How is Mary Warren a dynamic character?

It's interesting to think of the rather timid Mary Warren
as a dynamic character in The Crucible, but she is.  She is timid
and defers to the wishes of the older, more forceful Abigail almost from the very
beginning of the play.  She's been compliant for the Proctors, but she's also been
rather lazy--as evidenced by Proctor's reference to the whip when she's a bit
disobedient.  When John finally gets her to see that she must go to the court and reveal
the girls' duplicity, several days have passed.  That shows her reluctance to do what
must be done, for she knows there is likely to be punishment for her when all is said
and done.  She tries to tell the truth, she really does.  But Abigail is simply too
strong, and she reverts to her timid, obedient, and following ways.  Her journey as a
character has come full circle.

If some one tells you you're hot but they don't know you, what do you do?For example, if you have a disability and you really like this person, do...

First and foremost, when someone pays a person a
compliment, the correct thing to do is to accept it graciously. Never call the person
who has paid the compliment's taste into question by denying their claim. In other
words, do not say, "No, I'm not," or something like that. Just say, "yYou are very
kind/sweet/considerate/etc. to say so." This way, you neither acknowledge that the
statement is true nor do you call the person a liar, you just confirm that the person
was kind by making the statement.

As far as the
requirements for full disclosure go, it varies from person to person. In my humble
opinion, honesty is the best policy. That being said, however, there is a time and a
place and some truths may never actually need to come out at
all.

There are some basic truths, the withholding of which
will be considered the same as lying. For example, if you are a man and the person you
are chatting with obviously thinks you are a woman; if you are a woman and the person
thinks you are a man; if there is a significant difference in your ages, and the place
online where you contacted the person first is age specific. (e.g., if a middle-aged man
contacts a girl in a teen chat room and doesn't reveal his true age, it would be
wrong.)

As far as physical characteristics go, it gets a
lot muddier. Again, if you contacted the other person in a specific type of room that
your physical characteristics don't fit, then that person could think you lied to them
with some justification.

However, if you met in a general
place where the other person has no expectation of any specific truth, and that person
furthermore does not ask you about whatever disability you are worried they won't
accept, then you are not under any moral obligation to reveal
it.

Until, of course, you sense that the relationship may
be getting serious. I would say, though, that "You're hot" does not constitute a
relationship moving into a serious state. Wait until the talk moves to marriage or at
least meeting for the first time to worry about revelations.

How was the problem solved in the book The London Eye Mystery?need the question bye today

You need the answers "by" today.
;)

First, Ted came up with 8 different theories as to where
Salim may be. He discussed all 8 of the theories until he arrived to the one which was
correct. The coriolis effect, and how things around earth invisibly go from one point to
another, affecting everything around us as a domino effect. Then, he put it all together
and saw that the Barrick's building was "just around the corner" and remembered that
Salim was totally into really tall buildings. Ted then remembered that such building was
to be demolished, so everyone ran towards Barricks and found Salim on the 21st floor: He
had indeed gone up there to the top to take pictures, but got stuck trying to get down
and was shortly about to get killed  by the demolishing truck if Ted had not figured it
all out.

Explain how Brutus and Cassius respond to Antony in Act 3, Scene 1 of Julius Caesar.

Upon hearing of Caesar's death, Antony requests to be
allowed to speak to the conspirators so he might learn the reasons for the murder. 
Antony assures the conspirators that he does not doubt their wisdom and offers to shake
hands with them, making it seem as if he is sympathetic toward their motivations for
killing Caesar.  More importantly, Antony asks for permission to speak at Caesar's
funeral, and this request is the root of the disagreement between Brutus and
Cassius.

As Brutus is a good-hearted and trusting man, he
agrees to let Antony speak, saying, "You shall not in your funeral speech blame us,/ But
speak all good you can devise of Caesar,/ And say you do 't by our permission."  Thus,
Brutus decides to allow Antony to speak at the funeral after Brutus has finished
speaking. 

Cassius, though, is wary of Antony's intentions
and says, in an aside to Brutus, "I know not what may fall.  I like it not."  Brutus,
however, dismisses Cassius's worry. 

Similar disagreements
between Brutus and Cassius occur at other points in the play.  In Act 2, scene 1, the
two disagree over whether or not to kill Marc Antony at the same time they murder
Caesar.  Brutus insists that Antony is "but a limb of Caesar," and will have no power
once Caesar is dead.  Cassius, on the other hand, does not trust Antony and thinks that
he needs to be killed, also.  (Similarly, Brutus and Cassius disagree with regard to
battle plans in Act 5.  Brutus believes that their army should advance to meet Antony's
army at Philipi, while Cassius insists that it will be better for their army to rest and
let Antony's army tire themselves out by journeying to Cassius's and Brutus's
army.) 

In the case of each of the above-mentioned
disagreements between Brutus and Cassius, Brutus ultimately gets his way.  However,
though Brutus's plans seem well-thought-out, they prove, once executed, to have been
major errors in judgment.

Find the area between the parabola f(x) = x^2 - 3x +5 and the lines x= 0 and x = 2.

First, the area which has to be calculated is located
between the given curve f(x), the lines x = 0 and x = 2, also the x
axis.

To calculate the area, we'll use the
formula:

S = Integral (f(x) - ox)dx = Int f(x)dx = Int (x^2
- 3x +5)dx

Int (x^2 - 3x +5)dx = Int x^2dx - 3Int xdx +
5Int dx

Int x^2dx = x^3/3 +
C

Int x dx = x^2/2 + C

Int dx
= x + C

Int x^2dx - 3Int xdx + 5Int dx = x^3/3 -3x^2/2 + 5x
+ C 

Now, we'll calculate the value of the area, using
Leibnitz Newton formula::

S = F(2) - F(0),
where

F(2) = 2^3/3 -3*2^2/2 + 5*2 = 8/3 - 12/2 + 10 = 8/3 +
4 = 20/3

F(0) = 0^3/3 -3*0^2/2 + 5*0 =
0

S = 20/3 - 0

S
= 20/3

What major literary devices are used in the first paragraphs in chapters 3 and 6?The Great Gatsby by F. Scott Fitzgerald

In addition to the natural imagery of Chapter Six of
Fitzgerald's The Great Gatsby, there is much color imagery, imagery
that prevails throughout the course of the novel.  

For
instance, during the chronicle of Gatsby's history, Gatsby is described as having in his
youth as a clam digger, a "brown, hardening body [who]
lived naturally."  In contrast to his naturalness, Gatsby wears a
blue coat after he goes to work for Dan Cody.  This allusion to blue for
Gatsby is a recurring one, for his "blue lawns" of Chapter Three mingle with the "blue
smoke of his brittle leaves" in one passage; and, his chauffeur wears "robins' egg blue"
in Chapter Three.  Like the eyes of T. J. Eckleberg on the billboard in the Valley of
Ashes, blue signifies illusions and alternatives to reality.  Curiously, at the party
Daisy notices a lovely girl who talks with her director, a man with a "sort of blue
nose" that Daisy says she
likes. 

Grey is also
mentioned.  As the color of the ashes in the area of destruction, this color represents
lifelessness and possible decay.  Dan Cody, " a grey, florid man with a hard
empty face."  Representing more decay, Cody is the man who has given Gatsby his "legacy
of twenty-five thousand dollars." 

Decadence is suggested
by yellow: "yellow cocktail music": of course, in
connection with Daisy the color gold is used:  "...here's
my little gold pencil..."  And, she, too, is associated with grey:  "A breeze stirred
the grey haze of Daisy's fur collar." 

While the party has
"the same many-colored, many-keyed commotion" as Nick feels an "unpleasantness in the
air, a pervading harshness that hadn't been there before."  At the end of the evening,
Nick sits on the front steps where

readability="10">

It was dark here in front:  only the bright door
sent ten square feet of light volleying out into the soft black
morning.  Sometimes a shadow moved against a dressing-room blind above,
gave way to another shadow, and indefinite procession of shadows, who
rouged and powdered in an invisible
glass.

With such color
imagery, illusion, decadence, and decay are suggested.  The unpleasantness that Nick
senses is reflected in these colors as Chapter Six leads to the next chapter which
contains the climax of Fitzgerald's narrative.

Back in
Chapter Three, there are also several metaphors:

...an
extra gardener toiled...repairing the ravages of the night
before.

a pyramid of pulpless
halves.

the opera of
voices

the sea-change of faces
and voices and color...

There are also
oxymorons:

"enthusiastic meetings between women who never
knew each other's names."

..."the rules of behavior
associated with amusement parks."

What were the attitudes of the average American on big business philosophies during the age of Industrial Supremacy?

By industrial supremacy I am assuming you mean the Gilded
Age in the late 19th century, when business and government were closely allied, and
workers had few right and protections.

The attitude of the
"average" American (and it is hard to say during this time of heavy immigration and
migration what an average American would look/think like) during this time was a little
complicated.  Then as now, Americans worked hard each day and valued work.  They were
individualists who believed people should take care of their own families and be
responsible for them.  Entitlements did not yet exist and unions were, for the most
part, illegal.

There was also virtually no middle class in
America at that time, and the average American lived in poverty, with the gap between
them and the wealthy as large as it has ever been in our history.  They believed big
business philosophies like laissez-faire capitalism (no government regulations or
restrictions on business) were exploitative of the working class, and that wages were
too low and worker safety non-existent.  They supported Carnegie's Gospel of Wealth in
terms of its philanthropy, while questioning the manner in which he amassed his fortune,
along with that of J.P. Morgan and John D. Rockefeller.  They challenged Social
Darwinism's claim that the rich deserved their wealth, and that the economy needed to be
purely survival of the fittest.

What literary criticism theory can be used in critiquing Petals of Blood by Ngugi wa Thiongo?

I am not familiar with this work, but the beauty of the
various literary theories is that many of them work for any work, you just have to ask
yourself the right questions.  For example, with feminist criticism, ask yourself, how
are the women in this novel portrayed?  What is the role of women in this society?  Is
there an intended and perhaps unintended message about the role of women in society as
depicted by the characters in this novel?  What would a staunch feminest say in reaction
to this work?

With formalist criticism, ask yourself the
literary-type questions.  Who is the narrator?  Why did the author choose that type of
narration style?  What is the structure?  Why?  What is the significance of the
setting?  Are there any symbols or motifs and what do they add to the meaning of the
work.

The purpose of thinking about a variety of literary
theories is that they become lenses through which you can look at a text in new ways and
better understand what the author has accomplished.

In the
references, I included a link to a web site that has brief overviews -- read through
them and decided which are most applicable to this novel.

What are some facts about the East Egg, the West Egg, and the Valley of Ashes?I need some ideas of what to include in my Essay about the settings...

In Fitzgerald's marvelous work, The Great
Gatsby, setting is absolutely intrinsic to the major elements of the
narrative as it is a steering force in the novel, representing motifs and reflecting
characters:

THE VALLEY OF
ASHES

This wasteland outside New York City is an area of
"grey land and spasm of bleak dust," a dumping ground which represents the corruption of
the Jazz Age in which no concern is given to the by-products of industry.  The yellow
spectacles of Doctor T.J. Eckleburg, a figure on a billboard, are yellow, symbolic of
corruption.

Like the environment in which he lives, George
Wilson is "a blonde, spiritless man, anaemic and faintly handsome" man whose washed out
blue eyes light up at the approach of Nick and his wealthy friends.  Tom, who secretly
is having an affair with his wife Myrtle, treats George with his characteristic
superciliousness.

EAST
EGG

Like Tom and Daisy, East Egg represents wealth.  East
Egg is personified as looking down on West Egg.  Like the Eastern states of the United
States, East Egg is rather scornful of West Egg, built up by the "new" money. East Egg
represents the established East coast while West Egg represents the Midwest and the
rising wealth of industrial men and farmers alike.

The
corruption of East Egg is exemplified in Tom's brutish behavior and attitudes.  He
conducts an illicit affair with Daisy, but his temper rises when he realizes that Jay
Gatsby fies for her attention. Toward Daisy he is cruelly
patriarchal.

WEST EGG

This is
an area constructed by the nouveau riche.  Gatsby lives in this
area, an area where the dissolute, criminal, and vulgar attend parties.  In this West
Egg, there is an air of corruption.

NEW YORK
CITY

This area is one of corruption and deceit. Just as
there is deceit in Tom and Myrtle as well as some of the other parties, there is
corruption of products that New York sends outside of the city into the
wasteland.

What do the last two lines of Chapter 19 in The Grapes of Wrath suggest?

The last two lines of Chapter 19
are,

"And the
associations of owners knew that some day the praying would stop...And there's the
end."

The lines suggest that
when the poor and dispossessed farmers, who are desperate and praying for better
conditions so that they can feed themselves and their children, stop praying for the
things they need, it will be because they have reached the limits of their endurance,
and instead of just praying, they will now act. Driven to action, they will be forceful,
and by the strength of their numbers, strong, signalling the end of the dynastic social
structure whereby the land is hoarded only by the wealthy few, the "associations of
owners."

In Chapter 19, the author examines the historical
basis of land ownership in California. He lists "three cries of history" which have been
proven true repeatedly in the past -

• "When
  property accumulates in too few hands it is taken
  away.


• When a majority of the people are hungry and cold
  they will take by force what they need.


• Repression works
  only to strengthen and knit the repressed."

The
author applies these proven facts from history to the situation in which the Joads are
caught up; having been evicted from their land in Oklahoma, they have come to
California, along with tens of thousands of others, in hopes of starting anew. Finding
that large property owners are in possession of most of the land in California, they
doggedly seek to provide for themselves and their families any way they can, but
opportunities are slim to nonexistent, and they grow increasingly desperate. When their
numbers and desperation get to be too much, the author foreshadows that they will join
together, and take from the "associations of owners" that which they have been denied,
but need for their very existence. 

What incidents and metaphor in chapter 11 of All Quiet on the Western Front show that the men's nerves are frayed?

By the end of Chapter 11 of All Quiet on the
Western Front, which takes place in the summer of 1918, it is clear that the
German army is losing the war. The men are becoming nervous and losing their will to
fight. 

Paul, the narrator, says of this
time:

"The
summer of 1918 is the most bloody and the most terrible. The days stand like angels in
blue and gold, incomprehensible, above the ring of annihilation. Every man here knows
that we are losing the war" (page
284). 

The metaphor (a
simile) here is that days are like angels, standing above the horrors and death of war
and not comprehending its carnage. 

At this point in the
novel, the German army does not have enough soldiers or ammunition to mount another
offensive. Before the summer, some soldiers try to desert, such as Detering, who
collected cherry blossoms and then tried to escape the army and head back to Germany
(page 275-277). The opposing forces, composed of British and Americans, have much
greater supplies and numbers of troops. Paul says, "For one hungry, wretched German
soldier come five of the enemy, fresh and fit. For one German army loaf there are fifty
tins of canned beef over there" (page 286). The German soldiers do not have the
necessary supplies to fight.

Paul and the other men hope
for peace. He says, "Wild, tormenting rumors of an armistice and peace are in the air,
they lay hold on our hearts and make the return to the front harder than ever" (page
285). The prospect of peace makes the men's nerves frayed because they are so close to
the end of the war and know that if they die, it will be in vain. Their deaths at this
point in the war will be pointless. 

Though there is talk
of peace and an armistice, the soldiers have to continue fighting. Another metaphor in
this chapter is that of the hope of peace. The author writes of "the breath of hope that
sweeps over the scorched fields" (page 285). Hope is like the warm summer wind that
entices the men to think and pray that peace is near, but, like the wind itself, peace
is elusive. 

Why do you think McCarthy ends the novel with the image of trout in mountain streams before the end of the world:"In the deep glens where they...

Full Quote: “Once there were brook trout in the streams in
the mountains.  You could see them standing in the amber current where the white edges
of their fins wimpled softly in the flow.  They smelled of moss in your hand.  Polished
and muscular and torsional.  On their backs were vermiculate patterns that were maps of
the world in its becoming.  Maps and mazes.  Of a thing which could not be put back. 
Not be made right again.  In the deep glens where they lived all things were older than
man and they hummed of mystery.”

I think this epilogue of sorts speaks
to the mystery of earth’s creation and our place in it.  Whether you believe in
evolution or divine creation, we all wonder why we are here.  It is an age old question
that has been asked by all sentient beings.  It is a mystery that seems to live in all
that is around us.  The fish, the trees, all of nature which seems so perfect.  How did
it become so?  Still, there is little question that life cannot survive an ecological
disaster of the magnitude seen throughout this book.  It was “a thing that could not be
put back.  Not be made right again.”  Without the beauty of nature and the resources it
provides us to live, perhaps we would stop wondering about our purpose.  We would simply
fight to survive the best we could and the mystery that existed before would die out. 
During the book you see the utter hopelessness of the situation.  You hope that the
father and his son will discover life once they reach the sea, but in the back of your
mind, you don’t expect it to happen.  Sadly, I think this epilogue does not provide much
optimism for the human race.  I think McCarthy is trying to say that we should value the
luxuries that nature provides us, including the luxury of reflection on our very
existence.

From Chapter 6 of Brave New World, support the assertion that Bernard's protest is more talk than action, and what is Helmholtz's reaqction?What is...

When Lenina is out with Bernard, he objects to playing
Electromagnetic Golf at St. Andrew's, he wants to be alone with her rather than at the
wrestling championship, and he wishes to contemplate the beauty of the sea and the moon
with only her--all actions against his conditioning.  However, despite his grumblings,
he accompanies Lenina to the soma bar at the Women's Wrestling
Championship, and, back in their rooms,

readability="7">

Bernard swallowed four tablet of
soma at a gulp, turned on the radio and television and began to
undress.

The next day Bernard
regrets that they have ended the day in bed, saying that he wanted to "try the effect of
arresting my impulses" because he wants to feell something "strongly," Lenina is again
confused.

After Bernard has gone to the Director with his
permission slip to allow him to travel to the Reservation with Lena, Bernard boasts of
his having responded to the Director's chastisement regarding his infantile behavior
with Lenina.  He tells Helmholtz,

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'I simply told him to go to the Bottomless Past
and marched out of the room.  And that was
that."

Helmhotlz, however,
fails to award Bernard with the expected sympathy and encouragement.  Instead, Helmhotlz
sits silently, regretting Bernardo's falsity and bravado.  He finds Bernard's havit of
being bold after the event.  As he stares at the floor, Bernard blushes and turns
away.

Then, after Bernard and Lenina travel to the
Reservations, Bernard suddenly remembers that he has left his Eau de Cologne tap
running, so he rushes to call his friend Helmholtz.  When he can finally call his
friend, Helmholtz informs him that the director has said in public that Bernard is going
to be sent to Iceland.  His bravado wilts:

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Now that it looked as though the threats were
really to be fulfilled, Bernard was appalled.  Of that imagined stoicim, that
theoretical courage, not a trace was left.  He takes two grammes of
soma.

In
this chapter, a pattern of Bernard's behavior emerges as he projects his deep-seated
feelings of rejection and inadequacy onto someone else.  After his confrontations, he
does not take action; instead, he consumes soma, escapes into
sleep, rejecting the beauty of nature that he professes to enjoy.  Clearly, Bernard is
not the romantic Byronic hero, one buffeted by the constraints of society, that he
imagines
himself.

 

 

What is Chaucer's main reason for writing about the pilgrimage in "The Prologue" from The Canterbury Tales?

Chaucer had a difficult time with the hypocrisy he so
often saw in the Roman Catholic Church during the medieval period.  Priests who were to
be celibate, taking a vow of poverty, often kept women and lived better than their poor
parishioners.  Those who were supposed to help the unfortunate often ignored or took
advantage of them.  Pardoners would forgive the sins of those who could line the
Pardoner's purse.

This seems to be Chaucer's purpose in
writing The Canterbury Tales.  The Prologue is Chaucer's way to
introduce the members of the pilgrimage (a journey to a holy place in order to earn
favor in God's sight and improve the condition of one's soul) to the reader.  Chaucer
not only pretends that he is one of the pilgrims, using this "tool" so that he can
travel with them and observe them, but in life he was known for being a student of human
nature.  He is very observant and relays not only vivid details of the appearance of
each pilgrim, but studies their behavior to point out those who are truly pious (holy
minded) and those who are hypocrites. Many see this as a satirical
writing.

Chaucer is very critical of those who pretend to
serve the Holy Church while taking advantage of the poor. However, Chaucer does credit
some of those in his traveling party who were truly decent folks.  The Knight is
one.

The Prologue's premise is that the travelers all agree
to tell a story each night when they rest at the inn to entertain each other.  In this
way we meet each character, seeing him/her from Chaucer's point of
view.

Explain the possible allusions or symbolism of the characters names.Delacroix Graves Summers Bentham Hutchinson WarnerMartin

Each of the characters you listed could be considered an
example of symbolism, some of which are very obvious.  For example, Mr. Summers and Mr.
Graves have surnames that are even symbolic; they are in charge of the lottery, which
takes place in the summertime and results in a new grave due to the death of the
"winner."  In addition, Mr. Summers is the administrator of the lottery
and

...Every
year, after the lottery, Mr. Summers began talking again about a new box, but every year
the subject was allowed to fade off without anything's being done.  The black box grew
shabbier each year:  by now it was no longer completely black but splintered badly along
one side to show the original wood color, and in some places faded or
stained.

Mr. Summers'
attempts to convince the townspeople to make a new box are symbolic of those in society
who consider the lottery important, such as Old Man Warner.  However, his prodding does
not produce a response.  The condition of the black box represents the practice of
conducting the lottery, which "some places have already quit."

What do the cluster and the axe that the Green Knight held when he came in Camelot represent?

Imagery in the narrative prose "Sir Gawain and the Green
Knight" is very important. The use of color imagery, numerology, and imagery represented
by nature all seem to provide very distinctive and important themes within the
text.

When the Green Knight arrives at King Arthur's
castle, all of the Christmastime guests are surprised by the visual image of the man.
The Green Knight is, not surprisingly, all green. In each of his hands he carries two
distinct items: a holly berry and an axe.

These items can
be described as carrying a very specific meaning as to why the Green Knight carries
each.

THE HOLY BERRY
CLUSTER

The interpretation of the meaning behind the
cluster depends on ones own personal understanding of its
importance.

Given the festivities described within the text
are during winter, the berry could represent nature's ability to survive even within the
harshest of conditions.This could represent that the Green Knight has nature on his side
and that he is naturally powerful.

Another interpretation
of the importance of the holly berry could be representative of the Green Knight's
intentions: peaceful ones (though this could be argued given the challenge offered by
the knight). Regardless that the knight seeks a potentially deadly challenge, the
berries could foreshadow that no harm will come to either man who participates in the
challenge.

THE AXE

Made by
man, typically, an axe brings only one thing- death. Gawain takes the axe to the Green
Knight's neck believing that the blow will kill him. Unfortunately for Gawain, the blow
does not kill the Green Knight and, therefore, Gawain must uphold his part of the deal
and meet the knight one year later to receive his own
blow.

In the end, the axe represents something very
different: sacrifice and forgiveness. In the end, the Green Knight accepts Gawain's
treason by his refusal to give up the sacred belt. The Green Knight admits that he
understands why Gawain refused. At Arthur's castle, after the telling of Gawain's quest,
Arthur makes all of his people wear a scarf around their own necks to honor
Gawain.

The importance of the berry and the axe show the
balance between the Green Knight's own manifestation of both natural and created being.
The Green Knight's existence contains elements of both natural and artificial
pieces.

Typical to Medieval texts, balance was very
important. Numerology and color tended to balance out both the story and the knight upon
the quest.

What type of book is Lord of the Flies considered?

Lord of the Flies is considered to be
a fictional allegory.  An allegory is a work of literature
that functions entirely as a symbol for some other idea.  The characters, setting, and
other details in the work are all symbols that function together to develop another
idea. 

Critics have suggested that Lord of the
Flies may be read as an allegory in political, social, religious, and
psychological terms.  From the political perspective, the
novel represents the conflicts between countries and militaries during the second world
war.  On a social level, the novel represents societal and
governmental hierachies and the power struggles that are inherent in such hierarchies. 
From a religious perspective, the novel may be an allegory
for the Garden of Eden.  Finally, from a psychological
perspective, the novel represents the overall human struggle with inherent evil and
desire.

Solve for sqrt(x^2 - 4x +4) =0

We know:

(a + b)^2 = a^2 -
2ab + b^2

Making a = x and b = 2, the above formula
becomes:

(x - 2)^2 = x^2 - 2*x*2
+2^2

= x^2 - 4x +
4

Therefore:

sqrt(x^2 - 4x +
4) = sqrt[(x - 2)^2]

= x -
2

Substituting this value of sqrt(x^2 - 4x + 4) in given
equation:

x - 2 = 0

==>
x = 2

What was Lady Macbeth's reaction when Macbeth sees Banquo's ghost in Macbeth? What similar thing did she recall?

In Act 3, Scene 4, Macbeth is tortured by the appearance
of the ghost of Banquo, and Lady Macbeth attempts to preserve order and harmony by
reassuring guests that Macbeth's fit is fleeting:

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 Sit, worthy friends: my lord is often
thus,
 And hath been from his youth: pray you, keep seat;
 The fit
is momentary...

Her primary
intention is to pacify the potentially harmful effects brought on by Macbeth's outburst
and encourage Macbeth to let go of the vision he struggles with. She reminds him that
this vision is similar to the one which involved "a dagger of the mind," and she
convinces him that this is all a product of his imagination. She urges him to bury his
fear and demonstrate his sanity for the sake of the
guests:

 This
is the very painting of your fear:
 This is the air-drawn dagger which, you
said,
 Led you to
Duncan.

After this, Macbeth
seems to have come to his senses, but only briefly. The ghost reappears, and Macbeth's
descent into irrationality becomes clear again. This time, Lady Macbeth is unable to do
anything to mend the situation. Therefore, she is forced to tell the guests to leave,
stating that Macbeth is not well:

readability="8">

He grows worse and worse;
Question
enrages him. At once, good night:
Stand not upon the order of your
going,
But go at once.

Find number of variants.For 5 flavors of ice cream you can have 3 scoops. How many variants are available. Use combinations.

We have 5 flavors of ice cream and we can take 3 scoops in
each or which can be any of the flavors.

Now as we get the
same variant whether we take the 1st flavor first or take the first flavor last, so our
order of choosing flavors does not matter. We are only interested in finding the total
number of combinations, not the total number of
permutation.

Now the formula for filling 3 slots, each with
one of the 5 flavors is given by C (n + r -1, r) = [(n+r-1)!] /
[r!*(n-1)!]

Here n is 5 and r is
3.

Therefore C (n + r -1, r) = [(n+r-1)!] /
[r!*(n-1)!]

=> [5 + 3 - 1)! ] /
[3!*(5-1)!]

=> 7! / ( 3! *
4!)

=> 7*6*5/
3*2

=> 7*5

=>
35

The number of variants possible is
35.

'In those days there was personality in it... there was respect, and comradeship, and gratitude in it.' What is the significance of this...

Given Willy's tendency to create a world that he can live
in rather than the one he finds himself in, I have often wondered if the world these
words describe ever really existed.  It is clear that Willy thinks it did, and this is,
perhaps, the only important thing.  All of us who have "dealt" with salesmen know that
personality is an important part of their pitch, but we also know that it's a pretty
cutthroat business, maybe one without the qualities of comradship and
gratitude.

So there are two possibilities for this quote. 
One may present a lost reality that actually was a part of Willy's life, one that he
never lets go of, even thought the world has long moved on.  The other is that it is
just another manifestion of the delusions that Willy has based his life
on.

Take your pick ....

In what kind of art can mass be observed?

If you're asking what kind of art can be viewed by the
masses, then you have to pick a time period.  Prior to the Modern, or industrial age,
art for the masses was typically limited to themes of religion and art which supported a
State.  Each culture had its own art for the masses and then there was high art, often
associated with elitists or aristocrats or clergy.  It depends on the time periods and
in which parts of the world you're talking about with regards to things like: the degree
of rigid definition between "high" art and mass art.  Clearly, the lines of restriction,
censorship and availability of art, especially based on class systems will vary
depending no time and place.  But in general, art has been practiced by all classes;
from cave paintings to the Sistine Chapel; each to represent or suppose some idea,
culture, reality or metaphysical concept.  As Modernism developed, along with the age of
mechanical reproduction of art (photograph, video, movie, etc.) art of all types from
all periods of history became available to the masses.  This movement in art continued
the blurring of lines between concepts of high art and pop (or kitsch) art.  Anything
from cave painting to Monet can be seen in advertising on the internet set to Mozart or
Rage Against the Machine.  Everything now overlaps (pastiche).  A more literal answer to
your question is that art seen by the masses would be in public; museums that are free
or art outside where it can't possibly be censored: from churches to installations to
graffiti. 

Discuss the emergence of the abolitionist movement in the US in the decades leading up the Civil War. Who were the leading figures in this movement?

Many historians (myself included) stake the critical
beginning of the modern abolition movement as 1831, with the beginning of the
abolitionist newspaper The Liberator, published by William Lloyd
Garrison in Boston.  From that point, we start to see more vocal opposition to slavery,
and we see the beginning of church involvement in the years that followed with Reverend
Elijah Lovejoy and Henry Ward Beecher.

I tend to believe
that the rapid increase in the slave population during this time made the institution
impossible for the abolitionists to compromise with, or the population at large to
completely ignore. Frederick Douglass shattered myths of racial inferiority with his own
brilliant writing and speaking tours.  John Brown, the fiery radical, waged a seven year
campaign on his own to liberate slaves, one at a time if
necessary.

You also have to credit Harriet Beecher Stowe,
who published Uncle Tom's Cabin in the early 1850s, with convincing
many people of the evils of slavery, and increasing the size and energy of the
movement.

Compare the treatments of the North and South in "Roselily" by Walker and "A Rose for Emily" by Faulkner.

In both "Roselily" and " A Rose for Emily" the North is
only alluded to because each story is set in the South. In "Roselily," the North is
where Abraham Lincoln lived; where religious diversity exists; where Roselily won't have
to work in a factory anymore; and where car drivers are not only white people. In "A
Rose for Emily," the North is where Yankees live; where life values and people are
different from those in the South; where freedom of personality and action is more
abundant (if Homer is to be taken as an example); where men and women go out for a
Sunday ride without a chaperon and without dread of scandal (if Homer's Yankee roots can
be supposed the motivator of Emily's Sunday rides).

In
"Roselily," the South is a small town called Panther Burn, Mississippi. The story is
stream of consciousness, so the description of the town and of the South is minimal.
Nonetheless, here in Panther Burn, only black people live; poverty is high; women with
many children by many fathers live; hope hinges upon what a Harvard man from the North
might be willing to give; where the cars that whiz by on the highway have white drivers;
where marriage to a Northerner offers hope of freedom.

In
"A Rose for Emily," the South is a town called Jefferson that is mostly white with black
laborers and servants. The time in the South in Jefferson covers three generations:
Colonel Sartrois's and Emily's father's generation; Emily's generation; and the younger
generation who want to tax Emily's property a decade after Sartoris's death. The
treatment of the South here shows the South in transit, starting out as the aristocratic
South where Colonels and powerful landowners with black servants ruled everything and
everyone, with the power to decide the fate of others.

For
example, Colonel Sartoris decided the fate of Emily's life in a benevolent fashion when
he invented a story to relieve her of the financial burden of paying city taxes after
her father's death (since her father left her mostly debts and very little fortune). In
contrast, Emily's father decided the fate of Emily's life in a malevolent fashion by
"driving" away every gentleman suitor that came to call (whether out of false pride or
out of false possessiveness, it is unknown). The picture of the South ends with a
deputation of young generation city officials sitting themselves in Emily's musty parlor
while explaining why Emily does in fact owe taxes or sneaking around her yard sprinkling
lye because of the unidentifiable and unbearable stench from her property--which later
connects to their shocking discovery.

I need a detailed explanation on the plot summary of this novel. Thank you

This novel is number 6 in The Chronicles of
Narnia series by C.S. Lewis. Although it is 6 of 7, it is a prequel. That
means, it goes back to explain how Narnia all got started. In this novel, two children
named Digory and Polly are transported into the alternate world of Narnia due to a
series of events caused by Digory’s Uncle Andrew and his experiments. Digory, it turns
out, grows up to become the Professor Kirke of The Lion, the Witch and the
Wardrobe, so in this story, it tells the history of the “wardrobe” as a
portal for entry into the land of Narnia. This story also explains how the evil queen
Jadis got started in Narnia.

Digory’s mother is very sick.
Digory meets Polly while playing. They decide to explore an attic that connects their
two houses, but come upon Uncle Andrew, who tricks Polly into touching his magic ring.
She disappears. Uncle Andrew manipulates Digory into saving Polly. Digory gets another
magic ring which transports him to another world. He meets up with Polly and they
realize that their yellow rings have transported them to this alternate world. Digory
thinks they can have a great adventure, so he convinces Polly to go with him and explore
other worlds before returning to earth. They mark the pool that will lead them back to
earth, and depart on their adventures.

The two children
discover an old palace with statues everywhere. There is a bell that dares them to ring
it. Bad idea. The statues come to life and the worst one is Queen Jadis. She tells them
the history of Narnia, her war with her sister and how she has come to be queen over a
dead world. The children escape back to London, but Jadis comes with them. The children
finally get Jadis to go back to the alternate world, but they are sucked back in
themselves, along with Uncle Andrew and his horse. They come upon a newly created world
and hear singing. A great lion, Aslan, appears and breathes life into the world. Jadis
attacks Aslan, but she cannot defeat him. She runs away.  Aslan sends Digory to get a
magic apple with amazing powers but he finds Jadis. She has already eaten one of the
apples which give her eternal youth and make her skin and hair snow white. She tries to
tempt Digory into stealing a magic apple to cure his mother, but he believes his mother
would not want to be healed by something that he has stolen, so he refuses. This pleases
Aslan and he tells Digory to plant the apple, which grows into a tree. He gives Digory
one apple to bring back to London to cure his mother. Digory cures his mother and plants
the apple core in his backyard. He also buries the magic rings. The apple grows into a
tree which is blown down by a storm many years later. By then, Digory is grown up. Guess
what he builds out of the wood from the apple tree? Right! The WARDROBE. Digory is the
old professor to whose home the Pevensie children go to escape the bombing in London,
and the rest is history. You must read this book because I have left out a ton of stuff
due to word restrictions.

Argue that ""The story of an Hour" dramatizes the theme that domesticity saps a woman's spirit and physical strength.

Concerning "The Story of an Hour," the argument you're
seeking to make is an easy one. 

The woman is a housewife,
her spirit has been broken, and she has a heart condition.  That should about do
it. 

All you need is some
details. 

The husband is a fine, normal husband who does
not mistreat his wife.  She has a fine, normal domestic life.  At first, she reacts as
one would expect when she hears that her husband is dead.  Your argument depends on her
situation being a normal, domestic situation.  If she's the victim of abuse or anything
like that then your argument fails.

Once she has time to
think about her husband's death, the woman understands that his death sets her free. 
You will want to document from the text her elation and excitement at being set free
from domesticity, and contrast those feelings with what she is escaping
from.

Finally, you'll need to use quotes that detail the
wife's heart condition.  Establish that she is already ill before she hears of her
husband's death, and then dies from the shock that he is still alive and her freedom is
lost. 

Technically, you may not really be able to make a
logical connection between her heart ailment and her domestic role as a woman and wife
in a patriarchal society.  But the condition is present in the story, so you can still
use it. 

Be sure to cite evidence from the text. 
Generally, use at least one quote for each point you make, although sometimes you'll
need more.  Use short, spot quotes and don't allow the quotes to dominate your own
ideas. 

What does Siddhartha realize that he must do to find the self he is seeking?

Having left the Semanas and his friend Govinda, Siddhartha
realizes he must be in the world before he can be removed from it: to look at a
beautiful woman without lowering his eyes, to shave his beard and comb his hair with
oil, to buy and wear fine clothing, and to learn the ways of eros
(physical love) from a master teacher, Kamala.

Siddhartha
realizes that he cannot attain nirvana without first being like others: to ply a trade,
to love a woman, to use money.  A monk, the Buddha, or the Semanas live protected and
sheltered lives, so how can they attain peace if they have never been in the material
world, or be tempted by love and money?  How can they give up what they have never had?
 To do otherwise would be hypocritical and false.

Kamala is
not just a prostitute or a means to an end.  She teaches Siddhartha to be an individual.
 Ironically, Kamala knows him better than Govinda, his shadow, because she can
complement him as a mate and mother-figure.  He says to
Kamala:

"You
are like me; you are different from other people. You are Kamala and no one else, and
within you there is a stillness and sanctuary to which you can retreat any time and be
yourself, just as I can. Few people have that capacity and yet everyone could have
it."

Siddhartha goes through
Kamala's garden as a gateway to giving these material possessions up later.  He must
know what sex and money are before he becomes an ascetic.  Otherwise, they are mere
abstractions, not real sources of temptation.

Also,
Siddhartha sees his future in this chapter: he crosses the river with the aid of the
ferryman.  He too will become a ferryman; it is the perfect job for him: in nature, by
the river, helping others, humbling physical labor.  This chapter, the middle of the
book, foreshadows his attaining nirvana by the river at the end.

What groups did not share in the general prosperity of Americans during the 1950s?

Absolutely agree with the above post, although the 1950s
did have at least a recognizable black middle class, and this in part helped spur the
effectiveness of economic boycotts during the Civil Rights
Movement.

In addition, Native Americans still largely lived
in abject poverty on reservations, ignored by the government and the population at
large.  The best land and resources had been taken decades earlier, and the move towards
tribal gambling that has lately led to an economic revival in some areas was yet to take
place.  Unemployment on many reservations hovered near 70 and 80
percent.

Farmers did better in the 1950s than in past
decades, but still struggled.  Subsidies put in place in the 1930s helped, but large
farming operations started to put a squeeze on small family farms, a process that would
continue throughout the 1980s and 90s.

Women had little
protections from the law against pay and hiring discrimination, and were still socially
locked out of many professions where men found prosperity in the 1950s.  It would take
decades more of struggle for them to achieve something like parity in the
workplace.

In the nervous system, what are the functions of diverging, converging, reverberating, and parallel after- discharge circuits?

The inter-connections between neurons are called neural
circuits. Neural circuits are of 4 types: diverging, converging, reverberating and
parallel after–discharge.

• In divergent circuits
  one incoming fiber triggers a response in a large number of new neurons which are part
  of the circuit. These circuits amplify the signal along the path and they are found in
  the sensory and well as motor
  system.

• Converging circuits work in
  a manner that is reversed from that of diverging circuits. This circuit causes
  stimulation and inhibition. They are common in both the sensory as well as motor
  pathways.

• In reverberating circuits
  an incoming signal travels along a chain made up of neurons, each neuron along the path
  is linked with the previous cell by collateral synapses. These are involved in the
  control of activities like breathing and the sleep-wake cycle which are rhythmic in
  nature.

• Parallel after-discharge
  circuits consist of both diverging as well as converging pathways. There are differing
  numbers of synapses in each pathway. These circuits result in a burst of impulses,
  called the after-discharge. They are involved in complex mental
  processing.

ln (x+2) - ln 3x = ln 5

We'll set the constraints of existence of
logarithms:

x+2>0

x>-2

3x>0

x>0

The
common interval of admissible values for x is
(0,+inf.).

Now,we'll could solve the equation in this way,
also:

We'll subtract ln (x+2) both
sides:

- ln 3x = ln 5 - ln
(x+2)

We'll multiply by -1 both
sides:

ln 3x = ln (x+2) - ln
5

We'll apply the quotient property of
logarithms:

ln 3x = ln
[(x+2)/5]

Because the bases of logarithms are matching,
we'll apply the one to one property:

3x =
(x+2)/5

We'll cross
multiply;

15x = x+2

We'll
subtract x both sides:

14x =
2

We'll divide by 14:

x =
2/14

x = 1/7>0

Since
the value for x is in the interval of admissible values, the solution is
valid.

What is the story about?

The story begins with Alice receiving some lessons from
her older sister in the yard of their home.  She is bored by the lessons and starts to
daydream.  She suddenly spots a white rabbit wearing an overcoat.  She follows the
rabbit down the rabbit-hole to Wonderland.  The rabbit drops a key, and Alice finds it
fits a door to a beautiful garden, but she is too big to fit in the door.  She finds a
bottle of water that says "Drink Me" and she drinks it and shrinks small enough to fit
into the door, but left the key on a table.  She wonders how to get the key, and find's
a cake that says "Eat me" and she grows back to normal size, but then she can't fit in
the door, and cries a pool of tears in the hallway.  Then she runs into the rabbit, who
runs off leaving a pair of gloves and a fan.  She fans herself, then realizes that she's
shrunk small enough that the gloves now fit, and she still has the key.  She runs to the
door to the garden, but runs into the puddle of tears, which turns into the sea (due to
the salt content).  She reaches shore, but is now more lost than ever.  More wild things
happen, and then she wakes up.  She was dreaming the entire thing, when she fell asleep
in the middle of her older sister's lesson.  There really isn't much of a plot, its just
a recounting of her dream. 

Discuss the use of nature in "The Voice" by Thomas Hardy.

This poem decidedly uses nature imagery and figures of
speech.  Remember that imagery is description that appeals to one
of the five senses: touch, sight, hearing, taste, or smell.  Nature figures of
speech are non-literal comparisons between two things, one of them something
found in nature.  Looking at these two details in the context of the poem will help you
understand the poet's purpose behind them.

Often in poetry
and literature, nature is used to show change.  Seasons change,
living things grow, wind and water are constantly moving.  Keep this in mind as you look
at this poem, as it seems to apply.  The subject of the poem is a woman and a
relationship that the speaker seems to be lamenting.

If you
make a list of all the nature images and figures of speech in the
poem, then, look at and analyze each one with this in mind, I think you'll reach a
correct conclusion.  Here are a few to get you started (notes in
italics):

readability="13">

original air-blue gown: to me,
signifies lightness, as if the newness of the relationship is lighthearted and easy;
this may also be a comment on beauty.

breeze in
its listlessness: the speaker seems to be questioning a new feeling.  Is it a
memory of the woman, or only the listless breeze?  (Likely he is the one who feels
listless in sadness or
loneliness.)

If
you continue in this list with the rest of the nature details, jotting down your
thoughts, you can look through all of them together to obtain a big-picture meaning of
the poem.

Why is Dante's work entitled Divine Comedy when there's not even a hint of funny stuff in it?

This is a great question, deechavez!  We commonly assume
that the literary terms COMEDY and TRAGEDY have to do with whether what happens in the
work is funny or sad.  However, these terms are traditionally meant to tell the reader
what they can expect about the structure of the work rather than being descriptive so
much of the contents.

This isn't to say that you definitely
won't find comic events in a work of literature called a COMEDY, just that it isn't
necessary.

Dante's Divine Comedy is called a COMEDY because
he conformed to two requirements of this
structure:

1. It has a happy ending.  This,
   throughout works of literature, is the basic definition of a COMEDY.  Look for it in
   Shakespeare and other writers too.


2. The tone of the
   writing is in a LOW rather than HIGH style.  Dante was actually very original here,
   writing a poem about the salvation of Mankind, but doing it in an everyday language.
   

So, the next time you go to the movies to see
your favorite comedy, see if it stands up to this structural definition of COMEDY.  Does
it have a happy ending?  Is its language everyday (even sometimes vulgar)  in
tone?

Write briefly about Francis Bacon.

Sir Francis Bacon (1561-1626) was an Englishman best known
for his essays, who played an important role in acceptance and popularization of
experimental science and the scientific method of solving problems. He was also a
philosopher, jurist, and statesman.

Bacon was born in
London, to an important counsellor to Queen Elizabeth I. He was elected to Parliament in
1584, and knighted  In 1603. He held several government positions, notably lord
chancellor in 1618.  In 1621, Bacon was convicted of taking bribes and imprisoned
briefly.  Later the charges were established to be false. However, on this account Bacon
withdrew from public life and devoted rest of his life to study and
writing

Bacon developed the formal essay style and is
considered to be the first English essayist.  One of his major works was a collection of
10 essays dealing with subjects like death, fear, truth, and wealth explain how to lead
a sensible life.

Bacon held that claims to knowledge
prevalent in his time, particularly the ones based medieval science, were doubtful
because they were based on poor logic. He believed the mind of people has a tendency to
make hasty generalizations, that interfere with the attainment of knowledge. At the same
time he also stated that the mind could discover truths that would enable humanity to
conquer disease, poverty, and war by gaining power over nature. Bacon believed that a
new world of culture and leisure could be gained by inquiry into the laws and processes
of nature.

He argued that to discover such knowledge, the
human mind must rid itself of four prejudices, which he called Idols of the Mind. These
include

1. the tendency of general human perception
   to generalize too quickly,


2. the tendency of each person to
   base a knowledge of things on individual experiences, education, and tastes,
   


3. the dependence on language to communicate,
   and


4. the influence of previous philosophies and laws of
   reasoning that are merely products of human
   imagination.

Bacon advocated inductive method
of investigation, which he described as four step process consisting
of:

1. Listing all known cases in which a
   phenomenon occurs


2. Listing similar cases where the
   phenomenon does not occur


3. Listing the cases in which the
   phenomenon occurs in differing degrees


4. Examination of the
   three lists, to understand the cause of a
   phenomenon.

Solve the equation (x^3 - x)^1/2 + (2x - 1)^1/2 = (x^3 + x - 1)1/2.

To solve the equation and to eliminate the square
roots, we'll square raise both sides:

[sqrt(x^3 - x) +
sqrt(2x - 1)]^2= [sqrt(x^3 + x - 1)]^2

x^3 - x + 2x - 1 +
2sqrt[(x^3 - x)(2x - 1)] = x^3 + x - 1

We'll combine and
eliminate like terms and we'll get:

2sqrt[(x^3 - x)(2x -
1)] = 0

We'll divide by
2:

[(x^3 - x)(2x - 1)] =
0

We'll set each factor as
zero:

x^3 - x = 0

We'll
factorize:

x(x^2-1) = 0

We'll
expand the difference of squares:

x(x-1)(x+1) =
0

We'll set each factor as
zero:

x1 = 0

x-1 =
0

x2 = 1

x+1 =
0

x3 = -1

2x - 1 =
0

2x = 1

x4 =
1/2

Now, we'll check the found results in
equation:

For x1 = 0

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

sqrt(0) + sqrt( -
1)= sqrt( - 1)

But sqrt -1 is
impossible!

For x2 = 1

sqrt(1
-1) + sqrt(2 - 1)= sqrt(1 + 1- 1)

0 + 1 =
1

1=1

So x = 1
is admissible.

For x3 =
-1

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

sqrt(-1 + 1) + sqrt(-2 - 1)= sqrt(-1 -1-
1)

sqrt -3 = sqrt-3

But,
sqrt-3 is impossible!

For x =
1/2

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

sqrt(1/8- 1/2) + sqrt(2/2 - 1)= sqrt(1/8 +1/2 -
1)

But sqrt -3/8 is
impossible!

So, the only admissible solution
of the equation is x = 1.

Why does using shame as punishment uncivilize and downright mean? What kind of harmful psychologal consequences would the criminal feel after...

The short answer is it is uncivilized because it doesn't
work.  To publicly humiliate someone to an end that is not achieved is quite barbaric. 
Criminals are already quite ostracized from society, to publicly humiliate them in front
of people is useless.  Even if a person was reputable in society, embarrassing them and
ruining that reputation does not provide an individual an opportunity to try
again.

Rehabilitation, and cognitive behavioural therapy
are much more effective at curbing maladaptive behaviours.  Negative punishment only
encourages an individual to behave well when people are watching, it does nothing to
change their overall behaviour and thought
patterns.

Furthermore, creative punishments such as
individualized shaming creates a justice system that lacks uniformity.  Without
uniformity the severity of punishments for the same crime will be sporadic. 
Inconsistence punishment is not an effective deterrent.

The
psychological consequences can be quite significant depending on the mental resilience
of a person.  In severe cases it can lead to suicide.  Even in the most mild of cases it
can lead to post traumatic stress disorder and social phobias.

In Hemingway’s short story "The Short Happy Life of Francis Macomber," how does the theme of survival in the wilderness relate to Hemingway's life?

In specific relation to this story, Hemingway was a huge
adventurer going on several "big game" safaris in Africa.  He would have been very
accurately acquainted with the types of characters he depicts in this story, most
specifically Wilson.  Wilson is the fountain of all knowledge when it comes to keeping
the hunter safe from the dangerous animals they were hunting, and how to ultimately be
successful in the hunt to bring down the amazing lions and tigers and other exotic
animals.  Wilson is always sharing details about the sights and sounds of the jungle and
what they reveal about the animals that Macomber and he are hunting.  He tells Macomber
where to aim and when to shoot.  He seems to be the kind of macho-man that Hemingway
himself seemed to admire.  Hemingway's heroes are always held to a standard that
Hemingway seemed to set for them.  Some critics call this the Hemingway Code (hero). 
Men that live up to the code have the ability to "go it alone" and have "grace under
fire."  Both of these qualities are seen in Wilson, and only at the very end are they
seen in Macomber.  Those are the two qualities that will make a man most able to survive
in the world created by Hemingway.

What are some quotes from Treasure Island that relate to the settings?

Setting comprises
time, place, and physical environment of the locale or
locales of where the action of a story occurs. There may be more than one
setting in a short story or novel, although multiple settings are much more prevalent in
novels than in short stories simply because of the structure and length of short
stories. Stevenson often approaches fixing the details of setting in the reader's mind
through indirect description, although sometimes he does provide direct
description.

Starting with an instance of the direct
approach first, Stevenson tells the time period of the setting directly in the first
paragraph that the narrator, Jim, utters: "I take up my pen in the year of grace 17__
...." There are instances of direct statements about the rest of the settings as they
change from his home area to Bristol to the ship to the island to the stockade and so
on, but most setting description is picked up indirectly through what the narrator says
about actions, events and people.

One instance of the
indirect approach to fixing the setting in the reader's mind is in the last half of the
sentence quoted above. From it, we learn where during 17__ Jim was during the first part
of the narrative: "back to the time when my father kept the Admiral Benbow Inn." We know
that the action starts at the Admirable Benbow Inn and that his father is there with
him.

Stevenson then indirectly describes the Inn in its
locale through Jim's narration of what they learned from their seafaring guest: "he had
inquired what inns there were along the coast, and hearing ours well spoken of, I
suppose, and described as lonely ...." From this, we learn indirectly that the Inn is on
the coast and in a lonely, remote area. We later learn indirectly something about the
interior of the Inn: "there was a tremendous explosion of oaths and other noises--the
chair and table went over in a lump." The Inn has a table and chair, but our minds
populate the whole Inn with similar tables and chairs. We also learn about the sign for
the Inn when we are told that there is a "notch on the lower side of the frame [of the
sign] to this day."

These sorts of direct and indirect
descriptions of setting occur in all the various settings. A couple of these later ones
are:

to the
southwest of us we saw two low hills, about a couple of miles apart, and rising behind
one of them a third and higher hill, ....

among the
shoreside trees, and I had caught a branch and swung myself out, and plunged into the
nearest thicket, ....

Why do you think that S.E. Hinton didn't write about the political events that occured in the 1960's in her book, The Outsiders?

I would speculate that there are two reasons why she might
have done this:

First, when S. E. Hinton wrote this book,
she was very young.  In fact, the book was published when she was only 17 years old.  It
seems likely to me that she was not particularly interested in political events at that
stage in her life.  I know many teens are not.

Second, she
might not have wanted to "date" her book.  She might have wanted to make the book seem
more like it would fit in any time and place.  After all, the themes that she explores
about teens and their place in society seem to fit with pretty much any time period (one
reason why the book is still read now).  If she had put in political stuff, people
nowadays might feel less as if the book applies to them.

What is the final fate of Hester and Pearl in The Scarlet Letter?The Scarlet Letter by Nathaniel Hawthorne

In a rather ironic ending, Pearl, the "elf-child" becomes
the most human in the final scaffold scene.  Having inherited property from
Chillingworth, she has become the "richest heiress of her day, in the New World."  With
such riches, she may have married well, but her mother has taken her away to Europe.
Hawthorne narrates,

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none knew...whether the elf-child had gone thus
untimely into a maiden grave, or whether her wild, rich nature had been softened and
subdued, and made capable of a woman's gentle
happiness.

Nonetheless,
Hawthorne hints that Pearl has lived on in happiness and wealth, married well, had a
child, and remained as an affectionate and dutiful daughter to Hester.  This making of
Pearl into one so human and fortune may be Hawthorne's effort to give his novel a
hopeful ending to a dark narrative, yet, at the same time, the reader is aware that
little Pearl was but a helpless symbol of Hester and Arthur Dimmesdale's
sins.

The main focus, however, is Hester.  While the
scarlet letter "has not done its office," it has become part of her identity.  For,
after having lived in Europe, Hester returns to her former domicile, stoops and picks up
the letter and resumes wearing it voluntarily.  The scarlet letter, ironically, has
become like the hanging crucifix on a nun's bosom, imparting a kind of sacredness. 
Through her suffering, Hester has gleaned wisdom.  She bears the standard that signifies
a new hope:

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In Heaven's own time a new truth would be
revealed, in order to establish the whole relation between man and woman on a surer
ground of mutual happiness....Earlier in life, Hester had vainly imagined that she might
be the destined prohetess, but had long since recognised the impossibility that any
mission of divine and mysterious truth should be confided to a woman sustained with
sin...and lifelong sorrow....the angel and apostle of the coming revelation must be a
woman...pure, and beautiful; and wise,...not through dusky grief, but the ethereal
medium of joy; and showing how sacred love should make us
happy....

That Hawthorne
retains some of his Puritan heritage is evidenced in the heavy price Hester is made to
pay for having allowed her passions to be satiated.  Her grave has a space between it
and Dimmesdale's although there is one tombstone as it is in "vain to hope that [they]
could meet hereafter, in an everlasting and pure reunion." 

In The God of Small Things, who, or what, is the God of small things?

It would be worth your while to re-read Chapter 11 of this
incredible novel, entitled "The God of Small Things." One of the key aspects of Roy's
style that is employed throughout the book is the way that she uses repetition to
highlight important aspects of what she is trying to convey. Therefore we as readers are
presented with phrases that echo throughout the narrative as we bounce back and forward
between the present and the past. One of these phrases is given to us in Chapter 11,
which describes the ecstatic union of Ammu and
Velutha:

Who
was he, the one-armed man? Who could he have been? The God of Loss? The God of Small
Things? The God of Goose Bumps and Sudden Smiles? Of Sourmetal Smells - like steel
bus-rails and the smell of the bus conductor's hands from holding
them?

It is clear then that
the title "The God of Small Things" comes to be applied to Velutha in the tale, however
at the same time, symbolically it comes to mean much more. At the very end of the tale,
note how Roy talks about what Velutha and Ammu focus on in their
relationship:

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Even later, on the thirteen nights that followed
this one, instinctively they stuck to the Small Things. The Big Things ever lurked
inside. They knew that there was nowhere for them to go. They had nothing. No future. So
they stuck to the small
things.

Thus the God of Small
Things could be said to be the God of those who possess a determination to extract what
joy and pleasure they can out of life no matter how hopeless the situation and how
temporary that pleasure may be. Velutha and Ammu, in their union, transgress "The Love
Laws" as Roy calls them, and thus they recognise that what they can savour is only in
the now and is at best temporary. And yet they make the most of it, in spite of the
crushing end that they know is just around the corner. In the face of such "Big Things"
as caste, race and inequality, perhaps it is only the "Small Things" that can be lived
for.

find the perimeter of the circle whose area = 25pi.

First, we have to establish that it is better to say the
"circumference" of the circle, instead of the "perimeter" of the
circle.

We know that the length of the circle, namely it's
circumference, is:

L = 2*pi*r,
where:

L - the length of the circle (
circumference)

pi - 3.14...

r
- the radius of the circle

Wr don't know the area of the
circle, yet.

We could calculate the radius of the circle,
using the formula for the area of the circle:

A =
pi*r^2

25pi = pi*r^2

We'll
divide by pi both sides:

25 =
r^2

sqrt 25 = sqrt r^2

r =
5

Now, we can calculate the
circumference:

L = 2*pi*5

L =
10*pi

L = 10*3.14

The length
is about 314 units.

What is the setting of The View From Saturday?

The academic bowl which serves as the heart of the plot of
this story takes place at Epiphany Middle School in Epiphany, NY, where paraplegic
teacher Mrs. Olinski chooses four students from her 6th grade classroom to
compete.

Another important setting for a subplot of the
story takes place at Nadia's father's house with the retirees from Central Village, in
Florida.  This is where the sea turtle project takes
place.

I do not believe the actual date is ever specified
in the book, but it assumed that the story and its many flashbacks take place in modern
times.

In to To Kill A Mockingbird, how does Lee introduce the significance of the book's title? What does it symbolize?This was a chapter 10 question in...

In Chapter 10 of To Kill A
Mockingbird, Harper Lee first introduces the quote that she chose for her
novel's title.  Here, Scout recalls Atticus's advice to Jem, after Uncle Jack gave the
children air-rifles, that he could shoot at tin cans and bluejays in the backyard, but
that Jem should remember "it's a sin to kill a
mockingbird." 

Puzzled by this, Scout asks Miss Maudie for
her explanation of Atticus's advice.  She tells Scout
that:

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Mockingbirds don't do one thing but make music
for us to enjoy.  They don't eat up people's gardens, don't nest in corncribs, they
don't do one thing but sing their hearts out for us.  That's why it's a sin to kill a
mockingbird.

Upon reading the
rest of the novel, readers come to realize that a mockingbird is a symbol for a person
who is innocent but unjustly persecuted. 

One example of
such a character is Tom Robinson; he is a good, caring, innocent family man who is
wrongfully convicted of rape. Further, Boo Radley, whom the children unfairly labeled a
"malevolent phantom" (and whom the citizens of Maycomb unfairly persecuted because of
his failure to participate in their society), is another example of a character who can
be compared to a mockingbird.  In fact, at the end of the novel, Atticus tries to
explain why he and Mr. Tate come to the agreement to lie and say Bob Ewell fell on his
own knife.  (In doing so, they are protecting Boo Radley from unwanted attention in
Maycomb.)  When Atticus asks Scout if she understands, she says, "yes sir, I
understand.  Mr. Tate was right."  When Atticus questions her response, she
says

Well,
it'd be sort of like shootin' a mockingbird, wouldn't
it?"

Obviously, Scout has
learned that it is neither fair nor right to bother people who do no harm to
others.  Tom Robinson and Boo Radley are the clearest and most obvious characters who
embody this idea and can be labeled as figurative mockingbirds. 
 

Can you discuss the emotions in Frankenstein?

At the heart of the horror of Mary Shelley's
Frankenstein is not so much the terror felt toward the creature, but the
terror of being unloved.  For, the emotion of loneliness is central to the fear of the
three major characters. 

In his letters to his sister,
Walton tells his sister of his loneliness.  Although he is surrounded by crew members,
he cannot find a kindred spirit among them:

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You may deem me romantic, my dear siser, but I
bitterly feel the want of a friend.  I have no one near me, gentle yet courageous,
ossessed of a cultivated as well as of a capacious mind, whose tastes are like my own,
to approve or amend my
plans.

Thus, the emptiness of
the Artic through which he sails reflects the emptiness of his life. When Victor
Frankenstein is taken on board, Walton feels great eagerness to communicate with him. 
But, sadly, Victor dies and Walton is not able to share his feelings with his new friend
who is so despairing and melancholic.

While Victor
Frankenstein does have a friend in Henry Clerval, it is not a friendship as defined by
the Romantics in which feelings are shared and the intimacies of one's mind were
revealed to the other friend.  Victor remains intellectually remote with Henry, and this
causes his isolation.  This intellectual separateness of Victor is at the heart of his
inability to relate to his creature, which effects the terrible loneliness of this
creature as well as his own.  Victor expresses gloom, misery, despair, melancholy in a
Romantic fashion, but he never acts upon these expressions giving them action and
reality. Thus, it is Victor's lack of emotional connection, his lack of feeling, that
causes him to reject the creature he has created.  This is the true terror, a terror
caused by loneliness. 

Separated and rejected by humanity,
the creature portrays the horror of complete and utter isolation and its resulting
loneliness.  Posessing a loving heart, the creature is devastated by his alienation from
humanity.  For this reason, he vows to make himself deserving of this rejection by
wreaking vengeance upon Victor's family and friend and by abandoning the emotions that
have made him more human than his creator. In his murderous acts, he brings the terror
of loneliness closer and closer to his creator, Victor.  Yet, as Victor dies, the
creature expresses his love for Victor, evincing his real humanity, his capability of
being a friend in the Romantic definition, proving what the father, M. DeLacey tells the
creature before the others enter:

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"The heart of men, when unprejudiced by any
obvious self-interest, are full of brotherly love and
charity."

Certainly, one of
the truths of Shelley's Frankenstein is the value of true emotion and its sharing with
others.  Without it, one risks the terror of loneliness and
isolation.

There is quite a bit of literary debate about the identity of the Third Murderer in Act 3 Scene 3 of Macbeth. While the question is not clearly...

In Shakespeare's Macbeth, the
character who is the best candidate for being the unidentified murderer who joins the
others to kill Banquo and attempt to kill Fleance is Seyton, Macbeth's only loyal
confidante by the close of the play.

The Third Murderer
cannot be Macbeth, because, later, Macbeth has to ask the murderer who reports on their
mission whether or not Fleance is dead.  Macbeth then reacts negatively and with
disappointment when he is told that Fleance escaped.  I'm not sure how anyone argues
that the Third Murderer is Macbeth.  It just doesn't make any sense.  Surely the Third
Murderer is one of Macbeth's regular henchmen, like the ones he sends to kill Macduff's
family.

Seyton seems a good candidate, although naming him
is purely speculation.  He brings news of the battle to Macbeth, tells Macbeth about his
wife's death, and brings Macbeth's armor to him.  He is the only person the audience
sees who is still loyal to Macbeth in Act 5.  Some productions portray him as almost a
body guard of Macbeth's, as well as what we today might call an executive secretary who
protects Macbeth's privacy. 

Of course, someone whose name
sounds like "Satan," would certainly make a good murderer as well.  The Third Murderer
is there to check up on the murderers, not to kill Banquo and Fleance himself.  A
trusted follower like Seyton seems a good candidate.

The
thing is, though, that the identity of the Third Murderer doesn't really seem worth
debating.  Shakespeare doesn't identify him, and doesn't attempt to create a mystery
about it, either.  There's no suggestion that knowing the murderer's identity is
essential, or that it is a mystery the audience should attempt to figure
out. 

Name three characters from Cry, the Beloved Country and describe their archetypes.

An archetype is a symbol that
is representative of all human experience and is embedded in what Carl Jung calls the
collective conscious, which is the shared experience of a
race or culture or of all of humankind. Significantly, it is debatable as to whether
Alan Paton wrote Cry, the Beloved Country with the idea of
archetypes in mind.

In fact, it could be argued that Paton
was so far away from writing archetypal literature that if archetypal criticism were
applied, brand new archetypes would have to be identified ( href="http://web.cn.edu/kwheeler/lit_terms_a.html">Archetype:
An original model or pattern from which other later copies are made, especially a
character, an action, or situation that seems to represent common patterns of human
life. [Literary Terms and Definitions. Dr. Kip Wheeler, Department of English,
Carson-Newman Collage.]).

Under such a scenario, the new
archetypal situation identified might be the corruption of the innocent by the city,
while the new archetypal characters might be the entangled and doomed innocent, the
dismayed and impotent questor, and the aggrieved helper. The reason for this is that
Paton's point is that Absalom's and Stephen's story is not a previously universally
shared experience; it is a new experience, an experience in which the location in which
life is lived does, by virtue of the characteristics of that location, destroy the human
life that sojourns there. It is this revelation that allows Stephen to reach some
measure of peace at the end of the story, at the time of his son's execution, and it is
reinforced by Arthur Jarvis's papers.

Having made this case
against archetypal criticism, the application of this criticism to Cry, the
Beloved Country can yield identifiable href="http://people.sinclair.edu/mildredmelendez/docs/267/archetype.pdf">archetypes.
There is no traditional Hero in Cry, the Beloved Country, only a
protagonist who is dismayed, devastated and broken in spirit. There is no Scapegoat
whose public execution removes a taint from the community, it only amplifies the taint.
It may be said there is The Outcast though. Stephen's son
Absalom is the outcast who has been banished from the community for breaking the
archetypal taboo against murder. In a way, James Jarvis
represents the archetype of the Earth Mother because after
reading his slain son's papers he has an epiphany and brings food to the children and an
adviser to restore the valley's habitat; an earth mother provides nurturing in abundance
and gives emotional and spiritual sustenance to those around about. Gertrude fits
the Fallen Woman archetype that represents innocence
manipulated and forced into degraded circumstances. Finally, John Kumalo represents
the Devil Figure archetype because his only motives are
that of selfish, self-seeking self-gain. Some href="http://web.cn.edu/kwheeler/lit_terms_a.html">archetypal
situations, besides Absalom's breaking the taboo against
murder, are inescapable death, punishment, and fate.

In Kate Chopin's The Awakening, can you give me examples of different incidents that describes Edna's awakenings?

The first and most over-arching example of Edna's
awakening comes from her learning to swim.  At the start of the novel she is just
learning to swim and is fearful whenever she is in water and out of arms reach of
safety.  She is metaphorically tied to the land and the Creole society -- a place where
she knows what to expect.  After several chapters she learns to swim without assistance,
and her sense of freedom and independence grows.  She realizes that if she can do this
for herself, she may be able to do other things.  This simple act of swimming is not so
simple.  After this realization she is more bold in her awakenings in other parts of her
life.  For example, she is refuses to come to bed just because Leonce wants her to; she
spends more time with Robert and away from the family; she eventually refuses the social
obligations of her "Tuesday's at home"; and she ultimately moves out of the family home
and into a smaller home around the block.  She is independent, to a certain extent, from
Leonce and her social and familial obligations.

This act of
learning to swim comes full circle then at the end of the novel when she chooses to swim
far out, so far out that she can't come back, and she drowns herself.  Her awakening to
the idea that she cannot have the life she wants drives her to this decision and she
takes control of her situation with this most drastic measure.

What does this quote mean from "By the Waters of Babylon?" "Truth is a hard deer to hunt. If you eat too much truth at once, you may die of the...

To me, when John's father says this, he is referring to
the idea that truth can be harmful to people whose faith contradicts those truths.  In
other words, if you have a faith that says one thing, you can be hurt (spiritually) by
truths that contradict what your faith tells you.

In this
story, John and his father are (or are going to be) elite priests who know things that
the people do not know.  They keep some secrets from the people so as not to damage the
people's faith.  In the quote that you cite, John's father is telling him not to reveal
too much truth (all the things he learned when he went across the water) for fear that
it will hurt the people's faith.

does "love the way you lie" by rihanna and eminem have figurative language...and where at..how does this song represnt power

The song has multiple examples of metaphors and similes. 
Remember that similes are comparisons of two unlike things using words such as
like, as, resembles,
similar to, etc.  An example would be a tornado is like
a giant spinning weedeater.  There are two examples of similes here:  a)
It's like I'm huffing paint; and b) Sounds like broken
records playing over.  A metaphor makes a comparison by saying
A is B.  An example would be Life is
a flower.  I'm Superman and She's Lois Lane
are both metaphors.  There are other forms of metaphors; most likely, your
teacher will not expect you to know the specific terms, and you can use the basic label
of metaphor.  Examples of these are lines like There's a steel knife in my
windpipe, which compares that choked feeling in your throat to being stabbed
in the throat, and when a tornado meets a volcano, which refers to
the destructive power of each personality.  When you see a description that cannot be
true literally (a fact as written), you probably have figurative language (the speaker
is not literally Superman, he just feels that powerful with
her).

There are many words and phrases that refer to the
destructive power of uncontrolled tempers.  Look for the violence.  Looking at the song
as a whole, I also see that both the man and the woman are trying to control the other. 
There are more clues to the man's attempt to dominate through violence, but she is also
violent and she also lies, which is her way of controlling him.