In the novel, Heart Of Darkness, what are some difficulties and obstacles which must be overcome to attain the goal?I read the book, and I cant...

Marlow's initial goal is simply to pilot a steamboat on
the Congo River; however, once he arrives in Africa, he discovers that his goal is to
travel to the Inner Station and bring out Kurtz, the most successful station manager,
who is ill. Ivory, which comes from elephant tusks, is what the company seeks. I'm not
sure what you mean by "elephant trunk in the ship." Kurtz has gathered more ivory than
any other agent for the company.

To reach Kurtz, Marlow
must overcome a number of obstacles, including a 200-mile trek by foot overland
accompanied by natives, some of whom abandon him; the discovery that his steamboat has
been sunk (he suspects the manager of the Central Station aims to prevent Kurtz's rescue
so that this manager can be promoted to Kurtz's position) and he must wait for weeks for
the rivets he needs to repair the boat; an attack by natives orchestrated by Kurtz, who
doesn't want to go home; the disturbing discovery that Kurtz has been tainted with evil
and participated in "unspeakable rites" with the natives who virtually worship him; and
ultimately Kurtz's death on the boat shortly after they leave the Inner Station. Then
Marlow is faced with the dilemma of whether to tell Kurtz's Intended (his fiancee) the
truth about how he changed while living in Africa, a particularly tough choice for
Marlow who "hates a lie."

In the course of his journey,
Marlow learns a great deal about human nature and about himself. Although the novel's
title may refer to the Congo in Africa, it can also be applied to the heart of man, who
carries the potential for evil, as Marlow finds out. Almost everyone that Marlow meets
during his journey is tainted with some degree of moral corruption, whether it is seen
in racism, cruelty, greed, or indifference.

What is the difference between a symbolic poem and an allegory?

A symbolic poem, by which I imagine you mean a poem that
uses symbolism, is exactly that, a poem that makes use of various symbols to represent
various ideas or feelings.  An allegory, on the other hand, whether a poem, a story, or
a novel, is a complete story, told on two levels, one being the literal level, the story
that is being told, and the other being the level in which the entire story acts as a
symbol of the point being made.  Orwell's Animal Farm is a good
example of an allegory, being a story about the animals and also representing Stalinist
Russia.  C.S. Lewis' Chronicles of Narnia is a series of allegories
representing Christian ideas, stories that operate very well as stories,
too.

Write an analysis of "My Papa's Waltz," in terms of speaker, audience, other character, and situation.

In "My Papa's Waltz," the speaker in the poem is the son
of "Papa."

In the poem, the speaker recalls a special
memory of his father, using vivid sensory details (the smell of liquor, his father's
battered knuckle, the belt buckle that scrapes the boy's ear, his father's palm caked
with dirt, etc.).

The nostalgic memory speaks to the
audience about a special moment shared by a family.  The boy and his father waltz around
the room, shaking pans on the kitchen shelf; the boy's mother watches, with a frown, but
even so, we don't get the sense that she is truly distressed, but simply doing what a
mom would do when carrying on starts.

The situation speaks
for itself: a young boy remembers dancing with his father, something many of us remember
doing, perhaps with our feet placed on top of our father's shoes, our socks slipping off
with each step, and a tight grip on a shirt back or belt to keep from falling.  Perhaps
it happened too infrequently or the moment passed too quickly.  Perhaps we never had the
opportunity to do so, but are caught up in the moment as we imagine the experience,
especially in light of the descriptions that appeal to our
senses.

Find the exact value of tan 15 and cos 105 without using tables or a calculator.I honestly don't know how to work this out. I can't find an example...

We could calculate tan 15 = sin 15/ cos
15.

sin 15/ cos 15 = sin (45-30) / cos
(45-30)

We can calculate sin 15 = sin
(45-30)

 = sin 45*cos 30 - sin 30*cos
45

sin 45 = sqrt2/2 = cos
45

sin 30 = 1/2

cos 30 =
sqrt3/2

sin (45-30) = sqrt6/4 - sqrt2/4 = sqrt2(sqrt3 -
1)/4

cos (45-30) = cos 45cos30 +
sin45sin30

cos (45-30) = sqrt6/4 +
sqrt2/4

cos (45-30) =
sqrt2(sqrt3+1)/4

tan 15 = [sqrt2(sqrt3 -
1)/4]*[4/sqrt2(sqrt3+1)]

tan 15 = (sqrt3 - 1)/(sqrt3 +
1)

tan 15 = (sqrt3 - 1)^2/(3 -
1)

tan 15 =
(4-2sqrt3)/2

tan 15 =
2-sqrt3

We'll calculate cos 105 = cos
(15+90)

 cos (15+90) = cos15*cos90 -
sin15*sin90

cos 90 = 0

sin 90
= 1

sin 15 = sqrt2(sqrt3 -
1)/4

cos (15+90) = - sqrt2(sqrt3 -
1)/4

cos 105 = sqrt2(
1-sqrt3)/4

How does Steinbeck show different sides of Georges' personality in chapter one and two?quotes that shows he's a complicated character

George is both portrayed as a compassionate character, for
the fact that he takes care of Lennie and seems to genuinely care for him, and a rather
harsh companion, for how he chides and derides Lennie about getting him in trouble, and
about the mice he carries.

readability="9">

"Blubbering like a baby, Jesus Christ, a big guy
like you"

"You can't keep a job and you lose me ever' job I
get"

George likes the fact
that he is not traveling alone, and despite Lennie's simple nature, he enjoys his
company and having someone to look after.

"I was
just' foolin' Lennie.  I want you to stay with me"

Compare and contrast the tone and use of nature imagery used by Shelley and Keats.Compare and contrast the tone and use of nature imagery used by...

A very interesting and an equally difficult question. I
will attempt an answer, though.

The most basic similarity
in the nature-imagery between the two poems, you mention is the Romantic engagement with
nature in general. This works almost at the level of an ideology with the Romantics. The
natural world in both the poems invites the self into a flight in imagination and the
world of nature is that very locus that promises a glimpse of the transcendental. In
both the poem, we have a kind of 'unseen presence' of a natural object--the West Wind in
Shelley's poem and the song-bird Nightingale in Keats's. They are the natural figures
inspiring a poetic journey in imagination.

The tone and
mood of these two image-patterns in the two poems are completely different. In Shelley's
poem, the central motif is the power of nature, elevated to a mythical level while in
Keats's poem it is a lot more subdued. The natural world may have a prospective opening
onto the metaphysical in the song of Nightingale, but as Keats realizes, the world of
nature is firmly situated in the flux of time and mortality and the tone is thus marked
by a kind of melancholy.

The pestilence-striken multitude
of leaves in Shelley's poem is the general colour of sickness with which Keats paints
his natural world. In the dense forest, there may be an aromatic darkness where the
Nightingale's melodious voice is heard, the note of mystery soon reveals itself to be
marked with the tragic inevitability of death as in the flux of time where youth grows
pale, sick, spectre-thin and then dies. The world of the unseen bird is a promise
alright, but at the same time, it has to be 'forlorn' at the end as one has to come back
to the dreary shades of death.  This end is quite radically different from the end of
Shelley's poem where there is a strong motivational quality and a note of optimism in
the famous final pronouncement--"If winter comes, can spring be far
behind?"

What does the sow's head symbolize in Lord of the Flies?

The sow's head in Lord of the Flies
is both a literal and figurative element in this novel.  Literally, it is the head of a
dead sow which Jack has his hunters prop up on a stick as a kind of sacrifice to the
"beast" on the island.  Jack is reasonably sure there is no particular beast to appease,
but his hunters are not so sure.  He directs them to leave this sacrifice in order to
help them feel more at ease on the island, as if this gesture could protect them from
evil.  It is literally just a gory head from a sow which has been placed on a
stick.

The placement of the head is fortuitously close to
Simon's secret "hideaway."  When he goes there after the head has has time to draw a fog
of flies (though its very existence is unknown to him), Simon has one of his fainting
spells and the head appears to talk to him in a vision.  Figuratively, the sow's head
becomes the Lord of the Flies, taunting and threatening Simon about revealing the
truth--that they are the beast.  Simon understands this, and the
pig head tells him no one will listen to him and warns him not to tell the others what
he knows or he will die. 

This is exactly what happens
shortly after, of course, so the Lord of the Flies acts as a foreshadowing of things to
come, as well.  Golding himself intended this awful figure to be indicative of Satan and
the worst of our sin nature.  It's an effective image, I think, if that was his
intention.