Since we have the length of two adjacent sides and the
angle between them, we'll apply the law of cosines:
c^2 =
a^2 + b^2 - 2a*b*cos C
c^2 = 1 + 1 - 2*1*1*cos
(120)
But cos 120 = -cos 60 =
-1/2
c^2 = 2 + 2*(1/2)
c^2 =
2+1
c^2 = 3
c =
+sqrt3
Since the length of a side cannot be negative, we'll
reject the negative value -sqrt3.
The
requested value of the length of the side c is: c =
sqrt3.
The story has three distinct settings in which the action
occurs. As it opens, we are plunged into the beautiful countryside setting of the Tallis
family household in Surrey in 1935. War is looming and its presence is felt even in this
tranquil setting. Then we jump to 1941 where we read about war-torn London, where both
Cecilia and Briony are working as nurses, and Robby and Cecilia meet briefly once again.
Lastly, we move to France and Robby's experience of war, which is of course first-hand,
brutal and tragic. We must not of course forget the framing narrative, which ends
zooming into the present, with the author, Briony, reflecting on her life as she attends
a Tallis family reunion and reveals the true ending of the story she has just
told.
Huck Finn dislikes civilization so much because it is so
confining and, in his mind, worries about things of no importance. In chapter one, the
Widow Douglas takes him in. Right away, Huck's life changes when she starts educating
him. The Widow Douglas begins reading the Bible to him, and Huck is enjoying the story
of Moses...until...he finds out that Moses is dead and has been dead a long time. This
ruins the story for him because Huck sees little purpose in hearing about a dead guy.
Huck is a common sense, black and white kind of boy. If it doesn't make clear sense, he
sees little point in thinking about or doing
something.
Huck also detests rules, and at the Widow
Douglas there are many rules. Huck has to eat dinner at a specific time, has to say
grace before eating, is not allowed to smoke, and must learn spelling. This is
completely different from the wilder life he led earlier. Prior to the Wido Douglas,
Huck ate whenever and did whatever whenever he wanted to. He even chooses to sleep
outside often before it get cold.
Clear Huck feels trapped
and wants to be as free as he was at the beginning of the book.
It seems that, more than any other Shakespeare play,
Hamlet is renowned for its many plots hatched by many characters
and sucking everybody in to them, whether they like it or not or are aware of how they
are being used. Of course, the plots that other characters devise are mainly hatched by
Claudius and Polonius to try and establish what is the cause of Hamlet's "antic
disposition." Thus they enlist Ophelia, eavesdropping on her conversation with Hamlet in
Act III scene 1, and also Gertrude after the play in Act III scene 4. In addition,
Claudius turns Hamlet's friends against him, asking Rosencrantz and Guildenstern to help
discern what ails the young prince. Plots surround Hamlet left, right and centre, and we
can't help but feel sorry for him as those who should be closest to him are turned
against him.
However, at the same time, Hamlet shows that
he is no novice himself in the art of plots and stratagems. It is he who tests out the
words of the Ghost by creating The Mousetrap as an elaborate trap to "catch the
conscience of the King," and he is able to effectively detect the betrayal of both
Rosencrantz and Guildenstern and Ophelia. Note the way he plots his revenge against his
former friends by having them executed. If Hamlet is sinned against, he shows himself to
be equally sinning in this regard, responding with plots and stratagems of his own that
are arguably more successful than those of other characters. After all, he gets the
reaction that he had wanted from Claudius during his play, and he is successful in
disposing of Rosencrantz and Guildenstern.
A typewriter for English language use had the same
"qwerty" arrangement of letters in three rows, based on the frequency with which those
letters were used in the English language. Above the rows of letters would have been a
row of numerals 1-0 with alternate punctuation marks that could be typed when the key
and SHIFT were pressed at the same time. Typewriters had a TAB key to indent paragraphs,
a CAPS LOCK, SHIFT keys, and a RETURN key or lever which moved the typewriter head from
the right to the left margin of the paper and advanced the paper down for the next line
of type. Typewriters did have a BACKSPACE key for use in making corrections. Typewriters
did not have CONTROL or OPTION keys, non-electronic typewriters did not have a separate
number pad, they did not have arrows to move a cursor back, forward, up or down arrows,
and there were no function keys, DELETE keys, PAGE UP or PAGE DOWN keys, no HOME or END
keys, no ESCAPE key.
We'll recall the formula that gives the number of
combinations of n elements taken k at a time:
(n,k) =
n!/k!*(n-k)!
Now, we'll apply this formula to write (n,8)
and (n,10) in factorial way:
(n,8) = n!/8!*(n-8)!
(1)
(n,10) = n!/10!*(n-10)!
(2)
We'll equate (1) and
(2):
n!/8!*(n-8)! =
n!/10!*(n-10)!
But (n-8)! =
(n-10)!*(n-9)*(n-8)
10! =
8!*9*10
n!/8!*(n-10)!*(n-9)*(n-8) =
n!/8!*9*10*(n-10)!
We'll simplify and we'll
get:
1/(n-9)*(n-8) =
1/90
We'll cross
multiply:
(n-9)*(n-8) =
90
We'll remove the
brackets:
n^2 - 17n + 72 - 90 =
0
n^2 - 17n - 18 = 0
We'll
apply quadratic formula;
n1 = [17 + sqrt(289 +
72)]/2
n1 = (17+19)/2
n1 =
18
n2 = -1
Since
n has to be a natural number, then we'll keep the positive natural value: n =
18.
In Margaret Laurence’s novel The Stone
Angel, there are many different themes such as: alienation, pride, and
ageing. It is primarily a novel about an older woman named Hagar, who because of her
advanced age is no longer able to do the things she was once able to do in her younger
days. Hagar often feels alienated from others because of her feelings of inadequacies
and because she seems to cage herself in with negative perceptions of old age. She
cannot accept the changes that are happening to her. In addition, Laurence’s theme of
pride is emphasised with Hagar’s enormous pride and ego. Because of this pride, she has
even greater difficulties accepting the challenges presented during this time in her
life.
In the poem "The Road Not Taken," the speaker has a
decision to make. Two roads diverged and the speaker must decide which road to take. He
uses reasoning to help him make his choice. Both roads were fair, but one wanted
wear:
Then
took the other, as just as fair,
And having perhaps the better
claim
Because it was grassy and wanted
wear,
The speaker admits that
he shall be telling this story through the years with a sigh. No doubt, it was a major
turning point in the speaker's life. He had to decide which road to take. In life, the
road is symbolic for a decision that the speaker had to make. He thought about the
decision.
He understands how way to leads on to way, so
there would be no turning back. Nonetheless, the speaker is still thinking about the
road not taken, wondering what would have happened had he taken that road. Still he
takes the less traveled road:
The road he selects is 'the one less traveled
by,' suggesting the decision of an individualist, someone little inclined to follow the
crowd.
In the end, the
speaker feels he has made the right choice. Of course, he sighs as he tells his story
for he could not take both roads. Ultimately, the speaker has taken the right road. In
fact the speaker claims it has made all the
difference:
I
shall be telling this with a sigh
Somewhere ages and ages hence:
Two
roads diverged in a wood, and I,
I took the one less traveled
by,
And that has made all the
difference.
In the United States, at least, a great deal of people's
self-esteem tends to be caught up in their ability to feel that they are successful.
Success tends to be defined in terms of money and work status. Because of this, the
lack of ability to move up in pay or work status might well constitute an emotional
challenge to people in low wage jobs.
A person in a low
wage job has very little ability to move ahead in ways that would give them more
prestige in society. Therefore, they have to resign themselves to the idea that other
people in society might see them as underachievers. This is likely to be an emotional
challenge.
Since our self-esteem is often linked to our
status in society, and because our status is often linked to our wages and our job
status, low wage jobs can be a source of emotional challenges.
I would love to help you with this question, but I just
can't seem to make sense out of it. I think you've worded the question incorrectly?
Two people meet each-other, right? How many ways can two people shake
hands? Unless you are talking about secret handshakes and such, of which
there would be an infinite number, I can't see a total of more than 3 ways that make
sense: right to right/left to left, are both hands at once. But that's only 3 ways,
not anywhere near 20, 25, 40, or 45...
If it is not a
comfortable handshake, you could do r/r r/l l/l l/r and all 4 at once, but even that is
just 5.
It has the making of a joke and not a true math
puzzle. I would suspect some kind of punch-line if you hadn't given only 4 possible
answers.
One way of completing this sentence would be to say
"Congress gave the Federal Reserve the power to regulate
the banking system and support certain types of financial
institutions."
The Federal Reserve System is made up of
twelve Federal Reserve Banks, distributed throughout the country. The Federal Reserve
System regulates the amount of currency in circulation and ensures that banks are
keeping adequate funds in reserve. These actions serve to reassure bank customers that
their funds are protected, available, and worth their stated
value.
Federal Reserve banks support other banks located
within their districts by distributing currency, selling government-issued bonds, and
making loans to individual banks. These services allow local banks to carry out
day-to-day transactions for their individual and business
customers.
In the beginning, Macbeth appeared to be a content
soldier. He was fierce on the battlefield. After he talked with the witches, he began
changing. In Act 1, Scene 4, Macbeth begins plotting. Duncan makes Malcolm Prince of
Cumberland. Macbeth states to himself that Malcolm is in his way and he will have to
jump over Prince Malcolm or else fall on that step. He admits to himself that his
desires and black and deep:
[Aside.] The Prince of Cumberland! I
must fall down on that Step, or jump over it, For it’s in my way. Stars, put out your
light! Don’t let anyone see my black and deep desires. It could happen in an instant Yet
let that go, That thing that the eye is afraid to see when it is
done.
We will proceed no further in this
business. He has recently honored me, and I now have the Golden opinions from all sorts
of people, Which I want to enjoy for a bit longer, and Not cast them aside so
soon.
I’m
convinced, and I commit Every part of my body to this terrible event. Let’s go and pass
the time by pretending to be happy. False faces must hide what the false heart
knows.
Frost provides the answer to your question about setting
in the poem’s opening line: “Two roads diverged in a yellow wood.” The setting is the
woods, in this case with paths strewn with yellow leaves. When the speaker looks
agonizingly at the two paths, telling us he is “sorry [he] could not travel both,” we
realize that the woods and, in particular, the roads, are symbols for choices in life.
This should be apparent from the simple fact that we COULD go back and travel a second
literal road. Like choices in life, the roads before the speaker are not clearly
visible. He looks as far as he can see “To where it bent in the undergrowth.”
Similarly, when we are planning choices in our future, we can only see the start of each
possible path and have no way of knowing where it will
lead.
The speaker is indecisive and looks to see which path
is more worn. That is, he wonders which choice in life more people have taken. He takes
the one that he at first thinks is “grassy and wanted wear,” even though he realizes
that the passing –the fork in the road—“had worn them really about the same.” No matter
how much he tries to puzzle out his decision, he can’t find a clue to help him make the
better choice.
When he says he “kept the first for another
day,” he realizes—as we do along with him—that sometimes we can go back in life to a
choice we had abandoned. But it is not likely. Our speaker goes on to say that
“knowing how way leads on to way / I doubted if I should ever come back.” Once we’ve
made some of our choices in life, it is often hard, even impossible, to go back and
start over. As the poem concludes, the speaker is in the future, telling his story
“with a sigh.” We always wonder if we made the right choice. The famous closing line,
stating that the road he did choose “has made all the difference” is ambiguous. He
can’t really know what the other choice would have meant, but he will always
wonder.
I think that Sidhwa's work can be approached from a
postcolonial point of view in a couple of ways. The first would be to examine how
fundamentally uncomfortable Zareen is with the prospect of Feroza's marriage to someone
outside of the Parsee sect. The idea is something that can be approached from a
postcolonial perspective in that it displays a fundamental tension between the more
indigenous approach to marriage and the one adopted by Feroza as she becomes
increasingly acclimated to life in America. I think that another postcolonial element
that can be explored is the malleability of individual identity. Feroza is sent away
from Pakistan because Zareen perceives her as becoming too orthodox. The rise of Zia's
rule and the imprisonment of Bhutto is what causes this fear to emerge. The impact that
this has on the daughter is what inspires the mother to send her away in the first
place. Such fluidity in character is evident when the daughter is sent to America and
becomes "Westernized." From the Postcolonial point of view, this reflects how
individuals are contingent beings whose context plays a large role in the construction
of individual identity. This would only serve to prove the Postcolonial thinkers right
in thinking that Colonialism played a powerful role in the development of individual and
cultural notions of the good. In Sidhwa's depiction, this tenet of Postcolonialism is
demonstrated.
Okay, being a teacher, I need to begin with a plea for you
to PLEASE read the actual young adult novel series that the show is based upon! I think
you'll find the series is even better than the show!!! (See the link
below!)
As for your beloved TV episode, if it's available,
you can watch it on youtube. I just typed in Pretty Little Liars
Season 2 into their search engine and came up with a huge number of clips already
there. I'm sure what you are looking for can be found somewhere on that site. If it's
not there now, it may be there tomorrow.
Further, you can
also try looking at the ABC Family website. I checked there as well and they have
plenty of full episodes right online for you to watch! Often TV websites post the full
episode directly after it airs for your convenience.
According to R. Stevenson, et al, the elements of
post-modern fiction in literature include the following
characteristics:
- playfulness
with language- experimentation in the form of the novel
- less reliance on traditional narrative form
- less reliance on traditional character development
- experimentation with point of view
- experimentation with the way time is conveyed in the
novel- mixture of "high art" and popular culture
- interest in metafiction, that is, fiction about the
nature of fiction
In Cheever’s
"The Swimmer," there is no doubt that the way Cheever treated the passing of time
between the swimmings is essential because it also brings out the theme of the
inevitability of change. It is also non-traditional in terms of narrative, which is a
characteristic of post-modern fiction. Also, the use of pop culture in the form of the
snobby, rich, white, preppy character almost gives us a discomforting sensation that we
are surrounded by very hip, but very dislikeable people. The language is also used
without restraint, as we see the use of expletives galore, and there is no traditional
character development: Neddy is arrogant, continues to be arrogant, and will remain in
an arrogant denial about what happens to him all until the end. There is no roundness of
character development, and there is no lesson to be learned. Things just are what they
are. That is the most important aspect of post-modern literature, and all of its
elements are very much present in the story.
In the initial introduction to Perkins, Doyle styles him
as the chauffeur when the narrator says, "asking Perkins, my chauffeur, how [the car]
ran." This immediately sets up the class difference between them while establishing the
relationship of master and servant. Doyle has already established the setting as around
London, England, thus refining the relationship between them to reflect the particulars
of the British institution of domestic servants.
Some distinctive
points in Perkins's characterization mark him as exceedingly competent, courageous and
devoted. When the narrator wants to take the wheel of his freshly delivered new car, his
"new thirty-horse-power Robur," Perkins--a competent expert with cars, as any good
chauffeur is--replies that the car's transmission gears are not like that on the old car
and suggests that he himself should therefore drive: "’The gears are not the same,’
[Perkins] said. ‘Perhaps, sir, I had better drive.’" He calls the narrator “sir” to
denote their class differences and their master and servant
relationship.
Later when the car is rushing down the hill out of
control, Perkins courageously takes momentary control of the situation by taking hold of
the steering wheel and suggesting the narrator jump to safety since they "can never get
round that curve." Perkins urges his master to safety by saying, "Better jump, sir."
When the narrator replies, "No ... I'll stick it out. You can jump if you like," Perkins
shows his devotion to his master--despite his conviction that they will not make the
next curve--by saying, "I’ll stick it with you, sir."
A budget is of utmost importance to any organization. No
organization will take a single step forward without a proper
budget.
For example an Army prepares action plan before
starting with a war, An architect prepares architectural design before starting the
construction of a building, in the same way a business man needs a road map with regard
to financial outlay needed for a project and that is nothing but a
budget.
A budget is action plan or a blue print prepared in
advance of action. Every department of organization needs a budget, that's why there
various functional budget within an organization like-
(1)
Purchase budget.
(2) Sales
budget.
(3) Material consumption
budget.
(4) Production
budget.
(5) Cash budget and
finally
(6) the master budget which includes all the
functional budget.
We have to prove that 1 - (sin^6 x + cos^6 x) = 3(sin x)^2
(cos x)^2
Let's start with the left hand
side.
1 - [(sin x)^6 + (cos
x)^6]
=> (sin x)^2 + (cos x)^2 - (sin x)^6 - (cos
x)^6
=> (sin x)^2 - (sin x)^6 + (cos x)^2 - (cos
x)^6
=> (sin x)^2(1 - (sin x)^4) + (cos x)^2(1 -
(cos x)^4)
=> (sin x)^2(1 + (sin x)^2)(1 - (sin
x)^2) + (cos x)^2(1 + (cos x)^2)(1 - (cos x)^2)
=>
(sin x^2)(1 + (sin x)^2)(cos x)^2 + (cos x)^2(1 + (cos x)^2)(sin
x^2)
=> (sin x^2)(cos x)^2(1 + (sin x^2) + 1 + (cos
x)^2)
=> (sin x^2)(cos x)^2(1 + 1 +
1)
=> 3(sin x^2)(cos
x)^2
which is the right hand
side.
This proves : 1 - (sin^6 x + cos^6 x) =
3(sin x)^2 (cos x)^2
This story can be described as being about the death of
the imagination as one boy discovers the extent to which the imagination can make the
most drab of settings magical and mysterious, and then experiences what happens when
imagination vanishes and he is left with the crushing force of
reality.
Perhaps the way in which setting and theme are
most closely seen working together is through the description of the bazaar that the
narrator finally reaches at the end of the story. Note the way in which, before he
starts his journey, his imagination had painted an exotic and romantic picture of this
bazaar as he imagines himself as completing a romantic quest for his
lady-in-waiting:
The syllables of the word Araby
were called to me through the silence in which my soul luxuriated and cast an
Eastern enchantment over
me.
The market itself becomes
a powerful symbol of the speaker's imagination as he builds it up to be an Aladdin's
cave of magic and mystery. However, when he makes his way there, the banal reality of
the bazaar cannot be ignored:
I found myself in a big hall girdled at half its
height by a gallery. Nearly all the stalls were closed and the greater part of the hall
was in darkness. I recognised a silence like that which pervades a church after a
service.
Instead of the
golden enchantment he was expecting, the bazaar is actually characterised by darkness,
silence and and an almost ominous feeling. It is this banal reality of the setting that
results in the epiphany that the boy experiences, which makes him realise that he is a
"creature driven and derided by vanity." Theme and setting link together to produce this
conclusion.
Krakauer tells us in his Author’s Note that the
interpretation of McCandless’ actions is very much dependent on the individual and their
own history, as much as a knowledge of the events concerning
McCandless-
My convictions should be apparent soon enough,
but I will leave it to the reader to form his or her own opinion of Chris
McCandless.
Krakauer sets out
to offer detailed evidence to support his theory that McCandless was a passionate and
exacting young man, driven by his complex human relationships to seek a clearer
understanding of life by challenging himself and living at the mercy of nature. Through
the use of literary reference and interviewing those who knew McCandless, we are given a
picture of an intelligent young man who had a profound effect on those he met, and whose
fervour was all-consuming.
My personal viewpoint is then
formed from my experiences in relation to those of McCandless. I see the torture he put
his family and friends through as supremely selfish and cruel. He was an arrogant young
man who built his life on the fictional experiences of writers he adored but who were
wiser to catalogue the experiences of the wild rather than live it. Krakauer himself
reflects-
Like Chris MCandless, I was a raw youth who
mistook passion for insight and acted according to an obscure, gap-ridden logic…I came
to appreciate that mountains make poor receptacles for dreams.
A brillant satirist, Saki is true to his inimitable style
of ironic deception and clever dialogue that reveals his unsentimental depiction of life
in his comedy of manners, "Dusk." Ridiculing the pretentious Gortsby, who considers
himself socially superior to the other "defeated" who sit in the "gloaming hour" of
twilight at the park, Saki proves him the dupe of a colossal liar through the skillful
use or irony and subtle diction such as this example in which the young man concludes
his story,
He
threw a good deal of warmth into the last remark, as though perhaps to indicate his hope
that Gortsby did not fall far short of the requisite
decency.
While Norman Gortsby
congratulates himself on finding the logical flaw the young man's tale of woe--the soap
he has supposedly purchased is missing--he himself ironically becomes the victim of his
own flawed logic as he assumes that the soap under the bench where the young man has sat
belongs to him. The startling ending in which the older gentleman returns for his cake
of soap after Gortsby has chastised himself for being "too clever" reveals the deception
of his own mind to Gortsby. Now, Norman Gortsby, ironically, can count himself among
the defeated as he has become the victim of the young man's
scam.
Subtle diction, adroit dialogue, irony, and an
unsentimental and satiric point of view are all characteristic of the style of
Saki.
We'll add the first 2
fractions:
1/(tana+i)+1/(tana-i) = (tan a - i + tan a +
i)/(tana+i)*(tana-i)
We'll combine and eliminate like
terms:
1/(tana+i)+1/(tana-i) = 2*tan a/[(tan a)^2 -
i^2]
i^2 =
-1
1/(tana+i)+1/(tana-i) = 2*tan a/[(tan a)^2 + 1]
(1)
We'll add the next 2
fractions:
1/(cota+i)+1/(cota-i) = (cot a - i + cot a +
i)/(cota+i)*(cota-i)
We'll combine and eliminate like
terms:
1/(cota+i)+1/(cota-i) = 2*cot a/[(cot a)^2 + 1]
(2)
We'll add (1) + (2):
E =
2*tan a/[(tan a)^2 + 1] + 2*cot a/[(cot a)^2 + 1]
E =
[2*tan a/(tan a)^2 + 2*tan a + 2*cot a + 2*(tan a)^2/tan a]/[(tan a)^2 + 1]*[(cot a)^2 +
1]
E = (2/tan a + 2*tan a + 2/tan a + 2*tan a)/[(tan a)^2 +
1]*[(cot a)^2 + 1]
E = (4/tan a + 4*tan a)/[(tan a)^2 +
1]*[(cot a)^2 + 1]
E = [4 + 4*(tan a)^2]/tan a*[(tan a)^2 +
1]*[(cot a)^2 + 1]
E = 4*[1 + (tan a)^2]/tan a*[(tan a)^2 +
1]*[(cot a)^2 + 1]
E = 4/(cos a)^2/tan a*[1/(cos
a)^2]*[1/(sin a)^2]
E = 4*(sin a)^2/tan
a
E = 4*(sin a)^2*cos a/sin
a
E = 4*sin a*cos a
E =
2*2*sin a*cos a
We recognize the formula of sine of the
double angle:
E = 2*sin
(2a)
The requested value of the expression
is: E = 2*sin (2a).
Shakespeare has been referred to as a versatile genius
primarily because of his variety as well as universatility of his literary output. His
38 plays, 154 sonnets, two long narrative poems and other works have inspired people
across the globe for mre than four hundred years. Shakespeare was so highly capacious in
spite of being "untutored", so unversal a humanist who never chose to incline his
writings towards any particular genre. His early plays were comedies like The
Comedy of Errors and A Midsummer Night's Dream, and
histories like Henry VI(parts I, II & III) and
Henry IV(parts I & II). Until 1608, he had written numerous
tragedies like Hamlet, Othello, Macbeth and
King Lear and Anthony and Cleopatra which are
one of the finest dramatic works in the English language. The last phase of his writing
produced tragicomedies (or romances) such as Pericles and
The Tempest . Quite early in his writing career, in the mid 1990s,
he wrote his Sonnets, breaking away from the Petrachan conventions
prevalent in Elizabethan sonneteering. His way of adapting to every form of writing is
almost miraculously characteristic of his prodigious versatility. In today’s world,
Shakespearean works have been widely read, performed and rediscovered as material immune
from the restrictions of time and place. This prodigious playwright has a phenomenal way
of approaching and presenting life in its broad universal spectrum and cutting across
all classifying genres.
It is funny you should ask this as I recently watched
Battle: Los Angeles and thought to myself how much the film
industry had been impacted by this excellent novel. If you think about it, so many films
have been inspired by the central concept in this book: an invasion of earth from Mars.
We have had Independence Day and Mars Attacks
to name just a few. This novel has had such a profound effect because it was the first
novel of its kind to be successful. This was of course helped by the famous radio
version that was infamous for fooling large numbers of people into believing that an
alien invasion was actually happening. The central themes of man's insignificance in the
face of an alien invasion and how we are not alone in the universe are very tempting
themes to address, and The War of the Worlds really set down the
foundations for science fiction films of this type.
Of course, we can't know the answer to this in any certain
way because the men did not leave notes explaining
themselves.
Perhaps the most likely explanation is that the
men were both patriots and dedicated soldiers. This means that they cared a great deal
about their home "countries" and about their fellow soldiers. Both of these would be
reasons for staying and fighting so that the rest of the Greek armies could get away and
regroup instead of getting slaughtered as they
retreated.
It may be also that the men were willing to die
because of the heroic tradition in Greece. These were men who would have been raised on
the stories of the Trojan War and who would have taken seriously the idea that the gods
favored those who were valiant. This might have been another reason to stay and
fight.
Again, we simply can never know for
sure.
Just to add to the answer above, we might say that the
dream that Hughes refers to is the dream of achieving equality and freedom as a black
man in a racist society. There is no direct statement of this, but there are telling
references to being black.
In a particularly effective
touch, the line 'I am black' occurs almost in the centre of the poem, at the point of
the speaker's deepest despair when the wall that shuts out his dream reaches its
greatest height, leaving him to 'lie down in its shadow.' This wall, of course, can
symbolize the racist barriers in society which deny people like Hughes their early
hopes. In his youth, the speaker started out with such dreams, but is thwarted for a
time by social oppression. However, as he becomes more mature, he once again takes up
the dream, willing his 'dark hands' to smash through the barriers of racial injustice
and oppression and to once again let in the light, the 'sun.'
I would say that one of the lessons that Melinda learns is
to never be silenced by individuals or a collective setting. Melinda experiences the
brutal end of the "tyranny of the majority" in her narrative. One of the lessons that
she learns is that she has a voice and while it might not be validated by the pervading
social order, that does not minimize its right to exist and to be heard. Through her
confrontation with "it" at the end, Melinda learns to be heard, to use her voice and to
not dwell in silence. I think that this is one lesson gained. I would say that another
lesson Melinda gains is recognizing the value of isolation and reflection. Granted, she
is shunned by her peers and her society. Yet, Melinda learns a valuable lesson that
much good in terms of self acknowledgement, reflection, and rumination can take place
outside of the social setting. She endures much in way of pain, both inflicted by
society and by her own self. Yet, I think that Melinda walks away from the novel's end
with a firm understanding of how important it is to have an identity carved separate
from the "madding crowd." In this, a life lesson has been learned and something that
she will take with her the rest of her days.
I don't know if it's possible to find specific details in
the epic poem of Beowulf that indicate that one ruler is better
than the other.
During the time Beowulf visits the Geats in
order to defeat Grendel and his mother, Hrothgar is an honorable man, but not a warrior.
He is a respected leader who cares deeply for his men. He honors Beowulf's willingness
to travel so far to help the Geats defeat the monster that has plagued them for twelve
winters, and honors and reward Beowulf for his help.
It is
not until approximately fifty years later, when all of Beowulf's kin have been killed,
mostly in war, that the title of king falls to Beowulf. He is much older, but the heart
of a warrior still beats within his breast. When the thief disturbs the lair of the
"fire-breather," Beowulf is quick to gather his men to defeat the creature in order to
protect his people. He is honorable and faithful to his subjects, but perhaps things are
now different over the passage of the last fifty years, for when confronted by the "fire
drake" (or dragon), Beowulf's men flee in fear—except for Wiglaf, who displays the same
code of honor and valor that has shaped and governed Beowulf's
life.
Both men are loyal to their people, willing to do
what it takes to protect them. I cannot see that either man is the better warrior, but
that the times have changed and the men Beowulf depends upon are not made of the same
"stuff" as were Hrothgar's men, many years before.
In my mind, the fundamental and best comparison between
Snowball and Trotsky is that both of them represent the intellectual angle towards
revolution. Trotsky and Snowball both see the revolution as a testing ground for the
theory that animated them. For Trotsky, this is Marxism and for Snowball this is
Animalism. When the pigs gain power, Snowball is responsible for developing committees
to run the farm. Napoleon takes the pups and develops his own secret police. Snowball
is not really driven by power, while Trotsky was more concerned with how the revolution
and post- revolution Russia would represents the theories of Marx and of Communism.
Trotsky's intellectualism was seen as something that was going to be challenged by the
power driven sensibility of Stalin, whose love for theory only went as far as his
ability to control and be at the center of all power. In this light, Trotsky was seen
as meddling threat, someone who could undermine Stalin because of his keen understanding
of theory and its application. This is where Snowball, whose military understanding
helps the animals win at the Battle of Cowshed and whose idea to build the windmill
helped provide power to the farm. In this, Snowball becomes a formidable threat to
Napoleon, who ends up running him off, similar to the manner in which Stalin ran off
Trotsky.
It seems fairly unimaginable that a Congressman would
attack a Senator on the floor of the U.S. Capitol building, leaving him injured for a
period of three years. In 1856, this was the condition of the American political system.
The Kansas-Nebraska Act allowed the citizens of the new territories to decide the issue
of slavery. This law was meant to be a compromise between the North and South. It
actually increased tensions as proponents of both sides of the argument descended upon
Kansas to vote for, or against slavery. The tension led to violence throughout the
territory and even tore apart the Whig political party.
In
May of 1856, the tension of the slavery issue reached the Capitol building.
Massachusettes Senator Charles Sumner had delivered an incendiary abolitionist speech to
Congress two days earlier and southerners were looking for some retribution. On May
22nd, South Carolina representative Preston Brooks brutally beat Sumner with a walking
cane. Sumner was knocked unconscious by the attack and it took him three years to
recover and return to his job.
The attack further
heightened tensions that already existed between the North and South. In the South,
Brooks was lauded as a hero, but to Northerners, it demonstrated the violent and
degrading behavior of the Southern mentality.
We'll create a function h(x), such as h(x) =
f(x)*e^(-4x)
This function is differentiable, with respect
to x, over the real set of numbers. Since h(x) is a product of functions, we'll apply
product rule, to differentiate it:
(u*v)' = u'*v +
u*v'
h'(x) = f'(x)*e^(-4x) -
4e^(-4x)*f(x)
We'll factorize by
e^(-4x):
h'(x) = e^(-4x)*[f'(x) -
4*f(x)]
Since e^(-4x)>0, only the factor [f'(x) -
4*f(x)] can be cancelled.
Since h'(x) = [f'(x) - 4*f(x)] =
0 => h(x) = k => f(x)*e^(-4x) = k
But, from
enunciation, we know that f(0) = 4:
f(0)*e^(0) =
k
4*1 = k => k =
4
Finally, f(x) =
4*e^(4x)
The requested function, taht
respects all the given constraints, is f(x) =
4*e^(4x).
Baba is not proud of Amir when the two still live in
Kabul. Baba is a big man with strong opinions and convictions. He perceives Amir as
weak--a boy who allows Hassan to fight his battles for him. When the two flee to
California, they become much closer and the dissimilarities begin to change. For Amir,
America is a modern country where many cultures live together in relative peace. It is a
place for him to make a new start and create a life for himself--a place where he hopes
to forget his past transgressions. For Baba, America turns out to be less than he
expected. Once a powerful, respected man in his homeland, he resorts to working in a gas
station and making extra money on weekends at a flea market. Baba's new start is not
nearly as successful as Amir's, and he longs for his life of wealth and power in
Afghanistan. Baba knows that California will benefit his son, however, and he is willing
to endure what he considers a lesser life in order to see his son grow into a successful
writer and husband.
It is clear that if we look at the first chapter of Book
the Third, entitled "In Secret," we find that Darnay experienced many problems during
his journey to reach Paris to try and save the life of the faithful Gabelle. Clearly,
Dickens presents to us a picture of France in chaos, where the established order of
things has been overturned and has vanished, and therefore it is very difficult for
somebody such as Darnay to travel unmolested and unhindered. Note what the text tells us
in this chapter about his journey:
This universal watchfulness not only stopped him
on the highway twenty times in a stage, but retarded his progress twenty times in a day,
by riding after him and taking him back, riding before him and stopping him by
anticipation, riding with him and keeping him in charge. He had been days upon his
journey in France alone, when he went to bed tired out, in a little town on the high
road, still along way from
Paris.
We are told that it
was only the production of Gabelle's letter that had managed to get him this far, and he
had been forced to use the letter again to pass the guard house that had held him for so
long. The atmosphere of approaching terror and doom thus is created, which prepares us
for Darnay's arrest and his escort to Paris.
The first section of this great story of survival set in
the ocean presents us with a range of reactions of the members of the crew that try to
comprehend and grasp the situation in which they find themselves. The correspondent, we
are told, watches the waves "and wondered why he was there." The injured captain has a
different reaction:
The injured captain, lying in the boy, was at
this time buried in that profound defection and indifference which comes, temporarily at
least, to even the bravest and most enduring when, willy-nilly, the firm fails, the army
loses, the ship goes
down.
The oiler seems focused
on trying to get the tub to safety, as he is the only one working with one of the oars,
and the cook seems to be dazed by the luck that has saved him, but then also shocked by
the threat of the sea. Thus the people in the open boat seem to display a series of
different psychological responses to their danger. We see avoidance, denial, mourning,
depression, acceptance and shock.
One of the main strengths that the narrator possesses is
that of his rational ability to think through each situation that he finds himself in.
As the inquisitors continually try and find new ways to drive him mad and force him into
the pit, he devises ways of understanding and coping with each situation, including
getting the rats to knaw through his bonds to free him from the table and death from the
pendulum.
His strength also lies in some ways in the fact
that he is confident in his innocence, that he does not deserve to suffer at the hands
of these men.
The motif or theme of death was evident in much of Emily
Dickinson's poetry. "Because I Could Not Stop for Death" is one of Emily's poems which
explains why she wrote about death so often. In this poem, the narrator or speaker of
the poem states that death is kind in that death kindly stopped for
her:
Because I
could not stop for Death,
He kindly stopped for
me;
Emily writes about death
as if he were her friend. The carriage drove slowly, just the two of them. She seemed to
have no fear of death. This is one reason she could write about it so
comfortably.
Emily wrote about death often. She did not
seem to fear death. She visualized death. She heard a fly buzz when she died. In this
poem, "I Heard a Fly Buzz--When I Died," Emily had to have taken time to imagine what it
would be like to be dead. In this poem, she describes with detail what she had witnessed
so often--death. To hear a fly buzz during death would mean the room was so quiet. That
is exactly how Emily described death with extreme
detail:
I
heard a Fly buzz – when I died –The Stillness in the Room Was like the Stillness in the
Air –Between the Heaves of Storm
–
The speaker's tone
is calm, even flat; her narrative is concise and
factual.
We slowly drove, he knew no haste,
And
I had put away
My labour, and my leisure too,
For his
civility.
Here, death is
civil. There is no gruesomeness in death. Death is as a kindly neighbor who just so
happened to pass by. Perhaps, Emily is preparing herself for death. Perhaps, she is is
writing about death to rid herself of any fears. Either way, Emily is not in pain at the
thought of death.
There are many poems to choose from. If you had the time,
I would suggest The Rime of the Ancient Mariner by Samuel Taylor
Coleridge. It is an epic, supernatural poem, with many literary and poetic devices. You
might, however, want something shorter for now.
Look at
Edgar Allan Poe's poem, "Annabel Lee."
For imagery, see the
line about the wind blowing out of the sea (third stanza), as well as the image at the
end of the poem: at the night-tide, he lies down next to her, where she lies in her
sepulcher (last stanza).
In terms of sound devices, it is
what I love about this poem: it was truly meant to be read aloud. Although we often
think of Poe as the king of the horror and suspense, he is an great poet as well.
"Annabel Lee" is simple, but it has a real musical quality. For sound
devices, I would look for assonance,
consonance, and/or
alliteration.
Assonance
is in the line "I lie down by the side." Note that not all the letters are the same, but
the SOUNDS are, and that is what is
important in "sound devices." You can hear the long "i" sound in "lie," "by" and "side."
This works because the "y" has the long "i" sound (this is found in the last stanza).
Consonance is in the line "never dissever," with the "r" sounds at
the end of the words (fifth stanza).
In terms of poetic
devices, there are several Poe uses. This is not the most sophisticated poem he has
written, but it is a fine place to begin. (By the way, many websites and textbooks—and I
think accurately so—list sound devices and poetic devices as the same things, especially
with assonance, consonance and alliteration.) The first poetic device I notice is the
dramatic rhyme. This is how you know the poem should be read aloud. Its musical quality
comes out with the sound devices, then in the poetic
devices.
For instance, look at the rhyming pattern, found
in the last word of each line in the first stanza. When we scan a rhyme scheme, we
assign a different letter to each new sound. ("Near rhyme" is when words are used that
sound very similar, e.g., "came" and "again. It is not true rhyme,
but poets use this device. Poe doesn't choose to.)
The
rhyme scheme of the first stanza is: A B A B C B. In other words, the words "ago" and
"know" rhyme. We assign an "A" to the long "o" sound. For the second, fourth and sixth
lines, we hear rhyme in the words "sea," "Lee," and "me." This second sound (assigned in
the order the next sound is used") is given a "B." The only line that does
not have an end rhyme that follows this pattern is line five.
"Thought" does not rhyme with anything, so we assign it a
"C."
The second stanza also has end rhyme, but the pattern
is different. It takes up after the rhyme scheme of the first stanza. It is D B E B F B.
The "B" sound is the repetition of the long "e" sound found in "sea," "Lee," and "me,"
while D E and F intorduce new sounds.
Now that we have
covered end rhyme, we can move on to repetition. There is a lot of it here. Line one
uses "many" and "many." "Annabel Lee" is used repeatedly, as is "sea." Repetition is
used in the word "love":
But we loved with a
love that was more than
love
Also
repeated is some form of:
In this kingdom by the
sea.
Repetition can also be
used when the structure of a phrase is
repeated:
She
was a child and I was a
child,
You might also be able
to use the word "blew" as a form of onomatopoeia that mimics the sound of the
wind:
A wind
blew out of a cloud by
night...
Hope this
is of some
help!
NOTE: you
could also use "The Raven." Great for devices!
The identity to be proven is (cos x + sin x) / (cos x -
sin x) = tan [x+(pi/4)]
Start from the right hand
side
tan [x+(pi/4)]
expand tan
(x + pi/4)
=> (tan x + tan pi/4) / (1 - tan x* tan
pi/4)
use tan pi/4 =
1
=> (tan x + 1) / (1 - tan
x)
substitute tan x = sin x/ cos
x
= [(sin x / cos x) + 1] / [1 - (sin x / cos
x)]
= [(sin x / cos x) + (cos x / cos x)] / [(cos x / cos
x) - (sin x / cos x)]
= [(sin x + cos x) / cos x] / [(cos x
- sin x) / cos x)]
= [(sin x + cos x) / cos x] * [cos x /
(cos x - sin x)]
= (sin x + cos x) / (cos x - sin
x)
This is the left hand
side.
This proves (cos x + sin x) / (cos x -
sin x) = tan [x+(pi/4)]
The solitary reaper's song is a powerful one.
Interestingly enough, it might not mean that much to her. The song is something that
she is singing to complete her work in the field. Presumably, this is something that
she sings to pass the drudgery of her day. There is little to indicate that she is
singing a song of transcendent quality to her own state of being in the world. Rather,
she is simply singing a song to allow her work to pass without as much in way of
boredom. Yet, this is not how the song is received by the speaker of the poem,
presumably Wordsworth. He is transfixed by the song. Unaware of the language in which
it is sung, his mind goes to different suppositions and conjectures on what the song
might mean. It is here where the readert fully grasps the song's impact on the speaker,
as it allows him to understand the concepts of beauty, grace, and personal meaning it
holds for him. The song allows the speaker to transcend his current reality, allowing
him to move into what can be or even what should be, as opposed to what is. For a
moment, the song moves him to a realm where so much is altered that he fully embraces
this particular moment. A song that might not have held in way of meaning for the one
who sang it is read and felt much differently by another who hears
it.
In Act I, Scene vii, of Macbeth, one
can effectively compare and contrast Lady Macbeth and
Macbeth.
First of all, Lady Macbeth seems to be the
stronger of the two. She questions Macbeth's manhood. It is here where readers see the
power that she holds over her husband. Lady Macbeth knows of the prophecy and she seems
determined to get it for her husband. While Macbeth states that he is man enough, she
questions his ability to gain the crown.
Macbeth, in this
scene, comes across as the weaker of the two. While he states that he is indeed man
enough, he fails to prove it verbally to his wife.
Here,
both characters seem to know the other character better that they know themselves. Lady
Macbeth knows that her husband is not strong enough. Macbeth knows that she will not
rest until she gets what she believes is due comes
The only
similarity which one can make in regards to these characters is the fact that they both
want more power. Little can be said about the similarities between the two in this
scene.
We'll recall the formula for the area of the
circle:
A = pi*r^2
In order to
evaluate the area of the given circle, we need to compute it's
radius.
For this reason, we'll re-write the general
equation of the circle in standard form:
(x - h)^2 + (y -
k)^2 = r^2
(h,k) are the coordinates of the center of the
circle and r is the radius of the circle.
We'll use the
technique of completing the square:
(x^2 - 6x + 9) + (y^2 +
4y + 4) - 9 - 4 = 36
(x - 3)^2 + (y + 2)^2 = 36 +
13
(x - 3)^2 + (y + 2)^2 =
49
The coordinates of the center are (3,-2) and the radius
is r = sqrt49 = 7
The requested area of the
circle is: A = 49*pi square units.
If you have actually been involved in managing a disaster,
or if you have been imagining being in that position, or if you have watched news
reports about a natural disaster, it should not be that difficult to determine what
"experiences" you had or might have had during that
time.
How did you travel to arrive at the location of the
disaster? If there were challenges with the process of arrival, that is the first
experience to record. What type of housing did you have? Were there comforts missing
from that housing - running water, hot water, electricity, privacy, hot food whenever
you wanted it? All of these could be the basis of more
experiences.
What, specifically, were your duties within
the project? What did you experience while carrying out these duties? Did you have
opportunities to work with people who had different ideas than yours? How did you work
out your differences? Did you become involved in doing things that you never expected to
do? How did that feel?
Being a native Mississippian, author William Faulkner is
sympathetic to the attitudes and culture of the Deep South. Virtually anyone who is not
from Jefferson (or Mississippi) is considered an outsider--from Homer Barron to Miss
Emily's relatives, who hail from Alabama. The townspeople of Jefferson seem to have a
general mistrust of these characters, though Homer is generally described in a positive
light. Homer represents the modern era: He has come to Jefferson to oversee the
construction of new sidewalks in town. Miss Emily's relatives represent the common sense
side that Emily is not perceived to possess. Homer particularly symbolizes the common
people outside the realm of the ante-bellum Southern aristocracy and, despite his
winning personality, he represents the encroachment of the modern world. He is a modern
day carpetbagger who comes to earn a living in the defeated South not that far removed
from the memories of the Civil War. When Emily is rejected by this man--perhaps her last
chance at romance and marriage--it is yet another defeat for Emily, who represents the
last vestiges of the Old South.
The novel Pride and Prejudice by Jane
Austen suggests a proper balance between the conflicting claims of the head and of the
heart by presenting situations common to the Regency era regarding men, women, and their
dynamics in courtship and marriage.
Through the character
of Elizabeth, Austen proposes that, no matter how limited women are to chose for
themselves, they can still set their own goals and aspire to something that leaves them
fulfilled, and satisfied, as individuals.
Following the
rules of engagement of society not always leads to the best outcome. Therefore, success
in marriage does not depend on a huge heart like Jane's, a great passion like Lydia's, a
good salary like Georgiana's, nor the best intentions, like Charlotte: Success, in every
way, happens when a leveled head looks out for its needs and still has the capacity to
hold big hopes for succeeding. This would be the case of
Elizabeth.
Clearly, Austen sends his message across her
many literary works. Not once will we see a damsel in distress crying out for her prince
charming and living happily ever after. What we find in Austen's heroines are women who
are independent thinkers, free spirited and well-grounded. No matter how many flaws they
have, the one flaw they will never possess is weakness of character, nor feebleness of
mind. That's how Austen balances the conflicts of the heart and the claims of the
brain.
In "A Rose for Emily" by William Faulkner, we cannot chart
the exposition, climax and resolution as we might with another story—one that has been
told in chronological order. In fact, one of the ways that Faulkner keeps the reader so
off balance and able to surprise us so well at the story's end is by telling the story
in several parts that are not chronologically
ordered.
For instance, had the narrator told us that Miss
Emily was seen riding with Homer Barron, that she then bought a silver-backed man's
"toilet set" engraved with his initials, and finally purchased rat poison, we would not
have been too surprised by the ending; we most probably would have remembered Homer
being admitted one night by Tobe, the manservant, never to be seen again. However, by
mixing things up with flashbacks—"misdirection" by the author—we have lost the
chronology. There is really no resolution to the plot, as happens with some short
stories; what grabs us, however, is not just that Miss Emily murdered Homer, but that
the details point to evidence that she has been sleeping next to his dead body…and not
many years in the past, but recently, as shown by the hair on the pillow next to the
body: the color and length of her aged
hair:
…we saw
a long strand of iron-gray
hair.
And this is not only
the climax of the story, but the end of the story as well.
In much of Othello, Shakespeare creates a suspenseful
tone. In the first two acts, for example, we learn what Iago plans to do to and how he
plans to create his web of lies and deceit. This is also dramatic irony as we, the
audience, know the truth of Iago's evil plan but Othello does not. The suspense lies in
how Othello will react.
The tone, of course, varies
throughout the play as Shakespeare's characters take on a range of tones. The suspense
builds at the end of the play when we know Othello plans to kill Desdemona and yet we
hope he does not. We know Desdemona is innocent, and we hear her injured tone. Othello
himself expressed an enraged tone at the thought of Desdemona's infidelity yet a
remorseful tone when he sees what he has done.
Much of this graphic organizer can be completed in just
thinking openly about the cause and effect relationship present in the short story.
Roger wants these blue suede shoes. We don't know this until later on, but this is what
initiates his need to steal. His desire to want these shoes compels him to attempt, or
try, to steal a purse. This is merely an attempt because Mrs. Jones is not someone who
will be easily bullied into submission. She repels Roger's attempts and drags Roger to
her house. After washing up, Roger does not want to be the victim of mistrust with the
woman, so he sits far away from the purse and in plain sight of Mrs. Jones. She heats
dinner for both of them as they eat a meal together. Finishing the meal, she gives him
money for the shoes and asks him to leave. Presumably, after Roger is left standing at
the front door and wanting to say what he could not, Roger goes
home.
We'll re-write the identity, using
arcfunctions:
arccos x = pi/2 - arcsin
x
We'll shift arcsin x to the left side and we'll
get:
arccos x + arcsin x =
pi/2
It is obvious that for x = 1, we'll
get:
arcsin 1 + arccos 1 = pi/2 + 0 =
pi/2
We have to prove that x = 1 is the only
solution.
We'll assign a function f(x) to the given
expression arcsin x + arccos x.
f(x) = arcsin x + arccos
x
By definition, a function is constant if and only if it's
first derivative is cancelling. We'll have to do the first derivative
test.
f'(x) = (arcsin x + arccos
x)'
f'(x) = [1/sqrt(1-x^2)] -
[1/sqrt(1-x^2)]
We'll eliminate like
terms:
f'(x)=0,
Since the
first derivative was zero, f(x) = constant.
To prove
that the constant is pi/2, we'll put x = 1:
f(1) = arcsin 1
+ arccos 1 = pi/2 + 0 = pi/2
A continuous
differentiable function is also bijective, therefore it is injective, so x = 1 is the
only solution for the equation arccos x = pi/2 - arcsin
x.
Acetone is the name of the chemical in nail polish
remover. It is organic due to the fact that it has both Carbon and Hydrogen atoms in its
formula. Its formula is (CH3)2CO. It is produced by the body naturally in metabolic
pathways. Acetone is used as paint thinner and as a cleaner. Acetone is colorless and
flammable as well as miscible with water. Acetone is a chemical known as a ketone. The
second reference link has an excellent picture of the structural formula of
acetone.
Woolf holds a fairly interesting view about death in her
story. Rather than present it as a force that eliminates life or negates it, she
depicts it as a tool to further appreciate life and the love that happens within it.
This is where the narrator recognizes her own place in her relationship with the
ghosts. The reader does not get the impression that the narrator is afraid of ghosts or
she is concerned with her well being by their presence. Rather, by the end of the work,
she actually understands their purpose in being in the house. They see the love that
the narrator shares with her husband as something that they shared at one time and
strive to share even beyond death. The force of death did not stop anything nor did it
cease human emotion. If anything, it amplified it, as the ghosts recognize that their
death was premature and the love shared between them continues even if their physical
lives do not. Death is not seen as an obstacle that finishes life and love, but rather
is a realm where human emotions can still be experienced. Individuals are shown to be
beings that can feel love and the sensuous melding of souls and hearts even through the
previously thought unconquerable force of death.
In Harper Lee's famous novel, To Kill a
Mockingbird, there are many characters who possess spiritual courage. Miss
Maudie Atkinson is certainly a brave woman, even when being faced with extremely
difficult circumstances.
Probably the most obvious display
of Miss Maudie's courage takes place when her home burns down during an extreme cold
spell. Despite the fact the has just lost almost everything, Miss Maudie does not
complain; instead, she insists that she's happy the house is
gone.
"...Always wanted a smaller house, Jem Finch.
Give me more yard. Just think, I'll have more room for my azaleas now!...Why, I hated
that old cow barn. Thought of settin' fire to it a hundred times myself, except they'd
lock me up...Don't you worry about me, Jean Louise Finch. There are ways of doing
things you don't know about. Why, I'll build me a little house and take me a couple of
rooms and--gracious, I'll have the finest yard in Alabama. Those Bellingraths'll look
plain puny when I get
started!"
Miss Maudie is
generally courageous in her approach to most social and moral issues. Her refusal to
celebrate the trial of Tom Robinson with her neighbors is a form of rebellion, which is
brave, considering the opinions of those around her (also defends Boo Radley). Miss
Maudie even cheerfully quotes Bible verses back at a wagon load of people who accuse her
of vanity.
Fitzgerald's The Great Gatsby is full
of flat characters--people who are one-dimensional and about which we know little other
than their social status and their bad behavior. It is an interesting area of
exploration to think about Jay Gatsby as a flat character, which in one sense he is. He
only shows or tells most people what he wants them to see or know about him. All most
people see of him is his beautiful mansion and his spectacular parties, at which they
can only speculate about the rest of his life. To most people, then, he is a flat
character.
To the reader who knows Gatsby through Nick,
though, he must be considered a round character. We know his past and we therefore
understand what motivates him. We see him outside of his elusive role as party host and
understand his yearnings and longing for a life with Daisy, the woman he loves and for
whom he has transformed himself. When Gatsby dies, the reader mourns the loss of a
romantic soul to such a tragic death. Gatsby is a round
character.
Yes, it was because of the geography in a couple of
different ways.
First, China had a lot of different places
where agriculture could arise. It had many places with a decent climate and it had many
domesticable crops and animals. This allowed it to develop civilization in a number of
areas in what is now China.
Second, China did not have any
great barriers within it and it had long east-west rivers. These things allowed for a
great deal of diffusion of culture. They also allowed for competition between
civilizations. This led to a stronger culture and also, eventually, to a big and
centralized state.
Because it had the crops and animals to
develop civilization and because it had a topography that allowed diffusion and
competition, China became strong enough to dominate East Asia.
The concept of the tragic hero, within
Macbeth, is perhaps the easiest. According to Aristotle's
Poetic, there are six main characteristics which align with the
tragic hero.
1. The tragic hero is a character of noble
stature and has greatness. This should be readily evident in the play. The character
must occupy a "high" status position but must ALSO embody nobility and virtue as part of
his/her innate
character.
Here, Macbeth
initially embodies virtue. His loyalty to Duncan, in the beginning, shows that he is a
noble and virtuous character. He is also regarded as being great. "I only have left to
say,/More is thy due than more than all can pay" (I, iv, 23-24) Duncan to
Macbeth
2.
Though the tragic hero is pre-eminently great, he/she is not perfect. Otherwise, the
rest of us--mere mortals--would be unable to identify with the tragic hero. We should
see in him or her someone who is essentially like us, although perhaps elevated to a
higher position in
society.
Readers can relate
to Macbeth. In the beginning, he seems to be a man who upholds virtuous and noble
behaviors. (See quote above.)
3. The hero's downfall, therefore, is partially
her/his own fault, the result of free choice, not of accident or villainy or some
overriding, malignant fate. In fact, the tragedy is usually triggered by some error of
judgment or some character flaw that contributes to the hero's lack of perfection noted
above. This error of judgment or character flaw is known as
hamartia and is usually translated as "tragic
flaw".
Many have tried to
argue whose fault Macbeth's downfall is. In the end, a person must always turn to
themselves to truly understand the position they are in. Macbeth is no different. It
was his choice to murder in order to gain the crown. Just because it was stated in a
prophecy does not make it any less his fault in the claiming of the crown. Macbeth has
freewill- and he executed his will in his murderous pace for the
crown.
4. The
hero's misfortunate is not wholly deserved. The punishment exceeds the
crime.
Here is where Macbeth
falls away from the characteristics of the tragic hero. He committed murder and, in the
end, was murdered. His punishment did not exceed his
crime.
5. The
fall is not pure loss. There is some increase in awareness, some gain in self-knowledge,
some discovery on the part of the tragic
hero..
Again, one cannot see
Macbeth as a tragic hero if aligning him with this characteristic. He did suffer loss
in his fall. Not only does Macbeth lose his life, he lost his
virtuousness.
6. Though it arouses solemn emotion, tragedy
does not leave its audience in a state of
depression.
In the end, many
readers do not leave Macbeth feeling depressed. For some, Macbeth got what was coming to
him.
Therefore, a thesis comparing Macbeth to a tragic hero
could look something like this:
While Macbeth does embody
some of the characteristics of a tragic hero, he fails to meet the ones considered most
important.
While Macbeth does embody a few of the
characteristics of a tragic hero, the fact that he falls short on meeting all of them do
not make him a tragic hero.
This is a very good question, and well done for noticing
the details at the end which are definitely very strange and not explained to us.
Firstly, I think the short answer to your question is that we do not know. We are not
told whether Norma Jean killed herself. All we are told is that as she reaches the bluff
overlooking the Tennessee River, she makes a gesture that Leroy is unable to
interpret:
Norma Jean has reached the bluff, and she is
looking out over the Tennessee River. Now she turns toward Leroy and waves her arms. Is
she beckoning to him? She seemes to be doing an exercise for her chest muscles. The sky
is unusually pale--the colour of the dust ruffle Mabel made for their
bed.
The way in which the
ending refers to the "pale" sky would perhaps indicate some kind of tragedy is about to
occur, but we are not told if that involves Norma Jean's suicide. However, your question
does draw attention to the way in which the text is filled with references to death. The
most obvious example is of course the way that the death of Norma Jean and Leroy's
marriage occurs on the site of the Shiloh battlefield. As Leroy tries to take in Norma
Jean's words about the end of their marriage, he interestingly "tries to focus on the
fact that thirty-five hundred soldiers died on the grounds around him." These deaths
only serve to highlight the many deaths that are present in this excellent short story:
the death of traditional gender roles, the death of former identities, and then,
ultimately, the death of their relationship.
Given the inequality:
3*l
2t-5 l =< 12
To solve, we will need to isolate the
absolute value on the left sides.
We will divide by
3.
==> l 2t-5 l =<
12/3
==> l 2t-5 l =<
4
Now by definition we can
rewrite:
-4 =< 2t-5 =<
4
Now we will add 5 to all
sides.
==> 1 =< 2t =<
9
Now we will divide by
2.
==> 1/2 =< t =<
9/2
Then the values of t belongs to the
interval [ 0.5 , 4.5]
I would argue that Holmes did not know there would be a
ventilator in the room when he first started to formulate his idea about what had
happened to Julia Stoner. Before he comes to Stoke Moran, Holmes has already decided
that something has been smuggled into Julia's room to kill her. But he does not know
how that could have been achieved. We know this because he examines the outside of
Julia's room carefully. He even tugs on the shutters and examines them with his
magnifying glass. At that point,
"Hum!" said he, scratching his chin in some
perplexity, "my theory certainly presents some difficulties. No one could pass these
shutters if they were
bolted.
Clearly, at that
point, Holmes did not know about the ventilator. He had thought there would be some
more obvious way of getting something in to the room. He then goes in to the room and
examines it all very carefully. Only after a long time does he notice the ventilator
and even then, he only notices it because the rope for the bell-pull is attached to
something near the ventilator.
So, it is not as if Holmes
knew in advance that there would be a ventilator there. Instead, he only found out
about that ventilator after doing a great deal of searching.
IMPORTANT BATTLES IN THE
WESTERN EUROPEAN
THEATRE.
DUNKIRK
(May-June 1940). The final warfare during the larger Battle of France, the 400,000
Allied (English, French, Polish, Dutch and Belgian) troops retreated to the beach of
Dunkirk, France, pursued by Germans twice their number. Oddly, the Germans halted their
advance, and more than 330,000 Allied troops were evacuated in nearly 1000 ships that
crossed the English Channel from England. Although Britons were overjoyed by the rescue
of the soldiers, it left the remaining French troops alone to fight the Germans. Paris
fell to the Germans two weeks later.
BATTLE
OF BRITAIN (July-October 1940). Following the fall of Paris, Hitler set
his sights on Germany's prime target: England. Fought entirely in the air, Germany hoped
to achieve air superiority before attempting a land invasion of the British Isles. The
German Luftwaffe sent more than 2500 aircraft against the Royal Air Force, who managed
to muster about 1900 planes in their defense. The powerful Luftwaffe were badly beaten
during the four-month ordeal, losing about 75% of the aircraft engaged with more than
4200 casualties. The RAF suffered about the same rate of lost aircraft, but their entire
casualties numbered less than 1000.
NORMANDY
INVASION (June-August 1944). Dubbed "Operation Overload," the gigantic
Allied invasion of the Normandy (France) beaches took the Germans by surprise (at least
to some degree). The series of battles took place over a three month period; within six
weeks, Allied forces landed more than 1.3 million troops to combat the overwhelmed
Germans, who managed to muster only about one-quarter that number in defense of France.
Allied and German casualties were more than 100,000 on each side during the first six
weeks of combat. More than 20 battles took place during June-August. The invasion was
one of the largest and most successful in all military history, the result of which was
a strong Allied foothold in France.
BATTLE OF
THE BULGE (December 1994-January 1945). One of the last German offensives
of the war, the bloody fighting in the Ardennes Forest matched 800,000 Allied troops
against about 500,000 Germans. Initially, the surprise attack by the Germans created a
large "bulge" in the Allied lines, but reinforcements (primarily those of General George
S. Patton) helped to turn the tide. The bloodiest battle of the war, Allied casualties
totaled nearly 90,000, while the Germans lost a similar number of
troops.
Danforth's reaction to the document with the signatures in
support of the accused is akin to his reaction to Proctor, Corey, and Francis Nurse
throughout their questioning of the proceedings. Danforth cannot separate the falsehood
of the criminal proceedings with how such acknowledgement will reflect on his own state
as a judge. He consistently finds opportunity to extol the virtues of the hearings as a
pursuit for truth and justice and refuses to grant that the nature of the evidence, the
evidence itself, and the accusers could be disingenuous. Danforth is not entirely
persuaded by the document in support of the accused and the many signatures that Francis
Nurse obtained on it. In fact, Danforth calls for the arrest of the 91 people who
signed the document in support of Elizabeth, Rebecca, and Martha. I think that
Danforth's true nature is revealed with his position on the issue, sounding more like an
ultimatum than a statement of cooperation and
collaboration:
a person is either with this court
or he must be counted against it, there be no road
between.
In this, Danforth is shown to be a
character who will not listen to evidence or reason, so long as it undermines his court
proceedings, his adjudication, or the perception of how he is in power and
control.
I suppose that you want to practice the properties of
logarithms on the following logarithms:
log3 (7x) and logb
(a*c^3)
To calculate the 1st logarithm, we'll have to apply
the product property:
log3 (x*y) = log x + log
y
Comparing, we'll get:
log3
(7x) = log3 (7) + log3 (x)
We'll apply the same property
for the 2nd logarithm:
logb (a*c^3) = logb (a) + logb
(c^3)
We need to apply the power property, to the second
term of the sum:
logb (c^3) = 3*logb
(c)
We notice that the superscript goes down in front of
the logarithm.
logb (a*c^3) = logb (a) + 3*logb
(c)
Therefore, applying the proper
properties, the requested logarithms
are:
log3 (7x) = log3 (7) +
log3 (x) and logb (a*c^3) = logb (a) + 3*logb (c)
You are quite right to put "honesty" in quotation marks,
for any mention of Iago as being honest must be ironic. However, the irony is mostly
dramatic. All of the major characters believe that Iago is honest, so when the term is
used, the audience knows that each of these characters has misjudged
Iago.
One of the first references to honesty is made by
Iago himself, in the last few lines of Act 1. He characterizes Othello as one
who
is of a
free and open natureThat thinks men honest that but seem
to be so
A perceptive judge
of human nature, Iago understands that Othello is truly honest, and because he is so, he
sees others as he is himself. Thus, Iago knows that Othello will trust
him.
Later, Cassio calls Iago "honest" after Iago gives
Cassio advice that will result in Othello's ordering Cassio's
death:
Good night, honest
Iago.
But the term reaches
its highest irony when Othello calls Iago honest:
And, for I know thou'rt full of love and
honesty
And weigh'st thy words before thou giv'st them
breath.
And later, Othello
declares,
This fellow's of exceeding
honesty,
And knows all qualities, with a learned
spirit
Of human dealings. (Act 3, scene
3)
These references to Iago's
honesty, while initially are somewhat humorous because the audience knows how grossly
Othello has misjudged Iago and his intentions, are the key to understanding why Othello
falls for Iago's machinations and turns against his most beloved wife Desdemona. It is
Othello's faith in those around him, his tendency to see others as he himself is, his
trust in the men who have served with him in battle that leads to Othello's downfall.
In other words, much of what causes Othello to turn against Desdemona is his inability
to see the darker nature of Iago.
After his introduction to Headmaster Florian, Mr.
Braithwaite nears a classroom out of which a tall red-head rushes; he grabs the girl to
keep her from running into him, and she apologizes. Then, Mr. Braithwaite enters the
classroom where about forty boys and girls turn to stare at him. There is no sign of a
teacher, and one of the students asks, "Are you taking old Hack's place?" Excusing
himself, Braithwaite hurries out to the staffroom, realizing the meaning of Mr.
Florian's remark, "Things are different here."
Reclining in
an easy chair in this staffroom upstairs is Mr. Theo Weston, a large hairy "cadaverous"
young man who appear untidy. Making an off-color joke, he says to Braithwaite, "Ah
another lamb to the slaughter--or should we say black sheep?" Controlling his temper,
Braithwaite introduces himself. Then, Mrs. Grace Dale-Evans enters, introducing herself
and tidying up the room. Matching the slovenly appearance of the staffroom, when
Braithwaite goes into the courtyard, the outdoors area of the school is littered with
newspapers, crumpled paper bags, and "great blobs of mucus" indicating that students
suffered from colds. A high wall separates the school from the
churchyard.
Remembering how different this East London
school is from that of his childhood days in Georgetown (British Guiana), Braithwaite
becomes depressed. But, the sound of a handbell interrupts his thoughts; it is
lunchtime. Mrs. Dale-Evans greets him again and tells him tea will soon be ready; in
the meantime, she introduces the new teacher to the rest of the faculty. She surprises
Braithwaite by adding comments on each teacher in a whispered
aside.
There is Miss Josy Dawes, short, strong appearing,
and rather mannish. Then, Miss Euphemia Phillips, mousy and young looking with a look
of helplessness, and Mr. Theo Weston. "Fancy being able to shave off your manhood
whenever you like," Mrs. Dale-Evans whispers. The next introduction is Mrs. Drew, a
white-haired matron who is "the Old Man's deputy." Miss Vivian Clintridge, an
artist, is introduced next, exuding a "brash animal charm"; following her is Miss
Gillian Blanchard, a lovely woman with dark eyes who is also a new teacher. After these
introductions, Mrs. Drew and Miss Clintridge--Clinty as she is called--encourage Mr.
Braithwaite to stay at the school.
As the bell rings, the
others leave except from Miss Blanchard, who marks books. She tells Braithwaite that
they have said the same things about staying to her.
"There is something rather odd about this school,
something rather frightening and challenging at the same
time."
She explains that
there is no corporal punishment at the school, or any other form, for that matter. As
the children are allowed to speak freely, they often do so without tact. She tells
Braithwaite that she finds them difficult because she has no experience. At this point,
Mrs. Dale-Evans reappears and shows Braithwaite around the Domestic Science Department.
Impressed at the neatness around him, Braithwaite is even more impressed by the
discipline of her classroom. The girls enter, wash their hands, and follow
instructions. Encouraged, Braithwaite reflects,
If she could accomplish such near perfection
without recourse to beatings, then I would most certainly have a shot at it. This woman
with her ready, listening ear and proven, sound advice, was both teacher and mother to
these girls....But I felt certain...she could be tough--very
tough.
