Is W.H. Auden really a modernist poet?

Absolutely. I think actually that W. H. Auden is one of
the first names that springs to mind when I think of the word Modernism. Let us remember
that it was Auden that entitled Modernism "The Age of Anxiety" which came to define the
spirit of Modernism so strongly and the way that the aftermath of World War I raised
serious existential questions about humanity and notions such as "civilisation" and
"progress" which are captured by Modernist writers.

Many
critics argue that Auden created poetry that it is difficult to separate. He was
responsible for the creation of a body of work rather than separate entities, which
created an "Audenesque" atmosphere that allowed the thriving of certain ideas and
concepts that we relate to Modernism: the seeming anarchic chaos that descended upon the
world after Victorian stability and the widespread disenchantment with human
institutions.

Discuss how T.S.Eliot depicts economic depression and consequent despair of the people in "Preludes."

Eliot's primary target in his descriptions of urban life
is to avoid the Romanticized images that have been present for so long.  He seeks to
create a reality that mirrors any large urban setting, and conveys the sense of
hopelessness and despair that accompanies the alienation present in such setting.  There
is little sun or redemption present.  Instead, Eliot presents a scenario of dingy and
wet streets, clouds present.  The image of “the burnt-out ends of smoky days” helps to
convey the basic idea of extinguished efforts and ruptured hope, something similar to an
economic depression in its hollowness and sense of empty.  The depiction of city life
with its smells and dwellers is one where there is a meandering loss of hope, unable to
determine where it ends or begins.  This is similar to an economic depression, where the
effects are far reaching and impossible to fully ascertain where beginning and end lie. 
In this depiction, Eliot links the despair of economic depression with modern urban
life.

What is the structure of Pride and Prejudice?

In Pride and Prejudice, the reader is
captivated by the love story between Jane and Mr. Bingley as well of the love-hate
relationship between Elizabeth and Mr. Darcy. The strucutre of the novel is simple,
involving witty dialogue. The author has a keen eye for analysis of characters.
Befitting to its name, Pride and Prejudice is an analysis of simple
yet complex characters. Elizabeth is simply a character who knows what she doesn't. She
does not want Mr. Darcy or does she? Austen's love story evolves throughout the story.
What seems to be a simple matter of the heart becomes an analysis of complex themes such
as pride and prejudice. The title is well stated in that the complex themes of pride and
prejudice are conveyed through the simple
strucure:

The novel has a very simple structure
(basically the progenitor of the romance novel): two people should be together on the
first page and end up together on the last, with various complications to fill up the
rest of the book. It's in the complications where the qualities most come out that set
Austen apart from her latter-day followers: witty dialogue, a sense of the brutality of
individual character, and a keen, analytical eye for rivulets of emotion running through
the smooth-surfaced stream of everyday
events.

After reading Austen's Pride and
Prejudice, the reader is completely satisfied with the outcome, but it is the journey
that creates suspense for the reader:

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Irony, or the contrast between the expected and
the actual, is the chief literary device Austen uses to comment on the small, enclosed
world of the English gentry in Pride and Prejudice. Her irony takes
different forms for different
characters.

Most
respectfully, Austen's writes about the simple theme of family life with all its
complexities:

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Austen's works are models of restraint. Instead
of the wild forces of nature, Austen concentrates on family life in small English towns.
Instead of rampant emotionalism, Austen emphasizes a balance between reason and
emotion.

Comment on the role of Willy Harris in A Raisin in the Sun.

Willy Harris is actually an incredibly important character
to the play overall, because it is through his deceit and treachery and the way that he
runs away with the money that Walter gives him to set up a liquor store that Walter is
able to finally find it within himself and this failure to become a man and take a stand
for his whole family against Lindner. Note how, in the final scene, before Lindner
enters, Walter looks as if he is going to take the money that Lindner is offering. In
spite of Mama's words that nobody in their family had ever "let nobody pay 'em no money
that was a way of telling us we wasn't fit to walk the earth," note what Walter says and
how he justifies his position:

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I didn't make this world! It was give to me this
way! Hell, yes, I want me some yachts someday! Yes, I want to hang some real pearls
'round my wife's neck. Ain't she supposed to wear no pearls? Somebody tell me--tell me,
who decides which women is suppose to wear pearls in this world. I tell you I am a
man--and I think my wife should wear some pearls in this
world!

Interestingly, in
spite of this speech and the unfairness of the world that it points towards, the final
realisation of Walter that he is a man, in spite of his mistake and foolish decision to
give the money to Willy Harris, is what gives him the power to reject Lindner's offer
and to assume the role of family head that Mama has recently relinquished. Thus we can
see that, although Willy Harris never actually appears in the play, he nonetheless plays
an incredibly important role.

How does Dickens create mood in the scene when Pip returns to Satis House in Great Expectations?

There are actually a few occasions where Pip returns to
Satis House after his discovery of the great expectations that he has. I assume you are
refering to the final chapter of the book, where Pip returns after the end of his
relationship with Magwitch and the subsequent loss of his
expectations.

It is important that we realise mood is often
created by setting, and so it is always vital with such questions to pay attention to
setting. Note how Dickens creates a peaceful mood in this scene, in spite of a mist that
lingers on:

A
cold silvery mist had veiled the afternoon, and the moon was not yet up to scatter it.
But, the stars were shining beyond the mist, and the moon was coming, and the evening
was not dark. I could trace out where every part of the old house had been, and where
the brewery had been, and where the gates, and where the
casks.

The evening is "not
dark," which makes sure that the mood Dickens creates here is not an oppressive or scary
one. Pip has returned for reasons of nostalgia, and it is clear from the way that he is
able to see Satis House as it once was in spite of the massive changes that he remembers
it so well as being part of a crucial stage of his life. Perhaps the most important
piece of description we are given, that incidentally effectively foreshadows a happy
ending for Estella and Pip, concerns the detail of the
ivy:

The
cleared space had been enclosed with a rough fence, and looking over it, I saw that some
of the old ivy had struck root anew, and was growing green on low quiet mounds of
ruin.

Of course, this detail
is incredibly symbolic, as it refers to the desolation caused by Miss Havisham in both
Pip's and Estella's life, but it also refers to the possibility of new growth, thus
giving this final scene a mood that is optimistic and hopeful.

What is definition of poetry according to Marianne Moore's poem "Poetry"?

In her interesting dialectical poem "Poetry," arranged in
five stanzas like an essay, Marianne Moore declares first that she dislikes poetry, but
it is really "all this fiddle" about poetry for which Moore has a distaste.  Poetry has
a place "for the genuine" she declares in her thesis statement of the first
stanza. 

With a tone that is both argumentative and witty,
Moore continues her dialectic in which she points out that "half-poets" who overanalyze
things and try to force meanings upon phenomena are the ones that render poetry
ingenuine. For, it is only when the poet creates "imaginary gardens with real toads in
them" that poetry truly exists.  The combination of the imaginary with reality is what
constitutes true poetry:

In the meantime, if you demand on
the one hand,
   the raw material of poetry in
      all its rawness
and
      that which is on the other hand
         genuine, you are
interested in poetry.

When poetry focuses on the genuine,
and moves away from "all this fiddle," real meaning is conveyed. Thus, poetic devices
such as allusions are used not to be unintelligible, but to reconfigure truth and
provide the "literal of the imagination" that is above
triviality.

Please discuss racism that occurred specifically in Alabama in the 1920s.

Racism was at a fever pitch in the 1920s, and in Alabama
it was focused mainly against African-Americans, although smaller numbers of immigrants
and Jews faced widespread discrimination both in Alabama and
elsewhere.

The 1920s saw a resurgence of the KKK, largely
under the leadership of former Methodist Reverend William Joseph Simmons.  The movie
The Birth of a Nation was also very popular during this time, and
glorified the KKK as protectors of the white race.  Jim Crow segregation was the law of
the land, and in Alabama, black sharecroppers and cotton mill workers labored in
poverty, often for "company towns" and under contracts that required they buy all of
their goods from the land or company owners, at inflated
prices.

By 1924, there were 115,000 official members of the
Klan in Alabama alone, and they were responsible for getting numerous local officials,
judges, senators and even some governors elected during that
time.

What effect does the corruption of innocence and the exploration of despair and fear in The Turn of the Screw have upon the reader?

I would want to argue that such Gothic conventions as you
have highlighted greatly enhance the feeling of terror that the reader experiences
through reading this excellent ghost story. Clearly, the way that Miles and Flora are
presented as innocents who have been corrupted by the evil Miss Jessel and Peter Quint,
though the nature of that corruption is left undisclosed, greatly enhances the shocking
nature of the story, whilst the appearances of the ghosts and the reactions they evoke
in the narrator cause us in turn to become terrified. Note the way in which the narrator
responds the second time she sees the ghost of Peter Quint in Chapter Four. The
suddenness of his appearance, and the picture of him standing on the other side of the
window and peering in, is terrible enough, but this is not
all:

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Something, however, happened this time that had
not happened before; his stare into my face, through the glass and across the room was
as deep and hard as then, but it quitted me for a moment during which I could still
watch it, see it fix successively several other things. On the spot there came ot me the
added shock of a certitude that it was not for me he had come there. He had come for
someone else.

The terrifying
appearance of this phantom is thus clearly linked to the way that he has come for a
purpose, and that purpose is obviously related to the children and his possession of
them or the malign influence that he has upon them. Connecting such a terrifying figure
to such innocent "angels" and the horror experienced by the narrator causes us, in turn,
to experience the same horror.

What is the role of light in "Dusk" by Saki?

In the short story "Dusk," the role of light is that
things can be seen much more clearly in the light. In the dimness of dusk, things are
not as clear. With nightfall approaching, the defeat in man comes crawling
out.

In this short story, the dimness of dusk causes the
man on the bench to be skeptical, for he believes that dusk brings out the defeat in
mankind. The man on the bench is skeptical of the two men that sit on the bench next to
him.

While he may have been wrong about the first man's
situation, he definitely was right in being skeptical of the second man's story. The
second man was a true con artist who could not produce a bar of soap to collaborate his
story of not knowing the name of his hotel.

When the man on
the bench finds a bar of soap under the bench, he is a bit chagrined or embarrassed that
he did not believe the con man's story. Chasing the con man and giving him money as the
man on the bench does so is his only mistake.

When the
first gentleman comes looking for his bar of soap, the man on the bench learns a lesson.
He should have trusted his instincts. Dusk brings out the type of man of which to be
skeptical. Of course, it is too late now for the man on the bench will never see
repayment of the money he gave the con artist.

Dusk is a
time when those of lesser reputation begin crawling about. It is a time to be skeptical
and aware. The man on the bench fell for a con man and loses precious investment in the
life of a con artist. Ironically, the man on the bench was quite aware of such a type to
come crawling out at dusk.

What is Winston's biggest fear in meeting with the girl in Part 2 Chapter 1 of 1984?

In this chapter, Winston has been trying to figure out how
to get a chance to meet with the girl (we will later find out that her name is Julia). 
He no longer thinks that she is a spy for the Party (like he did before this chapter. 
However, he is still afraid when he is trying to meet her.  His fear is that she might
have changed her mind so that she is no longer interested in him.  Orwell tells
us

...but now a terrible fear had taken possession of him.
A week had gone by since she had first approached him. She would have changed her mind,
she must have changed her mind! It was impossible that this affair should end
successfully; such things did not happen in real
life.

There are two ways to interpret this.  First, he
might simply be afraid for his life.  He might fear that she will betray him and he will
be killed.  However, you can also argue that he is experiencing a more normal fear of
rejection and embarassment.  He might just be worried about how stupid he'll feel if he
gets "shot down."

So, his greatest fear is that the girl is
no longer interested in him.  He may be afraid for his life or he may be afraid of
looking stupid, or both.

What is Lord Capulet's mood at the beginning of Act I scene 5 of Romeo and Juliet?

Let us remember what happens in this scene of the amazing
tragedy of Romeo and Juliet. This scene shows us the banquet that
Lord Capulet is holding at his house and that Romeo and Benvolio are going to crash. It
is thus that we are introduced to a very merry Lord Capulet. He is shown to offer a warm
welcome to all of his guests and to try and induce the appropriate tone of merriment and
festivity. Note how he is introduced:

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Welcome, gentleman! Ladies that have their
toes

Unplagued with corns will walk a bout with
you.

Ah, my mistresses, which of you
all

Will now deny to
dance?

He thus encourages his
guests to partake of the opportunity to dance and to make merry. His happy mood will
even tolerate the presence of Romeo, and he acts to swiftly quash any attempts of his
nephew, Tybalt, to attack Romeo and thus ruin the party. We see a very different
character in this scene than we do at the beginning of the play.

Why does Injun Joe want revenge on the widow in "The Adventures of Tom Sawyer"?

The Widow Douglas had been married to Judge Douglas while
he was still alive and active. As the judge in the town court, he had been involved with
Injun Joe on numerous occasions over the years when Injun Joe had been arrested and
brought before the court for one offense or another. He doesn't have any particular
grievance with the Widow herself, but has great reason, in his perception, to be upset
with the Judge. Injun Joe plans to take revenge on the widow because the Judge is no
longer alive and able to pay for his insults to Joe's person and
character.

He
had me horsewhipped!-horsewhipped in front of the jail, like a
nigger!-with all the town looking on! HORSEWHIPPED!-do you understand? He took advantage
of me and died. But I'll take it out of
her.

In Macbeth how does Shakespeare challenge the traditional relationship between gender and power?I have to write a 1000 word essay on this for...

I like your initial ideas. However, I would argue that in
a sense, you could probably stretch your point on Lady Macbeth to two points, just
focusing on the way that she responds to news of the prophecy of the witches and how she
acts to secure her husband's ascension to the throne. Clearly, there is plenty of
material you can use in Act I and Act II to talk about this. In particular, you will
want to focus on the way that Lady Macbeth gives orders and advice to her husband,
rather than the other way round. One order she gives in Act I scene 5 is incredibly
relevant to the rest of the play:

readability="12">

To beguile the
time,

Look like the time; bear welcome in your
eye,

Your hand, your tonge: look like th'innocent
flower,

But be the serpent
under't.

Deception is
something that Lady Macbeth rather than her husband seems to be a master of, as is shown
in the next scene when she is able to play the role of the welcoming hostess whilst
plotting to kill Duncan as he stays underneath her roof. You will want to talk about the
way that Lady Macbeth is the one who comes up with the plot and then has to persuade her
husband to carry it through in Act I scene 7, and then has to finish off the job that he
only left half done by smearing the grooms with Duncan's blood. At every stage it is she
who is the driving force behind Duncan's murder and at every stage it is Macbeth who is
the weaker party. Exploring this in greater detail should give you more than enough to
write the entire essay on. Good luck!

Sam's line, "it would mean nothing has been learnt in here this afternoon, and there was a hell of a lot of teaching going on," suggests that...

Fugard's powerful play Master Harold and the Boys concerns
relationships--relationships between blacks and whites in apartheid South Africa as well
as father/ son relationship. Halle is taught several lessons during this play.  Whether
or not he actually learns them is up to him.

1.  Becoming a
man demands personal integrity; it is not a given.  Just because Hally can release his
anger toward his father on his black friend Sam does not mean that he should.  Making
Sam call him "master" is the mentality of a little boy, as Sam tells
him.

2.  Hally realizes that he does indeed love his father
even though he is still very much ashamed of him.  His father is alcoholic growing
through rehab.  Hally does not want his father to return home where he will embarrass
his son once again.  But he acknowledges through Sam's help that he always loved his
father.

3.  The sins of the father are passed down to the
son.  Because Hally's father was a poor father, Halle never learned how to be a
man.

4. Once the race card is played, there is no going
back.  Once Hally asserts himself as the master of Sam and Willie, their relationship is
forever changed.  The friendship is damaged.

5.  It is
possible to be a better man than one's father.  Hally has every right to feel contempt
for his father, but a better man would treat his father with respect rather than
contempt, not because his father deserves respect but because it is the right thing to
do.

6. Hally is shown that although he has had an education
superior to that of Sam's, he is not wiser.  Hally is very much ignorant as to the
inequalities of apartheid and the disadvantages that Sam has undergone as a result of
his race.  Sam informs Hally that his favorite memory of their flying a kite together
was brought to end, not because Sam had to go back to work, but because Hally had sat
down on a "whites only" bench, and that Sam could not sit with
him.

What is the basic idea of authority in Jean Jacque Rousseau's social contract?

Rousseau believed that the only relationship in society
that existed in a state of natural authority was the relationship of parent to child,
this because the parent was responsible for the survival of the child.  Legitimate
polical authority, according to Rousseau, derives only from the social contract, which
he believed to be more important than any individual that might agree to the
contract. In what might be construed as a contradictory claim, he also believed that
people needn't necessarily follow the authority of the social contract blindly; in other
words, people were free to do whatever was in their power to overcome the authority if
it was necessary to do so and they could manage to get it done.  Rousseau is considered
one of the great thinkers of the Enlightenment period of Europe, and had is
also remembered as a great influence on many of the French during the time of the
Revolution.

Light and dark imagery in Romeo and Juliet Act 2 Scene 2?the scene is started from ay me..

The scene begins when Romeo speaks about the rising sun
and compares Juliet to it and says that the moon is 'envious' of Juliet's beauty.
Juliet is described as a 'bright angel' so light is being seen as something
positive.

However, later in the scene darkness is described
as 'night's cloak' which means that Romeo is using it to hide so he can enter the
Capulet's grounds. In this way darkness could be seen as something useful. Juliet also
says that darkness is useful as it hides the fact that she blushes when Romeo talks to
her; 'the mask of night is on my face.'

Light is also used
in a different way when Juliet says 'And not impute this yielding to light love' which
means she does not want Romeo to think she is taking what is happening
lightly.

The coming of the light at the end of the scene
marks the end of their exchange and we are left to wonder on what will happen
next.

What are some examples of puns and allusions Duke Orsino uses in Shakespeare's Twelfth Night?

A pun is a play on words
using two words that have different meanings but sound alike (Dr. Wheeler, title="Dr. Wheeler, "literary Terms and Conditions," Carson-Newman
College, web.cn.edu" href="http://web.cn.edu/kwheeler/lit_terms_P.html">"Literary
Terms and Definitions"). One pun Duke Orsino speaks in Twelfth
Night can actually be found in the very first
scene. Orsino's servant Curio suggests Orsino go hunting to try and
distract him from pining over Olivia. Specifically, Curio suggests that Orsino go hunt
"[t]he hart," which is another word for deer (I.i.18). However, in his next lines,
Orsino makes a pun out of the word
hart by interpreting it to mean
heart, as we see in his line, "Why, so
I do, the noblest that I have," which is to say that he already does engage in hunting
the "hart," the "noblest" heart that he has (19). He continues his pun further to
explain that the moment he laid eyes on Olivia was the moment that his heart became
hunted like a deer, hunted his own desires that he likens to cruel hunting
dogs.

This very same speech in which Orsino puns
hart and heart is actually also an
example of an allusion. An allusion is when one author
refers to another work of literature by referring to either a "person, place, event, or
another passage" (Dr. Wheeler). Any references to Greek or Roman
mythology serve as allusions because both the Greeks and Romans recorded
their mythologies in writing. Orsino's speech in which he likens himself to a deer being
hunted is actually an allusion to a Greek myth. The myth is
the story of the hunter Actaeon who once while on a hunt caught sight of the goddess
Artemis bathing in the woods. As punishment, she turned him into a deer to be hunted and
torn asunder by fifty hounds ( href="http://www.shakespeare-online.com/plays/twn_1_1.html">Shakespeare
Online). In Orsino's speech, Olivia is being represented by
Artemis, and Orsino is representing himself as the hunted
hunter Actaeon, making it a perfect allusion to Greek
mythology.

why the color of leaf is green?no

Chlorophyll is a pigment found in the leaves of most
plants, specifically in the chloroplast, a specialized part of a leaf cell. When a leaf
is exposed to sunlight, the chlorophyll absorbs red and blue wavelengths of energy and
reflects the green wavelengths. This is the actual reason for the leaves appearing to
have a green color. In the autumn, as the chlorophyll ceases to reflect the green, the
leaves then stop having a green color. Other pigments found in leaves are then able to
reflect other colors, such as the oranges, reds, and browns observed in fall
leaves.

As the chlorophyll absorbs the energy from the red
and blue wavelengths, that energy begins the process of photosynthesis within the
cells.

Please analyze the quote below from Oedipus Rex: Jocasta: "For the love of the gods, if you love your life, give up this search! My...

This particular quote is vitally important.  At a point
where Oedipus has committed himself to finding out the truth in order to help his
citizens of Thebes, Jocasta approaches him to stop.  It is significant because it is one
of the first moments where Oedipus' free will, shown to be unchecked and unlimited, is
sought to be restrained by someone in his inner circle.  Jocasta approaches him as both
wife and mother, someone in the position as an advisor for him to stop.  It is
significant because previous attempts to guide Oedipus off his quest have been rebuffed
as outsiders who failed to understand him.  Jocasta approaches him as a wife, and
actually as mother.  She understands him all too well and her words are foreshadowing
that his quest will result in consequences that are disastrous.  It marks the first time
that Oedipus has to acknowledge what someone is saying that contradicts the spirit of
free will and independence that has marked his character.  While he does not heed her
words, on some level, they cast a figment of doubt, something that is tragically
confirmed at the drama's end.

What factors allowed Christianity to spread within the Roman Empire?

Several factors allowed Christianity to spread within the
Roman Empire.

The main cause of its spread was that it was an
evangelical religion, sending missionaries across the Roman Empire. The decision, made
first by Peter and then expanded upon by Paul, to preach to gentiles as well as Jews and
not to require gentile converts to follow Jewish law increased its
appeal.

The Pax Romana, as well as extensive road and shipping network
of the Roman Empire, facilitated the physical circulation of missionaries and letters,
and thus was another enabling condition for the spread of
Christianity.

Finally, polytheism was a system in which new gods were
normally introduced freely and their worship allowed. Where Christianity, as Judaism
before it, ran into trouble was not in worshipping a new God, but in insisting that this
was the only God and refusing to worship the state gods and deified emperor, an act that
was viewed as a form of treason, until Constantine who legalized
Christianity.

What conditions led to the Harlem Renaissance?

A major element which led to the Harlem Renaissance was
the Great Migration during and shortly after World War I when large numbers of Black
Americans moved to the North.Between 1910-1920, the Southeast lost 323,000 blacks; five
percent of the native black population. By the end of 1920, 13% of the black population
had moved north. Between 1910 and 1930, over one million blacks moved North. With this
blacks slowly but surely gained political leverage by concentrating in large cities in
states with many electoral votes. In the North they could speak and act more freely than
in the North. Along with political activity came a spirit of protest that was expressed
in a literary and artistic movement which became known as the Harlem
Renaissance. The first significant writer of the time was Claude McKay, a
Jamaican immigrant, who wrote a collection of poems known as Harlem
Shadows. Among the poems were works such as "If We Must Die," and "To the
White Fiends." Other writers included: Langston Hughes, Zoral Neale Hurston, and James
Weldon Johnson who portrayed the black mecca in Black Manhattan. Johnson is perhaps best
known as the author of "Lift Every Voice."

A
substantial element was a movement known as Negro Nationalism, largely the work of
Marcus Garvey, which exalted black cultural expression. All of this, or course, was part
of the great upheaval of the Roaring Twenties when all previous standards were questions
and the New Woman appeared as well as the "New Negro" to use the phrase of the
time.

Calculate the area of the triangle with the following points:(-4, -10), (1, -3), (-2, -5)

Given the vertices's of the triangle are: (-4, -10) (1,-3)
and (-2,-5)

We will find the lnegth of the sides using the
distance between two points formula.

==> D1 = sqrt(
-4-1)62 + (-10+3)^2 = sqrt( 25 + 49) = sqrt(74)=
8.6

==> D2 = sqrt( -4+2)^2 + (-10+5)^2 = sqrt( 4 +
25) = sqrt(29)= 5.39

==> D3 = sqrt( 1+2)^2 +
(-3+5)^2 = sqrt( 9 + 4) = sqrt13=3.61

Now we will find the
perimeter.

==> P = 8.6 + 5.39 + 3.61 =
 17.6

==> s = p/2 = 17.6/2 =
8.8

Now we will find the
area.

==> A = sqrt s( s-a)(s-b)
(s-c)

==> A = sqrt( 8.8 * 5.19 * 3.41 *
0.2)

==> A = sqrt( 31.15) =
5.6

Then the area of the triangle is 5.6
square units ( approx.)

Explain and analyse the following quote from Pride and Prejudice."He is also handsome," replied Elizabeth, "which a young man ought likewise to be,...

This quote is said by Lizzie to her sister, Jane, at the
beginning of Chapter 4, after Jane begins to talk to Lizzie about how much she admires
Mr. Bingley after their first meeting. We see hear Lizzie displaying her typical playful
humour and flippancy in the way she responds to the praise that the enthusiastic Jane
pours upon Mr. Bingley. Note what Jane says about
him:

"He is
just what a young man ought to be," said she, "sensible, good-humoured, lively; and I
never saw such happy manners!--so much ease, with such perfect good
breeding!"

Obviously, Lizzie
feels that Jane is getting rather carried away with her description of Mr. Bingley with
the high praise she heaps upon him, and her response is designed to poke gentle fun at
her sister and her evident admiration for Mr. Bingley. By saying that "his character is
therefore complete" because he is handsome, she makes fun of the way in which men were
viewed by women during their time and also exaggerates her response by presenting Mr.
Bingley as a "complete" character. In reality, they have only met him once, and in a
novel that is about the dangers of first impressions, this should make us question
whether there is any deficiency in Mr. Bingley's supposedly perfect
character.

Solve for p: (4p-1)^2 = -5(4p-1)-6

(4p-1)^2 = -5(4p-1) -6

First
we will open the brackets.

==> 16p^2 - 8p + 1 = -20p
+ 5 - 6

Now we will combine like
terms.

==> 16p^2 +12p +2 =
0

Now we will divide by
2.

==> 8p + 6p + 1 =
0

Now we will find the roots using the quadratic
formula.

==> p1 = (-6 + sqrt( 36-32) / 16 = ( -6 +
2)/16 = -4/16 = -1/4

==> p2 = (-6-2)/16) = -8/16 =
-1/2

Then we have two values for
P.

==> p= { -1/2,
-1/4)

What is t if x(x+1)^(2n+1)+(t-1)x^n is divided by x^2+x+1?

If x(x+1)^(2n+1)+(t-1)x^n is divided by x^2+x+1, then the
roots of  x^2+x+1 cancel the expression
x(x+1)^(2n+1)+(t-1)x^n.

The roots of x^2+x+1 are found when
x^2+x+1 = 0.

We'll multiply x^2+x+1 by x -
1:

(x^2+x+1)(x-1) = 0

We'll
get the difference of cubes:

x^3 - 1 = 0 => x^3 =
1

We'll write the factor x + 1 = -x^2 (from x^2+x+1 =
0)

Replacing x + 1 by - x^2, the polynomial will
become:

x*(-x^2)^2n*(-x^2) + (t-1)*x^n =
0

-x*x^2 = -x^3 = -1

-1*x^4n +
(t-1)*x^n = 0

But x^4n =
(x^3n)*(x^n)

-(x^3n)*(x^n) + (t-1)*x^n =
0

-[(x^3)^n]*(x^n) + (t-1)*x^n =
0

We'll factorize by
x^n:

x^n*(-1 + t - 1) = 0

t -
2 = 0

t = 2

The
value of t, when x(x+1)^(2n+1)+(t-1)x^n is divided by x^2+x+1, is t =
2.

Find traces of other parts of Macbeth in what Lady Macbeth says while sleepwalking.

The famous sleepwalking scene of course occurs in Act V
scene 1, and in it Shakespeare is careful to make Lady Macbeth allude to all of
Macbeth's crimes up until this point in the play, clearly admitting his and her own
culpability. Of course, throughout her speech, she is normally depicted as desperately
trying to wash her hands, attempting to clean the blood from them that still
metaphorically remains as a symbol of her guilt for the violence she herself has
perpetrated.

She thus makes reference to Duncan's death,
saying "Yet who would have thought the old man to have had so much blood in him?"
Likewise, the slaughter of the Macduff family is mentioned: "The Thane of Fife had a
wife: where is she now?" Banquo's murder is also refered to: "I tell you again, Banquo's
buried: he cannot come out on's grave." Lastly, the sound of the knocking at the gates
after Duncan's murder is mentioned as well:

readability="13">

To bed, to bed: there's knocking at the gate.
Come, come, come, come, give me your hand. What'd sone cannot be undone. To bed, to bed,
to bed.

So, in one scene,
through the speech of Lady Macbeth, Macbeth is linked definitively to all of the crimes
that he has committed. At the same time, the way in which Lady Macbeth is haunted by her
own involvement and what her husband has done is clearly demonstrated, giving the Doctor
and the Gentlewoman proof enough of the devilry that has gone
on.

Write about social realism in Death of a Salesman.

While not immediately considered to be a social realist, I
think that Miller fits the conditions of the social realism movement quite effectively. 
This is seen in Willy.  The depiction of his protagonist is one where Willy is an
example of how not to live one's life.  Yet the challenge, as Miller himself noted, is
that the conception of the American Dream and its emphasis on materialism compels
individuals to not have any choice:

readability="13">

...the central matrix of this play is ... what
most people are up against in their lives.... they were seeing themselves, not because
Willy is a salesman, but the situation in which he stood and to which he was reacting,
and which was reacting against him, was probably the central situation of contemporary
civilization. It is that we are struggling with forces that are far greater than we can
handle, with no equipment to make anything mean
anything.

In Miller's own
configuration, modernity has configured a setting where individuals, despite having
choice and freedom, do exactly what they do not want to do.  In the pursuit of dreams
and material realities where there are greater chances of failures than successes and
where accompishment is never really recognized, Miller is calling attention to a problem
that he believes requires changing.  In depicting Willy in the manner he does, Miller is
demanding for individuals to visualize the world as it should be as opposed to what it
is.  In this, I think that a heavy emphasis on social realism is present.  Willy dies as
"someone," though it is not as he imagines.  For the social realist, Willy dies as a
symbol of how materialism can ruin lives and any "dream" built upon such a firmament is
fragile beyond belief.  Miller is calling for this state of affairs to change, and is
representative of social realism.

You do as Calpurnia tells you, you do as I tell you and as long as your aunt's in this house, you will do as she tells you. why is this statment a...

This statement confuses Scout for a couple of different
reasons. Foremost, Atticus has been raising Scout to become a free-spirited and
independent young lady, encouraging her curiosity and her love of learning. By demanding
compliance with adult authority, Atticus is seemingly refuting his lessons in thinking
for oneself and similar notions.

Secondly, Scout is a very
perceptive young lady, and she realizes there is some degree of friction between Atticus
and Aunt Alexandra -- while Atticus believes that children should be allowed to explore
their own nature and play, Aunt Alexandra believes they should be seen but not heard.
She is especially fond of manners and courtly behavior, and Scout, in Alexandra's
opinion, has gone without both. When Atticus tells Scout to obey these authority
figures, it conflicts with the previous perceptions that Scout has
established.

In Tuesdays with Morrie what does Morrie mean about people buliding their own little subculture?

Earlier in this section, Morrie is talking about how he
believes in the inherent good of people, but admits that society is what destroys them. 
He argues that humans become "mean" when they are threatened, and gives the example of
how money drives our culture.  When it comes to making money and keeping it, and the
possibility of losing it, he basically explains that people only look out for
themselves.

The "subculture" he advises Mitch to build for
himself then, is one that obeys society's basic rules, but does not allow society to
deem what is important for individuals.  Essentially, he's telling Mitch to create his
own values or his own set of things which are important to him.  He specifically advises
him against letting what is popular among everyone else be the determining factor for
what is important.  He then uses himself as an example of someone who has been able to
do just that.

readability="12">

Here's what I mean by building your own little
subculture," Morrie said. "I don't mean you disregard every rule of your community. I
don't go around naked, for example. I don't run through red lights. The little things, I
can obey. But the big things- how we think, what we value-those you must choose
yourself. You can't let anyone-or any society-determine those for you. 
(155)

Explain the actual/hidden meaning of the sentence particularly the italics part.In the vestibule below was a letter box in which no letter would...

O. Henry is describing a building in a poor part of town
where the rents are low. No letter would go into the letter box (or mailbox) either
because Jim and Della never received any letters or because the letter box was so old
and dilapidated that the little door could not be opened. Perhaps the key to the box had
been lost long ago and the owner had never bothered to replace it. The same applies to
the electric button, which was probably right below the letter box. In a building like
that the little amenities such as electric buttons get out of order and are never fixed.
There is no manager or maintenance man on the premises. If anybody comes to visit the
Youngs, the visitor will have to find their apartment and knock on the door. Little
details like this show O. Henry's sensitive observation of details and his skill at
making deductions from them. Another example of his talent in this regard is his
description of "a pier glass in an $8 flat."

readability="9">

Perhaps you have seen a pier glass in an $8 flat.
A very thin and very agile person may, by observing his reflection in a rapid sequence
of longitudinal strips, obtain a fairly accurate conception of his
looks.

The fancy calling card
bearing the engraved name Mr. James Dillingham Young is intended to show that the Youngs
have come down in the world. Jim had been earning $30 a week but was earning
substantially less now, possibly because of a recession or depression. The $8 rent would
mean $8 per week.

O. Henry had had a hard life and had
undoubtedly lived in such flats himself. He was living in a cheap hotel in Manhattan at
the time of his death in 1910. His writing is characterized by compassion for the
underprivileged, who were the people he knew best.

Determine the function f(x) if f'(x)=15x^14+36x^5-2x^3?

To determine the primitive of the original function, we'll
have to determine te indefinite integral of the expression of
derivative.

We'll determine the indefinite integral
of

f'(x)=15x^14+36x^5-2x^3

Int
f'(x)dx = f(x) + C

Int
(15x^14+36x^5-2x^3)dx

We'll apply the property of the
indefinite integral, to be additive:

Int
(15x^14+36x^5-2x^3)dx = Int (15x^14)dx + Int (36x^5)dx - Int
(2x^3)dx

Int (15x^14)dx = 15*x^(14+1)/(14+1) +
C

Int (15x^14)dx = 15x^15/15 +
C

Int (15x^14)dx = x^15 + C
(1)

Int (36x^5)dx = 36*x^(5+1)/(5+1) +
C

Int (36x^5)dx = 36*x^6/6 +
C

Int (36x^5)dx = 6*x^6 + C
(2)

Int 2x^3dx = 2*x^4/4 +
C

Int 2xdx = x^4/2 + C
(3)

We'll add: (1)+(2)-(3)

Int
(15x^14+36x^5-2x^3)dx = x^15 + 6x^6 - x^4/2 + C

So, the
function is:

f(x) = x^15 + 6x^6 - x^4/2 +
C

In The Things They Carried, after his time with Elroy in "On the Rainy River," why does the narrator realize that Canada is not an option for him?

The narrator has spent some time trying to work up to
fleeing the country and thereby escaping the draft. Elroy Berdahl in this excellent
story strikes us as an incredibly understanding presence, who gives the narrator the
opportunity to flee, but then does not judge him when he is not able to take that
opportunity. The narrator tells us that what stopped him from crossing the border was
embarrassment. Even though he tried to leave, he tells us it just was not possible for
him to go:

readability="16">

All those eyes on me--the town, the whole
universe--and I couldn't risk the embarrassment. It was as if there were an audience to
my life, that swirl of faces along the river, and in my head I could hear people
screaming at me. Traitor! they yelled. Turncoat! Pussy! I felt myself blush. I couldn't
tolerate it. I couldn't endure the mocker, or the disgrace, or the patriotic ridicule.
Even in my imagination, the shore just twenty yards away, I couldn't make myself be
brave. It had nothing to do with morality. Embarrassment, that's all it
was.

Thus the narrator feels
shamed into staying, not through any emotion except through the shame and the feeling of
embarrassment of what people would say when they found out that he had missed being
drafted by fleeing the country. He was "embarrassed not to" go to the war, and this, at
the end of the day, became the conquering emotion that won out.

Find the imaginary part of the complex number(1+i)^10 + (1-i)^10.

We'll recall the rectangular form of a complex
number:

z = a + b*i, where a is the real part and b is the
imaginary part.

We notice that we can write (1+i)^10 =
[(1+i)^2]^5

We'll expand the
binomial:

(1+i)^2 = 1 + 2i +
i^2

We'll replace i^2 by
-1:

(1+i)^2 = 1 + 2i - 1

We'll
eliminate like terms:

(1+i)^2 =
2i

(1+i)^10 = (2i)^5 =
2^5*i^5

We know that i^5 = i^4*i = 1*i =
i

(1+i)^10 = 32 i (1)

We
notice that we can write (1-i)^10 = [(1-i)^2]^5

We'll
expand the binomial:

(1-i)^2 = 1 - 2i +
i^2

(1-i)^2 = -2i

(1-i)^10 =
(-2i)^5 = -32i (2)

We'll add (1) +
(2):

(1-i)^2 + (1-i)^10 = 32 i - 32
i

(1-i)^2 + (1-i)^10 = 0

We
can write the result as a complex number, as it
follows:

(1-i)^2 + (1-i)^10 = 0 +
0i

We notice that the imaginary part of the
complex number is b = 0.

How did the Federalists attempt to deny Republicans full control of the government in spite of Jefferson's election in 1800?

The best known way in which the Federalist tried to do
this was through the appointment of the "midnight judges" that led to the Supreme Court
case of Marbury v. Madison.  They also did a couple of other things having to do with
the judicial branch.

After being voted out of office, Pres.
John Adams tried to increase the number of Federalist judges in important positions.  To
do this, he appointed 16 new judges as federal circuit judges and he appointed 50 other
men as justices of the peace for the District of Columbia.  In addition to doing this,
Adams appointed his own Secretary of State, a man named John Marshall, to be the new
Chief Justice of the Supreme Court.  Finally, Congress reduced the size of the Supreme
Court from 6 to 5, effective with the next vacancy.  This would preven Jefferson from
appointing a successor to the next Justice who left the
Court.

In these ways, the Federalists tried to keep control
of the judicial branch after they were voted out of office in
1800.

My question is what is the storyline or plot of the short-story "Papa's Parrot"?Please answer my question and try to be as specific as possible!...

In the short story "Papa's Parrot," the storyline or plot
is about a young boy growing up, leaving his father all alone to work in the candy
store. Mr Tillian is lying in the hospital bed. Harry has taken over the care of the
candy store in his father's absence.

Mr. Tillian's parrot
keeps repeating, "Where's Harry? Miss him." This is when Harry realizes that his father,
Mr. Tillian, has been saying that he missed his son, Harry. The parrot has picked up the
phrase.

As a child, Harry spent time with his father, Mr.
Tillian, at the candy store, everyday.

readability="6">

Mr. Tillian looked forward to seeing his son and
his son’s friends every day. He liked the
company.

Because Harry and
his friends grew older, they stopped visiting his father at the candy store, Mr. Tillian
bought a parrot due to his loneliness. The parrot had been picking up phrases from Mr.
Tillian. One phrase emphasized how much he missed his son
Harry.

Now, Mr. Tillian is lying in the hospital. He had
chest pains and fell over on his candy boxes. A customer found him and the ambulance
took him to the hospital.

Harry is now tending to the candy
store in his father's absence. When the parrot begins saying, "Where's Harry? Miss him,"
that is when Harry realizes how much his father has missed
him.

All Harry can do is cry. He closes the candy store to
go visit his papa.

Hello! my question is , knowing much more about using and meaning of these words "produce","production","product" as some nouns. Thank you!

All these terms, as you correctly state, are
nouns.

They are

produce: As a
noun, a "produce" is a foodstuff gathered from a harvest, crops,  or any other form of
food manufacturing. Other synonyms may include "food", or "yield." It is the end result
of a production, a harvest, or a crop.

In a sentence you
can say: 

• The supermarket has a
  produce section that sells fresh
  vegetables.


• Look in the
  produce section for organic
  greens.

production:
A production is a creation, a construction, an invention, or a fabrication. It is
something someone puts together for an end result. It is the end result of a creative
process.

Sentence:

• The
  latest science fiction movie is a productionby Steven
  Spielgberg.


• This production
  is sponsored by the American Medical
  Association.

Your last noun is
product:

A product is also the end result of a production,
or process, but it is semantically associated with items that are manufactured for
specific purposes. A product can also be the end result of a multiplication equation.
However, in terms of items, similar terms to "product" include: an artifact, an item, an
object, a produce (like from before), or an invention, an outcome, a creation, and an
end result.

In a
sentence:

Cheese and ice cream are products of
milk.

The clothing industry manufactures a myriad of new
and innovative products for fashionistas.

I hope this
helps.

Always remember to use the thesaurus for help with
terms that you cannot connect.

I know how to calculate indefinite integral of sin x but i'm stuck with sin (x)^(1/2).

To solve the indefinite integral of sin sqrt x, I'll
suggest to change the variable x into t^2, such as:

sin
(sqrt x) = sin sqrt t^2 = sin t

x =
t^2

We'll differentiate both
sides:

dx = 2tdt

We'll
re-write the inetgral:

Int sin (sqrt x) dx = Int 2t*sin t
dt

We'll solve the integral by
parts.

Int udv = u*v - Int v
du

u = 2t => du =
2dt

dv = sin t dt => v = -cos
t

Int 2t*sin t dt = -2t*cos t + 2*Int cos t
dt

Int 2t*sin t dt = -2t*cos t + 2*sin t +
C

The indefinite integral of sin sqrt x
is:

Int sin sqrt x dx = 2sin (sqrt x) -
2*sqrt x*cos (sqrt x) + C

What is the minimum value of the function y=4x^2-8x+1?

To determine the extreme value of the function, we'll do
the first derivative test.

We'll determine the 1st
derivative of the function:

y' = 8x -
8

We'll cancel the
derivative:

8x - 8 = 0

We'll
move -8 to the right side:

8x = 8 => x =
1

The roots of the 1st derivative represent the critical
values of the function.

We'll calculate the minimum value
of y, replacing x by 1 in the expression of the
function:

f(1) = 4-8+1 =
-3

The minimum value of the given function is
reached at the point (1 ; -3).

How old was Lucrezia in Mrs. Dalloway?

The character of Lucrezia Warren Smith in Virginia Woolf's
Mrs. Dalloway is twenty four years old. She is described with the
following traits and characteristics.

readability="14">

She had a right to his arm, though it was
without feeling. He would give her, who was so simple, so impulsive, only twenty-four,
without friends in England, who had left Italy for his sake, a piece of
bone.

We know that her age is
a clever trait to add to her character because it allows the reader to appreciate the
contrast between Lucrezia and her husband. She is still young enough to live for a long
time and try for a better life, but she is stuck in her situation due to his mental
illness. It had emaciated and consumed her, an otherwise vibrant woman. It is as if she
were a waste of time and space due to her husband's problems.

What is sin 10 equal to? How can I find the value?

Use the relation sin 3x = 3*sin x - 4(sin
x)^3

=> sin 30 = 3*sin 10 - 4*(sin
10)^3

sin 30 = 1/2 and let sin 10 =
t

=> 1/2 = 3t -
4t^3

=> 8t^3 - 6t + 1 =
0

Solve for t in the cubic equation we have arrived
at.

There are 3 roots of the equation, one is negative, one
is greater than 0.5 and the third is 0.1736. As sin 10 < sin 30 and is positive,
we can eliminate two of the roots and keep
0.1736

The value of sin 10 =
0.1736

Who is the first person to apply the principles of forensic science to a working crime lab?

The use of medicine and entomology in criminal cases can
be traced as far back as 13th century China, when an investigator managed to match the
sickle that was used in a murder. The Argentine scientist and policeman
Juan Vucetich was the first man to use fingerprinting
techniques to solve a crime in the 1890s. The French army surgeon Abroise
Pare studied internal organs for their relationship in violent deaths in
the 16th century. The Italian surgeons Fortunato Fidelis
and Paolo Zacchia studied structural changes that occurred
in a diseased body, while the French doctor Fodere and the
German physician Johann Peter Franck wrote early forensic
casebooks in the late 18th century. Several chemists, including Sweden's
Carl Wilhelm Scheele, Germany's Valentin
Ross and England's James Marsh, all detected
poisons as the causes of death in the 18th and early 19th centuries. The first school of
forensic science--the Institut de Police Scientifque--was founded by
Rodolphe Archibald Reiss at the University of Lausanne
(Switzerland).

In Sandburg's "Chicago" who is "they" in the section beginning in line 6?

"They" refers to those people "who sneer at this my city",
as the poem makes clear a few lines below. They are the people who criticise Chicago for
its corruption, vice and social inequalities. Sandburg replies that the evils of the
city are apparent. Yet, these too are the result of the city's working-class pride and
vitality. Sandburg does nothing to counter the accusations. On the contrary he expands
on them: as you can notice, after he mentions the accusation, he gives examples of it.
Yet, while these vices remain, they are considered next to nothing taking into account
the strengths of a city "proud to be alive and coarse and strong and
cunning.”

How do Sodapop and Darry take care of Ponyboy in The Outsiders?Emotionally and physically, not only during the rumble and when he gets sick.

Ponyboy learns by the end of the novel that he is very
protected by his brothers. Darry has sacrificed his own future prospects as a good
sportsman and a potential college candidate to take a manual job to support his
brothers. He protects Ponyboy from the despair and frustration this creates and instead
projects a hard exterior. Darry confesses how afraid he was of losing Pony after the
Windrixville incident, and here Pony sees how Darry has suffered due to the loss of
their parents.

Darry is seen as over-protective by Ponyboy,
but he is realistically a young man fearfully taking on the role of two parents. He
makes sure Pony stays in school and wants him to
succeed.

Both Soda and Darry ensure that either they or
other greasers are around to be with Ponyboy. Darry is frustrated when Pony goes to the
movies alone and is jumped by the Soc's in Chapter 1. The conflict between the two gangs
is increasing, and Soda and Darry are aware of the trauma Johnny has recently suffered
at the hands of the Soc's.

Soda also protects his brother
from the complexities of relationships by carrying on despite the anguish of losing
Sandy and his dreams of a family of his own.

At the end of the story, how is narrator's sick feeling accounted for?"The Cask of Amontillado" by Edgar Allan Poe

In Edgar Allan Poe's short story "The Cask of
Amontillado," Gothic conventions serve to create an atmosphere of terror; however, in
Poe's story, it is not preternatural beings that the characters must fear.  Instead, the
real horror resides in the hearts of human beings themselves.  At the end of Poe's
gothic tale of revenge served in the niter-filled catacombs of the Montesor family,
after the completion of his walling in of his adversary Fortunato who has committed "a
thousand insults" against him, the narrator mentions that his "heart grew sick--on
account of the dampness of the catacombs."  This excuse of the dampness for the
narrator's "sickness" is a rationalization of the narrator.  For, the narrator's real
sense of terror emanates from his comprehension of the real horror that lies within him,
the horror of which human beings are capable.

As he has
walled in Fortunato whom he has duped into entering the dank and dark catacombs of his
family, Montesor contemplates the horrific act that he has committed against a fellow
human being in the name of revenge for "a thousand insults."  Perhaps he feels sick
because he has a tinge of conscience at the last moment as he forces the final stone
into position.  But, it is more likely that he, like his victim, is terrorized by his
act against nature in killing the hapless victim, Fortunato.  Like Kurtz of
Heart of Darkness, Montesor, too, could utter the words, "Oh, the
horror!  the horror!" 

How did the 1950s create social and political turbulence in the 1960s?The postwar era witnessed tremendous economic growth, social contentment, and...

The 1950s helped to create social and political turbulence
by creating a culture of materialism and conformity against which people rebelled in the
1960s.

The 1950s were a time of rising affluence in the
United States.  The US was the richest country in the world.  The middle class, helped
by such things as the GI Bill, was increasing in numbers and in wealth.  People who had
grown up with the stress of the Depression and WWII were buckling down and trying to
make secure lives for themselves and their families.  They were trying to get material
security and they were trying to get psychological security as well by being just like
everyone else.

The children of this generation, however,
rebelled.  They thought their parents were too materialistic and conformist.  They
thought their parents had no real lives, just these dull existences that were centered
around money.  Because of this, they rebelled.  This was the rebellion that led to the
social strife of the '60s.  It led to the hippie movement and to the condemnation of
things like the Vietnam War and the whole
"establishment."

So, the '50s led to the turbulence of the
'60s because the conformity and materialism of the '50s made the youth of the '60s want
to rebel.

Please explain how the silver sword is used as a symbol in The Silver Sword by Ian Serraillier.

The best way to explain how the silver sword is used as a
symbol in The Silver Sword by Ian Serraillier is to direct your attention to what Jan
tells Ruth on the night that Ruth realizes Edek might die as he lay beside them wracked
with a cough, pain and exhaustion. First, Jan asks Ruth if he may have Edek's shoes when
he dies. Ruth forces herself to reply calmly, "He's not going to die." It is then that
Jan makes a clear statement of the silver sword's use as a symbol.

Jan
explains that the children's lives and good fortunes during their quest to reunite with
Edek's and Ruth's father and their journey to the safety of Switzerland depends upon the
possession of the silver sword. He explains that this is so because their father gave it
to him, entrusting him with it, thereby building a "lifeline" between
children--including Jan--and father. Therefore, the silver sword is a symbol of
survival, of a lifeline through troubled times. It further symbolizes the trust that the
father placed in Jan. In a larger picture, the silver sword also symbolizes the same
kind of hope and trust for all the similarly suffering people the children encounter.
Here's what Jan tells Ruth:

readability="14">

Once more out of the stillness a voice called
her name. This time it was Jan.
"Ruth, may I have Edek's shoes when he dies?"
he said.
"He's not going to die," said Ruth, forcing herself to speak
calmly.
"He will if I don't have my sword," said Jan. "And we'll never find
your father either. He gave me the sword and it's our guide and lifeline. We can't do
without it."
He spoke with such certainty that she almost believed him. It was
true that, while they had the sword, fortune had been kind to
them.

The ideas of survival,
a lifeline, and trust are major themes in the story and are thus represented by the
silver sword.

In what way does postmodernism seem to be at work in O’Brien’s work in The Things They Carried?

This is a very interesting question. Of course,
postmodernism and its characteristics in literature are notoriously difficult to define,
and yet we are able to pinpoint a few general characteristics. Above all, the clearest
link we can establish between postmodernism and this collection of war time stories is
the way that Tim O'Brien deliberately plays with the concept of truth, presenting us
with stories that, he later goes on to admit, are not actually true. We can helpfully
link this to the postmodern concept of metafiction, in which authors deliberately draw
attention to the artificiality of their work.

It appears
that above all O'Brien is trying to make his audience confront the artificiality of his
portrayl, and in particular struggle with the key concepts of fact and fiction and the
importance of these terms. He famously said once during a conference of literature
during the Vietnam war that "A good story has a power... that transcends thequestion of
factuality or actuality." Famously, he believes that telling stories can save our lives,
and the final story of this collection, "The Lives of the Dead," presents this view with
its opening sentence:

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But this too is true, stories can save
us.

If there is one story
that deliberately presents the confusing relationship between fact and fiction, however,
look no further than "How to Tell a True War Story," where at the end, the narrator
admits that the story he has just told was not true as he struggles to convey the
experience of war:

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Beginning to end, you tell her, it's all made up.
Every goddamn detail--the mountains and the river and espeically that poor dumb baby
buffalo. None of it happeneds. None of
it.

O'Brien seems to be
reaching beyond such artificial distinctions as truth and fabrication to focus on the
way that good stories contain a force or a power regardless of their status as fact or
fiction.

During the red room incident, how does Charlotte Bronte play with colour and shadows within this passage?Charlotte Bronte's Jane Eyre

As part of the gothic genre, Charlotte Bronte's
Jane Eyre is a narrative of darkness, shadows and eerie light. 
With imagery, Chapter 2 of this novel highlights the contrast between Jane's passionate
nature and her terrible isolation, themes of the novel. Locked into the room in which
Mr. Reed died, Jane perceives the red carpet, dark mahogany furniture, dark red damask
curtains and crimson bedcovers against the ghostly, glaring whiteness of the pillows of
the "pale throne" of Mr. Reed's deathbed. 

The room is
chill as no fire is ever built in it and it is only used as a vault for Mrs. Reed's
jewelry and valuables, that she periodically checks.  Alone in the dark, Jane
contemplates her sad state of always being made to
suffer:

What
a consternation of soul was mine that dreary afternoon!  How all my brain was in tumult,
and all my heart in insurrection!  Yet in what darkness, what dense ignorance, was the
mental battle fought!  I could not answer the ceaseless inward question--why
I thus
suffered....  

Like the room,
Jane is in "discord" in Gateshead Hall; she feels that there is no harmony with Mrs.
Reed and her children.  As she contemplates these thoughts in the crimson darkness of
her passions and the room, Jane sits looking at the shroud of "the white bed and
overshadowed walls."  She, then, worries that her sobs might awaken the spirit of Mr.
Reed, who could appear with "a strange pity" for her whom he wanted cared for after his
death.  Jane feels that "the swift darting beam was a herald of some coming vision from
another world," and she involuntarily cries out, alerting Bessie and Abbot, who rush to
the door.  Their actions anger Mrs. Reed, who tells Jane that her ploy will not release
her from her punishment; she shoves Jane back into the room, and poor Jane falls
unconscious.

Can you please tell me how to organize my essay ''perfomance of india in sports''?should i write essay sports wise or event wise i.e.commonwealth...

Thinking about the performance of India and of Indian
athletes in international sports competitions, I think that you should organize this by
sport rather than by events.  I think that you should look at various sports in turn and
evaluate the reasons for India's success or failure in
each.

The reason that I say this is because India's
performance has been so inconsistent across various sports.  India is, of course, a
major world power in cricket, having just co-hosted and won the World Cup.  Indian
hockey has been strong though it seems to be in some decline.  India has had a few very
strong tennis players as well.  By contrast, India is very weak (given the size of the
country) in such things as football, basketball, and
athletics.

Because of this huge difference, I would
organize my essay by sport.  I would try to account for the fact that India can do so
well in some sports while doing so badly in other sports.

Critically comment on Sir Francis Bacon's use of persuasive techniques and figurative language to support his views in his essay "Of Travaile."

In his essay “Of Travaille” [that is, concerning travel],
Sir Francis Bacon uses a variety of persuasive techniques and some notable instances of
figurative language in order to support his argument. Among his persuasive techniques
are the following:

• In his opening sentence, he
  mentions two potential audiences – young people and older people. Although later he
  mainly focuses on the young, his essay might also profitably be read by their
  parents.


• His tone is that of an experienced person who
  knows what he is talking about, probably from his own travels. After all, he cites no
  learned authorities but gives his own advice.


• He shows
  the breadth of his experience and advice by frequently using lists, so that he seems to
  know a lot and seems to be comprehensive in his
  counsel.


• He is willing to criticize common practice (such
  as that involving the keeping of diaries), thus showing his independence of mind and his
  confidence in his own advice.


• He offers very practical
  advice – advice that would truly be useful to an inexperienced traveller. He thereby
  implies that he has that traveller’s best interests at heart. Consider, for instance,
  the following quotation, in which Bacon, speaking of the young traveller, says
  

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Let him carry with him also, some card or book,
describing the country where he travelleth; which will be a good key to his
inquiry.

• He
  focuses on the matter at hand rather than on himself; his advice seems rooted in
  personal experience, but he does not make himself the true topic of the
  essay.


• His advice is efficiently presented (the essay is
  brief; the lists make it highly economical).


• He is
  methodical, seeming to have thought of (and already answered) many potential questions,
  and moving through his ideas in a very logical
  manner.


• His style is accessible; almost anyone can read
  this essay, understand it, and profit from it.


• Near the
  end of the essay, Bacon shows a practical concern for how the young traveller should
  present himself to his countrymen when he returns from abroad. Once again, Bacon seems
  to have anticipated a question and seems to have the young traveller’s best interests
  and reputation at heart in highly prudent
  ways.

Figurative language does not seem to be
especially strongly used in this essay, perhaps because the focus of the essay is so
plainly practical. Bacon here seems more interested in offering a “how-to” manual than
in exploring the riches of language and style. Nevertheless, a few figures of speech
are used.  In particular, Bacon uses metaphors, as when he says
that if a traveller visits a foreign country

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before he hath some entrance into the language,
[he] goeth to school, and not to
travel.

Another metaphor
appears when Bacon says that if young men travel without knowing what to visit and
observe they “go hooded.” Other metaphors appear in the references to a “little room,”
an “entrance,” and, especially to a great “adamant,” or magnet. Finally, one last
memorable metaphor occurs when Bacon compares travel to “prick[ing] in some
flowers.”

Who are the teachers that Holden mentioned in The Catcher in the Rye?

The two teachers that Holden discusses in The
Catcher in the Rye are Mr. Spencer and Mr.
Antolini.

Spencer is Holden's favorite teacher at Pencey;
he teaches history and apparently has a good relationship with Holden. Holden decides to
pay Spencer a visit before leaving Pencey and shows up at his home. Spencer does not
present a very pleasing appearance to Holden, greeting him in pajamas and bathrobe.
Holden is repulsed by his teacher's pale complexion and skinny legs; additionally,
Spencer is ill, but he is still able to lecture Holden on his bad grades. Holden is
polite, but he cuts the visit short.

Antolini is Holden's
favorite teacher from before attending Pencey. He describes Antolini as "the best
teacher I ever had," and when Holden calls him, Antolini invites him to his home even
though it is late in the evening. Holden falls asleep on the couch and awakes to find
Antolini rubbing his head. Holden, mistakenly or not, assumes that the contact is a
homosexual overture, and he immediately leaves his teacher's home. Holden wonders later
about Antolini's true intentions, unsure that he was correct about his earlier
assumption.

Find the antiderivative of the function y=ln^2x/x^2.

To determine the primitive of te given function, we'll
calculate the indefinite integral of the function.

Int (ln
x)^2dx/x^2

We'll replace ln x by
t.

ln x = t

x =
e^t

We'll differentiate both
sides:

dx/x = dt

Int (ln
x)^2dx/x^2 = Int t^2*e^(-t)dt

We'll solve the integral in
variable t using parts.

Int udv = u*v - Int
vdu

Let u = t^2 => du =
2tdt

dv = e^(-t) dt => v =
-e^(-t)

Int t^2*e^(-t)dt = -t^2*e^(-t) + 2Int
t*e^(-t)dt

We'll integrate again Int t*e^(-t)dt by
parts:

u = t => du =
dt

dv = e^(-t) dt => v =
-e^(-t)

Int t*e^(-t)dt = -t*e^(-t) + Int e^(-t)
dt

Int t*e^(-t)dt = -t*e^(-t) - e^(-t) +
C

Int t^2*e^(-t)dt = -t^2*e^(-t) + 2*[-t*e^(-t) - e^(-t)] +
C

Int t^2*e^(-t)dt = -t^2*e^(-t) - 2t*e^(-t) - 2e^(-t) +
C

Int t^2*e^(-t)dt = -t^2/e^t - 2t/e^t - 2/e^t +
C

Int t^2*e^(-t)dt = -(t^2 + 2t + 2)/e^t +
C

Int (ln x)^2dx/x^2 = -[(ln x)^2 + 2ln x + 2)/x +
C

The antiderivative of the given function is
F(x) = -[(ln x)^2 + 2ln x + 2)/x + C.

In The Taming of the Shrew, Act II, scene i, list words Petruchio uses to describe Katharina and explain how it is humorous.

In Shakespeare's The Taming of the
Shrew, in Act Two, scene one, Petruchio makes a list of Katharina's charming
characteristics. He describes her as having beauty and wit. He recognizes her title="affable"
href="http://dictionary.reference.com/browse/affable">affability and
bashful modesty. He insists that she has "wondrous qualities and mild
behavior."

What makes this so humorous, and ironic, is that
Katharina is none of these things. Where she may be a beauty, it is
only skin-deep. Her wit is sharp, but not to be admired as she uses her tongue like a
razor. She is not affable at all, but very hard to get along with, and the words
"bashful" and "modesty" do not pertain to Katharina under any circumstances, probably
not even when she is sleeping. There is nothing mild about her behavior, hence her label
of "shrew." One would be hard pressed to discover any characteristics she possesses that
could be construed as "wondrous qualities."

Petruchio
says:

I am a
gentleman of Verona, sir,

That, hearing of her beauty and
her wit,

Her affability and bashful
modesty,

Her wondrous qualities and mild behavior,
(50)

Am bold to show myself a forward
guest

Within your house, to make mine eye the
witness

Of that report which I so oft have
heard.

Because we know that
no one has reported the fine characteristics he lists as
Katharina's, we can only assume that he is determined to marry her, and insists that she
is all of these things to push his desire to marry her. He also seems to believe that he
can harness her wild behavior.

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I am as peremptory as she proud-minded;

And where two raging fires meet together
They do consume the thing
that feeds their fury:
Though little fire grows great with little wind,

Yet extreme gusts will blow out fire and all:(135)
So I to her and
so she yields to me;
For I am rough and woo not like a
babe.

Solve for x: 2x^2 - 2x+5=0

Since it is a quadratic equtaion, we'll apply quadratic
formula to determine it's roots.

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

x1 = [2 + sqrt(4 -
4*2*5)]/4

x1 =
(2+sqrt-36)/4

But sqrt(-36) =
sqrt(-1)*36

sqrt -1 =
i

sqrt(-36) = 6i or sqrt(-36) =
-6i

x1 = (2+6i)/4

x1 = 1/2 +
3i/2

The other root is the conjugate of x1, x2 = 1/2 -
3i/2.

The complex roots of the equation are:
{1/2 - 3i/2; 1/2 + 3i/2}.

In Hamlet, what is the significance of the opening question in the play?How does it affect the progression of the play?

Who's there is the opening question in Hamlet. It is a
significant question. Bernardo asks the question. Francisco responds with the same
question. This is a relevant question because the guardsmen have been guarding the
castle of the King of Scotland. For many nights now, these guardsmen have been seeing
King Hamlet's ghost. Now they are tense and on edge, assuming anyone who comes up in the
dark is King Hamlets's ghost.

Marcellus and Bernardo are
discussing the ghost. Marcellus asks Bernardo has he seen the ghost yet? Marcellus adds
that Horatio thinks it is their imagination. Then the ghost appears and Horatio is just
as afraid as the other guardsmen.

The guardsmen bring young
Hamlet to see the ghost. When young Hamlet sees the ghost, he realizes it is his father.
The ghost tells Hamlet how he was murdered at the hands of Claudius and commissions his
son to avenge his death.

The play is centered around this
significant appearance of King Hamlet's ghost. Now, young Hamlet is driven by a spirit
of revenge, thus the play progresses around young Hamlet and his desire to avenge his
father's death.

"Young Goodman Brown," discuss the narrative in relationship to the conflict."Young Goodman Brown" by Nathaniel Hawthorne

Nathaniel Hawthorne's biographer, Hyatt H. Waggoner,
wrote,

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Hawthorne continued to note in himself, and to
disapprove, feelings and attitudes he projected in..."Young Goodman
Brown." 

Waggoner also noted
Hawthorne's tendency not only to study others with cool objectivity, but to study
himself with almost obsessive interest.  Thus, the parallels between Hawthorne, who
dwelt with Puritan gloom and his protagonist Young Goodman Brown are certainly obvious. 
Brown, under the overriding shadow of the Calvinistic/Puritan gloom and conviction of
the innate depravity of man, challenges his faith--"Faith kept me back a while"--as he
accompanies the old man with the crooked staff to the forest primeval, perhaps in
reality Goodman's darker side, where a black mass is to be celebrated and new
inductees to be initiated.  As "he of the serpent" accompanies him, Brown is confronted
by his catechism teacher, Goody Cloyse, and he sees the Deacon Gookin also on their way
to the dark forest.  Like Hawthorne, his narrator, Brown challenges the Puritan beliefs
in his adventure.  Yet, as the traveller hints at his recognition of the darkness of
Goodman's soul, Brown claims his innocence and goodness
repeatedly. 

It is this conflict of guilt and
rebellion that leads Hawthorne's character into the dark forest where he
looks

to the
sky, doubting whether there really was a heaven above.

With
heaven above and Faith below, I will yet stand firm against the devil!" cried Goodman
Brown.

Once he has witnessed
the black mass, Goodman becomes "maddened with despair" as he cries, "My Faith is gone"
when he beholds the pink ribbons that have wafted to him.  He rushes "onward with the
instinct that guides mortal man to evil," and recognizes the "fiend in his own
shape." Whether Brown has fallen asleep or been overcome by his spiritual angst, he
awakens to a sudden gleam of light flashing over the field.  The figure in the forest
has proclaimed, "Evil is the nature of mankind," and Goodman becomes a "stern, a sad, a
darkly meditative, a distrustful, if not a desperate man" from this night on.  Indeed,
his faith is gone, for he cannot view any with but the most misanthropic
perspective. Goodman Brown dies "a hoary corpse" whose "dying hour was gloom" because in
his rebellion of accompanying the traveller into the forest primevil he could not shake
his controlling feelings of Puritan gloom and Clavinistic guilt.

What are the factors responsible for variations in criminal liability?

There are a number of factors which lead to varying
degrees of criminal liability; almost all variations are based on the individual facts
of the case. Two examples, Homicide and Burglary: Homicide is the killing of a human
being by another human being. If it is unlawful, it becomes a crime. If it was
premeditated, that is "in cold blood," it is murder; if it is committed in the heat of
passion, it is manslaughter; if it results from gross negligence (playing with a gun,
etc.) it is involuntary manslaughter. If one breaks into and enters a dwelling at night
with the intent to commit a felony, one has committed common law burglary. If one simply
breaks in, say to escape from danger, he may have committed a lesser crime, but not
burglary. In every instance, the circumstances of the offense will lead to some
variation. Was there self defense, or some other form of justification, etc. All these
are factors that affect culpability.

Find f'(x)=0 if f(x)= 12x^4-24x^2+48

To solve the equation f'(x) = 0, we'll have to
differentiate f(x) with respect to x.

f'(x) =
(12x^4-24x^2+48)'

f'(x) = 12*4*x^3 - 24*2*x +
0

dy/dx = 48x^3 - 48x

We'll
cancel f'(x):

f'(x) = 0 <=> 48x^3 - 48x =
0

We'll factorize by
48x:

48x(x^2 - 1) = 0

We'll
cancel each factor:

48x = 0

x
= 0

x^2 - 1 = 0

x^2 =
1

x1 = +sqrt(1)

x1
=1

x2 = -1

The
real solutions of f'(x) = 0 is: (-1 ; 0 ;
1).

What is the major difference between the 2 societies, the Lilliputians and the Brobdingnagian in Gulliver’s Travels?

The Brobdingnagians are a race of huge males and females.
They are literally giants, over 50 feet tall. As a result everything around them is also
gigantic and Gulliver is in complete danger being that he is tiny in
comparison.

This race is essentially human, going through
the same feeding, breeding, and living processes as typical people. They have a
peacekeeping army, engage in conflict, and understand the difference between political
factions and parties. If they were normal-sized, they would not be any different than
us. However, their massive size makes the mundane aspects of human physiology even more
shocking as they are fully displayed at a much larger
scale. 

These people disgust Gulliver because he inevitably
has to witness the graphic changes in their bodies, including the good, the bad, and the
ugly. Yet, as people the Brobdingnagians are relatively civil, even more than us in
comparison, because their laws are clear, and they seek for peace as their common
goal.

The tiny Lilliputians are dramatically different in
size compared to the Brobdingnagians. They are less than half a foot tall, and their
world is also tiny. The system of government in the island where they inhabit is comical
and ridiculous. It consists on an Emperor and the officials appointed for council, whom
are elected based on ridiculous abilities.

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When a great office is vacant, either by death
or disgrace (which often happens,) five or six of those candidates petition the emperor
to entertain his majesty and the court with a dance on the rope; and whoever jumps the
highest, without falling, succeeds in the
office

Lilliputians are mean
and fight amongst themselves all the time. They build their own weapons and are awesome
in mechanics. The politics of the Lilliputians are similar to those in England, and
Swift makes sure to highlight the differences of the two main parties the way in a way
that they mirror those of the Tories and the Whigs. In all the Lilliputians are tiny but
their size is nothing to feel safe about. They have machinations in terms of everything,
from their everyday life, to the making of war machinery, to the way that people
backstab each other at court and out of court. They are little people with massive
personalities.

In all, there is not just one major
difference since they are two completely different races. However, for the sake of
argument, we may contend that, in both races of individuals, the size of the citizens
seems to contrast with their personalities. The Liliputians are small but able to cause
big problems. The Brobdingnagians are large, but want to avoid those "big problems" by
minimizing conflict. 

A supporter of the ideas of Utopian socialist Robert Owen would be most prepared toA supporter of the ideas of Utopian socialist Robert Owen would...

For this question, you really ought to look at what your
particular textbook and/or teacher says about Owen's ideas.  Owen had a number of
different ideas over the course of his life and different texts might emphasize
different aspects of his thought.

The wording of the
possible answers implies that A is the right answer.  A is the only one that makes the
other answers impossible.  A person could, for example, want both B and D.  Such a
person might well want capitalism to spread as well.  A is plausible as a correct answer
because Owen's New Harmony community was a place that was based on socialist ideas and
not on capitalism.  Therefore, this is probably the best
answer.

However, you should be aware that Owen himself was
a factory owner for much of his life.  During that time, he tried to reform the abuses
of capitalism, doing things like proposing laws that the British Parliament might
enact.  During this time of his life, B might be a better
answer.

Based on the choices given, A is probably right,
but you really should check in your text and/or notes.

From your study of Act 1 of Arms and the Man, comment on Shaw's strong anti romantic stand about war and love.

Shaw is an accomplished satirist, and Arms and
the Man is his take on the romanticizing of war and love as conquest. In Act
I, we see the send-up of the glorified version of war. Rather than the clear battle of
right against wrong for the good of the world, Shaw presents the everyday realities of
combat, which are dirty and exhausting. Bluntschli is starving and filthy when he sneaks
into Raina's room, and there is no sense that one side is right in the battle. He earns
his name "The Chocolate Cream Soldier" from the fact that he eagerly eats the sweets
Raina offers him, and states that any real soldier would rather have chocolate than
bullets in his belt.

As for love, Raina and Sergius are
determined to marry each other, because they've been told it's right. They don't love
one another, and Sergius openly makes passes at other women. Yet for Raina, Sergius
represents the romantic war hero, suitable for her to marry. Conversely, Raina
symbolizes the perfect wife: the right social status and upbringing. They are both
acting according to what society has told them they should want, rather than what they
truly want.