How would you compare the neighbors in Robert Frost's "The Axe Helve" and "Mending Wall"?

These are two very interesting poems to compare. In both,
the speaker narrates some kind of interaction that he has with two neighbours, but the
precise nature of these interactions are very different as we come to
discover.

In "Mending Wall," the scenario is that the
speaker is walking the edge of his land on one side and his neighbour is walking on his
side of the edge of their land. As they go, they repair the wall. However, when they get
to a part of the land where it is obvious where the boundary line lies and no harm can
be caused by not having a wall, the neighbour only responds by saying "Good fences make
good neighbours." This causes the speaker to question this assumption, arguing that
whenever we build a wall we wall someone or something in and, conversely, someone or
something out, which may cause offence. The description of his neighbour is particularly
interesting:

readability="21">

I see him
there,

Bringing a stone grasped firmly by the
top

In each hand, like an old-stone savage
armed.

He moves in darkness it seems to
me,

Not of woods only and the shade of
trees.

He will not go behind his father's
saying,

And he likes having thought of it so
well

He says again, "Good fences make good
neighbours."

The neighbour is
portrayed as being positively prehistoric in clinging on so blindly to his father's
saying. He dwells in metaphorical darkness as the speaker compares him to an "old-stone
savage armed" and his slavish dependence of accepted tradition, compared to the
questioning mind of the speaker.

In "The Axe Helve," on the
other hand, the narrator is surprised by an intrusion by his neighbour, who grabs his
axe as he is just about to swing it, and then offers to give him a new axe helve because
of the poor quality of the first one. Throughout the poem the narrator seems to try and
second-guess Baptiste's motives, but eventually concludes that he is just lonely and
desiring friendship. The speaker thinks that the axe helve is just an excuse that
Baptiste has used "unscrupulously" to bring the speaker into his house. Yet, in spite of
his mixed feelings about Baptiste, it is clear that the speaker admires him a
lot:

Baptiste
knew how to make a short job long

For love of it, and yet
not waste time either.

In
this somewhat paradoxical statement, we see how the speaker recognises the love and
knowledge that Baptiste has of different kinds of woods and axe helves, and his
appreciation of the way in which Baptiste savours the moment. The poem narrates how two
neighbours connect and share a moment of human warmth and closeness when they had been
really strangers before that, which is very different from "Mending Walls," which is all
about building barriers between one another. In this poem, barriers are broken
down.

Illustrate with reference to "Ode to a Nightingale" Keats' art of sensuous depiction of natural beauty.

Keats, as a Romantic poet, is undoubtedly famous for his
description of natural beauty. One of the ways in which the descriptions of nature
operate in this poem is the way that Keats creates a division between the earth where
man dwells, which is characterised by suffering and pain, and the realm of the
nightingale in the sky, which is described as being above the realm of humans in every
way. Note the following description that establishes and explores this
comparison:

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And haply the Queen-Moon is on her
throne,

Clustered around by all her starry
Fays;

But here there is no
light,

Save what from heaven is with the breezes
blown

Through verdurous glooms and winding mossy
ways.

Note how the moon is
imaginatively described as an enthroned queen surrounded by fairy stars in all of their
beauty. The earth, on the other hand, is described as gloomy, twisting, mossy and dark,
a place where there is "no light." The "ecstasy" of the sound of the nightingale's song,
therefore, is strongly compared to the sufferings of mortal existence. Even though the
description of earth is much darker, it is still arguably sensuous in the way it creates
in our minds labyrinthine paths of "mossy ways" enshrouded by trees and
darkness.

If light is a form of energy, explain how light can be different colours. thx.

Light, more appropriately visible light, is just a small
portion of the energy spectrum, which ranges from radio waves with very long wavelengths
to x-rays to cosmic rays (very short). A wavelength is the distance between the two tops
(or bottoms) of a wave. The light we see has different wavelengths. Red is the longest,
with a wavelength of about 700 nanometers (nm); blue is the shortest, at about 400 nm.
Some include the regions just outside our vision as visible light; infrared and
ultraviolet.

Our eyes see all of the visible spectrum as
one color, white. A prism or other refracting body can separate colors since each color
will bend slightly differently. That is what a rainbow is; white light bouncing through
- and being separated by, water droplets.

In "The Cask of Amontillado," who is Luchesi and what purpose does he serve?

I have previously suggested that both Montresor and
Fortunato are aristocrats but earn their livings by dealing in expensive goods such as
paintings, antiques, jewelry (gemmary), and probably gourmet wines. This is implied in
the third paragraph of the story which includes these
sentences:

readability="12">

Few Italians have the true virtuoso spirit. For
the most part their enthusiasm is adopted to suit the time and opportunity to practice
imposture upon the British and Austrian millionaires. In painting and gemmary,
Fortunato, like his countrymen, was a quack, but in the matter of old wines he was
sincere.

When Montresor tells
Fortunato that he has purchased a cask of Amontillado at a bargain price, Fortunato is
naturally interested in buying some for himself. That is the main reason he wants to
sample it. Montresor repeats that he has doubts about its genuineness. Obviously a ship
carrying a whole cargo of the wine has recently arrived in Venice. Fortunato normally
would have heard about it, but this is the height of the carnival and people have been
neglecting business.

Fortunato would not need to sample
Montresor’s wine. He could say he was too busy and would do it later. He would have no
trouble finding a newly arrived Spanish ship loaded with big pipes of wine (each
containing 126 gallons). That is why Montresor tells
him

“As you
are engaged, I am on my way to
Luchesi.”

This is very good!
He says, “I am on my way.” Time is of the essence. Luchesi must be another man who deals
in luxury goods, another competitor. Fortunato does not want him to hear a word about
the Amontillado. He accompanies Montresor to his vaults—not out of friendship or to show
off his knowledge of wines, and certainly not to drink a glass of wine in a dank
catacomb when he has a cold and is inadequately clothed--but in order to keep him from
going to Luchesi. If Luchesi knew about the shipload of wine, he would find it quickly
enough. Everybody on the waterfront would know about a newly arrived Spanish ship. Then
Fortunato would have to be competing with the other aristocrat-connoisseur-businessman
in bidding on the cargo. Both of them could sample the Amontillado (if it existed)
aboard the ship to make sure it is genuine. There would be no need for either of them to
taste Montresor’s wine.

Fortunato can afford to buy the
whole shipload. Luchesi is probably able to do the same. Poor Montresor would be left
with his one cask of Amontillado for whatever small profit he could make selling it in
bottles. But Montresor knows Fortunato’s mind. Fortunato is already planning to taste
the wine and tell him it is only ordinary sherry. Then, assuming it was genuine,
Fortunato would go to find the captain of the Spanish ship. We can assume that tricks
like these are among the “thousand injuries” Montresor has suffered over the
years.

Why does he maintain relations with Fortunato?
Fortunato is rich. Montresor may need to borrow money from him or to go into joint
ventures with him if it is a question of buying an expensive item, such as an oil
painting, for resale.

How does the poem "Pike" by Ted Hughes portray nature?

The overwhelming way in which nature, through the creatue
of the pike that this excellent poem focuses on, is presented as a dangerous, scary and
terrifying place. The pike itself is depicted as a relentless predator, that will
continue to follow its murderous instincts even in death, as the following image
shows:

Two,
six pounds each, over two feet long 
High and dry and dead in the
willow-herb- 

One jammed past its gills down the other's
gullet: 
The outside eye stared: as a vice locks- 
The same iron in
this eye 
Though its film shrank in
death.

This memory that the
poet has of coming across two dead pikes, who had fought each other to the last, coupled
with his experiment of putting three pikes in a tank and seeing how, one by one, they
disappeared until only one remained, "With a sag belly and the grin it was born with,"
serve to create a menacing, frightening impression of nature. The last few stanzas show
how the pike is not only a violent predator in its own world as the poet himself feels
almost like an intruder as he fishes for pike:

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Owls hushing the floating woods 
Frail
on my ear against the dream 
Darkness beneath night's darkness had
freed, 
That rose slowly toward me,
watching.

He is scared to
fish for the pike yet he is unable to stop himself, but all the time he imagines this
ancient and ruthless predator watching him and his pathetic attempts to fish with his
violent eye. The lingering image of the pike coldly and cooly watching the poet in a
calculated way serves to consolidate the presentation of nature as being a violent force
of ruthless and calculated predatory instinct.

To what extent is the private ownership of land a central theme throughout the course of American history?

I would argue that the right to private ownership of land
has been a given throughout US history.  Americans have always assumed they have this
right.  Many things that have happened in US history have been based on this assumption,
but there has not been any need to fight for this
right.

Americans have assumed they had the right to own
land ever since colonial times.  The colonists, for example, were unhappy with the
British for trying to wall off expansion at the Appalachians.  Instead, the colonists
wanted to exercise their rights to private ownership as far as they could
reach.

This desire helped to cause the free soil movement
that contributed to North-South tensions before the Civil War.  The idea that every
American should be able to own a bit of land was a strong motivation for Northerners to
oppose the spread of slavery.

In ways like this, the
assumption that Americans have the right to private property has been basic to American
history.

Who is Mr. Lapham in Johnny Tremain?

Johnny Tremain is, of course,
primarily about the life of young orphan named Johnny Tremain. We first meet him as an
apprentice in a silversmith's shop, and he is an arrogant, impatient, and thoughtless
young man. He will also be a master silversmith one day, for he has a gift. Ephraim
Lapham is the master craftsman to whom Johnny is
indentured.

Mr. Lapham is a godly man who recognizes both
Johnny's faults and his gift for working with silver. Though Lapham was once a brilliant
craftsman, his skills are waning. He is older and puts his faith above his business; he
is even willing to sacrifice his business for his principles. The "accident" which burns
Johnny's hands happens because Johnny is willing (with the complicity of others) to work
on Sunday despite his master's rules. Once Johnny leaves, it seems Mr. Lapham goes into
a sort of seclusion, and his business suffers
accordingly.

Mr. Lapham tries to help Johnny see the error
of his ways while Johnny is in his care; however, the boy does not heed the old man and
has to learn humility and compassion through some very difficult circumstances. Lapham
is committed to Johnny because of a promise he made to his mother and allows him to stay
in his home as long as he is able. Mr. Lapham is a compassionate, principled man of
faith.

What are three incidents that reveal Pip as a truthful storyteller?Great Expectations by Charles Dickens

That Pip's comments about his experiences are veritable is
later evinced in the narrative by things that characters say and
do. 

Pip's experiences with Uncle
Pumblechook

Early in the novel,
Pumblechook partakes of Christmas dinner with the Gargerys; while there the pompous man
makes a toast after  instructing Pip repeatedly to be "grateful, boy, to them which
brought you up by hand."  From these early experiences, Pip perceives that Uncle
Pumblechook is "the basest of swindlers."  On the day before he is to go the Miss
Havisham's in order to play with Estella, Pip is transported to Pumblechook's store
where he observes early in the next morning that the corn chandler is petty and watches
the other merchants to see who conducts more business than
he: 

Mr.
Pumblechook appeared to conduct his business by looking across the street at the
saddler, who appeared to transact his business by keeping his eye
on the coach-maker....

Later
in the narrative, after Pip becomes apprenticed to Joe and Miss Havisham gives Pip a
"premium," Pumblechook congratulates Pip, telling him "I wish you joy of the
money!"  Then, when they go to the town hall, Pumblechook pushes Pip before him as
though he is directly involved in the ceremony of
apprenticeship. 

Further,Pip's depiction of Pumblechook as
a hypocritical man who fawns before those who are wealthy such as Miss Havisham because
he believes that money makes people more worthy than others proves to be accurate in
Chapter XIX in which he flatters Pip now that he is a gentleman instead of browbeating
him as he has done earlier.  In Chapter XXII when Pip stops into the tavern at the Blue
Boar and is shown a newspaper in which Pumblechook records
himself

as the
Mentor of our young Telemachus,....the founder of the latter's
fortunes.... 

Here
Pumblechook's attempt to elevate himself is, perhaps, the greatest evidence of the truth
of Pip's charge of the corn chandler's
hypocrisy.

Pip's encounters with the
relatives of Miss Havisham

As a boy, when
Pip is called back to Miss Havisham's on her birthday, he notices sitting around the
decaying wedding cake table, three ladies and one gentleman who appear to be "waiting
someone's pleasure"; these people Pip describes as "toadies and humbugs."  As they await
Miss Havisham's "pleasure," they gossip about Matthew Pocket who has not come for his
relative's birthday.  The most talkative of these is Camilla who, though she utters
repeatedly the exclamation "Poor dear soul!" about Matthew, stifles a yawn.  Joining
in is Sarah Pocket, wife of Matthew.

As evidence of this
superciliousness, Pip's visit to the Pocket home demonstrates how Sarah Pocket ignores
her children and as she is engrossed in a book of titles.  Even when the baby's life is
threatened by Mrs. Pocket's handing it the nutcracker and the maid has to rescue it, the
woman continues to discuss the importance of names and social class while the other
children "tumble" everywhere.

Pip's
evaluations of Estella's cruelty and
coldness

When Pip first plays cards with
Estella, she ridicules his coarse hands and boots, as well as his calling the knaves
"jacks."   Pip's later recordings of Estella's coldness--"her calm face was like a
statue's"--prove to be true when Pip later visits Miss Havisham who is desolated by
Estella's lack of affection: "to be proud and hard to me!"  
Estella replies coldly, "I am what you have made me."

Verify the identity arcsin x=[arcsin(3x-4x^3)]/3

To verify if the given identity is holding, we'll shift
all terms to one side and we'll assign a function f(x) to the given
expression.

f(x) = 3arcsin x -[arcsin(3x-4x^3)] =
0

We'll use one of Lagrange's consequences. If the
derivative of the function f(x) is cancelling out, then the function is a
constant.

We'll calculate the first derivative of the
function, both sides:

{3arcsin x -[arcsin(3x-4x^3)]}' =
(0)'

(arcsin x)' =
1/sqrt(1-x^2)

[arcsin(3x-4x^3)]' = (3x-4x^3)'/sqrt[1 -
(3x-4x^3)^2]

[arcsin(3x-4x^3)]' = (3 - 12x^2)/sqrt[1 -
(3x-4x^3)^2] (2)

(3arcsinx)' = 3/sqrt(1-x^2)
(1)

{3arcsin x -[arcsin(3x-4x^3)]}' = (1) -
(2)

3/sqrt(1-x^2) - (3 - 12x^2)/sqrt[1 - (3x-4x^3)^2]
=

If (1) - (2) = 0, then the identity is
verified.

Another method is to calculate sine function both
sides:

sin (3arcsin x) = sin
[arcsin(3x-4x^3)]

We'll note arcsin x = t => sin t =
x and we'll use the identity sin (arcsin x) = x.

sin 3t =
(3x-4x^3)

We'll use the triple angle
identity;

sin 3t = sin (2t+t) = sin2t*cost +
sint*cos2t

sin3t = 2sint*[1-(sin t)^2] + sint*[1-2(sin
t)^2]

sin3t = 2sint - 2(sin t)^3 + sint - 2(sin
t)^3

sin3t = 3sint- 4(sin
t)^3

We'll replace sin t by
x:

sin3t = 3x -
4x^3

We notice that LHS = RHS, therefore the
identity arcsin x = [arcsin(3x-4x^3)]/3 is
verified.

Who is "Black Burton" in The Call of the Wild?

"Black Burton" was the foolish man who decided to pick a
fight with John Thornton while he and Buck were in Circle City. Burton was already busy
"picking a quarrel" with a "tenderfoot" in the saloon, and Thornton decided to come to
the aid of the newcomer. Burton then took out his frustration on Thornton, hitting him
without notice and nearly knocking Thornton to the floor. In an instant, Buck, with a
"roar," flew for Burton's throat. Burton saved himself by throwing up an arm, into which
Buck sank his teeth. Buck's second attempt hit its mark, and he tore open Burton's
throat. A surgeon stopped the bleeding, and Buck was later acquitted of any crime during
a special "miner's meeting." However, his reputation soon spread throughout
Alaska.

What sort of a person is Norman Gortsby in "Dusk" by Saki? It has to be something like a character sketch of Norman Gortsby.

Norman Gortsby is probably in his mid-twenties. Saki
wanted him to be young because the moral of the story is conveyed by Gortsby's painful
learning experience. He is not a wealthy gentleman of leisure. He probably has a good
job in a bank or brokerage firm. He must not be too affluent because Saki wanted the
loss of a sovereign to be painful. He probably wouldn't have parted with that much if he
hadn't believed it was only a loan and that the young con artist would return the money
by mail.

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Dusk, to his mind, was the hour of the defeated.
Men and women, who had fought and lost, who hid their fallen fortunes and dead hopes as
far as possible from the srutiny of the curiouos, came forth in this hour of gloaming,
when their shabby clothes and bowed shoulders and unhappy eyes might pass unnoticed, or,
at any rate,
unrecognised.

These
observations tell many things about Gortsby. He is in the habit of sitting on park
benches and watching people. Otherwise he could not have formed these opinions. He must
be something of a loner. He must be a bachelor; otherwise he would have gone home to his
wife. He does not feel sympathy for the defeated-looking people he observes. His notion
that they "had fought and lost" indicates that he, like his creator Saki, is a Tory, a
reactionary and probably a Social Darwinist who believes that the struggle for existence
improves the human race by insuring the survival of the
fittest.

Gortsby must have a fairly good education and a
good mind. He not only observes people, but he thinks about them and draws all sorts of
conclusions. He understands why they wait until dusk to come out of their dwellings, and
he goes on to consider the socio-political implications of their existence and their
fates.

Since Gortsby likes to sit on park benches watching
people, he must have been approached innumerable times by people who hoped to get some
money from him. He has developed a calloused attitude because he cannot be handing out
money to all the poor people in London. He has heard many hard-luck stories and has
probably been fooled by some of them, just as he is eventually fooled by the hard-luck
story of the young man who claims he lost his hotel. As a result, Gortsby has become
cynical, skeptical, unsympathetic, and street-wise.

He
listens to the young man's hard-luck story with interest because he has become a
connoisseur of such stories. He probably has no intention of trusting the young man even
if he is telling the truth about having lost his
hotel.

"Of
course,' said Gortsby slowly, "the weak point of your story is that you can't produce
the soap."

This shows that
Gortsby is intelligent, experienced, skeptical and sophisticated. He undergoes a change
when he finds the soap and believes it belongs to the young man who has just left in a
huff. He now feels obliged to lend the con artist some money because he feels guilty and
ashamed of himself, whereas he probably had no intention of lending him any money
before.

The whole point of Saki's story is that Gortsby was
right in the first place in being cynical and skeptical about his fellow man. When
Gortsby vows to be more trusting and charitable in the future, he finds out that he was
being played for a sucker. Even the elderly gentleman may have intended to play him for
a sucker, using the "lost" soap as an excuse to come back and start a
conversation.

People should look out for themselves in the
battle of life. Those who do not are suckers. That is Saki's
message.

What does Photography mean when it pertains to camera and computer arts?

I am not quite sure of the context of this question, but I
am guessing that this in an inquiry into how the computer and other technologies affect
the "meaning" of photography.  While there are certainly many differences in photography
today, my own opinion is that the meaning of photography has not changed nearly as much
as people believe.

One hundred and fifty years ago,
photography was a new technology. While most embraced the new art, there were probably
people who were skeptical or suspicious of it at that time, concerned that images might
be manipulated or that a photograph might not represent "truth" because people were
posed or scenes were staged.  And in fact, this did happen, I'm sure.  The photographer
has always been able to create his or her own reality through the selection of the
subject, through various techniques used in developing photographs, and through the
staging of what was to be photographed. These are what have made photography an art
form, not merely a mechanical recording of what was before the
photographer.

Today, with digital cameras and the
wherewithal to manipulate digital images on the computer, we have a difference that
seems to me to be one only of degree.  The photographer may still stage a scene, imposes
his or her own vision of reality through the process of selecting what to photograph,
and is able to manipulate what is photographed with software as opposed to manipulating
in the darkroom.  This, too, is artistry, artistry accomplished more easily today, but
nevertheless, still artistry through the manipulation of
elements.

I do think that when we view photography as a
form of reporting, rather than as an art, we run into more difficulties than we did
prior to digital photography.  There was a bit of a scandal a few years ago when a
popular news magazine was discovered to have manipulated an image of someone on its
cover, and I am sure this happens more frequently than we know. Nevertheless,
photography as reporting also relied on manipulations prior to our digital age, so
again, this seems to be a question of degree.

Another
perspective you might consider on photography as reporting is to compare it to the use
of words to report events.  The process is quite similar.  Reporters make choices about
what to say and what not to say.  An extensive interview is not usually reported word
for word, but is presented as a series of selections of quotes from the subject,
sometimes in context, but quite often not.

So, whether one
considers photography as art or photography as reporting, the digital age is not what
has allowed the photographer to construct an alternate reality.  This has always been
the case. It is far easier to do today, but the ability to do so has always been with
us.

Discuss how the Muslim League foreshadowed the future course of relations between India and Pakistan.

The establishment of the Muslim League represented the
first clear instance where Muslim interests and the interests of India were seen as two
opposite entities.  Prior to this, the interests of Hindustan encompassed both Muslims
and Hindus.  Yet, as the tension surrounding the call for England to leave India
intensified, Muslim leaders felt persuaded to establish the issue of independence as one
that called for a separate state for Muslims.  Consider the most basic definition of the
political party:

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[The Muslim League was a] Political party founded
in 1905 to represent the separate interests of the Indian Muslims, who felt threatened
by the prospects of a Hindu majority in any future democratic
system.

There is much there
that foreshadows the relationship between both nations today.  Consider the idea of
"feeling threatened."  Certainly, this tension exists in the relationship between India
and Pakistan, with both sides claiming that the other seeks to subvert both their nation
and their way of life.  Another example of how the Muslim League foreshadows the current
state of diplomatic relations between both nations is that the League made the
assumption that Muslim interests were vastly different than Hindu interests, a belief
that underscores both countries' foreign policies today.  I would finally suggest that
another element of foreshadowing was that the Muslim League helped to initiate the new
nation under Partition, but failed to gain any traction in assuming political leadership
in guiding the future of the new nation.  This reflects the current state of affairs
between both nations, whereby the desire for separation was demanded, but little focus
in way of how the future would exist for both nations was seen.  Today, India and
Pakistan still cannot agree on a common vision that will guide both nations in the 21st
Century.  Essentially, both nations are "on the move, but going in nowhere" in terms of
how each will work with one another in the future.  Negotiations between both nations
are thus always challenged because there is little idea as to how to proceed with the
future as both nations refuse to acknowledge the others' future as one they wish to
share.

Reduce to the simplest form: log2(24)/log96(2) -log2(192)/log12(2)

We'll write log 2 (24), using the product rule of
logarithms:

log 2 (24) = log 2 (2) + log 2
(12)

We'll write log 96 (2) = 1/ log 2
(96)

log 2 (96) = 1 + log 2 (2) + log 2 (2) + log 2
(12)

log 2 (96) = 3 + log 2
(12)

log 2 (192) = 4 + log 2
(12)

log 12 (2) = 1/ log 2
(12)

We'll re-qrite the
expression:

E = [1 + log 2 (12)][3 + log 2 (12)] - [4 + log
2 (12)]*log 2 (12)

We'll remove the brackets and we'll
replace log 2 (12) by t:

E = 3 + 4t + t^2 - 4t -
t^2

We'll combine and eliminate like
terms:

E = 3

The
given expression reduced to the simplest form is E =
3.

In Defoe's Robinson Crusoe, what about Crusoe has most changed in the years since he left England?Pick one thing and write...

Whereas Crusoe, in Daniel Defoe's Robinson
Crusoe was a young man very much concerned with doing for himself and not
overly concerned for others, I find that the change that most impresses me in Crusoe is
his consideration of others.

When Crusoe is returned to
civilization, he finds that his parents are dead. Thinking Crusoe lost, never to return,
no financial arrangements had been made for him, so he had next to no money. Happily,
the captain (whose ship and cargo he had helped to rescue from the mutineers on his
island) had reported Crusoe's part in saving all to the owners of the ship; this brought
about a reward of almost two hundred pounds, sterling, to
Crusoe.

From this point, Crusoe decides to return to the
places where he was first taken in after being enslaved himself, as well as to his
Brazilian plantation. Upon his return to Lisbon, he finds that some of those who
assisted him—or members of their families—are still live. For the widow of the man who
had been so instrumental in getting Crusoe back on his feet at a difficult stage of his
life, he provides her with money and a promise of more to come. To the captain who had
been so kind, and gives such an honest accounting of how he has used Crusoe's money over
the years, he rewards him with money that comes to him from profits over many years on
his Brazilian plantation.

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When I came to Lisbon, I found out, by inquiry,
and to my particular satisfaction, my old friend, the captain of the ship who first took
me up at sea off the shore of
Africa.

His partner on the
plantation he also rewards, amazed again at his
honesty.

There
was a letter of my partner’s, congratulating me very affectionately upon my being alive,
giving me an account how the estate was improved, and what it produced a
year...

He gives money to the
monastery (St. Augustine's) that had received some of his assets, to further support the
monastery, as well as the poor. He sends money to his two sisters whose lives are not as
satisfying as they could be.

Crusoe has become so grateful
for the kindness shown to him in the past that he cannot help but reward those who
extended their help in his time of need. He is generous,
compassionate and almost physically overwhelmed by the goodness extended to him in the
past, and the integrity each person now greets him with at his return. He cannot move on
with his life without showing his appreciation to these good
people.

Crusoe has become a man of depth and good character
in extending his goodwill (and financial support) to others. The Crusoe of thirty-five
years ago is gone, and a new man has taken his place who appreciates what he has, how
much he has been blessed, and hopes only to extend those same kindnesses to
others.

Describe Shakespeare's popularity and reputation in Elizabethan England.

William Shakespeare, the Bard of Avon, was a popular and
"respected" writer during his lifetime, but his rise to pre-eminence as the greatest of
all English-speaking authors did not come until several centuries later. Shakespeare's
works became idolized by Victorian England in the 19th century, and his stature has
never been questioned since.

Shakespeare "was never revered
in his lifetime," and he received his share of negative criticism. He was generally
regarded "below John Fletcher and Ben Jonson," but other critics rated him as equal to
Geoffrey Chaucer and Edmund Spenser. However, Shakespeare's standing was not totally
lost on his contemporaries. Jonson himself called him the "soul of the age... a wonder
of our stage." Poet/critic John Dryden admired Jonson, but "I love Shakespeare." King
James I must have felt a likewise sentiment, installing Shakespeare's plays as the core
of his royal company, the King's Men.

In the book, Bless Me, Ultima, what are some quotes Antonio's mother says about him becoming a priest? I'd prefer something about how having a...

In the fifth chapter, Antonio's mother is speaking to
Antonio's Uncle Juan when she says"

readability="6">

"Ay Juan...I pray that he will take the vows,
that a priest will return to guide the Lunas -
"

Earlier, in the third
chapter she says:

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"Ay...if only he could become a priest. That
would save him! He would always be with God. Oh, Gabriel...just think of the honor it
would bring our family to have a
priest..."

In both of these
places in the text, Antonio's mother expresses her sincere hopes that Antonio will
achieve an honorable position. Notably, the founder of el Puerto and of the Luna's place
in the world was a priest. The priest is therefore the ultimate patriarchal symbol for
this religious farming family. 

In this way, Antonio's
mother's hopes for him are not general hopes drawn from her religious culture. They are
hopes drawn directly from her family's history; the Luna's geographical
history.

This ambition also represents a desire for
continuity (of place and of tradition), which is prized in the Luna family. By becoming
a priest, Antonio ensures that he will remain a Luna, faithful to Catholic traditions
and to his (mother's) family's past.

Decide the relative position of the lines 3x+3y-12=0 and 6x-3y+6=0

To decide the relative position of the given lines, we'll
solve the system formed of the given equations of the
lines.

If the system has solutions, that means that the
lines are intercepting each other in a certain point. If the system has no solutions,
that means that the lines are not intercepting each
other.

We'll divide the 1st equation by
3:

x + y - 4 = 0

We'll
re-write the 1st equation:

x+y =
4

x = 4 - y (1)

We'll divide
the 2nd equation by 3:

2x - y + 2 = 0
(2)

We'll substitute (1) in (2):

2(4 - y) - y =
-2

We'll remove the
brackets:

8 - 2y - y =
-2

We'll combine like terms and we'll subtract 8 both
sides:

-3y = -2 - 8

-3y =
-10

We'll divide by -3:

y =
10/3

We'll substitute y in
(3):

x = 4 - 10/3

x =
(12-10)/3

x =
2/3

The solution of the system represents the
coordinates of the intercepting point of the given lines: (2/3 ;
10/3).

In the poem "Love's Philosophy," what literary devices does Shelley use?

What is most notable about this excellent poem of love and
how the speaker views the world and uses the way that all of nature mixes together to
support his request that his beloved kiss him is the series of implied metaphors in the
second stanza that describe various aspects of nature as if they were lovers. Let us
examine this verse more closely:

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See! the mountains kiss high
heaven,

And the waves clasp one
another;

No sister flower would be
forgiven,

If it disdained it's
brother;

And the sunlight clasps the
earth,

And the moonbeams kiss the
sea...

Note the way that the
mountains "kiss high heaven" as if they were lovers. The waves "clasp one another" in
their embrace, just as the sunlight "clasps the earth." The moon, not to be outdone by
the sun, allows its moonbeams to "kiss the sea." These series of implied metaphors serve
to reinforce the central idea of the poem, which is the way in which all things are
shown to "In on another's being mingle." Since nature teaches us this lesson, why should
the speaker not be able to love his beloved?

In Guns, Germs, and Steel, what lessons can be learned by the pattern of dispersion of Polynesians?I really need help.

The lesson that Diamond is trying to teach us through the
example of the Polynesians is that the physical environment where a group of people
settles determines what sort of society they create.  He uses the Polynesians to show
this because they were one ethnic group with one culture that spread to many different
islands with many different physical environments.  After the Polynesians dispersed,
they developed many different kinds of cultures depending on the physical
characteristics of the places where they settled.  These ranged from small bands of
hunter-gatherers to relatively large chiefdoms like Hawaii or
Tonga.

To Diamond, this is an important lesson.  It shows
that societies develop and become more complex because of the physical environments they
inhabit, not because of anything that is inherent in the natures of the people
themselves.

What is a (define) fairy tale and what elements are needed to make it a fairy tale?

Outside of the technical definition of format defined
above, a fairy tale contains many elements which make it different from other
texts.

Differing from the folk tale, which depicts a
societies reasoning for why things exist as they do (myth/legends), the fairy tale
examines morality. Therefore, a fairy tale's purpose is to
educate.

Outside of this, a fairy tale encompasses
characteristics typically not found in the real world. Filled with talking animals
(personification), symbolism (Red Riding Hood's cape), and imagery (far-off castles and
Lewis Carroll type environments, the characters usually shown are ones children tend to
idolize and dream about: fairies, gnomes, giants, and
trolls.

Given they are not religious by nature, the tale is
not criticized based upon its use of witchcraft and the
supernatural.

Therefore, the stories, passed down through
time by word of mouth (mirroring the Anglo-Saxon epics, and through literature, have
stood the test of time. It seems that there has been no other way to use literature to
teach morals to the young than the historically famed fairy
tale.

Find the sum of(upto n terms): 1² + 3² + 5² + 7² + 9²...

We'll notice that we'll have to calculate the sum of the
squares of the odd natural terms.

Let 2k + 1 ne the general
term of the sum. If we'll replace k by values from 0 to n, we'll get each odd natural
number.

We'll raise to square and we'll expand the
binomial:

(2k+1)^2 = 4k^2 + 4k +
1

We'll take the
summation:

1^2 + 2^2 +...n^2 =
Sum (2k+1)^2 = Sum 4k^2 + Sum 4k + Sum 1

Sum
(2k+1)^2 = 4*n*(n+1)*(2n+1)/6 + 4*n(n+1)/2 + n

Sum (2k+1)^2
= [4*n*(n+1)*(2n+1) + 12n*(n+1) + 6n]/6

We'll remove the
brackets:

Sum (2k+1)^2 = [4n(n^2 + 3n + 1) + 12n^2 + 12n +
6n]/6

Sum (2k+1)^2 = (4n^3 + 12n^2 + 4n + 12n^2 + 12n +
6n)/6

We'll combine like
terms:

Sum (2k+1)^2 = (4n^3 + 24n^2 +
22n)/6

Sum (2k+1)^2 = 2n(2n^2 + 12n +
11)/6

Sum (2k+1)^2 = n(2n^2 + 12n +
11)/3

The requested sum of the squares of the
odd natural numbers is: 1^2 + 2^2 + ...n^2 = Sum (2k+1)^2 = n(2n^2 + 12n +
11)/3

Please explain this sentence: "Now can I break my fast, dine, sup and sleep, / Upon the very naked name of love.." from Shakespeare's The Two...

As Valentine speaks to Proteus in Act II, scene iv, of
Shakespeare's Two Gentlemen of Verona, he is admitting that he has
rejected love in the past. He says that he has paid the price for such actions. In fact,
the man who at one time had no time for love (Valentine) has been punished for acting
far too superior to love—with a lack of appetite, groans, tears, sighs of sadness; he
also could not sleep but in his wakefulness, he could only observe his sorrow for not
being in love.

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With bitter fasts, with penitential
groans,

With nightly tears, and daily heart-sore
sighs;

For, in revenge of my contempt of
love,

Love hath chas'd sleep from my enthralled
eyes

And made them watchers of mine own heart's
sorrow

Valentine admits that
love is so strong that he is now humbled, but is not sad in learning of love. There is
nothing more joyous that he could do than to serve love. Because he
has found contentment in his heart, all the punishments of the past have vanished: he
now has an appetite—he can eat and sleep—all for love when he
says:

readability="0.12658227848101">

Now can I break my fast,
dine, sup and sleep,

Upon the very
naked name of love.

What poetic techniques and devices does Langston Hughes use in his poem "A Dream Deferred" in order to achieve meaning and purpose?

Langston Hughes' poem "A dream deferred", also known in
some editions as "Harlem" uses imagery and rhetorical questions in order to bring about
meaning and purpose. The author is explaining what could possibly happen when the dreams
that we have for ourselves become unattainable – even the simplest dream.  He is
speaking in the context of the black community in Harlem because their situation is
often dire and it is quite difficult for them to escape their reality and achieve a
better life for themselves.  This poem depicts an unfortunate reality for many of the
poverty stricken victims who live in these types of situations.  In addition, Hughes
uses the following techniques in order to bring his purpose to
life.

He uses imagery such as: a dried up raisin that
festers, a sore, rotten meat, syrupy sweet, heavy load, explode – to project the
seriousness and the emotions that could be felt by individuals who are in these
situations.

* He also asks questions – which allow the
reader to think about the answer as opposed to him telling us what to think (effective
rhetorical device).

*He sets off certain lines to emphasize
their meaning as well - “What happens to dreams deferred?”  The author wants to show
that an issue is being raised.

* He uses italics at the end
and sets off the sentence as a possible warning.  Is this why many individuals from the
black community act out or are violent?  Are they left with a choice? Notice that the
author never tells us what to think, but helps us to think about it and to empathize
with the affected individuals. 

Why does she need to make her face "an indifferent mask" and be careful what she says in public?

Katniss, in The Hunger Games, knows
that there will be people that are going to be out to get her, that will hate her, and
will try to sabotage her at all costs.  By making her face "an indifferent mask" in
public, she is trying to insure that she will not offend, anger, or show any emotion in
regard to what is happening.

Facial emotion is a cue as to
how one is feeling on the inside, typically. Katniss does not want anyone knowing how
she really feels. Readers also know how much she hates the Hunger Games and the Capitol.
She does not want that to show either.

How are the women in Huck Finn's life alike in the role they play in The Adventures of Huckleberry Finn?

In Mark Twain's The Adventures of Huckleberry
Finn, to my mind, most of the women are not terribly
strong in character or intelligence, except for Mary Jane, and the minor character of
Mrs. Judith Loftus.

We can credit the Widow Douglas with
being a "decent" person in taking Huck in, but in trying to "sivilize" him, she does not
know much about attempting to change one's character, as seen with her "failure" with
Huck. At the end of the novel, Huck chooses to travel down the river, rather than
returning to the Widow Douglas. Huck wants to “light out for the territory ahead of the
rest” which indicates that her kind of "civilizing" isn't for
him.

When Huck thinks of the Widow, he admits that her
expectations of him wore at him (were "raspy"), but that she was
his idea of a decent woman. I think it is important to remember
that Huck thinks he is a "low-down" person because he believes it
is wrong to wish Jim free. Huck, ironically, is Twain's hero in that he does
not accept the biases of society; but Huck is highly critical of
himself. So we can perhaps question the "true" goodness of the Widow—and if nothing
else, how "good" she is for him.

We don't meet Miss
Emmeline Grangerford as she is dead when Huck meets up with the family, but she was a
young woman who seems to have been excessively morbid in her poetry and art work. While
Huck admires the work she left behind, we find that she was not interested in poetry or
drawing for the sake of the art…"just so it was
sadful."

Miss Watson is a highly religious woman, but
hypocritical in her belief that she can righteously own and sell another human being
(Jim). We may be able to forgive her in that after Jim runs away and before she dies,
she feels badly in how she has treated him, setting Jim free in her
will.

Aunt Sally Phelps (Tom's aunt) is particularly
gullible as Tom, in particular, takes advantage of her seeming naivete and/or perhaps
her lack of intelligence. Huck feels bad about misleading Aunt Sally (who believes Huck
is Tom), but Tom—the thoughtless young man that he is—thinks nothing of lying outright
to his aunt (who think he is his cousin Sid). They almost have Aunt
Sally jumping through hoops, and Huck finds later that it is all for Tom's
entertainment. Aunt Sally doesn't have a clue.

On the other
hand, Mrs. Loftus is very smart. Whereas Aunt Sally would never
have caught on, Mrs. Loftus shrewdly discerns that Huck is not a
girl when he shows up at her home dressed as one— looking for information about his
"murder." She watches how he threads a needle, notices his good aim when trying to kill
a rat, and that he throws his legs together to catch something in his lap, rather than
opening them to let the skirt catch it for him. She never gets the truth of Huck's
identity from him, but Mrs. Loftus is extremely observant and seemingly
intelligent.

Lastly, Mary Jane Wilks, one of the sisters
that the King and Duke try to rob of their inheritance, is kind and trusting, and is at
first taken in by the King and the Duke. However, when Huck tells her what the two con
men are up to, she is quick to follow Huck's directions in finding a way to "save the
farm," so to speak, catch the King and the Duke, and allow Huck to escape from the men
unharmed. She even agrees to defend Huck if he is caught by the law. Mary Jane is a
quick-study in understanding Huck's plans, and a woman of her word in that she keeps
Huck's revelations to herself as promised.

What is the value of cos x if sin2x=2/3? x is in interval (pi/2,pi)

To determine cos x, we'll have to apply the half angle
identity:

cos x = +/- sqrt [ (1 + cos 2x) / 2
]

We know, from enunciation,
that:

pi < x < pi /
2

We'll multiply by 2 the
inequality:

2pi = 0 <2x <
pi

From the above inequality, the angle 2x covers the 1st
and the 2nd quadrants and the value of cos x is positive in the 1st quadrant and
negative in the 2nd quadrant.

Since sin 2x = 1/4, we'll
apply  the trigonometric identity

(sin  2x)^2 + (cos 2x)^2
= 1 to determine cos 2x,

cos 2x = +/-sqrt(1 - sin 2x)

cos 2x = +/- sqrt(1 - 4/9)

cos 2x = +/-
sqrt(5) / 3

We'll substitute cos 2x by its value in the formula for
cos x and we'll keep only the negative values for cos x, since x is in the 2nd quadrant,
where cosine function is negative.

cos x = - sqrt [ (1 +
cos 2x) / 2 ]

cos x = - sqrt
[(3+sqrt5)/6]

cos x = - sqrt
[(3-sqrt5)/6]

The requested values of cos x
are: cos x = - sqrt [(3+sqrt5)/6] and cos x = - sqrt
[(3-sqrt5)/6].

Please comment on the following quote from "A Clean, Well-Lighted Place.""After all, he said to himself, it is probably only insomnia. Many must...

This is the highly significant way in which this excellent
short story finishes. It is the older waiter who closes the story with this belief that
he is not able to fall asleep because of insomnia. This of course draws attention to the
important theme of loneliness and despair in this story. The tale presents us with
despair as a human condition, but then suggests that this despair must be confronted in
a state of isolation. The older waiter is clearly something of a parallel character
compared to the old, drunk man, as he, too, likes to sit in cafes late at night, and so
we can infer that he suffers from the same condition of loneliness. This last sentence
represents his own self-deception, as he treats his sleeplessness as a result of
insomnia rather than despair and loneliness, and implicitly reaches out for human
companionship with the final sentence "Many must have it." He is not able to accept the
true reason for his sleeplessness and finds comfort in his belief that others suffer
from the same symptoms and are lonely as well.  It is likewise important to note that
the older waiter goes "without leaving further," as if to stop himself going down any
avenues of thought that would force him to acknowledge the despair and loneliness that
he manages to conceal from himself.

In Romeo and Juliet, how can Romeo's speech of "I am fortune's fool!" foreshadow the ending?

It is important to realise that fate, fortune and stars
are words that appear many times in this excellent tragedy and relate to the sense in
which destiny can often decree a path for our lives that we cannot escape. From the very
beginning of this play, in the Prologue, we are told that Romeo and Juliet are
"star-crossed lovers." Both Romeo and Juliet have strange premonitions of the fate that
is to befall them at various points in the play, such as Act I scene 4 for Romeo.
However, it is only in Act III scene 1, after the chain of events has been unleashed
that has seen Mercutio killed by Tybalt, and then Romeo forced to challenge Tybalt for
the death of his friend, even though they are now related by marriage, and then his
killing of Tybalt, resulting in his exile, that Romeo fully appreciates how the hand of
fate, or fortune, is working against him. He at this moment recognises the implacable
forces that are set against a "happy ending" for him and
Juliet.

His tortured ejaculation, where he identifies
himself as "fortune's fool," is thus an example of foreshadowing, as well as being the
climax of this scene. He begins to have some sense of the inexorable forces that range
themselves against him and Juliet, and recognises that this can only end in one way:
death.

What does it mean "Complete the square and solve for x"? x^2-8x-11=0

It means that we'll not apply the quadratic formula or
factorization to solve the quadratic.

Let's see how we'll
do it.

For the beginning, we'll add 11 to both sides,
to move the constant to the right side of the equation, so that being more clear what
we have to do to the left side to complete the square.

x^2
- 8x = 11

We'll complete the square by adding the number 16
both sides, to get a perfect square to the left side.

x^2-
8x + 16 =11+16

We'll write the left side as a perfect
square:

(x - 4)^2 = 27

We'll
take square root both sides:

x - 4 = +-sqrt
27

x - 4 = +-3sqrt3

x1 = 4 +
3*sqrt 3

x2 = 4 - 3*sqrt
3

The solutions of the equation are: { 4 -
3*sqrt 3 ; 4 + 3*sqrt 3}.

What are fundamental and derived units?

this answer can look lengthy but its very easy read till
thge end and u will find everything regarding ur question in a very easy
method...

Fundamental
units....i.e also called base units...u can understand it by the
following example.

consider a building...the building is
made up of bricks of different sizes..these can be considered as the units of the
building...which kind of units these may be???
fundamental units off course...the building blocks and the bricks are the
minimum components, the combination of which makes the whole building.similarly we can
define basic units.DEFINITION: the minimum number of those
physical quantities in terms of which other physical quanitites can beobtained is called
base quantities. these are decided to be seven in number by
the system
internationl...i.e

1. second


2. kilogram


3. meter


4. ampere


5. candela


6. kelvin


7. mole

DEIVED
QUANTITIES: Now take the same exapmle....this building also composed of
some other units that
is;

• rooms


• bathrooms


• kitchens


• stores
  etc etc

look at these units,,,,they are formed
by the combination of bricks or building blocks(which was considred as
fundamental units in first
case).......

these rooms,kitchens, and stores etc can be
considered as derived units,,,as its name tells that they can be derived or obtained
from other units(from 
fundamental)...so they are not
fundamental but derived from fundamentl.

Q: and how derived
are obtained from fundamental?

A: by trhe differnt
combination of fundamental....i.e multiplying or dividing two or more than two
fundamental...not subtracting or adding...

let us see in
examples.

1. velocity unit is meter/second...meter
   and second are fundamental while metr/second is
   derived.


2. newton(derived).... 1 newton = kg m /
   sec...where kg, m, and sec are
   fundamental


3. coulomb(derived)... 1 coulomb = 1 ampere *
   sec where both ampere and second are
   fundamental....

conclusion:
different fundamental units joins together (joining in terms of multiplication and
division only) and obtain derived
units.

Note: there are some
units which are neither fundamental nor derived they are called supplemenatry
units...i.e radian and steradian..

How was art used to serve the Counter-Reformation's purposes? Identify and give an example.

The Catholic Counter-Reformation took actions to redirect
the focus of artists on the religious subject matter and away from decorative additions
to the work. It was decided that artistic renditions would be direct and accurate
presentations of Biblical events, without personal, decorative or imaginary
embellishments. Piety was the general emotion to be
expected. Counter-Reformation art was different from the Protestant Reformation art
which emphasized a naturalistic portrayal of the beauty in God's world. Instead,
Counter-Reformation art centered on strictly "sacred or religious content." The belief
was that such art would inspire a greater and closer contact with the church and with
the individual's personal spiritual enlightenment.

An
example of such a work would be The Lamentation (1591), by Scipione
Pulzone (aka Il Gaetano).

If a right circular cylinder has a volume of 144pi and a height of 9, what is the area of its base? is it: a. 8 pi b. 12 pi c. 16 pi d. 25 pi...

The formula for volume of a cylinder
is...

V = r^2 * h * pi

Given
that the volume is 144pi and the height is 9, you can write the following equation using
substitution

144(pi) =
9r^2(pi)

Divide both sides by
pi.

144 = 9r^2

Divide by sides
by 9.

16 = r^2

Square root
both sides.

4 = r

Since the
area of the base of a cylinder is a circle, the formula
is...

A = pi * r^2

Substitute
4 in for the variable r.

A = pi *
16

Your answer is 16pi (option c)

How was Animal Farm similar to the time of communism?

George Orwell wrote this allegory and based it on the
Russian Revolution, which lead to the rise and fall of Communism in Russia. The animals
were facing hardships of lack of food and care by their drunken farmer who is compared
to the Czars of Russia. Old Major, an old boar, brings them together and teaches them
“The Beast of England” to bind them together and to work for something better. Karl
Marx, who invented Communism, died before the revolution and is represented by Old
Major.  Communism was supposed to make life easier for the Russian people, like
Animalism was for the animals. In the end, a crafty few grabbed power like Napoleon the
pig, who was based on Joseph Stalin.  The common people were worse off after the
revolution, just like the animals at Animal Farm.

Explain the quote, "Only the deaf appreciate hearing,only the blind realize the manifold blessing that lie in sight."

The quote reflects the basic idea that there are
attributes and qualities that all learners have. At the same time, the quote reminds all
of us of the qualities that are so easily taken for granted, yet appreciated by those
who are impacted by their absence.  For example, someone who is hearing impaired, or
"deaf," will value the ability to hear because it is something they lack.  The person
who possesses this sense might not appreciate it as such because they are more likely to
take it for granted.  The same applies to those who are vision impaired, or "blind." 
They would appreciate sight, whereas someone who has it might not appreciate it as
much.  In the end, the quote compels all of us to appreciate what it is we have.  Too
often, individuals lament what they lack and what they don't have.  The quote might be
suggesting that to be thankful for what basic elements are present will allow
individuals to lead a more purposeful life, one with meaning, compassion, and
understanding.  In this light, the quote both makes a point about those who face
significant physical challenges in their lives and those who do not.  Helen Keller
becomes the epitome of those individuals who are able to embrace what they have,
allowing life to become a more purposeful existence and not being defined by any
physical condition.

What are the differences between Don John and Don Pedro in Much ado about Nothing.

This is a very interesting question, because I actually
believe that there are far more similarities between these two characters than we would
at first suspect. Clearly, overtly at least, they are very different. Don Pedro is a
legitimate son, and Don John his bastard half-brother, which of course means that he
will never possess the same power and prestige as Don Pedro. In addition, we know that
Don John has just tried to mount a rebellion against his brother, which has been
repressed. Don Pedro is seen as representing law and order, whereas Don John himself
admits when we first see him in Act I scene 3 that he is "a plain-dealing villain,"
setting the two characters in opposition with each
other.

However, in spite of the way that we might easily
conclude that one is "good" and the other "bad," let us focus on the way in which they
are similar. One of the key themes of this play is that of deception, and we can see
that both Don John and Don Pedro show themselves to be masters of deception, though of
very different kinds. Don Pedro at the end of Act I scene 1 swiftly tells the lovestruck
Claudio that he will assume the guise of Claudio and woo Hero for him, effectively
deceiving Hero about his identity:

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I will assume thy part in some
disguise,

And tell fair Hero I am
Claudio.

And in her bosom I'll unclasp my
heart

Amnd take her hearing prisoner with the
force

And strong encounter of my amorous
tale.

After succeeding in
this act of deception, he is quick to suggest another in making Benedick and Beatrice
fall in love with each other. In the same way, we see his brother shares his talent for
deception, at first convincing Claudio that Don Pedro is wooing Hero for himself, and
secondly tricking both Claudio and Don Pedro into believing that Hero is unfaithful. The
play thus confronts us with a very complex question: is deception always bad? The
similiarities between these two characters and their different motives for carrying out
acts of deception make this question very difficult to answer.

How moral and just is the world of The Great Gatsby?

The world of The Great Gatsby, put
simply, is not moral and just at all.  Looked at in a more sophisticated and complex
way, though, one would say the world of the novel is morally
ambiguous. 

The character of Gatsby is particularly
ambiguous.  In his daily actions, he is fair and just.  Polite almost to a fault, he is
somewhat full of self-doubt.  He is polite and thoughtful.  His flaw is that he believes
an illusion.  He dedicates his existence to a return to the past--his relationship with
Daisy.  But the relationship never really existed as Gatsby experienced it.  Daisy never
loved him as he loved her.  This doesn't make him immoral, however, only deluded and
naive.

Yet, he is also an organized crime figure.  One
can assume that his business in Chicago is not always run with the courtesy and
politeness Gatsby uses in his personal life.

Daisy is also
ambiguous.  She is a woman in a man's world.  As she tells Nick, she feels pain for her
daughter, since her daughter will face life in the same society she herself lives in. 
Her only hope of success and advancement will be to be a pretty little fool.  In other
words, to marry a wealthy man, as Daisy has had to do.  It's important to note that when
she rejects Gatsby at the end of the novel she rejects him because he asks more than she
is willing to give.  She won't announce that she has been pining for him all these years
and that she never loved Tom.  She doesn't reject him because of money--Gatsby has
plenty of that. 

Yet, she allows Gatsby to be blamed for
the accident that kills a human being and slinks away with Tom.  Nick the narrator also
interprets her character as a manipulator who enjoys messing with people's
lives. 

Like actuality, these two characters are mixtures
of immaturity and maturity, morality and immorality, intelligence and stupidity, good
and bad.   

As a whole, of course, the world of the novel
is not just.  Gatsby, who perhaps loves as all people should love, doesn't get the girl
and is killed for something he didn't do.  The Wilson's don't get what they deserve,
either--though they are anything but ideal characters, the consequences they suffer are
not just.  And Tom and Daisy walk away with their lives fully intact.  The novel is not
a fairy tale.  It's about as just as the real world. 

A culture of bacteria doubles after 4 hours. If there are 8 g of bacteria to start with, how many are there after 8 hours and after 10 hours?

The bacteria grow at an exponential rate. If there are n g
to begin with, after 4 hours there are 2n g. The number of bacteria at any moment of
time can be expressed as x(t) = x0*(2)^(t/4)

Initially the
mass of the bacteria is 8 g, x0 = 8.

After 8 hours there
would be 8*(2)^(8/4) = 8*2^2 = 8*4 = 32 gram.

After 10
hours there would be 8*2^(10/4) = 8*2^(2.5) = 45.25 g
approximately.

After 8 hours we have 32 g of
bacteria and after 10 hours we have 45.25 g of
bacteria.

What is the relationship between setting and theme ?

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Setting is
essential to theme. When an author sets out to tell a story, he or she is looking for a
vehicle for the message the story is to send. Think about powerful stories. There
settings are a big part of that power. Set a story in the wild west or on some distant
planet, and you are creating a world the reader can get caught up in. Even in more
realistic stories, a well-developed setting is crucial to developing the theme, because
in order to accept a theme a reader needs to be drawn in to the story.

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Please could you explain the presentation of internal conflict in Shakespeare's "Macbeth" in contrast to Browning's "Porphyria's lover"?

The protagonist in Shakespeare's Macbeth
reveals his self-divided psyche in a number of soliloquies and asides. The
inner conflict in Macbeth is between good and
evil, between the fair(conscience) and the
foul(ambition), colaterally operative in him. Even Lady Macbeth
becomes a victim of mental disorder because of the conflict between her natural feminine
self and the assumed masculine cruelty. In Browning's dramatic monologue,
Porphyria's Lover, the spaking persona is a guilt-stricken soul
divided between his possessive love for the woman and his lurking fear to be dispossed
of the same. The poem reads like a psycho-analytic confession of guilt of a person who
chooses to kill his beloved only to perpetuate his love. Shakespeare's play is modelled
on the Morality structure to dramatize the theme of
self-damnation.

Identify a quest in the film, Excalibur.

A quest in Boorman's film lies with Merlin to restore
order in the world and ensure that Arthur becomes king.  This is a process that starts
from birth, something that Merlin oversees.  Merlin is advising King Arthur to
understand his rightful place as king, in that "he and the land are one."  This is a
quest that represents the search for justice and the restoration of moral order.  It is
a quest that Merlin seeks to ensure that Arthur fulfills.  For his part, Arthur wants
answers and seeks to understand how he will be king, how he will fulfill what Merlin
says his destiny.  This represents a quest in a variety of ways.  The first way is that
Arthur does not know the outcome of the path upon which he is set.  He is filled with
doubt at moments, conviction at others.  Another way this represents a quest is that
Arthur must fulfill the condition of being "the once and future king."  It is a journey
in its own right.  Merlin and the use of Excalibur itself help him in this process.  The
quest to both assuming the rightful place of leadership and understanding what this
means in his own mindset is where a significant quest is located in the
film.

Can someone describe the three periods, historically, which led to the development of Modern English today? I got this question in Aspects of...

The three periods in the development of the English
language are Old English, Middle English and Modern
English.

Old English is comprised of many languages, mainly
from Germanic invaders that arrived in the northern area England. These invaders,
speaking Anglo-Frisian dialects, came from what is now northwest
Germany and the Netherlands, and these dialects became the basis of Old English.
Approximately one half of the words used in Modern English today are based on Old
English words, e.g., "be," "strong" and "water."

With the
French invasion by William the Conqueror (of Normandy) in 1066, English through enormous
changes. The upper-class Normans spoke French (a Romance language, Latin-based) and the
lower-class English did not: but the working classes (that supported the French) spoke
English. There was a "linguistic class division" until the 14th Century, when (in a
"linguistic shift") English once again became the language of England—however now the
language consisted of many French words that we still use today, such as "rendezvous" or
"connoisseur." This is what is referred to as Middle English. As with Old English, it
would still be very difficult for the modern English-speaking world to understand Middle
English.

As a side note, English literature became
"respectable" in the 1200s. Edward III was the first monarch to "address Parliament in
English." By the end of that century, even the royal court had switched from the Norman
French to Middle English. It was during the rule of Edward III that Geoffrey Chaucer,
considered by many to be "the father of English literature," was granted a position in
the King's household. His varied career assignments, which exposed him to many levels of
society, also exposed him to their languages as
well.

Chaucer is an especially important figure in the
development of the English language in that he developed the "resources of the English
language for literary purposes." At that time, English was still thought of as a "rough
peasant language," and Latin was the language of the Roman Catholic Church—in its
monasteries and "centers of learning" which were dominated by the
Church.

By
using [late Middle English] instead of the more fashionable French...he added
tremendously to its
prestige...

Literature to
come would be based upon the example of Chaucer's work, and this greatly
impacted the use of Middle English rather than French, appealing more to the
middle class. Chaucer's writing was popular, and those able to read it had to be able to
read Middle English. In other words...

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Chaucer is credited by some scholars as the first
author to demonstrate the artistic legitimacy of the vernacular Middle English rather
than French or Latin.

By the
15th Century, the English language changed yet again. (Because English continues to
change, it is known as a "living language.") This change is known as the Great
Vowel Shift. This brought English into the third stage, known as Modern
English. The results are first seen at that time...

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...by the spread of a standardised London-based
dialect in government and administration and by the standardising effect of
printing.

It is easy to see
this when reading Shakespeare: he writes poetically so the sentence structure is unusual
and some words are now considered archaic, but we can generally understand the language—
which continues to evolve today.

Additional
Source:

Adventures in English
Literature, Harcourt Brace Jovanovich Publishers: Orlando,
1985.

What is the polar form of the complex number 6-4i ?

A complex number a + ib can be written in the polar form
r*cis A where r is the absolute value of the complex number or sqrt (a^2 + b^2) and A  =
arc tan (y/x)

Here we have z = 6 -
4i.

r = sqrt (6^2 + 4^2) = sqrt (36 + 16) = 2*sqrt
13

A = arc tan (-4/6) = arc tan (-2/3) = -33.69
degrees

The polar form of the complex number
is 2*sqrt 13 cis -33.69

Please explain why there is no higher latitude than 90 degrees N and 90 degrees S. .

The answer to your question involves simple Euclidean
Geometry. The Earth is round (more or less) therefore if viewed on a flat surface, its
form would be a circle. A circle is comprised of 360 degrees. The Equator, which divides
the world North and South, is at the mid point of that circle, so this divides the
circle into two halves of 180 degrees each. In measuring latitude, one begins at the
Poles, which are at zero degrees and 180 degrees, similar to the Equator, only they are
drawn at right angles to the Equator itself. A line from the North Pole to the South
Pole, will, with the Equator, divide the world into four equal parts, each of which will
be 90 degrees on the arc created. So, if one measures from the North Pole at zero
degrees to the Equator, one measures 90 degrees. Again, when one measures from the South
Pole at 180 degrees to the equator, one again measures 90 degrees. If we treat the
Equator as zero degrees latitude, then the distance (or angle) to each pole is 90
degrees. North or South depends on the direction in which one is moving. Hope this
helps.

In The Color Purple, what did the mayor's wife ask Sophia, sparking the confrontation?

In The Color Purple, the mayor's wife
Miss Millie asks Sophia if she wants to be her maid, and this question sparks a
confrontation that lands Sophia in jail.  Sophia has brought Buster and the children out
grocery shopping, and in the store, she runs into Miss Millie.  Miss Millie thinks that
Sophia's children are cute, and she compliments them.  Then she asks Sophia if she wants
to work as her maid.  Sophia is insulted because she does not want to be the maid for
any white woman, so she refuses Miss Millie's request.  But the mayor thinks that Sophia
has been rude to his wife, so he slaps Sophia in front of everyone in the store.  Sophia
is known for not taking abuse from anyone, so she defends herself against the mayor. 
The police arrive and draw their guns, and Sophia is then beaten by them and dragged to
jail.  Ironically, Sophia ends up working as Miss Millie's maid to get out of the
jailhouse and serve her sentence.

How could a psychological (Freudian) theory be applied to The Great Gatsby?Trying to find as many literary theories as possible - thanks in advance.

In Chapter 1 of The Great Gatsby,
Nick sets himself up to be operating as the
novel's superego, the morality principle: "I’m inclined to
reserve all judgments."  He takes pride in not judging people, (lest we judge him).
 Really, it's a set-up and an excuse for him to be privy to
gossip.

Later, in Chapter 3, he distinguishes himself from
Jordan Baker, who he calls "incurably dishonest": "Dishonesty in a woman is a thing you
never blame deeply."  He ends the chapter thusly:

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Every one suspects himself of at least one of the
cardinal virtues, and this is mine: I am one of the few honest people that I have ever
known.

So, Jordan--because
she cheats and golf, is attracted to gossip, and lives carelessly--is the
id to Nick's
superego.

In fact, compared to
Nick, the book is full of ids: Tom (drinker, woman beater,
adulterer, racist, materialist), Gatsby (bootlegger, liar), Myrtle (adulterer), and
George (jealous murderer).  All women are temptresses, and all men are jealous
liars.

But, Nick somehow forgives Gatsby's
id-driven behavior because it is so romantic and boyish.
 Gatsby, therefore, reminds Nick of his earlier id stage as
a boy, when he dreamed of a girl and getting-rich-quick.  Nick buys into Gatsby's lies,
that his parents died and left him money.  It's the American (Oedipal)
Dream!

In reality, Nick has been operating in the
id-in-denial stage for his entire narration.  He is
complicit in most of the crimes in the novel, including slander.  He fails to take a
stand against Tom's racism, adultery, woman-beating, and scapegoating.  He arranges the
affair between Gatsby and Daisy (he's a pimp!), and he kisses on a notoriously dishonest
woman.  In the end, he denounces the Buchanans for hiding behind their money, but it's
tantamount to whining by that point.

What is different with the approach and style used by the author in The Killer Angels?Although not all of the facts are accurate and Shaara takes...

What makes The Killer
Angels different from other books--both fiction and non-fiction--about the
American Civil War and the Battle of Gettysburg is author Michael Shaara's imaginative
way of bringing the main characters to life through inventive dialogue and thought
processes. For the most part, no one knows what the characters--Lee, Longstreet,
Chamberlain, Pickett--were thinking in the days leading up to the battle. Shaara's
recreates what they may have been thinking during these climactic days, and he does so
in a realistic manner based on his thorough research of the men and the events that
transpired. Shaara's depiction of the three days of battle is highly accurate--aside
from the fictional conversations and descriptions of what each character was
thinking. For example, we know that Longstreet was against the final attack on the Union
center and tried to dissuade Lee from ordering it. What we don't know are the words he
spoke--to Lee and his close friend, Pickett. Shaara has taken liberty with this aspect
of his story, but his version and the words he puts in the mouths of the characters are
wholly believable and far better than any other literary examples. The characters come
to life through Shaara's pen in a way that they never have before, especially in the
case of some of the secondary players such as Armistead and Garnett, who died in the
final charge without leaving any personal documentation of the battle. These are just a
few examples of why Shaara was awarded the Pulitzer Prize for The Killer
Angels.

In To Kill a Mockingbird, what did Dolphus Raymond mean when he said, "You little folks won't tell on me now, will you?...""... It'd ruin my...

Dolphus Raymond is actually proud of his reputation as
being one of Maycomb's leading eccentrics. Rumor has it that the paper bag he carries
with a bottle inside actually disguises the whiskey that he drinks, and Dolphus does
nothing to discourage folks' opinions about him. He actually weaves about deliberately
to further strenghthen the validity of the rumor. However, when he meets up with Dill
and Scout outside the courthouse, he decides to share his little secret with his
innocent young friends. When Dolphus offers Dill a sip from the bottle to "settle your
stomach," he seems to take "delight in corrupting a child." Scout cautions
him.

"Dill,
you watch out now," I
warned.

But Dill quickly
discovered the real truth.

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Dill released the straws and grinned. "Scout,
it's nothing but
Coca-Cola."

Dolphus made them
promise not to reveal his secret, and when Scout asked him why he performed this
"sinful" act to create a less-than-honest impression, Dolphus answered
that

"I try to give 'em a reason, you see... they
could never, never understand that I live like I do because that's the way I want to
live."

In the final chapter of The Red Badge of Courage, why is Henry still haunted by his early actions?

The last chapter shows that even after his success in the
last big charge and his new-found prowess and experience in battle, Henry cannot shake
off his earlier cowardice when he first faced war. The duality of his response to his
success in the last battle: his feeling of pride but also this lingering sentiment of
cowardice, is what triggers his coming-of age as he is able to put the past behind him.
Note the way that, after the initial jubilation and swell of pride in his role in the
battle, he is haunted by old fears and actions:

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Nevertheless, the ghost of his flight from the
first engagement appeared to him and danced. There were small shoutings in his brain
about these matters. For a moment he blushed, and the light of his soul flickered with
shame.

In particular, he
reproaches himself for his abandoment of the tattered man. However, it is looking back
at both his achievements and his failures that allows Henry to put his life into proper
perspective.

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And at last his eyes seemed to be opened to some
new ways. He found that he could look back upon the brass and bombast of his earlier
gospels and see them truly. He was gleeful when he discovered that he despised
them.

Thus we can see that
the memory of Henry's earlier actions is not a negative thing. He has to integrate all
of his actions, both good and bad, into who he is, and when he is able to do this, he
realises that he is a man who has grown up.

Solve the expression [(a^2+b^2+c^2)*(a^2+b^2-c^2)]/(a^2+b^2-2ab), if the quadratic is x^2-5x+6=0,keeping in mind the general form of quadratic...

To compute the expression, we need the values of
coefficients of the quadratic a,b,c.

The general form of
the quadratic equation is ax^2 +bx + c =
0.

Comparing the given
equation with the general form, we'll identify a,b,c: a = 1, b = -5 and c =
6

We recognize at numerator of expression the product that
arises from the difference of 2 squares.

x^2 – y^2 =
(x-y)(x+y)

Putting a^2 + b^2 = x and c^2 = y, we'll
get:

[(a^2+b^2+c^2)*(a^2+b^2-c^2)] = (a^2 + b^2)^2 – c^4
(a^2 + b^2)^2 – c^4 = (1+25)^2 – 1296 = 676-1296 (a^2 + b^2)^2 – c^4  =
-620

We recognize at denominator a perfect square = (a-b)^2
(a-b)^2 = [1 – (-5)]^2 = (1+5)^2 = 36

The value of the expression
is:
(a^2+b^2+c^2)*(a^2+b^2-c^2)]/(a^2+b^2-2ab)=-620/36=-17.22
approx.

"How often has my spirit turned to thee"-How does this line express Wordsworth's idea of spiritual rejuvenation in "Tintern Abbey?"

In "Lines Composed a Few Miles Above Tintern Abbey" by
William Wordsworth, the author begins by saying "how long it has been." However, he has
finally returned to be united with this piece of "heaven on earth." The the speaker goes
on to describe situations before his return when he was desperately
in need of the "rejuvenation" which comes from this lovely natural retreat that could
fill his soul and make him feel complete.

When was he in
need? In lonely rooms or in the middle of a noisy town or city. In this case, he
remembered the area near the abbey and the blood started to move along his heart and
into his mind, giving him a sense of "tranquil restoration." His memories of this place
lightened the load of cares he carried with him throughout a world that made no sense to
him. At such times he was so comforted by his thoughts of this place that it was as if
his life was suspended (even the motion of his blood)—all that existed was his "living
soul"—when the unimportant had been brushed aside, the world was there as humans are
meant to feel it: with harmony and "the deep power of
joy..."

The speaker looked to nature when surrounded by
both by darkness and "joyless daylight;" and when he had been
"fretful" (or worried) and the "fever of the world" had hampered "the beatings of my
heart," again he turned to the peace at Tintern Abbey.

He
writes twice in the same stanza, lines that are very
similar:

How
oft, in spirit, have I turned to thee...

How often has my
spirit turned to thee!

The
fact that Wordsworth repeats the sentiment may simply reinforce the never-ending way
that nature repeatedly heals him. The images he recalls calm and restore. And what is
most important is that he need not be there in body—but simply in
spirit—and he will be rejuvenated. In other words, when he is away and misses this place
of solace, the memories are so strong, that across the miles and the
years, he can experience "spiritual rejuvenation" whenever he has need of
it—if only he will shut out the rest of the world and return to Tintern Abbey in some
way.

So Wordsworth share his secret with the world—if the
individual will put aside the raging world and turn to a similar place of peace, whether
in spirit or body, the same will come to him (or
her).