

What are the main strengths and weaknesses of investing into frontier markets?

The most important strength of investing in a frontier
market is the potential for large returns on one's investment.  Frontier markets have
not yet developed and matured.  There is still a great deal of demand that is not yet
filled.  This means that firms that enter the market can grow
rapidly.

On the other hand, however, these markets can be
much more risky for investors.  These markets may not have established legal protections
for investors.  It is possible that governments will intrude and destroy the value of an
investment.  Because these markets are still developing, they are much more unstable
than settled markets.

Please look at the link for more
discussion...

Is Krogstad's decision not to expose Nora's secret convincing in A Doll’s House?

This is a great question because I, as a teacher, have
trouble explaining to my students that perhaps Ibsen did want to demonstrate that "love
changes everything".

However, it is stylistically
acceptable to argue that, in terms of motivation, it does seem a weak movement on his
part. Basically you ask yourself: Does this mean that all he needed was a woman to quit
bothering Nora? Doesn't this open another can of worms?

So,
to me, he was never convincing in any way, and I would think a hundred times about
trusting his "kindness". He is a force not to be reckoned with, and a traitor in his own
right.

Why do the survivors put rocks on Oskar Schindler's grave at the end of the story?

The concept of taking a rock implies a sense of
permanence, as previously alluded.  There are many around the world who will take a rock
or stone from a sacred place and keep it to represent something subjective that lies
inside of them. By their nature, rocks are separate and disjointed, and there is nothing
particularly about them at first glance that indicates special privilege.  Yet, when
they are taken with sentiment, they mean the world as they represent a part of the
subjective that few, if any, will understand.  The symbolic attachment they carry far
outstrips any literal distinction the rocks once might have had.  The placement of the
rocks at Schindler's grave fits this in that it allows each of the survivors and actors
that portray them to honor Oskar in a way that creates a personal tapestry of subjective
emotions that recognize what he did.  Notice how each of the rocks is different,
indicating that Oskar Schindler meant so many things to so many different people.  The
arrangement of the rocks at the end, right before Liam Neeson places the roses in the
center of the gravestone, helps to bring to light that those who were saved by Schindler
helped to create a tapestry of a narrative, one that told the tale of unquestionable
humanity at a point in time where humanity was unrecognizable.  Complemented with the
music from Perlman and Williams, the scene is quite powerful and moving as a tribute and
a way to properly conclude a film that was equally compelling.

What is the name of the Indian tribe of Neverland?

J.M. Barrie, the author of Peter Pan, named the Indian
tribe in Neverland, the Piccaninny tribe. They were represented in a sterotypical way
and referred to as "redskins". Tiger Lily was the princess of the Piccaninny tribe and a
friend to Peter Pan after he rescued her when the pirates left her on the rocks to
die. The Indian tribe in this tale is represented as bloodthirsty and they had scalps of
boys as well as pirates around their necks, while their bodies gleamed with war paint.
They are not to be confused with the Delawares or the Hurons, as stated in the story,
who were softer-hearted.

What is an anti-romantic comedy?

In any context, anti- means against
or opposite. In this case, it would be the opposite of or that which is against a
romantic comedy. If we know the elements of the romantic comedy genre, we can determine
the features of its antithesis, the anti-romantic comedy.

A
romantic comedy is a love story, generally centered around a series of humorous
circumstances and characters, where love is thwarted through external events and
misunderstandigns but which finally ends happily.  There are plenty of them around in
every form, ranging from Shakespeare's romantic comedies to more modern romantic comedy
movies such as You've Got Mail; While You Were Sleeping; My Big, Fat Greek
Wedding; and Notting Hill.

An anti-romantic
comedy still has to be humorous and it must still have an element of romance; if it did
not, it would not be categorized as it is. So, that leaves two elements which change in
an anti-romantic comedy--how love is thwarted and the happy ending.  Though it is
possible to have a comedic romantic journey without a happy ending, it is not done often
and the elements comprising how love is thwarted are of a specific
nature.

In an anti-romantic comedy, the boy does not get
the girl--or vice versa--but the thwarted love comes from within the character's own
tormented psyches instead of from external influences, misunderstandings and
complications as in romantic comedy. The parting of their ways must seem amicable or
inevitable, but a reflection of reality, in order to satisfy an audience which is
expecting a comedy of sorts.  href="http://www.hitfix.com/blogs/motion-captured/posts/the-basics-modern-romance-turns-the-rom-com-formula-inside-out">Modern
Romance is a filmatic example of an anti-romantic comedy: the hero
is kept from love by his own psychological "issues" and realism.

In 1984, how does Winston describe the paperweight's significance to Julia?

You have identified an incredibly important symbol in this
terrifying dystopian novel. The glass paperweight in 1984 becomes a
vital link to the past for Winston Smith. In fact, this paperweight, that Winston buys
in an antique store in a Prole district, comes to symbolise his attempt to reconnect
with the past. This becomes incredibly important in the novel, where we see that the
party is able to dominate people's thoughts with their own "truth" by a campaign of
relentless propaganda. In this novel, it becomes almost impossible for people to
challenge the party if they accept the party's version of the "truth" - that the party
arose as a reaction to decadent capitalism and life was much harsher before than it was
now. Winston Smith, therefore, engages in a battle to recover his own memories and make
sense of the world that he is in by connecting to the past, and the paperweight is
symbolic of this struggle, for, as Winston tells Julia, it is a piece of history that
the party has forgotten to alter. It is highly significant therefore that when the
Thought Police catch Winston at last, the paperweight falls to the floor and
shatters.

The paperweight could also said to be a symbol of
happiness or escapism outside of the world of this novel. In Part 2 Chapter 4, the
chapter ends with Winston looking at the paperweight and imagining that he and Julia are
inside, able to float free without having to worry about the party. This chapter clearly
shows that Winston wishes that his relationship with Julia could be like a relationship
from "before" - freer and easier without having to worry about clandestine meetings. The
paperweight therefore represents safety and shelter, a representation that will later be
shattered with the events that tear Julia and Winston apart and force them to yield to
the power of the Party.

Explain three metaphors with their effectivness in the poem "Full Moon and Little Frieda" in full details. "Full moon and Little Frieda" by Ted Hughes

Three metaphors in "Full Moon and Little Frieda" are as
follows:

"A spider's web, tense for the dew's touch" which
is technically personification, but personification is a form of metaphor, a form of
imagery.

"A dark river of blood, many boulders..." is a
metaphor for how the water looks in the dark: a
metaphor.

"The moon has stepped back" is personification
(which is a form of metaphor), and the rest of the quote ("The moon has stepped back
like an artist gazing amazed at a work / That points at him amazed") is a
simile.

"A pail lifted, still and brimming - mirror / To
tempt a first star..." is a metaphor, comparing the surface of the brimming pail to that
of a mirror.

Every poem speaks specifically, and uniquely,
to each reader. I cannot speak for how the poem "speaks" to you. However, it is the
imagery that the author uses that describes with lovely details the scene of this
particular night when Frieda notices, with joy, the moon above
her.

The imagery also is "painted" in such a way that it
seems to reflect the sense of that simile noted above: "The moon has stepped back
like an artist gazing amazed at a work." The moon is compared to an
artist who stares amazed at the beauty it has created with its reflected light, while
that beauty, with equal amazement, points back at the
moon. (This reminds me always of the picture "Drawing Hands" by M.C. Escher
(1948).)

The very art that is so carefully described in the
moonlit landscape is created by an "artist" that a part of that landscape (Frieda) is
equally amazed by. As with the "chicken or the egg," debate, where does the admiration
begin? With the moon looking below (metaphor) or the child gazing
upward?

This is, of course—as I mentioned before—based upon
my perceptions of the poem. I hope this
helps.