In Shakespeare's The Taming of the Shrew, how does Katharina behave at the wedding in Act III, scene ii?

In Shakespeare's The Taming of the
Shrew, Act Three, scene two, when all have gathered at the church, Petruchio
is not to be found. She tells her father that her assumptions were correct: he is a
worthless man who has asked for her hand in marriage and now will embarrass her by not
showing up. She leaves the room in tears.

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I told you, I, he was a frantic
fool,

Hiding his bitter jests in blunt
behavior:

And, to be noted for a merry
man,

He'll woo a thousand, 'point the day of
marriage,

Make feasts, invite friends, and proclaim the
banns;

Yet never means to wed where he hath
woo'd.

Now must the world point at poor
Katherine,

And say, ‘Lo, there is mad Petruchio's
wife,

If it would please him come and marry her!’
(12-20)

After Kate leaves,
ultimately Petruchio arrives, wearing clothing that is old, stockings that do not match,
and he refuses to change. He will marry on his terms, and so it seems he will live his
life with his wife on his terms as
well.

Petruchio goes into the church and marries Kate,
ending the ceremony with a loud smack of a kiss that echoes through the building. When
everyone prepares to depart for the wedding feast, Petruchio says that he must leave.
Kate asks him to stay, saying he will do so if he loves her. He asks his wife not to get
angry, but says nothing else. This is when Kate insists to her father that her husband
will stay because she wants it.

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KAT:

I
will be angry: what hast thou to do?

Father, be quiet; he
shall stay my leisure.
 (216-217)

Then she comments
that a woman is made a fool by a man if she exhibits no spirit, believing she will have
her own way. She is already making it clear that she does not intend to follow her
husband's directions.

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I see a woman may be made a
fool,

If she had not a spirit to resist.
(220-221)

However, Petruchio
will not be controlled by his wife and states that she belongs now to him and it is time
for them to go, and he will fight anyone who tries to stop
him.

So as she always has done, Kate
expects to get her own way, and to control her husband, making him
do what she wants. She is in for a rude awakening, for Petruchio is
not likely to do anything that he chooses not to do. He decides
that it is time to go, and they leave at his insistence, not on
her wish.

In Hamlet, Act 2, you are one of the characters; tell how the character feels about himself, other characters, or the situation of a scene.

In Act Two, scene two, of Shakespeare's
Hamlet, the part I find interesting is Polonius' endless talking
about nothing. He goes on and on while talking to Gertrude and Claudius and says very
little. If the reader or audience is confused, it is because Polonius says quite a bit
but little of it has any value. All he wants is to make himself indispensable, thereby
solidifying his position with Claudius, the new King.

If I
were to put myself in a character's place, it would be Gertrude. She is the one, when
listening to Polonius blabbe on, that tells him to get to the
point.

More
matter, with less art. (line
102)

I would imagine that she
would be wondering why they waste time listening to Polonius when all she really wants
is to know what is ailing her son, Hamlet. Her husband has died, and she has remarried
scandalously soon to her brother-in-law.

Gertrude worries
that her husband's death and her own swift marriage may have caused Hamlet
distress:

I
doubt it is no other but the main,
His father's death and our o'erhasty
marriage. (lines 59-60)

I
would anticipate that Gertrude also misses Old Hamlet, is not sure of her "footing" with
Claudius—for as a widow, her place in court would not be guaranteed the way it is after
she is remarried. She is probably doing a balancing act in keeping Claudius happy and
worrying for her son.

Claudius seems perfectly satisfied to
listen to the windbag Polonius. It is interesting that Gertrude
speaks up. However, perhaps in this way we can see that although she is married again,
her son is still very dear to her. She may feel she has had to settle for Claudius—as
there was no romance between them before Old Hamlet's death; and not only is
her place guaranteed, but she would hope that
Hamlet's place in the kingdom would also be
solid.

Gertrude is the Queen, but she, like Ophelia, is a
pawn in the world of politics and intrigue in this male-dominated society. She is
definitely a survivor, but when Claudius manipulates Hamlet's death, she, too, becomes a
victim.

In the speech"I Have a Dream," note King's appeals to pathos, ethos and logos.Martin Luther King, Jr.'s "I Have a Dream"

Martin Luther King, Jr.'s "I Have a Dream" is a wonderful
example of rhetoric as it contains many devices among which exemplify
pathos, ethos, and
logos.  Certainly, the very situation and setting of this speech
must have evoked emotional feelings in those who stood and listened to this most
effective speaker, Dr. King.  For, as King stood before the Lincoln monument, he evoked
the history of Lincoln's actions towards effecting the freedom of Negroes by beginning
his speech with the words, "Five score years ago," a clear allusion to Lincoln's address
at Gettsyburg.  This allusion also establishes the character to Dr. King as he thus
aligns himself with Lincoln.  

Here are other examples of
the Aristotlian forms of rhetoric:

PATHOS [appeal to
emotion]

"We have also come to this hallowed
spot to remind America of the fierce urgency
of now."

"Now is the time to rise from the
dark and desolate valley of
segregation..."

Now is the time to make justice a reality
for all of God's
children."

"...the whirlwinds
of revolt will continue to shake the fundations of our
nation..." 

"We cannot be satisfied as the Negro's basic
mobility is from a smaller ghetto to a larger one....as long as our children are
stripped of their selfhood and robbed of their dignity by signs stating
'For Whites Only...."

"Some of you have come
fresh from narrow jail cells.  Some of you have come from areas..battered
by the storms of persecution and staggered by the winds of police
brutality."

PATHOS [appeal to
character]

"We must forever conduct
our struggle on the high plane of dignity and
discipline."

"Let us not seek
to satisfy our thirst for freedom by drinking from the cup of bitterness and
hatred."

LOGOS [appeal to
logic]

"With this faith we will be able
to hew out of the mountain of despair a stone of hope. 
With this faith, we
will....."

"And if America is
to be a great nation this must become
true."

"And when this happens,
when we allow freedom to ring, when we let it ring...we will be able to speed up that
day...."

In the novella "Seize the Day," please provide elements of Wilhelm's character.

In Saul Bellow's novella, Seize the
Day, Wilhelm is a character in the midst of great struggle. Going through a
mid-life crisis, he finds problems converging from all sides. These difficulties affect
him physically as well as mentally and emotionally:

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I just can't catch my
breath...

This sense of
"constriction" is created by Wilhelm's inability to get on his feet in any way: his
floundering existence overwhelms him on every front.

One
element of Wilhelm's character is seen with his struggles to interact in a positive way
with others.  One example is his relationship with his father, Dr. Adler. Both live
under the same roof at the Gloriana Hotel, and Wilhelm and his father do not get along.
Wilhelm's father sees his son as a failure—his life the result of many poor choices he
has made. Wilhelm resents his father's overall censorship and unwillingness to support
his son, even emotionally. Dr. Adler tells Wilhelm he would rather see his son dead than
a burden to him. Wilhelm also struggles with his wife, who he does
not live with (who blames the failed marriage on him)—she will not give him a divorce.
This causes him a great deal of pain as he greatly misses his sons. He is also
"estranged" from his mistress, Olive, and his sister, further indicating how Wilhelm
struggles with making positive connections with other
people.

Wilhelm's character also reflects his lack of
financial competence: he is unable to provide for himself first because he is
unemployed. He has also made some financial investments that have not been successful.
His financial difficulties make him feel insecure and self-conscious. When he asks his
father for help, though he is not referring to economic assistance,
"money" is all his father "hears" when Wilhelm turns to him out of
need.

Wilhelm appears to have given up on himself. His
takes no care with his appearance. He is unkempt in his dress. He is overweight, but
this does not necessitate that he not be neat and clean in how he presents himself. This
is undoubtedly another result of his poor
self-esteem.

Wilhelm is also a poor judge of character,
perhaps even naive about others. When he followed his talent scout, Maurice Venice to
Hollywood twenty-five years before, even when Venice told him that he couldn't really
help Tommy (Wilhelm), Wilhelm did not listen, but stayed there for seven years, never
realizing any success in attempting to become an actor. This happens again with Dr.
Tamkin. Supposedly a psychologist, Tamkin is really a conman, and he bilks Wilhelm out
of his last bit of cash (seven hundred dollars), all the while promising financial
success to a struggling Wilhelm. Wilhelm's poor self-esteem and desire to get back on
his feet financially make him an easy target. Tamkin is especially predatory in knowing
exactly what insecurities of Wilhelm's he needs to play to, to get Wilhelm to "stay in
the game." Wilhelm is not a rational man: he is much too emotionally based to survive in
a world with people like his father and Tamkin.

At the
novel's end, Wilhelm somehow finds himself at a stranger's funeral, and is overcome with
grief—perhaps for the passing of a fellow-human being, but also certainly by a sense of
complete and utter failure that may make him feel he is not that much different than the
dead man.

How would you describe the structure and the language of Keith Douglas' poem "How to Kill"?

One thing to notice about the poem's structure is the
absence of a conventional rhyme scheme. Only two lines (15 and 16) really seem to rhyme
in any standard way. Elsewhere Douglas uses "slant" rhymes, "rhyming" words that do not
rhyme exactly.  Thus, "ball" in line 1 sounds a bit like "kill" in line 6, and "long" in
line 3 sounds a bit like "sang" in line 4. One can even make the case that "man" in line
2 sounds a bit like "Open" in line 5. If this analysis is plausible, then the "rhyme
scheme" of stanza 1 would be as follows:
a,b,c,c,b,a. This same kind of
scheme appears in each of the following stanzas, so that the analysis just offered does
indeed seem plausible.

Is this interesting and unusual
rhyme scheme relevant to the meaning of the poem in any ways? Perhaps.  It is almost as
if each half of each stanza is the reverse, or mirror image, of the other half. This
structure seems relevant to the poem's idea that although men are separated in war, they
really are not very different from one another if they are viewed as human beings rather
than as soldiers. The speaker is a soldier who takes aim at another soldier in the scope
of his rifle, but the two men do not seem shockingly different except that one is about
to kill and the other is about to be killed. This idea that enemies
in war have much in common is a standard theme in much writing about war in the 20th
century.

The language of the poem is also worth examining.
That language is clear, simple, direct, and straightforward. The poem is highly
accessible and easy to understand. The poem's phrasing is blunt, unsentimental, and
realistic, like the speaker of the poem. Indeed, everything the speaker says in this
text about the other man and about their shared situation helps to characterize
him. He is a young man not too far from childhood; he is a young
man who finds himself in a situation in which he must kill, even if he does not want to
kill; and he is a young man who is capable of imaginatively identifying with the person
he is about to shoot. It is in fact his capacity for real feeling that makes his role as
killer all the more tragic.  When he looks at the enemy soldier, he doesn't see simply
an enemy; he sees a man (probably another young man)
who

. . .
smiles, and moves about in ways
his mother knows, habits of his.
(9-10)

The shooter in this
poem is not some unimaginative, insensitive lout; it is precisely because he is a man of
sensitivity and sensibility that the poem even exists. The language this man speaks
perfectly suggests his personality. He is capable of emotional perceptiveness, but he is
not overly emotional or melodramatic. He is perfectly aware of the irony of his
situation, and so he uses language which is itself often ironic, as when he refers to "a
gift designed to kill" (6) or when he refers to "Death" as a "familiar," or a kind of
old friend (12).

The shooter in this poem is also highly
aware of the paradoxes of life, especially in wartime, and so he uses paradoxical
phrasing, as when he says that Death

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. . . has made a man of dust
of a man
of flesh . . . (13-14)

Yet no
sooner does the speaker say that "Death" has done this than he suddenly and honestly
admits:

. . .
This sorcery
I do. . . .
(14-15)

The simple, plain
language, then, is appropriate to a speaker who is determined to be honest, to speak the
unvarnished truth, and even to condemn and mock himself, as he does in lines
15-17.

How do the pigs rewrite history in Animal Farm?

I think that one way the Pigs rewrite history is to ensure
that they are always in the position of power.  This job falls largely to Squealer, who
is able to spin anything so that the Pigs, and in particular Napoleon, is always in the
right.  The pigs rewrite history by being able to stretch the truth so that the animals,
unassuming of the ulterior motives, end up believing that which is said by Squealer and
the pigs.  An example of this would be when the Pigs move into the house and while it
might on face value violate a tenet of Animalism, Squealer argues that it is needed for
the Pigs to have space in order to work and do the planning for the farm's benefit. 
This is an example of rewriting history, or Animalism, in order to benefit the pigs
while the other animals fail to either recognize or act on what is being done.  In
Chapter 7, Squealer rewrites history in constructing Snowball as an agent of Jones, and
thereby opening the door to anyone who agreed with him as an enemy of the farm. 
Snowball was instrumental to the farm's success, but once deemed an adversary by
Napoleon, Squealer embraces the task of rewriting the narrative as Snowball being an
enemy of the farm and ensuring that anyone who supported him is treated to the ultimate
penalty in death.  It is in this scene where the Orwell shows how much authority
benefits when it is able to rewrite and construct history in a manner that legitimizes
its own authority.

When Scout rolls into the Radley front yard in the tire in Chapter 4 of To Kill a Mockingbird, what does she hear?

In chapter four in To Kill a
Mockingbird, Scout, Jem and Dill are trying to think of something to do.
Summer has come once again and the children are trying to find a way to entertain
themselves. Jem says that he will push Scout in the tire. Jem pushes her really hard and
she goes rolling right into the Radley yard. Scout is stunned by the jolt and doesn't
realize at first where she is, then the yelling from Jem shakes her out of it and she
runs out of the yard. 

Jem, Dill and Scout start playing a
game about Boo. Scout isn't really into it, but she doesn't want to be left out, so she
goes along with it. When Atticus comes along and catches the children, he is very upset
with them. He warns them to stop playing the game and to leave the Radleys alone. Scout
is glad her father came along.

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Atticus's arrival was the second reason I wanted
to quit the game. The first reason happened the day I rolled into the Radley front yard.
Through all the head-shaking, quelling of nausea and Jem-yelling, I had heard another
sound, so low I could not have heard it from the sidewalk. Someone inside the house was
laughing.

When this happened,
Scout begins to realize that Boo is actually watching them. The children have spent so
much time trying to find a way to see Boo, but Boo is the one who is watching them. Jem
and Scout should be very thankful that Boo is watching them, in the near future they are
going to need him.

Render an analysis on the love between Alice and Noah.

The love shown between Allie and Noah is shown to be a
transcendent notion.  It is something that surpasses the conditions of war, coveting of
social status, as well as even time.  Allie and Noah share a love that resides at the
center of their being.  From that fateful summer, their love is shown to be a fire that
is never consumed.  World War II, different paths taken in their own lives, as well as
external elements such as Allie's mother's desires do not take from their love.  Their
love withstands all of these and sustains both of them as well as is sustained itself. 
This love is shown to be something that can even withstand the horror of Alzheimer's
Disease.  In some ways, Sparks makes the argument that separation is not as painful as
the condition of Alzheimer's in terms of its impact on the love shared between two
people.  The love shared by both Allie and Noah is one that can withstand the pain of
Alzheimer's.  As Allie loses more and more of her memory, not being able to recognize
Noah after almost half a century, there are small instants where she is able to say his
name with the yearning and longing that indicates love is not entirely gone.  This
apparently is enough for Noah, representing a bond of love that transcends even the
negative element of erosion of memory and the attempt to erode the bond shared between
them.  In this, the love shared between both is one that represents a timeless quality,
a haven in a heartless world, and a reason for being as both souls are merged as one. 
While these are cliches, they might be effective in describing the love that both Allie
and Noah share.

Solve the equation cos^2x=1-sinxcosx

We'll move the product sin x*cos x to the left side and
we'll shift (cos x)^2 to the right side:

sin x*cos x = 1 -
(cos x)^2

The pythagorean identity
yields:

1 - (cos x)^2 = (sin
x)^2

The equation will
become:

sin x*cos x = (sin
x)^2

We'll subtract (sin x)^2 both
sides:

sin x*cos x - (sin x)^2 =
0

We'll factorize by sin
x:

sin x*(cos x - sin x) 
=0

We'll cancel each
factor:

sin x = 0 => x = (-1)^k*arcsin 0 +
2k*pi

x = 0 + 2k*pi

cos x -
sin x = 0

We'll divide by cos
x:

1 - tan x = 0

tan x = 1
=> x = arctan 1 + k*pi

x = pi/4 +
k*pi

The sets of solutions of the equation
are: {0 + 2k*pi}U{pi/4 + k*pi}.

What are the stylistic elements present in Shakespeare's "Sonnet 14"?

The main stylistic element of this great sonnet is the way
in which Shakespeare builds this poem around a central comparison between stars and his
lover's eyes. Note how Shakespeare introduces this comparison at the beginning of the
poem, alluding to the way in which "astronomers" through studying the stars could
predict the future:

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Not from the stars do I my judgment
pluck;
And yet methinks I have
astronomy...

The poem begins
by the speaker stating that he is not able to predict the future through study of the
stars or through any other such method, and yet he still feels that he is able to
practice "astronomy," but on a different source:

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But from thine eyes my knowledge I
derive,
And, constant stars, in them I read such art
As truth and
beauty shall together thrive,
If from thyself to store thou wouldst
convert;

The stars, then,
with others build their lives around and base their predictions upon, do not serve for
the speaker. For him, it is the eyes of his beloved, who is addressed in the sonnet,
that he uses to "derive" his "knowledge." From these eyes he is able to see a "thriving"
of truth and beauty. The prediction that the speaker is able to make based on these eyes
forms the ending of the poem:

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Thy end is truth's and beauty's doom and
date.

His beloved personifies
truth and beauty to such an extent, that his death will mark the end of these qualities.
Thus this sonnet is built around the central comparison of the stars which are compared
to the eyes of the speaker's beloved.

What factors explain the relative ease with which a small number of Spaniards conquered indigenous empires?history

This question is the subject of some controversy lately
because some of the traditional explanations have been disputed by recent scholars. 
These traditional explanations tended to emphasize things like the backwardness of the
native peoples who believed that the Spaniards were
gods.

Modern explanations tend to look at the following two
major factors.

First, they look at the technological
advantages that the Spanish had.  The fact that the Spanish had steel weapons and armor
was a huge military advantage.  This advantage was multiplied by the psychological (and
to some extent military) advantage gained by having guns and horses since neither of
those things was familiar to the native people.

Second,
they look at the fact that the Spanish often had allies among the native people.  This
was especially true in Mexico where the Aztecs had many bitter enemies who chose to side
with the Spanish against the Aztecs.

Overall, then, current
explanations tend to emphasize the help the Spanish got from their technology and their
native allies.

What is the conflict between Duke Frederick and Duke Senior in As You Like It by William Shakespeare?

We can try to answer this on two levels, though the
textual information we have on this issue is scant. On one level, we can say the
conflict between Duke Frederick and Duke Senior is Person against
Person. This makes it an interpersonal
conflict: something has gone wrong between two people (in this case, two
brothers) and has resulted in a vicious conflict. This conflict, of course, is
paralleled in the same brother against brother
interpersonal conflict between Oliver and Orlando, though we know more about
their conflict than we know about the Dukes' conflict.

On
another level, we have to ask what caused the
conflict? To that question, we have little textual guidance. We might
speculate that the classic (fairy tale-like) theme holds
for the cause of their conflict: older brother inherits throne; younger brother is
envious and resentful; older brother is loving and benevolent; younger brother's malice
makes him evil and malevolent; younger brother steals throne and exiles older brother.
[This is reminiscent in some ways of Lear's banishment in King
Lear.] Yet, is there textual evidence to support this speculation?

The textual evidence we do
have for the cause of the conflict is scant and comes from
Celia, Duke Frederick and Duke
Senior.

Celia tells us that Frederick acted
by force, probably indicating a battle; the transfer of power was not by agreement.
Celia also tells us that Frederick has a rough and envious disposition. This means a
disposition given to quarrelsomeness and argumentation resulting in open
conflict.

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CELIA
for what he hath taken away from
thy
father perforce, (I.ii)

CELIA
My father's
rough and envious disposition
Sticks me at heart.
(I.ii)

Duke Frederick tells
us a different story of himself, yet unintentionally confirms Celia's observations by
his actions. He has forcefully summoned Oliver to court to accuse him of being involved
with Celia's and Rosalind's escape, with rumors of rendezvous with Orlando attached to
it. He tells Oliver it is good that he is a man of mercy or else he would take Orlando's
punishment out from Oliver's life. He confiscates all Oliver's goods and sends him out
with one year to find and return Orlando dead or alive. Thus while Frederick claims to
be a man of mercy, he shows himself to be a hateful, vengeful, quick to anger, quick to
violently act villain.

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DUKE FREDERICK
But were I not the
better part made mercy,
I should not seek an absent argument
Of my
revenge, thou present.
(III.i)

Duke Senior adds
another clue by suggesting that at court, his life, and those of his courtiers, was in
peril (danger) and that the court was a place made dangerous by
envy.

DUKE
SENIOR
Are not these woods
More free from peril than the envious
court? (II.i)

So perhaps we
do have enough textual evidence to say the conflict between Duke
Frederick (the younger brother who enviously stole the throne)
and Duke Senior (the older benevolent brother who is the
rightful ruler) was based on Frederick's envy and angry, malicious desire
to rule in the place of his older brother.

What went wrong at the Bhopal branch of the UCIL?

I'm sure you are referring to Union Carbide and the Bhopal
Gas Tragedy.

Union Carbide had opened a branch in India to
produce the pesticide carbaryl. The process of production involved the use of a chemical
called methyl isocynate which is a very poisonous gas. The demand for the pesticide fell
sharply during the 1980s and this led to excess inventory of methyl isocynate which the
company had to store as it cannot be disposed.

What
actually went wrong at Bhopal was Union Carbide's cost reduction plan which came at the
expense of safety and the lives of millions of Indians.

The
company reduced the number of employees in the plant drastically. None of the safety
norms were adhered to. According to an investigation done after the incident it was
found that the tragedy could have been easily avoided if the company had not left the
refrigeration system idle; the flare tower and the system to treat any escaping gas with
sodium hydroxide had been working; and the pipes and valves had been replaced as
required.

Union Carbide was able to do what it did due to
the poor enforcement of rules and regulations in India; something that will always stay
in the minds of millions who were disabled due to the gas leak and could never get
justice.

Solve for x: log3 x=5the 3 is a base

First, we'll impose that the root of the equation must
respect the constraint of existence of
logarithm.

x>0

We'll
solve the equation taking antilogarithm:

log3
x=5

x = 3^5

x =
243

Since the value of x is positive, then
the root of the equation is x = 243.

What do the words and phrases tell about Mrs. Dubose's character and the author's view of her in To Kill a Mockingbird?

Mrs. Dubose is undoubtedly an angry and bigoted old lady.
She was born during another time, and probably was a young adult at the time of the
Civil War. She carried a Confederate pistol and spoke harshly to nearly everyone who
passed her home. She calls Scout "ugly" and "dirty," and refers to the children as
"mutts." She speculates that Scout will end up waiting tables, calls Atticus "trash,"
and throws the "N" word about constantly. She lies and makes wild accusations and false
promises.

The author paints a picture of an old,
cantankerous woman (probably the widow of a former Confederate soldier) who the 20th
century has left behind. But like many of the other characters in the novel, Mrs. Dubose
is also capable of change. She becomes less angry and even smiles at Jem on occasion.
And her most drastic change, kicking her morphine habit, is accomplished before she
dies. In the end, she becomes a sentimental character whom Atticus paints as a woman of
extreme courage. She doesn't forget Jem's part in her last weeks of life, surprising him
with the gift of a camellia to remember her by.

In Macbeth, do you think "So foul and fair a day I have not yet seen" is just a literary device used to allude to the witches spell?

I do think there seems to be a very direct correlation
between Macbeth's statement "so foul and fair a day I have not seen" to the witches
comment "Fair is foul and foul is fair." Between the ominous setting of the first scene
and the witches' language, we associate evil doings with the
witches.

The repetition of this sentiment links Macbeth to
the witches and allows the audience to connect the evil connotations associated with the
witches to Macbeth. The paradox "fair is foul and foul is fair" illustrates that things
that seem on the surface good may actually be foul. Macbeth acts as if he is good to the
public throughout the entire play but underneath, he embodies that of a foul, rotten
king.

How can I make the copper get white by any salt or acit?I have some test on the copper

The copper sulfate compound (CuSO4) is a salt and it is
used to illustrate the inorganic chemical reaction called mineral
hydration.

The pentahydrate copper sulfate usually has a
blue color.

When pentahydrate copper sulfate is heated, to
prove the exothermic reaction, the water inside evaporates, leaving behind a new
anhydrous form whose color is white.

If water is added to
the new anhydrous form, it will become the original blue pentahydrate copper
sulfate.

What were the positive aspects of life in America in the 1950s?

The major positive about this time in US history was that
it was prosperous and, it seemed, stable.  The US was clearly on top of the world and US
society seemed relatively stable and happy.

This was a time
when the US was booming after WWII.  The rest of the world was economically crippled by
the effects of the war.  The US economy boomed as pent up demand for consumer goods
(things that were completely unavailable during the war and unaffordable during the
Depression) exploded.  This meant that people were becoming more affluent than ever
before, with things such as cars, TVs, refrigerators, and other things becoming much
more common.

At the same time, this was a time when society
seemed stable.  There were no large protest movements going on yet and therefore not
much of a feeling of social strife like we have even today.  The society had finally had
a chance to simply relax and be happy after the Depression and the war.  These were the
years when it seemed that US society was perfect (to some).

Identify the opportunities for escape that the Wiesels miss before evacuation in Night.

It's difficult to assess much in way of blaming Eliezer's
family for opportunities not taken prior to their deportation.  Yet, there were some
distinct moments that could have been seized.  Moshe the Beadle's warnings could have
been taken more seriously than they were.  Moshe gives "actionable intelligence" in
which more people of Sighet could have acted quicker in escaping what was awaiting
them.  Additionally, the maid, Maria, offers sanctuary to Eliezer and his family, only
to be rebuffed in her attempts.  This could have been an avenue that was pursued.  In
much the same way, the Hungarian police officer who tapped on their window before the
move to the Ghetto was an opportunity to escape that was not taken.  A more structural
answer to this question would be present in Eliezer's family, who was so much more
concerned with the welfare of the community and the other Jewish people in Sighet that
he failed to account to the dangers to his own family.  This precluded him from taking
action to save his family.  As stated before, I think it is really difficult to assign
any sort of "blame" to Eliezer's family, as the real blame must be shouldered by the
Nazis.  Yet, Wiesel does depict moments where paths presented themselves and given the
horrific account of what is in the narrative, it is almost human nature to wonder about
what could have been as opposed to what was.

Meaning of, "Baseball is the only field of endeavor where a man can succeed three times out of ten and be considered a good performer," Ted...

What Ted Williams is talking about here is a baseball
statistic called batting average.  For a long time, batting average was seen as the best
way to decide if someone was a good hitter.

A player's
batting average is determined by taking the number of hits they get (in a season or a
career) and dividing it by the number of at bats they get.  If a person gets 3 hits in
10 at bats, their batting average is .300.  This is considered to be a very good
average.  Ted Williams was the last player to hit better than .400 for a whole season
and that was in 1941.

What Williams was saying in this
quote is that baseball is an inherently difficult or even frustrating sport.  A batter
who fails 7 times out of 10 is a good batter.  Imagine if you failed 7 of 10 classes in
school.  Or imagine if a doctor failed to cure 7 of 10 patients who came to
them.

So this is a statement about how difficult and
frustrating baseball is, at least from the perspective of a
hitter.

Why does Willy tell Howard about Dave Singleman in Death of a Salesman?

Let us remember that at this stage in the interview Willy
senses that things are going badly for him and he is fighting for his job. As he tries
to engage a "barely interested" Howard in what he is saying, he reveals his own
inspiration and role model for becoming a salesman, who was Dave Singleman. Note what he
tells Howard about this legendary figure (to Willy at
least):

And
he was eighty-four years old, and he'd drummed merchandise in thirty-one states. And old
Dave, he'd go up to his room 'understand, put on his green velvet slippers--I'll never
forget--and pick up his phone and call the buyers, and without ever leaving his room, at
the age of eighty-four, he made his living. And when I saw that, I realised that selling
was the greatest career a man could
want.

Of course, it is Dave
Singleman who gives the play its title, as it was his death that brought "hundreds of
salesman and buyers" to his funeral and made things "sad on a lotta trains for months
after that." Dave Singleman thus represents the personal side of sales, which is in
direct contrast to the impersonal reality of sales that Willy is confronting now. In his
own words to Howard, it is "all cut and dried" and there is no room for "friendship." Of
course, the massive irony of Dave Singleman is that Willy's "death of a salesman" is
completely different to Dave's. Willy dies unremembered, apart from his family, and
represents a victim of the capitalist system rather than a hero.

To whom is the lady being compared to in the first stanza in "She Walks in Beauty"?

Byron uses natural elements as a means to both articulate
and compare the subject's beauty.  Consistent with Romanticism, Byron uses nature as the
representation of perfection.  This makes its comparison to the woman's beauty an aspect
of perfection, something that cannot be replicated.  The "night" and "cloudless climes"
and "starry skies" of lines one and two are merged with the subject, herself, in line
four, when the speaker argues that the subject of the poem is the representation of such
beauty: "Meet in her aspect and in her eyes."

Another form
of comparison that is present in the first stanza can also be seen in line three. 
Romantic thinkers were zealous advocates of being able to merge social and political
elements of the good with a state of beauty.  Beauty was seen as the physical
representation of justice and honor, qualities that are intangible and impossible to
physically define.  Romantic thinkers argued that the aesthetic experience of beauty
also represents these realities.  Recall Keats' assertion of "beaty is truth" in his
work, and one sees how this is a Romantic idea.  Byron also does not miss a chance for
this in line three where the speaker argues that "And all that’s best of dark and
bright" is present in the subject of the poem.  In this comparison, Byron is making the
argument that the subject is a physical representation of the intangible, apotheosizing
her beauty as the physical manifestation of those noble virtues that cannot be
quantified.

In the story "Dusk," by Saki, what is meant by "requisite decency?"

The actual wording in the story is as
follows:

readability="7">

"...one could go to one's Consul and get the
requisite help from him....Unless i can find some decent
chap to swallow my story and lend me some money I seem likely to spend the
night on the
Embankment."

This little
memorized and pre-rehearsed speech is intended to suggest that the con man belongs to
the class of people who are accustomed to foreign travel and that he has been to schools
like Eton and Oxford, where the expression "decent chap" would be more likely to be
heard than elsewhere. A "decent chap" would probably be an upper-class type, one who
would do the right thing by an equally decent chap who happened to be in trouble. By
suggesting that he himself is a member of the upper class and that he is a "decent
chap," the con man strongly implies that he has plenty of money and will surely repay a
small loan. He is also challenging Gortsby to show that he too is a "decent chap." If
Gortsby is a decent chap, he may develop a friendship with the pseudo-aristocrat, who
has told him he doesn't know a soul in London and who would therefore be glad to have a
knowledgeable Londoner like Gortsby as an
acquaintance. 

When Gortsby punctures the con man's story
by pointing out that he doesn't have a cake of soap to prove his story, he is dismissing
the idea of establishing any kind of relationship with him. But then when Gortsby finds
a cake of soap near the bench, he realizes, among other things, that he has failed to
behave like a "decent chap" and rushes after the con man to make
amends.

Gortsby is not represented as a gentleman of
leisure. Saki tells us that "Money troubles did not press on him," but that hardly means
that he is rich. He works in an office and is relaxing on a park bench before going back
to his small flat. He and the young con man are probably about equal in  education and
social status, but the con man is putting on an act. Actually, the con man is putting on
two acts simultaneously. He is pretending to belong to the upper class and at the same
time pretending to believe that Gortsby is his social equal. Gortsby snaps at the bait.
He says:

"Not
at all impossible," said Gortsby judicially; "I remember doing exactly the same thing
once in a foreign capital, and on that occasion there were two of us, which made it more
remarkable...."

Gortsby has
probably only been out of England one time in his life, but he is trying to put himself
on the same plane as the other man. In Gortsby's misadventure he did not go to his
Consul but:

Luckily we remembered that the hotel was on a
sort of canal, and when we struck the canal we were able to find our way back to the
hotel."

What is f(x) if derivative is f'(x)=sin2x/(sin^2 x-4)?

To find the primitive of the given function, we'll have to
determine the indefinite integral of sin2x/[(sin x)^2-4]

We
notice that if we'll substitute (sin x)^2-4 by t and we'll differentiate both sides,
we'll get:

2sinx*cosx dx =
dt

We also notice that we may replace the numerator sin 2x,
using the identity: sin 2x = 2sinx*cosx

We'll re-write the
integral of the function of variable t:

Int sin 2x dx/[(sin
x)^2-4] = Int 2sinx*cosx dx/[(sin x)^2-4]

Int 2sinx*cosx
dx/[(sin x)^2-4] = Int dt/t

Int dt/t = ln |t| +
C

We'll replace t by (sin x)^2-4 and we'll
get:

Int sin 2x dx/[(sin x)^2-4] = ln |(sin x)^2-4| +
C

The primitive of the given function is F(x)
= ln |(sin x)^2-4| + C.

Solve for x the module equation |2x+16|=24?

We recall the property of absolute
value:

|x| = a>0

We'll
have to discuss 2 cases:

1) 2x+16 = 24, if 2x+16>=0
=> x belongs to [8;+infinite)

We'll subtract 16 both
sides:

2x = 24-16

2x =
8

We'll divide by 2:

x =
4

2) 2x+16 = -24, if 2x+16<0 => x belongs to
(-infinite,8)

We'll subtract 16 both sides, to isolate x to
the left side:

2x = -16 -
24

2x = -40

We'll divide by
2:

x = -20

Since
both values are in the admissible
intervals, they both become the
solutions of the equation:
{-20 ; 4}.

How might the Columbian Exchange be considered a bio-terrorist attack?

An interesting idea; as smallpox, etc. devastated native
American populations, sometimes wiping out entire cultures. Jared Diamond makes this
point quite well in Guns, Germs and Steel. One of the more ironic
elements is that large numbers of people died who never came into contact with
Europeans; the diseases were that pervasive.

A problem with
considering the entire exchange as biological warfare is that by and large, Europeans
did not intend to use germ warfare to
destroy these people; it was an incidental and to a large extent unintended consequence.
One should also consider the fact that the Indians returned the favor: syphilis was
unknown in Europe until European sailors and explorers intermingled with the Indians;
yet again, however, this was an incidental and unintended consequence. That being the
case, I'm not sure "biological terrorism" is the proper
term.

There was at least one incident in which germ warfare
is unquestionably the term: settlers at Jamestown gave Indians blankets which they knew
to be infected with smallpox in a deliberate attempt to spread the disease. Other than
this one incident (when the poison they otherwise would have used wasn't available) I'm
not sure the entire exchange qualifies.

In Henrik Ibsen's play A Doll's House, what is the significance of masking and how does it foreshadow Nora's changes at the end of the play?

In his play A Doll's House, Henrik
Ibsen uses references of masking to foreshadow Nora's change, or unveiling, at the end
of the play. Throughout the play, Ibsen indicates that Nora is more than what she
appears to be, she is especially more than what her husband, Torvald, sees her to
be.

One instance of masking is seen through the mascarade, or fancy
dress ball, that is given by Nora's neighbors after Christmas Day. According to
Torvald's suggestion, Nora goes dressed as a Neapolitan fisher-girl and dances the
Tarantella href="http://www.fullbooks.com/A-Doll-s-House1.html">(Act II). The costume
represents the pretenses Nora employed to get her husband to Italy. Although, Nora
wanted to get her husband to Italy to save his life, she used lies and cunning to get
them there. The mask of the costume Torvald chooses for her represents the innocent,
propper wife that Torvald believed her to be in Italy, and still believes her to be. The
costume also foreshadows change at the end of the play, because finally Nora
acknowledges the truth to her husband, and also acknowledges knew truths to
herself.

A second instance in which masking occurs is in title="fullbooks.com" href="http://www.fullbooks.com/A-Doll-s-House1.html">Act
I when Nora first asks Torvald to let Krogstad keep his post at the bank.
Torvald refuses because he knows Krogstad is guilty of a fraudulent crime, such as
forging a signature, that Krogstad was never punished for because he managed to get
himself out of it. Torvald refers to Krogstad as a "guilty man" who wears "a mask in the
presence of those near and dear to him" href="http://www.fullbooks.com/A-Doll-s-House1.html">(Act I). The phrase
wearing a mask refers to Krogstad pretending to be innocent when he is really guilty.
Krogstad's mask directly parallels Nora's mask, because they both committed forgery for
similar reasons, to save the life of someone dear to them. Just like Krogstad, Nora must
pretend that she is innocent. The mask also foreshadows Nora's unveiling at the end of
play, because finally, Nora sheds her mask and admits the truth.

How can the functions of management be integrated?

There are five functions of management; planning,
organizing, staffing, directing, and controlling. All five functions are very closely
related and they tend to blend together. They can be integrated in many ways and to be
honest I am not sure they can exist without
integrating.

Planning is the basic function of management
and it's primary focus is setting organizational goals. Organizing is the act of
bringing together different departments to actively achieve organizational goals.
Staffing is the act of manning the structure. Directing is influencing, guiding,
supervising, motivating so that the organizational goals can be achieved. The last
function is controlling. This is basically setting performance standards, making sure
they are followed and achieved and taking corrective action if they are
not.

What are the most significant differences between the early novel (e.g.,Robinson Crusoe) and the Victorian novel (e.g., Jane Eyre)?

It is believed that the circumstances that contributed to
the rise of the novel came from changes being experienced in the 18th Century, as well
as social concerns of that time. Population was exploding, for example, in London, as
more and more people chose to live in cities rather than the country. With this came the
spread of ideas and increased production of reading materials. Other characteristics of
the time included crime, poor living conditions and housing, excessive drunkenness and
still an alarmingly high incidence of infant and child mortality even as late as
1780.

The advent of the novel is often credited to books
like Don Quixote by Miguel de Cervantes
Saavedra, Robinson Crusoe and Moll
Flanders—both by Daniel Defoe, and Pamela by Samuel
Richardson. Two basic characteristics shared among the early novels were the presence of
a story and a storyteller. The novel is a "prose narrative form," along with epics and
romances. However, among the types of narratives, there are clear distinctions, in this
case between the novel and the romance. The novel concentrates on representing realistic
characters and experiences.

readability="10">

...what distinguishes the novel from the romance
is its realistic treatment of life and manners. Its heroes are men and women like
ourselves, and its chief interest, as Northrop Frye said, is 'human character as it
manifests itself in
society.'

DeFoe may be
considered the father of "realistic" fiction. He was a small business man, a spy, a
productive writer (in a variety of genres), as well as a [religious] Dissenter,
etc.

readability="6">

Defoe...represent[ed] nearly all the conditions
[needed] for the appearance and popular acceptance of the English
novel.

Defoe was one of the
first writers who did not base his characters on mythological or
historical figures, or legends. He did not engage in the retelling of old stories. He
presented a new kind of plot and protagonist—presenting exciting characters and their
grand adventures.

In terms of the novel during the
Victorian era, readership was leaning away from poetry and drama,
looking for stories that dealt with the lives of average people alive at that time. All
of a sudden, the stories were no longer primarily about the upper-classes, but about the
middle and working classes. More people were reading than at any time before. And the
focus of these novels, such as Jane Eyre by Charlotte Bronte, now
included more women and even servants.

readability="14">

Since the eighteenth century, and particularly
since the Victorian period, the novel, replacing poetry and drama, has become the most
popular of literary forms...The novel became increasingly popular as its social scope
expanded to include characters and stories about the middle and working classes. Because
of its readership, which included a large percentage of women and servants, the
novel...most addressed the domestic and social concerns of these
groups.

It is also important
to note that novels of the Victorian Age had more href="http://www.merriam-webster.com/dictionary/angst">angst. In Victorian
England, although there was a superficial sense of optimism, beneath the facade, there
was a great deal of anxiety. According to Walter Houghton in The Victorian
Frame of Mind (1957):

readability="10">

'Studies in this area have emphasized only a few
characteristics, notably moral earnestness and optimism, to the obscuring of others,
equally important, like enthusiasm and
anxiety.'

In light of this,
novels would have presented a valuable distraction for the Victorian
audience.

What impact did the Kansas--Nebraska Act have?

First, what was the Kansas-Nebraska
Act?  In 1854 the question of what to do with all the unorganized lands that the United
States owned.  Would slavery be allowed in those lands or not?  How to
decide...

Stephen Douglas, the Illinois Senator, came up
with what was to be known as the "Kansas-Nebraska Act."  This law would create the
territories of Kansas and Nebraska and allow the people who moved there to vote on
whether they wanted slavery or not.  Sounds like a good compromise, but in the end it
didn't work out so hot.

Both sides of the slavery debate
(abolitionists and pro slavery) rushed to move people into the states to win the vote.
 Pro Slavery people largely came from Missouri while Anti-slavery people came from
further East.  It was such a hot issue that the two groups came into bloody conflict
with one-another.  At one point, two separate governments were set up in different towns
(one free, one slavery.) There's a reason they called it "Bleeding
Kansas."

In one instance, an abolitionist named John Brown
"captured" five pro-slavery farmers and murdered them in retaliation for murders
committed by pro-slavery forces.

In the end, Kansas was
admitted to the Union as a Free State, but the turmoil caused by the law actually helped
further fracture the nation and propelled the country toward civil war.  it brought to a
head the bitter divide that was cracking the country in two.

Find the sum of the first 4 terms of a geometric progression if a3 = 1 and the common ratio between consecutive terms is 1/2.

Let the terms of a geometric progression be
:

a1, a2, a3, a4

Given that
a3= 1 and the common difference is 1/2.

==> Then we
know that:

a3 = a1*r^2

1 = a1*
(1/2)^2

1= a1/ 4

==>
a1= 4

==> a2= a1*r = 4* 1/2 =
2

==> a3= a1*r^2 = 4*1/4 =
1

==> a4= a1*r^3 = 4*(1/8) =
1/2

Then the terms are:

4, 2,
1, 1/2

We will find the
sum.

==> S = 4 + 2 + 1 + 1/2 =
7.5

Then the sum of the first 4 terms is
7.5

What's the attitude and mood of Aunt Alexandra and the women when she invited them over to discuss charity work in To Kill a Mockingbird?

What begins as an innocent enough meeting of the local
Methodist Missionary Circle groups turns a bit ugly midway through the social. Serving
as hostess in Atticus' home, Aunt Alexandra's friends include Miss Maudie, Miss
Stephanie, Miss Rachel, and the main speaker, Mrs. Grace Merriweather. The group hears
Mrs. Merriweather's description of the Mruna tribe in Africa, who are being civilized
under the eye of missionary J. Grimes Everett. She hopes to receive the support of her
group for Everett's work with the uncivilized, heathen tribe, but during a break for
refreshments, talk turns to the African-Americans in Maycomb. Despite the women's
apparent support of the Mrunas, the talk turns nasty when discussing the black people in
their home town. Mrs. Merriweather denounces Helen Robinson, Tom's wife; and her maid,
Sophie. She then moves on to blasting certain people

readability="7">

"... in this town who think they're doing
right... far be it from me to say who, but some of 'em... all they did was stir 'em
up."

She is talking about
Atticus, of course, and Miss Maudie takes offense, questioning Mrs. Merriweather's nerve
to be eating the refreshments (paid for by Atticus) in his own house. Miss Maudie
retorts,

"His
food doesn't stick going down, does
it?"

It is obvious that, in
Mrs. Merriweather's case, charity does not begin at home. Most of the discussion is over
Scout's head, but she recognizes when Miss Maudie becomes angry,
since

... her
brevity was icy. Something had made her deeply angry, and her gray eyes were as cold as
her voice.

Mrs. Merriweather
was embarrassed, but she denied knowing of what Miss Maudie spoke, and soon she was
speaking about the hypocrisy of others.

Things became even
worse when Atticus brought the news that Tom had been killed.

I'm studying the poem "Praise Song for My Mother" and I am finding it difficult to grasp the content and language. Can you give me some help?What...

The poem "Praise Song For My Mother" was written by Grace
Nichols. It is basically a tribute poem in which Nichols honors her mother. The meaning
of the poem is embedded within the many metaphors woven into the text by Nichols.
Nichols is comparing her mother to many different things so as to show the necessity of
having her mother in her life.

Nichols first compares her
mother to water. This comparison describes her mother as one of the necessiteis one must
have to live: water. The water is also described as "deep", "bold", and "fathoming".
Deep and fathoming are simply the same thing. The use of deep is simplistic, whereas the
use of fathoming compounds the description. Bold is a characteristic which Nichols finds
important in ones character. Water is bold; it can go anywhere without
"thinking".

Nichols then compares her mother to the "moon's
eye".  Here, one can interpret this as all-knowing. The moon looks down on us, a
lightens even the darkest nights. The descriptives used in this stanza are "pull",
"grained", and "mantling". Pull refers to the gravitational pull that the moon has in
regard to the oceans (another reference to the water in stanza one).  This could be
compared to the pull that the mother-daughter relationship has on Nichols. "Grained"
refers to a rough surface. Perhaps, Nichols sees her mother as having a rough exterior
(similar to the moon) because of hardships she had faced throughout her life. "Mantling"
refers to something cloaked or covers. This word can have two meanings in regard to the
moon and Nichols mother. First, the moon covers the earth with light (again, references
the moons ability to brighten even the darkest night). Second, the comparison could link
the coverage of the light of the moon to the cover that Nichols' mother provides her
with.

Nichols then compares her mother to the sun. This,
again, speaks to something that many humans cannot live without- the warmth and light
needed to survive in a sometimes cold and dark world. The three descriptives used in
this stanza are "rise", "warm", and "streaming". The sun rises; perhaps much like her
mother rises to challenges. The sun provides warmth; again, something that Nichols looks
for from her mother-warmth. Lastly, the sun is streaming; This references both the first
stanza (water) and the second (the moon); both stream like the light of the sun. This
should be referencing the constant "action" of the sun which streams light over earth at
all times.

The next stanza compares Nichols mother to the
gills of a red fish.  This is rather simple: fish need their gills to breathe;
therefore, her mother provides her the breath she needs to survive. (This mirrors the
basic need of water in the first stanza).

"The flame tree's
spread to me" refers to either the changing of the leaves during the fall or a tree
indigenous to her area. Change is important in life. We must face change- Nichols'
mother helps her face change. Items that are indigenous are important because it shows
ability to survive time.

"The crab's leg/the fried plantain
smell" refers to (perhaps) two staples of her diet growing up. Nichols was born in
Guyana. A Caribbean area, Guyana's staples in food were typically sea-foods and fruits
indigenous to the area. "Replenishing" is used to compare her mother to what food does
for one: it replenishes. The repetition simply accentuates it.

Discuss the significance of Jordan cheating in her first golf tournament in order to win in The Great Gatsby.

Jordan's cheating reveals much about her character. 
Jordan is amoral.  She does not cling to moral structures or sentimental expressions. 
Jordan is the flapper who embodies most of what it means to be a part of the intense
social scene of the 1920s.  Jordan does not care about anything other than her own
pleasure and her own happiness.  Her cheating reflects this.  She wants to get ahead and
wants whatever will make her happy.  Golf being a "sport of gentlemen" and one that
follows "gentleman's rules" would have been seen by Jordan as an opportunity to advance
her own desires of winning.  She would never have capitulated to an order or structure,
and certainly would not sacrifice for one that is based on intrinsic notions of the
good.  Jordan is motivated by the sense of self, and this is reflective in how she
carries herself throughout the novel and in her past.

What is the quotient and remainder for (24b^3 + 16b^2 + 20b + 36)/(4b + 4)

We have to find the quotient and remainder for (24b^3 +
16b^2 + 20b + 36)/(4b + 4)

(24b^3 + 16b^2 + 20b + 36)/(4b +
4)

=> (6b^3 + 4b^2 + 5b + 9)/(b +
1)

Now use long division:

b +
1 | 6b^3 + 4b^2 + 5b + 9 | 6b^2 - 2b + 7

............6b^3 +
6b^2

----------------------------------------

.......................
- 2b^2 + 5b + 9

....................... - 2b^2 -
2b

-----------------------------------------

......................................7b
+ 9

......................................7b +
7

-----------------------------------------

........................................0
+
2

-----------------------------------------

This
gives the quotient as 6b^2 - 2b + 7 and the remainder is
2.

How is Macbeth a pawn in the witches game, any special quotes indicating this from the witches ?

Shakespeare makes it evident in Act I, sc. i of Macbeth
that the witches are evil forces, for they can confuse appearance and reality.  Their
chanted line "Fair is foul, and foul is fair" resonates this idea throughout the play. 
They place suggestion in Macbeth's mind that he will become king, and he charges ahead
to make it happen. 

After the downward spiral of events
that occurs after Macbeth's coronation, Macbeth vows to revisit the witches.  Before
this occurs, the leader of the witches, Hecate, in Act III, announces her intention to
lead him "on to his confusion"  because "security is mortal's chiefest enemy".  She
further announces that he will "spurn fate" and "scorn death" because of what he
hears. 

The witches do use Macbeth as a pawn, but one must
be careful to note that Macbeth does retain his sense of free will.  The witches do not
say how the prophecies will be fulfilled, so Macbeth's, himself, may determine these
courses.

I need help writing a “found poem” from the text of “The Yellow Wallpaper.” A “found” poem is a poem constructed entirely of words...

When writing this "found poem" for Charlotte Perkins
Gilman's "The Yellow Wallpaper," the reader will notice that there is a pattern, not
just to the disturbing wallpaper, but also to the arrangement of words and sentences on
the pages.  For instance, many of the sentences begin with I while
many others begin with He said. Also, the thoughts of the unnamed
narrator are fragmented, simple, and short.

With this in
mind, then, as a characteristic pattern, the reader can then arrange the "found poem" in
the same manner.  Perhaps, even a style imitative of Poe's in which imagery takes the
place of his sound effects in the stanza with a last line that is of the same meter each
time and rhyme might work.  For instance, the reader of Perkins's story could
compose one stanza like this:

readability="21">

I must not think about this paper that knows
what a vicious influence it has!

I never saw so much
expression in an inanimate thing before though all have such
looks

I never saw a thing that was not arranged on any laws
of radiation or alternation, or repeition, or symmetry

It
is repeated, of course, by the breadths, but bloated curves and flourishes with delirium
tremens go waddling up

I don't know why I write this.  I
don't want to.  I don't feel able.  But the effort is getting to be greater than the
relief.

The next stanza can
build on the narrator's fixation with the wallpaper, and then repeat the lines of the
last group above: "I don't know why I write this.  I don't want to......Then, in the
last stanza, the reader can write as the final lines,

readability="9">

I suppose I shall have to get back behind the
pattern when it comes night

It is so pleasant to be out in
this great room and creep around as I please!  But the effort  is getting to be better
than the relief; yes, better than the
relief.

(This is a great
assignment, providing you with such opportunities to write lines suggestive of the
errant mind of the narrator.  Take a look at Poe's poem and read a little about him to
springboard some ideas.)

In Night, describe three ways that Eliezer uses his smarts to stay alive.

Eliezer uses his drive to survive as the focal point of
the narrative.  It is difficult to address the question, though, because the primary
motivation of the narrative is not to detail a triumphant story of survival.  It is
rather a mournful narrative of how the inversion of values is particularly cruel and
painful to endure.  I supposed one could say that Eliezer's "smarts" in not speaking nor
assisting his father when he was being beaten would be one moment that assisted in his
survival.  If he had advocated for his father, Eliezer himself might have been beaten,
and, in his condition, this would have been fatal.  Another moment when Eliezer uses his
smarts is when he is able to trade his ration of bread to be closer to his father at
Buchenwald.  This shows a level of intelligence in understanding the value of bartering
goods in order to achieve what is needed.  If one really wants to expand the idea of
"smarts," saying that he was 18 at the primary selection at Birkenau when Dr. Mengele
encounters him was "smart" in that he endured the first selection.  The drawback was
that it would mark the last moment he would see his mother and sister again.  Again, I
am not sure one could point to specific moments that reflect a glorious vision of
survival because that is not the focus of Wiesel's work.  "Smarts" and using skills to
survive is a secondary issue to the larger issue of how one appropriates an experience
like the Holocaust from ethical and psychological levels.

In To Kill a Mockingbird, what are the symbolic meanings of tears or crying, doors, and ghosts?

You aren't specific about the chapter, but I'll try to
give you a general answer.

Both Jem and Scout shed tears a
few times during the novel. It's a natural response for a child--sometimes out of
emotional distress and sometimes to seek attention. Jem's tears always come as the
result of a new revelation: He cries after finding out Nathan Radley has lied to him
about his reason for cementing the knothole; he cries after Mrs. Dubose hurls insults
about Atticus, who always treats her with respect; and he cries about the jury's
obviously unjust decision in the Tom Robinson trial. Jem is also maturing and going
through the first stages of puberty, so the tears come more uncontrollably than he may
wish. Meanwhile, Scout's tears usually come out of anger, in much the same way that her
brother's flow.

Doors, especially the closed doors of the
Radley home, represent an entrance to a different world, one that is foreign and
enduringly mysterious to the children. The courthouse door serves in a similar manner.
Jem, Scout and Dill view ghosts in much the same way as other children of the period:
They consider them real entities when they are younger, but both Jem and Scout laugh
about them later in the novel, the ghosts, Haints and Hot Steams symbolize maturity
having

...
vanished with our years as mist with
sunrise.

Why does Capulet think it will be easy for Montague and him to keep the peace in Romeo and Juliet?

The answer to this question can be found at the very
beginning of Act I scene 2, as a conversation is continued between Capulet and Count
Paris regarding the feud and what has happened between the two households. Having
received such a stern reprimand from the Prince, however, the worries of Paris which are
obviously referred to in the response from Capulet are downplayed. Note what he
says:

But
Montague is bound as well as I,

In penalty alike; and 'tis
not hard, I think,

For men so old as we to keep the
peace.

Thus Capulet considers
that both households are under the same restrictions--no favouritism is shown--and thus
both know the price of breaking the peace. In addition, older men such as Montague and
Capulet, in his opinion, should find it easier to keep the peace than younger, more
intemperate individuals. Ironically, he is right, as the rest of the play will
testify.

Discuss the conditions in Europe that led to the discovery and conquest of Americahistory / religion

There were any number of things which led Europe to expand
beyond its borders; the discovery and conquest of America was incidental to that
expansion, which also extended into Asia:

• There
  was also renewed interest in the art of navigation: The principle of the Compass was
  known in the twelfth century; but by the 15th century, the astrolabe allowed one to
  navigate at night for long distances outside the sight of land.
  


• The rise of towns had given rise to a growth in trade
  with profit the driving motive.. Trade with the far East had originated as early as the
  Crusades when crusading knights at Constantinople and other areas saw products of
  orient; silk, spices, dyes, perfumes, rugs, even oranges. Trade continued throughout the
  Mediterranean world with Arab and Christian merchants frequently trading with one
  another.


• The Description of the
  World; or The Travels of Marco Polo (1298-1299),
  provided impetus for trade and exploration. Although there is some speculation about the
  accuracy of his book and even its authorship; it was widely read and increased
  speculation about travel to the East. Christopher Columbus kept a copy of Marco Polo's
  book which was annotated in Latin.


• The rise of nation
  states. Ruling monarchs had the power and money to sponsor a search for a water route to
  Asia. This worked well also for merchants, who wanted a uniform currency, trade laws,
  and the elimination of trade barriers. Important incidences were the marriage of
  Ferdinand and Isabella to form modern Spain; and the defeat of Richard III at the Battle
  of Bosworth Field by Henry VII.


• The Crusades were also
  important. European crusaders had had contact with Eastern Monarchs –there was no feudal
  system in the Orient. They also learned of new weapons, gunpowder, and developed
  standing armies; all of this made Monarchs stronger and feudal lords
  weaker.

What does Portia demand in the dialogue, or conversation, with Brutus in Scene 1?Julius Caesar by William Shakespeare

Portia in her gentle way demands to know what is troubling
Brutus. He says he is sick, but Portia does not buy that. She states that he would take
better care of himself were he sick. He would not be in the night air if he were
sick.

Portia reminds Brutus that he once admired her
beauty. she gets on her knees, and Brutus asks her not to do so. He is in a moment of
weakness seeing her on her knees. Nevertheless, he knows he cannot share with her that
with which he is really absorbed.

Portia feels she has a
right to know what is troubling Brutus, "within the bond of
marriage."

Portia promises to keep Brutus' secret, but
Brutus will not share. She suggests that she is no more to Brutus than a harlot because
he will not share his secret. To
quote:

BRUTUS

You
are my true and honourable wife,
As dear to me as are the
ruddy drops
That visit my sad
heart

PORTIA

If
this were true, then should I know this secret.
I grant I
am a woman; but withal
A woman that Lord Brutus took to
wife:
I grant I am a woman; but
withal
A woman well-reputed, Cato's
daughter.
Think you I am no stronger than my
sex,
Being so father'd and so
husbanded?
Tell me your counsels, I will not disclose
'em:
I have made strong proof of my
constancy,
Giving myself a voluntary
wound
Here, in the thigh: can I bear that with
patience.
And not my husband's
secrets?

In considering Lorna Simpson, does a successful artist have any social obligations?

I think that this is fairly similar to the question about
whether or not Simpson has to focus on race as she is a woman of color.  I think that
the artist has a choice to what they wish to analyze or upon what they wish to focus
their work.  I do think that Simpson has made the choice to write about topics that are
relevant to her experience, thereby suggesting that an artist such as her has some level
of social obligation:

readability="11">

I do not appear in any of my work. I think maybe
there are elements to it and moments to it that I use from my own personal experience,
but that, in and of itself, is not so important as what the work is trying to say about
either the way we interpret experience or the way we interpret things about
identity.

In seeking to
articulate experiences from different social configurations, Simpson has made the call
that her work can speak to a need to see society as it should be as opposed to what it
is.  This seems to be Simpson’s call, and something with which she has comfort.  I would
offer one more idea here.  In the question, the idea of “successful” is something that
bears a great deal of importance.  What this exactly means is powerful and has strong
implications on the artist’s obligation to social obligations.  If success is defined as
monetary, then the social obligation element is secondary to the need for the artist to
make money.  If success is defined as social acceptance, perhaps it will not feed these
ends for the artist to connect themselves to social issues.  In the end, the idea of
“successful” is another factor in assessing a topic of artistic obligation to social
matters that is already complex.

Compare two characters from Paulo Coelho's The Alchemist, describing their personality traits, relationship with each other, and/or their flaws.

In Paulo Coelho's novel, The
Alchemist, two characters are on a path to discovery. One will realize his
destiny and the other will not.

Santiago wants to travel so
he becomes a shepherd. He learns many lessons from the sheep that help him on his
journey. He leaves Spain, based upon recurring dreams he has had, and meets some
interesting people that propel him towards his Personal Legend—[which is] "what you have
always wanted to accomplish."

Along the way he meets those
who give him guidance that he cannot at first understand. The old man he meets will help
Santiago, for one-tenth of his herd, but gives him essential advice: not to believe in
"the world's greatest lie," which is that people have no control over their destiny. The
gypsy will help him find his "treasure" if he promises to give her one-tenth of its
value, and she advises him based on his dreams to visit the pyramids. Some of the "help"
he receives does not make sense at first.

With each step of
his journey, Santiago is challenged in his faith—in what he knows—and his willingness to
surrender to the signs ("omens") of the universe, found in nature, that will lead him on
the right path...if he will only have faith. It is not easy, and he
is robbed once, and waylaid another time, but each experience teaches him valuable
lessons.

While on his journey across the desert to the
Al-Fayoum Oasis where he believes the alchemist lives—who can provide him guidance in
seeking his Personal Legend—Santiago meets an Englishman. He, too, is on a journey,
looking also for the alchemist. His desire is to learn the secrets
of "alchemy," turning common metals into gold, etc. The Englishman learns from books; he
does not know to listen to the desert or watch for omens. He believes that books will
teach him all he needs to know. As they travel, Santiago encourages the Englishman to
try to learn the ways of the desert by observation—and the Englishman gives Santiago a
book; in this way, they experiment with the way each one collects knowledge of the
world.

Then
one day the boy returned the books to the Englishman. "Did you learn anything?" the
Englishman asked, eager to hear what it might
be...

"...above all I learned that these things are all so
simple that they could be written on the surface of an
emerald."

The Englishman was disappointed...He took back
his books and packed them away again in their bags.

"Go
back to watching the caravan," [the Englishman] said. "That didn't teach me anything,
either."

When the Englishman
meets the alchemist, the alchemist knows that he is searching for worldly treasure and
that the Englishman knows nothing that holds any true value. The
only information the alchemist gives him is to "Go and try"—to change lead into gold;
though he has tried repeatedly, with the same results, he asks no questions, but goes
about starting again.

However, Santiago's relationship with
the alchemist is much different. First the alchemist listens to the boy's words
regarding the omen he saw foretelling of an attack; he is also searching to see if the
boy has courage, which he does. The alchemist accepts Santiago's pursuit of his Personal
Legend—this is language the alchemist understands, and so Santiago and the alchemist
work together, and Santiago ultimately finds his
"treasure."

Books have no answers for the Englishman, and
he cannot find omens around him, but the world—nature—provides Santiago with what
he needs to succeed. Perception here is
everything.

What is the definition of the word "tenebrous"?

The word "tenebrous," an
adjective (pronounced ten'-uh-brus) has origins in Middle English and its first
documented use was in the 15th century in England and/or France. It is derived from the
Latin words tenebrae and tenebrosus. There are
several different yet similar definitions of the
word.

• In one form it means "cut off from
  light." 


• Another form is "difficult to
  understand."


• A third version is "a state of gloom or
  shadows"

Other forms of the word
include tenebrosity (noun), tenebrousness (noun), and tenebriousness (noun). Synonyms
include dark, gloomy, murky, obscure, somber, black, shadowy,
lightless.

What are some examples of Juliet becoming independent, courageous, and passionate in Romeo and Juliet?

Juliet has been an obedient girl throughout her life.  She
has lived under her father's roof and does as she is told like she's supposed to. 
However, she takes her first stand for independence in Act III, Scene V, when she defies
her father by refusing to marry Paris.  Her father disowns her for her action, yet  she
is content to break ties with her parents if that's what it takes to be with her
Romeo.

Juliet's act of courage is also prompted by her
desire to be with Romeo.  After her father's tirade mentioned above, she seeks out Friar
Lawrence for advice about what to do next.  He comes up with an elaborate plan to fake
her death in order to avoid marrying Paris and to be with Romeo instead.  It takes great
courage for her to swallow the potion the Friar offers her because she doesn't know if
it will work, but her will to be with Romeo outweighs her
fears.

Romeo and Juliet are passionate with each other many
times.  The example that stands out is when she finds out Romeo killed her cousin
Tybalt, she ultimately forgives Romeo knowing in her heart that he had no other choice. 
The way she chastizes the Nurse for speaking poorly of Romeo and the deepness of the
depression she falls into when she learns Romeo has been banned from Verona, shows the
high amount of passion for which she loves him.

If the distance between A(2,-4) and B( 4,b ) is 12 units. Find b.

Given the point A(2,-4) and B(4, b) such that the distance
between them is 12 units.

We will use the distance between
two points formula to find the value of b.

==> We
know that:

D = sqrt( x1-x2)^2 +
(y1-y2)^2

==> sqrt( 4-2)^2 + (b+4)^2 =
12

==> sqrt( 4 + b^2 + 8b + 16) =
12

==> sqrt(b^2 + 8b + 20) =
12

Now we will square both
sides.

==> b^2 + 8b + 20 =
144

==> b^2 + 8b + 20 - 144 =
0

==> b^2 + 8b -124 =
0

Now we will find the
roots.

==> b1= ( -8 + sqrt( 64+496)
/2

            = ( -8 + 4sqrt35) /2 = (
-4+2sqrt35

==> b2=
-4-2sqrt35

Then there are two possible values for b such
that the distance between A and B is 12
.

==> b = { -4+2sqrt35  ,  -4-2sqrt35
}

What do we know about Louis XIV based on his portrait by Riguad? (What does this painting reveal about Louis’s personality and status?)

What a beautiful portrait! The depictions of France's King
Louis XIV built the reputation of Hyacinthe Rigaud
(1659-1743), who became one of the most renowned painters of the classical period. In
his Portrait of Louis XIV (1701), we see a king surrounded by
elegance. Although he is well past his prime, Louis (who is 63 years old at the time of
this particular painting), apparently maintains an otherwise youthful appearance--a fact
that must have pleased the king when he saw the painting. He is heavily clothed, with
only his face and single hand uncovered, perhaps to disguise the actual physical
imperfections of his age. He appears to be quite a dandy, with red high-heeled shoes
(similar to women's dress shoes of the 20th century), garters and hosiery. His robe is
opened to focus on his legs (it would be considered a highly effeminate pose today).
Rigaud pictures Louis as a handsome and virile man, and his sword and scabbard give him
a look of power: In life, Louis enjoyed a successful military career; he also maintained
a series of mistresses and produced many illegitimate children. The lavish background
appropriately depicts the fabulous Palace of Versailles--perhaps the most beautiful in
all Europe.

Whats happening during the chapters 5-7 in the devils arithmetic?

These three chapters are the last three before the setting
and mood of the novel take a traumatic turn for the worse. These chapters are about
Hannah's immersion into her new world -- Poland in 1942. Hannah is completely confused
and feels out of place, but those around her treat her as someone they have known for a
long time and Hannah quickly realizes that nothing she says of her "past" in New
Rochelle as Hannah makes any sense to them. She is continually "culture shocked."
Breakfast is a plain affair of bread and milk, and the milk is not processed like that
of home. The clothes she must wear to her uncle's upcoming wedding are just awful and
ugly in her opinion (from the future). She is dismayed by everything about life, but
realizes too that she is being loved and cared for by very genuine people, Gitl and
Shmuel. Chapter 5 focuses on her home life with Gitl and her realization that her modern
memories and comments sound like nonsense here. Chapter 6 focuses on the preparations
for the wedding. Chapter 7 is about the actual travel to the wedding. Many of the
village walk together with the bride and groom in wagons to the town and the synague
where the wedding will take place. Hannah is able to make friends easily and enjoys
being the center of attention as a story-teller with lot of interesting tales to tell.
She uses books and movies she has read or seen as her sources. Unfortunately, by the end
of chapte eight, the wedding party is being confronted by the Nazi soldiers who are
rounding up all of the Jews in the village so that they can be transported, by train, to
a concentration camp. The innocence and excitement of this strange time-travel journey
comes to an abrupt halt as the horror of the situation sets in.

Can you compare and contrast Maslow and Freud's theories?

I think that one of the similarities between both
theorists is that they present a blueprint or configuration of what humans need to be
happy.  Both of them understand that happiness and contentment are both contingent on
the fulfillment of several conditions.  For Freud, this lies in understanding human
psychology and the factors that impact why we do what we do.  For Maslow, this is
fulfillment of the hierarchy of needs.  It is at this point where some interesting
contrasts emerge, as well.  For Maslow, the hierarchy is shown to be a rather linear
progression.  One starts at the bottom and progresses up.  This helps to bring out a
very controlled and almost "recipe- like" formula for actualization.  It is fairly
direct in accomplishing, in that the next level of the hierarchy is contingent on the
previous ones being accomplished.  Freud depicts consciousness in a different and more
challenging light.  For Freud, there is no directed end towards his theories. 
Consciousness and understanding the role of the subconsciousness is something that can
happen at any time during existence.  Unlike Maslow, there is not a directed outline
towards fulfillment.  The subconsciousness is without an end destination.  Rather,
Freud's development of psychotherapy helped to drive home the point that individuals can
only hope to understand the subconsciousness and not control it because it lies beyond a
certain degree of rational control.  This lack of power is something that is not seen in
Maslow's thinking.