Holden roomed with him for two months at Elkton Hills. He
was a bore with a very raspy voice. But he could whistle great.Holden never told him he
thought he was a great whistler (123).
Through the
intrusive memory, Holden is able to ease his anxiety about girls marrying the "wrong"
boy. He creates a peace in his mind that states that bores might have secret talents
that he doesn't know about and that bores do not hurt anyone.
Well...it isn't hard to figure out who Orwell wanted to
represent whom as their characteristics pretty much match their historical
counterparts...but I'll give you my take on it.
Farmer
Jones represents Czar Nicolas. He is selfish, lazy, and not too bright. Because he
thinks only of himself, the animals are neglected and the rebellion
begins.
Squealer is devious and a lie-teller. He'll do
anything for the cause. He spins the truth to get people to believe in his cause.
(Media)
Napoleon is ruthless, brutal, fat, lazy, and smart.
He can force others to believe what he is doing is good for them...when he only pleases
himself. (Stalin)
Snowball is smart, a little selfish, but
he believes in the cause. He is more concerned with himself than with others...but he is
willing to work for what he believes (Trotsky)
Boxer is
dumb, strong and loyal. He does not question because he can't think of what to ask, and
he believes what he is told (the communist people)
Those
are some of the main characters for you. You may find others on the
link.
Of these options, the best answer is D. Some of these
other answers are in some way related, but none of them is as correct as
D.
For example, it is clearly the case that the US was
trying to protect Saudi Arabia from unprovoked attack by Iraq. However, it is in no way
correct to say that Saudi Arabia's government is democratically elected. Iraq did have
a dictator, but the 1991 war was not meant to remove him and Saddam Hussein remained in
power for years afterwards. Finally, Desert Storm was the name of the operation, so the
war could not have been launched to protect it.
Let us review the rules for the geometric
progression.
Let a1, a2, a3, a4, a5, a6 are the first 6
terms is a G.P.
Let r be the common
difference.
Then, we know
that>
a1= a1
a2=
a1*r
a3= a1*r^2
a4=
a1*r^3
a5= a1*r^4
a6=
a1*r^5
Given that r= -3 and a3 =
18
==> a3=
a1*r^2
==> 18 =
a1*-3^2
==> 18 =
a1*9
==> a1= 18/9 =
2
==> a2= a1*r = 2*-3 =
-6
==> a3=
18
==> a4= a1*r^3= 2*-3^3 = 2*-27 =
-54
==> a5= 2*-3^4 = 2*81 =
162
==> a6= 2*-3^5 =
-486
Then the first six terms
are;
2, -6, 18, -54, 162,
-486.
Part IV of Eliot's poem Preludes
re-introduces the evening from the first part and the soul from the third. It
connects the images and themes from the previous sections together. The soul
''stretched tight across the skies'' may or may not be the same soul from the previous
section. All souls in this metropolis are sordid and troubled as that of the
streetwalker in section III.. This time, the soul is not projected on a finite ceiling,
but on the infinite skies, which ''fade behind a city block'', thus ironically losing
its cosmic infinitude, or it is ''trampled by insistent feet'' which are another
variant of the 'muddy feet' pressing for coffee in section II. As in the first stanza,
the time is mentioned, but it is no precise ''six o'clock''. It no longer matters
exactly what time it is, for it is all the same,the same things happening each day, each
time, to each fragmented part of the fractured urban lifescape. The isolated fingers are
stuffing pipes, to add more smoke and filth to the already obscured reality. The
newspapers from section I return, ending up as ''newspapers from vacant lots'' to be
wrapped by gusty winds around the feet. The eyes can not discern reality and read
certainty.The street is blackened and obscured by soot and grime, and the street, like
the eyes, is ''impatient to assume the world''.
In the second stanza
of Prelude IV, the narrator is heard for the first time speaking in
the first person. There is a glimpse of hope that something positive can come out of all
this filth and squalor. The narrator is moved by fancies that curl and cling like smoke
around these 'images', and he can almost see something beyond the squalor, something
Christ-like, the glimpse of the saviour. However, he can go no further; he and the
reader are forced back to the false reality described throughout the poem. The vacant
lot from the first section is here again, with the worlds compared to old women
collecting fuel rotating, as it were, in the earth's diurnal round. The 'infinitely
gentle/Infinitely suffering thing' is only an illusion.
It is clear that when we look at the story as a whole, the
principal reason why Miss Brill is so taken and enraptured by the way in which the
activity at the park and everybody there, including herself, is actually like a play, is
because it allows her to believe that her life has significance and is important in
spite of the reality of the emptiness of her life, as the ending of the story makes
clear. Note what the text tells us about this metaphor and how it presents the play and
Miss Brill herself:
They were all on the stage. They weren't only the
audience, not only looking on; they were acting. Even she had a part and came every
Sunday. No doubt somebody would have noticed if she hadn't been there; she was part of
the performance, after
all.
The play metaphor
therefore allows Miss Brill to believe in two fantasies that the story show to be
absolutely false. Firstly, it allows her to believe that she is significant and
important. Miss Brill herself notes that she has "a part" in this drama, and imagines
telling her "old invalid gentleman" that she is an "actress" to show how important she
would like to believe she is. Secondly, this play metaphor allows her to feel that she
is noticed and that other people take interest in her. Note how she believes that if she
hadn't been there "somebody would have noticed." Of course, these fantasies are belied
when she overhears the young lovers being rude about her and when she returns to her
"little dark room--her room like a cupboard." The emptiness and insignificance of her
life cannot be ignored even by herself.
Clearly the chief way in which Titania's perseverance is
demonstrated in this scene is through her conflict with Oberon and her refusal to yield
the child that he desires so much. However, I would argue that this scene demonstrates
her stubborness more than her perseverance. Whatever Oberon says, she is resolute in her
refusal to yield this boy to him. Note how she responds immediately to Oberon when he
brings up the subject:
Set your heart at
rest.
The fairy land buys not the child of
me.
She goes on to explain
that she is bringing up the boy for the sake of his mother, who was a "vot'ress" of her
order, and it is for "her sake" that she will nto part with him. Titania leaves after
saying that she would not give Oberon the boy for his "fairy kingdom," reinforcing her
resolute position and stubborn nature. The overwhelming sense we get of her character is
that she is a determined woman who will not yield what her husband desires from her.
Thus stubborness is perhaps more appropriate than perseverance.
This is a poem that is famous for being actually about the
creative process of writing itself, as modelled in the action of Kubla Khan in creating
his famous "pleasure dome." Note the way in which he "decrees" a pleasure dome, followed
by a description of its appearance and the process of it being made. Just as Kubla Khan
creates this pleasure dome, so a parallel is drawn with the speaker, who, in the final
stanza of the poem, wishes to re-create the pleasure dome through his words: clearly
referring to an act of poetic creation:
That with music loud and
long,
I would build that dome in
air,
That sunny dome! those caves of
ice!
Coleridge further
alludes to the special place that poets occupy in the imagination, as figures both to be
revered and feared, as demonstrated by the way those looking at the speaker shout
"Beware!" because of the way he has fed on "honeydew" and "drunk the milk of paradise."
The creation of the pleasure dome seems therefore to act as a powerful symbol of
creativity as a whole. Just as Kubla Khan created his pleasure dome, so Coleridge has
created this poem, and longs to be able to exercise the same gift of creativity. The
poem itself has been created out of thin air to give us a new way to look at creativity
and the imagination.
The opening stanza identifies the setting as woods in the
winter. The speaker is aware of the owner of the woods, knowing that he will not mind if
he spends a moment to watch the snow fall. The second stanza mentions that his horse
must wonder about his choice of stopping on a frozen lake on such a cold, dark evening.
In the third stanza, the horse shakes its harness, ringing its bells, breaking the
silence; the only other sound is that of the wind and snowfall. In the final stanza, the
speaker admits his love of the beauty around him but realizes he must depart because of
another obligation. The final lines repeat--"and miles to go before I sleep"--suggesting
both a long journey and the drowsiness of sleep.
As with
many poems, Frost's classic has a deeper meaning. The dark woods seem to symbolize
death, and the speaker has an attraction to it. However, the "miles to go" in a
different direction symbolizes the continuation of life--a journey that the speaker must
nevertheless continue, perhaps not altogether enthusiastically.
Adams was particularly zealous about his abolitionist
stance. It is interesting to note that he was more defiant and clear about his stance
on slavery than anything else during his presidency. There was little miscommunication
about where he stood during slavery. At the emergence of the Missouri Compromise, Adams
recognized that the issue of slavery vs. free states would tear apart the Union, as the
nation could not possess both realities in it and be called "one nation under God."
Additionally, Adams was intense about arguing that the issue of slavery and the
proportions to which the issue had risen prior to 1860 was due, in part, to the
Constitution. While the United States "had prohibited the international slave trade,"
it permitted it domestically under the Constitution. Adams' implication here is that
this fundamental disconnect had to be addressed. It was also the basis of his argument
to the Supreme Court as he argued for the slaves aboard the Amistad
slave ship that had killed the captain in order to not enter the life of
enslavement. Adams' thoughts about slavery were unique at the time for while
politicians were either in support of it or looking to negotiate it away through popular
sovereignty or advocating states' rights, Adams' said that the issue had to be called
out as morally wrong and politically infeasible.
Freedom and equality meant very little to workers in the
early Industrial age. Workers were often treated as numbers, were forced to work long
hours under dangerous conditions, and could be fired for the slightest reason. They
received no protection from the government or the courts; in fact the government
frequently sided with the factory owners. When Eugene V. Debs, a union organizer, led a
strike against the railroads after the railroads lowered wages, President Grover
Cleveland had mail cars attached to the rear of all trains, so that any worker refusing
to operate the trains was interfering with the mails. The attorney general obtained an
injunction ordering the workers to return to work, and Debs was sent to jail for
violating the injunction. The court said in its order (In re
Debs),
The strong arm of the Federal government may be
put forth to brush away all obstructions to the freedom of interstate commerce or the
transportation of the
mails.
Any mention of the
workers rights is conspicuous by its absence. Even more troubling, in 1886 in
Santa Clara County vs. Union Pacific Railroad, the court held that
corporations were "persons" for legal purposes and therefore entitled to protection
under the 14th Amendment. Again, no mention of workers'
plight.
Much of this was because labor movements were
associated with anarchism. By the same token, factory owners had powerful political
connections; so to answer your question, the freedom and equality for workers at this
time was practically nonexistent.
In Chapters 38 to 43, the
chapter that best characterizes Elizabeth's developing change in
bias towards Darcy is Chapter 40 in which
Elizabeth finally gets a moment alone with Jane to tell her about Darcy's proposal and
the letter revealing Wickham's character. It is in this chapter that Elizabeth openly
confesses to Jane that, while at first she believed Darcy to be cruel and Wickham to be
amiable, she now believes that Mr. Darcy is actually the blameless man. She further
states, "There certainly was some great mismanagement in the education of those two
young men. One has got all the goodness, and the other all the appearance of it" (Ch.
40).
However, it is not until Chapter 43
in which Elizabeth takes a tour of Pemberley with her Aunt
and Uncle Gardiner that her mind becomes even more changed about Darcy. While touring
Pemberley, she especially has the opportunity to admire Darcy's
taste. For example, she notes that the banks of the river flowing in
front of Pemberley House were "neither formal, nor falsely adorned" and that the natural
beauty of the grounds had not been "counteracted by an awkward taste" (Ch. 43). She also
has the opportunity to admire his taste with respect to the house's furnishings. While
the rooms are large and expensively decorated, she also sees that the furnishings are
"neither gaudy nor uselessly fine," like at Rosings (Ch. 43). Instead, the furniture is
genuinely elegant. Seeing Darcy's taste certainly opens Elizabeth's heart up to better
see his character; however, his housekeeper's praise of him
best helps her to see Darcy with less bias. She has assumed that Darcy is the type of
man who is always grumpy and out of sorts; however, the housekeeper claims that she
"never had a cross word from him in [her] life" (Ch. 43). The housekeeper further
asserts that, even when she knew Darcy as a boy, he had been the "sweetest-tempered,
most generous-hearted, boy in the world" (Ch. 43). The housekeeper even contradicts
others' opinion that Darcy is a proud man, saying that he only appears proud because "he
does not rattle away like other young men" (Ch. 43).
If hearing his
character described by Darcy's housekeeper is not enough to change Elizabeth's mind
about Darcy, seeing him person is. Darcy even surprises her
by asking to be introduced to her aunt and uncle. She observes that he is surprised to
learn that they are some of her working class relations, but instead of turning away as
she would have expected, he continues walking the grounds with them, conversing with Mr.
Gardiner and inviting him to fish on the estate. He even asks her permission to
introduce her to his sister. It is meeting and conversing with Darcy in this way, plus
seeing the change in his behavior, that truly makes
Elizabeth put an end to her biased opinions of Darcy.
"Dusk" is another classic story by Saki with a twist in
its ending that surprises us all. However, your question relates to the initial
paragraph, which builds up a description of the scene and gives us the setting for the
action that is to follow. Note the information we are given in the first two sentences
of the story:
Norman Gortsby sat on a bench in the Park, with
his back to a strip of bush-planted sward, fenced by the park railings, and the Row
fronting him across a wide stretch of carriage drive. Hyde Park Corner, with its rattle
and hoot of traffic, lay immediately to his
right.
Now, "bush-planted
sward" refers to a stretch of grass or turf and obviously refers to the grassy backing
that Norman Gortsby sits against. Note the way in which the sounds of the setting are
brought to life through the onomatopoeia of Hyde Park Corner with its "rattle and hoot
of traffic." Thus the first two sentences of this story give us important descriptive
details and also create the setting where the action will occur.
One social issue highlighted in Ch. 7 is infidelity among
spouses. We see Daisy boldly kiss Jay in front of Nick and Jordan. We see a sick
George Wilson tell Tom he finally realized something has been going on with his wife and
the implication is, of course, that she has been having an affair. Another social issue
mentioned in the chapter is interracial marriage which is another reference, like the
one in Ch. 1, of Tom's bigotry and racial intolerance. There is also the social issue
of cars. The chapter opens with Nick personifying cars when he says that the cars
would turn into Gatsby's drive with hope and expectation only to turn away sulkily in
disappointment at the realization there is no party. Daisy and Jay drive to New York in
Tom's car while he, Nick, and Jordan take Gatsby's car. Tom lets George think he can
sell George Jay's car and that leads George to think later that Tom owns that car. It
is Jay's car that Daisy drives and kills Myrtle Wilson
with.
The growing tension among the characters,
particularly Tom and Jay, is represented by the intense heat. Daisy complains about it
being so hot and Tom chastises her for complaining whereupon Jay tells Tom to leave her
alone. This begins the blow up between Jay and Tom.
Brutus is the primary character in Julius
Caesar by William Shakespeare. Cassius knows that he needs to have Brutus as
a member of the conspiracy. He is popular with the Roman citizens and the other
senators as well.
With his sensitivity and logical
thinking, Brutus is troubled by Caesar’s rise to power. He has been a trusted friend of
Caesar’s; but now, Brutus has pulled away from everyone. Cassius tells Brutus that his
friends have noticed that there is something wrong with how Brutus is acting. Brutus
explains that he is at war within himself.
In Act I, Scene
ii, Cassius explains his feelings about Caesar to Brutus. Cassius does like Caesar. He
thinks that he is weak, no more worthy to be the emperor than is Cassius, and he has had
to save his life on two occasions. This infuriates Cassius that now Caesar is like a
god to the people.
Brutus tells Cassius that he will think
about everything that he has said with regard to Caesar being crowned. Then, he asks
Cassius to come to his house at another time to discuss things
further.
Act II, Scene ii, begins with Brutus in his
garden. He asks Lucius to tell him with the date is. Lucius tells him that it is the
Ides of March. It is obvious that Brutus has not
slept.
Unlike Cassius, Brutus has nothing against Caesar
personally. It is the possibility of Caesar becoming more powerful that worries Brutus.
Brutus uses the idea that the assassination of Caesar must be for the good of the Roman
citizenry. In a soliloquy, Brutus gives three analogies to explain why he believes that
Caesar should be killed.
These analogies explain Brutus’s
reasoning for killing Caesar:
It must be by his death, and, for my
part,
I know no personal cause to spurn at him,
But for the
general...
Unfortunately, Brutus has made an
unusual decision: Murder Caesar based on possibilities, rather than on things that he
has actually done. When Cassius, Brutus becomes a part of the assassination to kill
Caesar.
Nearly all of Guy de Maupassant's short stories are set in
rural Normandy, on the northeastern coast of France. The village of Goderville, Maitre
Hauchecorne's home in "A Piece of String," is an actual place, located in Upper
Normandy, between La Havre and Rouen, and not far from the River Seine. It is an ancient
village, established in the 9th century. (The population in 2006 was about 2,800). The
town market is located in the main square, and there is a tavern, Jourdain's, and a
mayor's office. The story itself is set in the 1880s.
"Vague or Undefined Terms" (or Glittering Generalities as
I call it when I teach propaganda) is defined as challenging an opinion by using words
that are so vague or so poorly defined as to be almost
meaningless.
In Animal Farm, there could be several
examples of this. One would be their motto,"All animals are Equal". Equality is a hard
to define word. What could be equality for one society might be seen as favoritism by
another.
Another example might be another motto on the farm
of "Four legs good, two legs bad" The words good and bad are so vague that they really
mean nothing. What is good? According to whom? What is
bad?
And another example might be Minimus' song he wrote
for Napoleon insinuating that Napoleon was the reason for everything positive on the
farm.
I think that a primary connection between both rises in
governments was the basic element that people felt that the existing governments were
either ineffective or detrimental to the general welfare. Either the people felt this
or were manipulated to feel this way through skilled individuals who advanced the rise
of a new form of government in contrast to the Status Quo. The presence of overwhelming
economic conditions and a lack of clear vision on the part of the Status Quo helped both
rise.
In the case of the Soviet Union, the disenchantment
caused by poverty and a failed entry into the First World War helped set the stage for
the Czar's overthrow and the ushering in of a Communist government. The belief that
Russia was ready to forego an autocratic and royal government and embrace a new system
where workers worked for a workers' state was what motivated the drive for
Communism.
Similar in economic disenchantment and political
muddle, charismatic leaders like Mussolini and Hitler were able to mold public opinion
and associate themselves with nationalism. Accordingly, these individuals were able to
present themselves as the penultimate solution to their nation's problems, and embracing
fascism that supported their own ascendancy to power allowed them to be able to become
the face of their nations. In both contexts, the rise of new governments arose from the
case being made that the preceding political orders failed to address the needs of "the
people" and that a new vision could do so.
In addition to the example you mention of education, I
would point out two ways in which the US has not changed in terms of
class.
First, the lower class is typically those who work
in unskilled positions. People who are poorest in the United States are typically those
whose jobs do not take much in the way of education or training. They work as roofers
or landscapers or maids in hotels. They work at low-paid jobs in retail. The fact that
low-skill jobs pay poorly is something that is the same as it was 100 years
ago.
Second, many people in the lower classes are
immigrants. One hundred years ago, there were many immigrants from Southern and Eastern
Europe. Today, the immigrants are often from Latin America or Southeast Asia. However,
in both cases, many of the immigrants make up the lower
class.
So, the class structure is similar to what it was
100 years ago because many of the poor are immigrants working in unskilled
jobs.
The launching of Sputnik by the Soviet Union in 1957 is
connected to the Cold War because it was an example of the competition between the US
and the USSR during the Cold War.
During the Cold War, the
US and the USSR competed in a variety of ways. They competed militarily, for example,
and for prestige in the eyes of other countries. The launching of Sputnik was a win for
the Soviet Union. The Soviets managed to be first to launch a satellite into space,
which was seen as a triumph for Soviet society and technology. After the launch, the US
tried hard to catch up to and pass the Soviet Union in terms of space
technology.
The launch of Sputnik and the reaction that it
caused are very typical of the Cold War competition between the US and the
USSR.
I'm not sure there's an answer for this, but I would
suspect that it's because science stands for "objective truth" --- I know that this is
not as true as it once was in the days of Newton, but science is capable of creating
testable laws, laws that cannot be manipulated by the state. Who contols the present
controls the past ... but control of the present doesn't give anyone control of
scientific realities. It may be inconvenient for the state to believe that force = mass
x acceleration (f=ma), but it's not something that they can change simply because they
contol the present --- not, at least, if there's real science
around.
The admission that there are absolute truths might
give people the idea that there are other "absolute" truths, and that not eerything they
are told is true is. This is not in the best interests of the Party's state ... so no
science, no absolute truths, just malleability.
Hope this
helps.
It is really hard to talk about "America's" attitude on
this because different parts of "America" would have had very different attitudes. In
general, though, the attitude was very anti-civil rights in the white South and fairly
uninterested in the North about the issue.
By 1955, there
had not been any of the protests that would later make this an important issue in the
North. The South cared about it to some extent, as can be seen in the formation of the
"Dixiecrats" who ran Strom Thurmond for president on a segregationist platform in 1948.
This was done mainly in response to moves to integrate the armed forces. Again,
however, this was not a salient issue in the North.
The
Brown v. Board decision had been handed down in the 1954, and that caused opposition in
the South, but no actual attempts had been made to integrate by 1955 and so that issue
was still largely unimportant.
Overall, then, the attitude
towards civil rights in the US was very negative in the South and generally uninterested
in the North in 1955.
The importance of the American Dream in Arthur Miller's
play Death of a Salesmanis entirely dependent on the meaning that
Willy Loman in particular gives to such a dream. In his eyes, the American Dream is the
acquisition of money and wealth as a result of being well-liked and attractive. Nowhere
does Willy's American Dream include hard-work, nor practicality: Everything is
superficial and without any substance nor backbone
whatsoever.
The significance of the American Dream,
however, lays on the ability to catch it, achieve it, or earn it. It is a social myth
that has propelled politics, literature, and even religion: To get back as much or more
as you put in. To wake up to the day when there will be no more financial worries,
because hard work provides for a settled future. Nowadays with an economy as weak as
ours, the American Dream seems to be in a very high pedestal that we all pray we could
reach. Willy has the same hopes but like Biff says of Willy during the
"Requiem"
he had the wrong
dreams.
First and foremost, it is important to note that British
Columbia experienced two gold rushes. The first one took place in 1858 after gold was
discovered on the Fraser River. The second one which occurred in the Coriboo district
and which is the subject of this question took place in 1862. Due to the influx of
people into Cariboo including immigrants from as far as Germany and China, all of whom
had come to chase after the gold fortune, famous towns such as Barkerville, Richfield
and Keithley Creek sprund up and there was increased development in the
mainland.
In addition to the towns, infrastructure was
improved in order to ease the movement of people and materials that had prior been done
amid great difficulty. It began in 1859 when James Douglas gave a nod for the
construction of a 4 foot wide trail known as the Douglas Trail that connected the coast
and the interior. Later on, the construction of the Cariboo Wagon Road made transport
more efficient as it facilitated the use of wagons that hastened the transport
process.
British Columbia experienced an economic boom due
to the mining activities going on in its interior. The establishments that provided them
with food, accommodation and other supplies before they proceeded to the interior
benefited a lot. This opened up British Columbia to settlement by people of
non-Aboriginal descent. In summary the Cariboo gold rush improved the economy and
infrastructure of British Columbia while at the same time diversifying the
population.
This poem is stating that it is okay to speak the way your
mother or father taught you to speak. The poet is offended when others ask her about her
speech sounds or dialect. Joseph considers it rude to negatively judge the way someone
speaks.
The poet states that we should prize differences in
speaking habits. We should appreciate differences. We should not judge people by the way
they speak. We should never assume anything, but we should be open-minded enough to
recognize distinctions in speech as delightful sounds. We should feel comfortable enough
to speak the way we speak and to speak with pride. We should be deliberate in our speech
habits. Dialectal differences should be admired by all.
Hi simran11, this is a complex text and it is obviously
difficult to answer simplistically. I am assuming you would like to know the central
symbols Martel employs and why he does so? Here is a
start:
Martel uses the symbolism of light and
dark imagery throughout the text to highlight the importance of
knowledge, literature and wisdom. An example of the association between light imagery
and the importance of education can be seen in Pi's response to gaining knowledge from
his teachers, "...men and women who came into my dark head and lit a match.." Pi
metaphorically compares the gaining of knowledge to the fire emitted from a match
strike, thus demonstrating his passion for enlightenment. The "dark head" is an obvious
reference to Pi's earlier perceived ignorance. Martel also connects religious
enlightenment with light and dark symbolism, through the juxtaposition of beliefs
between Mr Kumar and Pi. Mr Kumar associates religion with oppression and ignorance,
"Religion is darkness," while Pi believes "Religion is light." So light and dark
symbolism is used to demonstrate Martel's concerns of the different ways one may
percieve different types of enlightenment; be it spiritual or
intellectual.
Martel also uses doors, gates,
entrances and exits to symbolise the difference between human, animal and
spiritual worlds. Pi's quest for spiritual enlightenment is represented as both a
journey and an opportunity through the discovery of the Christian Church, "I noted
this, how both the doors were wide open..". The doors are a metaphor for his discovery
of Christianity, and also of Pi's movement from being "locked out" or ignorant to
spiritual awakening as he "..entered the Church" to gain a new understanding. The gates
of the Pondicherry Zoo are also used to symbolise Pi's movement from innocence to
knowledge through Pi's father "special lesson" on the dangers of zoo animals.
Significantly, Martel highlights the crossing of boundaries from the human world into
the world of nature and animals through, "We left the house, went through the gates,
entered the zoo."
Additionally, bars, cages and physical
boundaries and defined territories are also symbolic of mental and physical landscapes
and our desire for security. Martel repeatedly refers to cages and iron bars from the
perspective of Pi, his father and the animals, illustrating the concepts of security,
protection and territory. This builds on the extended metaphor of the similarities
between humans and animals in the way we are forced to behave and choose to behave, ‘All
around were great big cages divided up by thick, green, iron bars.’ The earlier "special
lesson" Pi witnesses demonstrates that the tiger, like man , has been forced into his
situation. He must kill in order to survive, yet hesitates at first to leave the comfort
and security of his cage.
I hope this
helps:)
Hemingway's "Hills Like White Elephants" ends ambiguously
with the young couple's train arriving and with little indication of what decision about
Jig's pregnancy will be made. Nevertheless, there are some inferences that the reader
can make based upon the dialogue between the man and
Jig.
Interestingly, since Hemingway does not give the male
partner a name, this action seems to dispose the reader to regarding Jig's feelings more
sympathetically. In addition, since the man does not have to be the one to undergo
the "simple" operation, it is easy for him to suggest the abortion and feel that
everything can be the same if Jig will go through with it. His remark near the end of
the story as he observes people in the bar, "They were all waiting reasonably for the
train," implies that to him Jig is unreasonable about the simple solution of their
problem of "the only thing that bothers" them. Clearly, then, the man's perspective is
selfish throughout the dialogue. So, the only solution to his relationship with Jig is
for him to have her full attention and love; a baby will interfere with their carefree
life.
However, it appears fairly evident that Jig is not
really in favor of having an abortion. She asks the man dubiously, "And you think then
we'll be all right and be happy...and things will be like they were and you'll love
me?" And, as their converstion about the abortion continues, Jig becomes more and more
upset until she finally asks the man seven times, the number representing
completion,
"Would you please please please plese please
please please stop
talking?"
Key to
understanding the difference between their perspectives is the Jig's statement "We
could have everything" and his reply, "We
can have everything." While she means that they will be
able to still have their love for each other as well as their love for a baby, the man's
statement implies otherwise. For, he means that without a child they can maintain
their carefree life of travel, dining and drinking, etc. By his use of the present tense
of can, he implies that they must not change their way of life. On
the other hand, Jig's use of the conditional tense, could, carries
their life to a possible next stage.
Therefore, there seems
no solution to their dilemma. Like the symbolic setting that is divided by "two lines
of rail," one fertile ground with fields of grain and trees, the other with white hills
and land that is brown and dry, Jig and the man are divided in their ideas. Thus,
the "shadow of a cloud" that moves across the field of grain seems to foreshadow the
disintegration of their relationship.
This poem concerns the way we should live our lives based
on the brevity of human life and the suffering that life involves. The speaker of this
poem urges us to "laugh and be merry" at the "joy of the earth," and spends time arguing
that this is the only response to our lives and God's creation because of the nature of
life. Our response then is to join in the "joy of the earth," the joy of God's creation
by living life in merriment and laughter and making the most of every second of our
time. The concluding stanza gives us the speaker's final advice to his
audience:
Laugh and be merry together, like brothers
akin,
Guesting awhile in the rooms of a beautiful inn,
Glad till the
dancing stops, and the lilt of the music ends.
Laugh till the game is played;
and be you merry, my
friends.
Note the simile that
he uses. Our lives are spent as if they were "guesting awhile in the rooms of a
beautiful inn." We are to laugh right up until the end of our lives, making the most of
all the enjoyment and pleasure of life, not worrying about any sufferings or trials and
living life to the full.
After Buck had made his master $1600 by pulling the sled
laden with 1000 pounds, Thornton was able to begin a journey of which he had always
dreamed: He and his partners would seek the fabled Lost Cabin mine. They spent the next
two winters searching the Yukon for the lost mine, but it was never found. Instead, the
men stumbled upon a "shallower place" that yielded more gold than they could have ever
imagined. Every day the men worked created a yield of "thousands of dollars in clean
dust and nuggets," and so the men decided to stay until they could mine all the gold
they could find. The remoteness of the area led Buck to trail a pack of wild wolves, and
Buck's call of the wild became greater than ever. And when Buck returned to camp one day
to find everyone dead, he realized that it was time for him to leave the world of the
humans and pursue the call.
To exemplify the unnatural events in Act II of Macbeth,
one must first define the term "unnatural". For the purpose of this answer, "unnatural"
will be defined as the
following:
From The Free
Dictionary:
1. contrary to nature;
abnormal
2. not in accordance with accepted
standards of behaviour or right and wrong unnatural
love
3. uncanny; supernatural unnatural
phenomena
4. affected or forced an unnatural
manner
5. inhuman or monstrous; wicked an
unnatural crime
6. Obsolete
illegitimate
When we think of mood we refer to the overall emotion
created by a work of literature. This emotion can normally be described succintly using
an adjective or two. Let us consider what happens in this scene first before deciding
what the mood is. This scene opens with the whispered conversation of the doctor and the
gentlewoman who are discussing Lady Macbeth's condition and how she is sleepwalking and
whilst sleepwalking saying things that the gentlewoman is not willing to repeat. Lady
Macbeth enters and appears to be washing her hands in her sleep and confesses her
involvement in the murder. As she exits, the doctor and gentlewoman discuss the state of
Lady Macbeth but also of Scotland before the scene
ends:
Foul
whisp'rings are abroad. Unnatural deedsDo breed unnatural
troubles: infected mindsTo their deaf pillows will
discharge their secrets.More needs she the divine than the
physician...
The mood
therefore seems to be one of menace and despair, as we see Lady Macbeth, who was
formerly so resolute, break down under the weight of the evil that she has abandoned her
self to, and we feel sympathy for her character. Likewise the way that her acts have not
just impacted herself but also all of Scotland gives rise to a real feeling of menace,
as we await the invasion of Malcolm's forces to liberate
Scotland.
In the link I've provided below, I believe Lloyd Goodrich
lays out some extremely valuable ideas of the role of art in modern
society.
In the past, when the church had heavy control of
religion, art became a unifying banner that the people rallied around. It was a
reflection of the values of society and gave the people something to feel a part
of.
Today, though, with the varied schools of thought both
in politics and religion, art has become more an expression of individualism. Whether
regionally, locally, or nationally, artists today express their core ideas (of beauty,
life, love, politics, religion) through their works. They also tend to take a stand on
world issues through their pieces.
This eclectic world of
art seems to fit our modern democracy where the individual and what is important to
him/her reigns.
One of the primary sources of opposition that Miss Emily
faces is found in Emily's father who dismisses any potential suitors Miss Emily might
have had. Her father is of the Old South, where the father and husband (or even brother)
exercised complete control over wives, daughter and even sisters. It is because of
Emily's father that she never marries, although she did come from a strongly rooted
family not just of the South, but within her community, in the town of
Jefferson.
A second force that opposes Miss Emily is the
community itself. When Miss Emily's father dies, and she insists that he is still alive,
the community has to force Emily after three days to relinquish her father's body, and
the funeral takes place quickly thereafter.
When a group of
civic leaders comes to her house to collect taxes, Miss Emily gets the upper hand,
turning them away with news that the [deceased] Colonel Sartoris had excused her from
taxes. It seemed that he had taken pity on this single, rather poor woman, pretending
the county owed the family money from a past loan,
and…
...remitted Miss Emily’s taxes “in
perpetuity”...
Community vs
isolation is a strong theme in this story, but while the community is very interested in
Miss Emily, and often times is faced with problems that need to be addressed with her,
Miss Emily not only remains isolated, but she always seems to get her way, while the
members of Jefferson are forced to accommodate her.
Chapter Twenty-One presents us with a rather abrupt
ending. Having determined to work quietly and slowly from within the community to change
it, the imminent "release" of Gabriel means that Jonas is forced to flee his home with
Gabriel to save him from what he now knows to represent death. In spite of this massive
and sudden change in how Jonas expected things to happen, he actually experiences
significant calm as he leaves the only home that he has ever known. Note how his
experience is described in this chapter:
He felt, surprisingly, no fear, nor any regret
at leaving the community behind. But he felt a very deep sadness that he had left his
closet friend behind. He knew that in the danger of his escape he must be absolutely
silent; but with his heart and mind, he called back and hoped that with his capacity for
hearing-beyond, the Giver would know that Jonas had said
goodbye.
Thus it is that
Jonas does not experience any feelings of regret or fear, however, his departure is
tinged with the sadness of leaving his "closest friend" behind, the Giver, whom he has
gotten to know so well during his training.
This passage is written by someone who believes strongly
in capitalism. This writer clearly disagrees with the idea of socialism for economic
reasons. The ideology that disagrees with socialism most vigorously on economic issues
is capitalism.
Capitalists believe that a free market
system is the system that will do the best job of raising standards of living for people
everywhere. They scoff at socialists because socialists believe that the government can
regulate the economy in ways that will allow it to do a better job of providing for
people. This perspective can be seen in the passage you have given us. In that
passage, the author argues that socialism will drive people into poverty because it does
not encourage the production of goods and services the way that capitalism
does.
Italian wine labels contain much of the same information
found on American labels with a few added features. The first reference is an excellent
primer on the Italian wine label, showing a typical wine label and locating/identifying
and explaining each piece of information found on the
label.
The basic information to be found on Italian wine
labels is as follows:
Wine
Name
Grape Growing
Region
Estate (wine
producer)
Alcohol
Content
Vintage
(year)
Government Classification (based on production
volume and wine quality) Examples of govt. classification are Vdt, DOC,
DOCG.
Knowing this information may still leave doubts in
you mind when choosing an Italian wine, especially since there are over 2,000 varieties
of Italian wine grapes and 37 Italian wine growing regions. So you will have to learn
through the recommendations of others, or by
experimentation.
The second reference is a beginner’s guide
to Italian wine. It is helpful in understanding the names of grape varieties, and
qualities of the wine regions.
If you want to answer the question literally, it would be
George (Myrtle's husband), since he pulled the trigger of the gun that shot Gatsby to
death (and then shot himself).
However, let's back up a few
steps and follow the chain of events that led up to this
act.
Backing up one step, we find George talking with Tom
who told George that it was Gatsby's car that ran her over (even though Tom knew full
well that Daisy was driving it at the time of the accident). So you could rightfully say
that Tom was responsible.
But, back that up a step and we
see Daisy who was the hit and run driver who killed Myrtle who angered George who sought
revenge in killing Gatsby, and we see that Daisy was also indirectly
responsible.
Myrtle also has an indirect role in that if
she hadn't have run into the road to try and flag Tom down (since she had seen Tom
driving this same car earlier in the day and assumed he was still in it) she would not
have been hit...which triggered the events we mentioned
above.
Finally, we see that Gatsby himself has a part to
play. If he hadn't started the affair with Daisy and then told Tom in New York that
Daisy was leaving Tom to be with him, then Daisy would not have run off confused and
frantic in Gatsby's car and hit Myrtle which, again, started the whole tragic chain of
events.
So the direct answer to your question is: All of
the people you mentioned were in some way responsible for Gatsby's
death.
Sojourner Truth, a slave freed in 1827 delivered this
extemporaneous speech at the Women's Convention in Akron, Ohion, held in 1851.
Interestingly, at the time that Truth gave her speech, it had no title and did not
repotedly have the question "Ain't I woman?" in it once. The original speech was
recorded after the convention which was attended mainly by abolitionists. Marius
Robinson, an abolitionist himself and a newspaper editor recorded the words of Sojourner
Truth; however, in 1881, the speech given was retold by Frances Gage. The insertion of
the rhetorical question "ain't I woman?" and the editing of Truth's words to include
more speech characteristics of Southern slaves was also added. This version has now
become the historical standard.
So, in Gage's edition of
Sojourner Truth's speech, the rhetorical question "ain't I woman?" is often repeated to
add effect. In addition to this question, there are others that demand no
answer either, such as "But shat's all this here talking about?" and "What's that got to
do with women's rights or negroes' rights?" as well as "Where did your Christ come
from?"
If we examine Act 2 carefully and in particular the
suspicions that Elizabeth has about her husband and Abigail, and then the news from Mary
Warren concerning the trials, it becomes clear that Elizabeth believes that Abigail is
manipulating the situation so that she can get what she wants: John Proctor, having
disposed of her. Note what she says after Mary Warren has told her that she has been
accused: "Oh, the noose, the noose is up!" Having said this quietly, and then hearing
her husband deny it, she responds with:
She wants me dead. I knew all week it would come
to this!
Trying to explain to
her husband how this could be possible, Elizabeth tries to explain to him how his
understanding of young girls is "faulty," and that sleeping with a young girl is
actually tantamount to giving her a promise:
Spoke or silent, a promise is surely made. And
she may dote on it now--I am sure she does--and thinks to kill me, then to take my
place.
From what we have seen
of John and Abigail's first encounter in the play, he has done nothing really to
discourage her. Interestingly, his wife's words are accepted by John Proctor later on in
the play when he reveals his sin of lechery and accuses Abigail of wanting to dispose of
his wife and then marry him.
Elizabeth I is one of three female monarchs who have ruled
longer than any male monarch in England's long
history.
Elizabeth was bright, with a disposition like her
father's. While the rest of Europe considered Elizabeth illegitimate and wondered if
Henry was really her father, Henry always acknowledged Elizabeth as
his child.
Upon his death, Elizabeth was imprisoned by her
half-sister Mary. Elizabeth realized quickly that she needed her wits about her to avoid
being embroiled in political intrigue. She was very good at
this.
When Mary came to the throne, as a staunch supporter
of Catholicism, she killed hundreds of Protestants, and earned the name of Bloody Mary.
(England was happy when Mary died, mostly for this
reason.)
Mary did not like Elizabeth (a Protestant), nor
did she trust her, but she couldn't kill the princess (who had many followers), so she
kept Elizabeth as a prisoner for several years. When Elizabeth was twenty-five, Mary
died, and Elizabeth became Queen.
Elizabeth spent the
remainder of her life ruling the English throne like her father. She was unmarried, but
encouraged proposals from several countries, even Spain. (Mary had been married to
Philip of Spain.) Because of years of fighting between the royal houses, the Tudors were
almost bankrupt. So Elizabeth welcomed her suitors' expensive gifts for the treasury.
Though Elizabeth did not encourage Francis Drake's attack of
Spanish ships returning with treasure from the New World, she happily took
it.
Elizabeth steered a more tolerant course between the
Protestants and Catholics, and she was a formidable ruler. When Essex, a favorite, tried
to take the throne, sad and disappointed, she had him killed. With proof that Mary,
Queen of Scots supported Elizabeth's murder, the Queen had to executed her also. To
bring peace and growth to England, Elizabeth welcomed the "rebirth" of the arts, called
the English Renaissance. Elizabeth was a woman of courage and
intelligence.
Lady Macbeth, in
Shakespeare's Macbeth, is also a strong and intelligent woman. She
is bold, as was Elizabeth, but she has no honor, and plans to be queen with the murder
of her King. Macbeth says that she is so harsh, that she should
only give birth to boys.
MACBETH:
Bring
forth men-children only,
For thy undaunted mettle should
compose
Nothing but males.
(I.vi.81-83)
Lady Macbeth
even calls on the powers of darkness to take away anything "soft and womanly" about her
so that she can do what must be done to murder the
King.
LADY
MACBETH:
… Come, you
spirits
That tend on mortal thoughts, unsex me
here
And fill me, from the crown to the toe,
top-full
Of direst cruelty!…
(I.v.41-44)
After Duncan's
murder, Lady Macbeth comfort Macbeth, so he need not feel
guilty:
LADY
MACBETH:
My hands are of your color, but I
shame
To wear a heart so
white…
A little water clears us of this
deed:
How easy is it then!
(II.ii.80-86)
Both women are
strong. They speak up and are wise in dealing with the path to power and success.
However, Lady Macbeth is evil: achieving her ends with murder, while Elizabeth used
intelligence and strategy to get things done. Elizabeth refused to lie to Mary in order
to be released from imprisonment. Lady Macbeth smoothly lies to Duncan when he comes to
Macbeth's castle, even while she plans his murder. Elizabeth I and Lady Macbeth may be
strong women, but Elizabeth I had integrity. Lady Macbeth is not noble: she will take
whatever shortcuts are needed for her own gain.
This is an interesting point to consider. However, I think
that if we look closely at the poem, we can see that actually see that despair really
had no place in the actions of Bess and her love, the Highwayman himself. This is
because their actions, although definitely drastic and resulting in their own death, are
shown to be done out of love for each other rather than through any despair. Note how
Bess is described as she kills herself to alert her lover to the presence of his
enemies:
Nearer he came and nearer! Her face was like a
light!
Her eyes grew wide for a moment; she drew one last deep
breath,
Then her finger moved in the moonlight,
Her musket
shattered the moonlight,
Shattered her breast in the moonlight and warned
him—with her death.
Bess's
face is described as being "a light" due to the nearness of her lover. Her death is
shown to be an act of self-sacrifice that is done out of love rather than any sense of
despair. Likewise, too, the Highwayman's last mad rush into his enemies is done in a fit
of anger out of the love that he has for Bess rather than anything else. Thus despair
does not seem to be a part of this excellent poem.
Poe was a perfectionist. It is hard to believe that he
would provide Montresor with such a strong motivation for refenge without giving some
clue to the "thousand injuries" he had suffered. Poe did not need to describe any of
these injuries in the opening of his story, which would have involved more exposition.
He knew he could demonstrate Fortunato's faults anywhere in the story. In fact, the
injurious behavior is so blatant that it can easily be overlooked by the
reader.
Fortunato is rich. Montresor is poor. Both men
apparently deal in luxury goods with millionaires. Here are a couple of significant
sentences in the third paragraph of the story:
Few Italians have the true virtuoso spirit. For
the most part their enthusiasm is adopted to suit the time and opportunity to practise
imposture upon the British and Austrian
millionaires.
In that same
paragraph Montresor says:
I was skilfull in the Italian vintages myself,
and bought largely whenever I
could.
This does not mean
that he bought largely whenever he could find good wines for sale but that he bought
largely whenever he could afford to. Both men bought art works,
jewels, antiques, and other luxury goods including fine wines to sell at a profit to
rich foreigners. Fortunato was rich and could afford to outbid Montresor continually. It
was in business deals that Montresor suffered most of his
injuries.
Note that Montresor does not consider himself an
Italian although he lives in Italy. He has a French name. He is not taking part in the
Italian carnival. He is wearing a French style cloak. He gives his victim French wine
twice when they are underground. His family may have lived in Italy for some time, but
he could still be considered an outsider by the aristocracy, and Fortunato might have
taken cruel pleasure in reminding him of his outsider status. There are a great many
human bones in the catacombs. This could be taken to show that the Montresors have lived
there for many centuries--but it is never stated that the bones belong to Montresor's
ancestors.
Fortunato is not interested in the Amontillado
because he wants to drink some of it or to show off his connoisseurship. He senses that
he might make a big profit. Montresor only bought one cask (a "pipe" containing 126
gallons), but Fortunato could afford to buy a whole shipload. First he must establish
that it is the true Amontillado. He doesn't want Montresor to go to Luchesi because
Luchesi is a competitor. For that matter, Montresor himself might become a competitor.
He twice tells Fortunato that he has his doubts about the authenticity of the
Amontillado. If Fortunato verifies that it is genuine, then Montresor might go back to
his source and buy some more. The suggestion in his saying, "I have my doubts" is that
he only bought one cask because he wasn't sure it was the real Amontillado. And
Montresor is well aware that Fortunato is thinking of beating him out of a good deal
once again if the wine is authentic. Montresor understands
Fortunato's ruthless character and hates him for it while using it against
him.
When the animals take control of the farm and run Jones
off it, they are left to be their own masters. The pigs emerge as the most clever of
all of the animals. They are the ones who end up assuming the leadership of the farm.
From the time of Old Major's death to the revolution, the Pigs had taught themselves to
read and with this, Snowball, one of the pig leaders, ends up writing/ painting the
seven commandments of Animalism, the theory that will guide the farm's governance. The
last commandment stresses that there is to be a fundamental equality amongst all of the
animals on the farm. This commandment highlights the idea that all animals are to be
treated fairly, with justice, and a sense of equality in all of their interactions is to
be present. The pigs hope to stress this idea to the rest of the animals. This seventh
commandment is one of the strongest connections to the speech Old Major gives in the
first chapter, seeking to cause change within the animals. It is the strongest link to
the past. It is not without irony that this last commandment, the most important in all
of its intent, is one of the first that is violated as the pigs gain greater power and
the abuses that end up coming with it.
I think that one could hope that things are different
between teens and their parents than in the time of Verona's star crossed lovers. The
fact that hostilities were so much at a point that conflict and feuding was inevitable
is something that is regrettably still present, though in a more diluted form. However,
I think that one of the most applicable ideas from the drama is how Juliet and her
parents interact. The exchange between child and parents in the fifth scene of the
third act is fairly telling. The idea that a child must honor the commitments that
parents made with strict obedience is something that we still see in the dynamics
between parent and child. The proverbial "line in the sand" is drawn and the parents'
decisions regarding the future of their child are announcements and not discussions.
The relationship between both child and parents in this scene is telling. Lady
Capulet's "I have done with thee" and Lord Capulet's insistence that Juliet will not
receive any compensation or support if she does not accept the terms of the decision are
representative of a frail relationship. This association is one where love is present
if there is only complete acceptance. It is also a setting where power is being
exercised. These elements are still present in the relationships between parent and
child today. One could hope that the modern setting features more dialogue and greater
discussion that validates the child's voice and experience. Nonetheless, it would be
naive to say that these situations where power compels obedience do not present
themselves in the modern parent/ child setting.
The answer is b. Darwin's Theory of Natural Selection
replaced ideas at the time that didn't adequately offer a mechanism for how evolution
could occur over time. The theory of use and disuse, which was put forth by Jean
Baptiste Lamarck was an idea that was disproved by August Weismann. Darwin's theory
however, explained that living things over-reproduce. He stated that members of a
species have variations. There would be a struggle for existence amongst members in a
population. Those with the best adaptations might survive, reproduce and pass down those
adaptations. Over a long period of time, as these variations accumulated, eventually,
evolution of a new species would occur. Darwin also noted that living things had
"ancestors" that although looked similar to modern species, had differences as well. He
based this on fossils he found on his famous journey to South America and the Galapagos
Islands. This too, was a new idea as people in his time period believed all life on
Earth was essentially unchanged from when it was first created.
Its not entirely correct to say that India's export
markets are largely limited to developed countries, but than its not wrong as
well.
Worldwide the countries which are developed today,
they went about development in a logical pattern which can be well
understood.
But India is an exception, normally a country
makes a robust development in primary sector, then in manufacturing or secondary sector,
and then it jumps to tertiary sector boom, but India is a country which exports software
and imports onion, you might not be amused by this, but while reading this you have to
keep in mind that India is a country where still 70% population finds their bread and
butter from agriculture and allied activities.
So if
agrarian economy cannot export agricultural product, than what else can you sell, and
whatever you sell you cannot expect the people from Zimbabwean or Kenya to being able to
afford that, so of course only developed country can be your
customers.
Having said all this, i must tell you that
India's export market is in underdeveloped countries too, for example India is exporting
paper, Mettle, Sugar, Rice, Hard board, Glass and so many other product the African
nations.
Antigone is tragic in so far as she represents one end of
a tragic collision. She does not follow the traditional notion of tragedy in that she
does not endure much in way of transformation or a sense of evolution of her character.
In this respect, her father, Oedipus, is far more tragic than she is because he must
endure a transformation of character whereby he understands his own pathetic nature, a
key element of tragedy. Antigone does not have to endure this. She stands tall in her
beliefs and accepts them no matter what. Her demise is only spelled out because she
clings to her beliefs. She gets the label of being a tragic heroine because she
represents one end of the collision between the desires of the individual when they come
in conflict with those of the state. I would actually go as far to say that if Antigone
is considered tragic for clinging to her beliefs and suffering for them, Creon is also a
tragic figure. If nothing else, he suffers a heck of a lot more than she does and loses
more than Antigone. Additionally, he is compelled to live and to see the results of his
actions, making him more tragic than Antigone in my mind.
Given that sinx - cosx =
5/7
We need to know that value
sinx*cosx
Let us square both
sides.
==> (sinx - cosx)^2 =
(5/7)^2
==> sin^2 x - 2sinx*cosx + cos^2 x =
25/49
But we know that sin^2cx + cos^2 x =
1
==> -2sinx*cosx + 1 =
25/49
We will subtract 1 from both
sides.
==> -2sinx*cosx = 25/49 -
1
==> -2sinxcosx =
-24/49
Now we will divide by
-2
==> sinx*cosx = -24/49*-2 =
12/49
Then the value is sinx*cosx =
12/49
We need to find the limit of the
following.
==> lim (x+7) / (3x+5) as x-->
inf.
We will divide both numerator and denominator by
x.
==> lim ( x+ 7)/x /
(3x+5)/x
Now we will
simplify.
==> lim ( 1+ 7/x) / (3 +
5/x)
Now we will substitute with x =
inf.
==> lim (1+ 7/x) / (3+ 5/x) as x--> inf
= ( 1+ 7/inf ) / ( 3+ 5/inf)
But we know that a/ inf =
0
==> lim (x+7)/(3x+5) as x--> inf = (1+ 0)/
(3+ 0) = 1/3
Then the limit is
1/3.
This is an interesting question because wisdom is trait
that we need to infer from what Jonas does and says rather than being a characteristic
that is directly applied to his person. To answer this question we need therefore to
analyse what he says, does and thinks, and find an incident where he demonstrates
wisdom. For me, I think we can find such an incident in Chapter Seventeen, when Jonas
tries to explain to Asher that the game they are playing actually came from wars that
were fought long ago through suffering. Although he tries initially to explain to Asher
what is bothering him, at the same time he shows wisdom is recognising that he is not
able to do so, even though this leaves him feeling intensely sad and
depressed:
Jonas trudged to the bench beside the Storehouse
and sat down, overwhelmed by feelings of loss. His childhood, his friendships, his
carefree sense of security--all of these things seemed to be slipping away. With his
new, heightened feelings, he was overwhelmed by sadness at the way the others had
laughed and shouted, playing at war. But he knew that they could not understand why,
without the memories.
Jonas
thus shows wisdom in identifying the changes that have happened to him and the very
person that he is now, and the way that this has created a division between him and his
friends, but also the way that he cannot attempt to try and mend this division. He
recognises the futility of trying to explain.
Atticus has been forced to defend Tom Robinson; Judge
Taylor had pointed to Atticus and said, "You're it." The judge knows that no other
attorney would defend Tom as strenuously as Atticus. And Atticus knows that Tom deserves
a fair trial, believing him innocent of the charges against raping a white
woman. Atticus knows that it is one assignment that he can not turn down. He worries
that Jem and Scout will become bitter, but more importantly, Atticus is afraid that they
will catch Maycomb's "usual disease"--the racist hatred of the black
man.
Why
reasonable people go stark-raving mad when anything involving a Negro comes
up...
Atticus explains that
he would not be able to "hold my head up in town" if he didn't take the case, and that
he could never expect Jem and Scout to trust him again. Trust--both with the townspeople
and his children--are very important to Atticus. He knows he cannot win the case, but he
must try.
You are right in your hunch that Richard's opening
soliloquy is important. Note what this shows us about his character and the theme of
evil that runs through the play and his person. In addition though, you might like to
examine one key theme and how this theme is presented through the various speeches of
Richard III. The way that he uses and abuses language to achieve his goals and purposes
is incredible, and well worthy of some serious study. Most interestingly of course is
how he woos his wife and moves her from absolutely hating him to actually loving him and
willing to marry him in Act I scene 2. You will definitely want to focus on the kind of
language that Richard uses in this scene to woo her. There are of course plenty of other
scenes in which Richard shows the power of langauge to
manipulate.
However, in addition to this important theme, a
very important speech is made in Act V scene 5, when we see Richard undergoing a very
poignant moment of self-realisation after seeing the ghosts that have haunted
him:
The
lights burn blue. It is now dead midnight.
Cold fearful drops stand on my
trembling flesh.
What do I fear? Myself? There’s none else
by.
Richard loves Richard; that is, I am I.
Is there a murderer
here? No. Yes, I am.
Then fly! What, from myself? Great reason.
Why:
Lest I revenge. Myself upon myself?
Alack, I love myself.
Wherefore? For any good
That I myself have done unto myself?
O no,
alas, I rather hate myself
For hateful deeds committed by myself.
I
am a villain.
Note the
element of self-doubt and self-criticism in this soliloquy. Attempting to calm himself
from the fear of the ghosts, he tries to remind himself that he is alone and therefore
safe. Yet the horror returns, yet more strongly, when he realises that he is the most
dangerous person that he could be left with, as a mass murderer. Note the way that at
the beginning of the play Richard said he was determined to "be a villain." Here we see
Richard's realisation that he has succeeded in this goal and the rather mixed feelings
he has as a result. You will want to focus on the internal conflict that is displayed
through this speech.
The poem is a father defining for his son the qualities of
a good man.. He is setting the parameters or boundaries for his son and giving him a
goal to achieve. The poem deals with life’s challenges and how to deal with
them.
Stanza one deals with being confident about the
decisions you make and taking responsibility for those decisions. If others, who cannot
take that responsibility for themselves react negatively, you will be patient with them
and not reduce yourself to their level by telling lies or dealing in hate. However,
don’t ever think you are above anyone else.
Stanza Two
states that it is good to dream, but don’t let your dreams control your life. It is
good to think, but don’t just think and not put those thoughts into action. You will
experience triumph and disasters in your life, but don’t take them seriously because
they are not the substance of life, they are the extremes. If you hear things you said
misused or things you have done destroyed, you need to be able to pick yourself up and
rebuild them with everything that you have left in
you.
Stanza Three counsels don’t be afraid to take risks
and possibly lose everything. If you do lose everything, don’t talk about it, just start
all over again at the beginning. When you are tired and exhausted and your body just
feels like it can’t continue on, use your mind and your will to tell yourself to “Hold
on” and persevere. Push through it.
Stanza four deals with
a person’s reaction to others. You need to be able to talk to large groups of people
and yet not let them influence your belief in what is right,wrong, moral, or immoral.
You need to be able to walk with men of power and influence and yet not forget the
common man and his needs. You need to know yourself and your beliefs so well that
neither your friends nor your enemies can hurt you because you know who you are and what
you stand for. People can depend on you, but don’t let others become too dependent on
you. You need to live every single minute of your life to the fullest. If you do these
things, then the world is yours, and you will be a good man.
In the letter that Johnny writes to Ponyboy and leaves him
to read after his death, he actually gives quite a good analysis of the message of the
Frost poem, "Nothing Gold Can Stay." Of course, Johnny's own personal situation cannily
mirrors the theme of the poem as well, as Johnny recognises that he is dying and shows
in his letter a brave acceptance of the fact. Note what he
says:
Listen,
I don't mind dying now. It's worth it... I've been thinking about it, and that poem,
that guy that wrote it, he meant you're gold when you're a kid, like green. When you're
a kid everything's new, dawn. It's just when you get used to everything that it's
day.
Johnny thus intimately
connects the content and message of the poem to his life and the lives of his gang. Of
course, another motif in the novel is that of sunsets, and Johnny sees Ponyboy's ability
to look at and enjoy sunsets as evidence of his childhood and how everything is still
"gold" for Ponyboy. The Frost poem talks about innocence and experience, and how in our
youth we are "golden" through our innocence, but how as we grow up, we become
experienced and world-weary, "So Eden sank to grief." The sombre message of the poem,
"Nothing gold can stay," is of course shown through the lives of the gang, who struggle
against so many issues and have had to grow up incredibly quickly. Johnny, however,
recognises that any evidence of our innocence is precious and must be clung on to as
something valuable, which is why he asks Ponyboy to tell Dally to start looking at
sunsets.
Since the type of triangle is not indicated in the given
enunciation, we'll consider an acute triangle.
We'll apply
cosine theorem in an acute triangle, to express the terms cos C and cos
B.
The lengths of the sides of the triangle are: BC = a, AC
= b, AB = c.
cos C = (a^2 + b^2 -
c^2)/2ab
cos B = (a^2 + c^2 -
b^2)/2ac
We'll substitute cos C and cos B into the
expression to be calculated.
E = a*[b*(a^2 + b^2 - c^2)/2ab
- c*(a^2 + c^2 - b^2)/2ac]
We'll simplify and we'll
get:
E = a*[(a^2 + b^2 - c^2)/2a - (a^2 + c^2 -
b^2)/2a]
E = a^2/2 + b^2/2 - c^2/2 - a^2/2 - c^2/2 +
b^2/2
We'll eliminate like terms and we'll combine the like
terms:
E = 2b^2/2 - 2c^2/2
E =
b^2 - c^2
The requested value of the
expression is represented by the difference of the squares: E = b^2 -
c^2.
This is a great question to think about in relation to
this excellent novel. Clearly, one part of the story that you cannot ignore at all is
the point of view. Having Holden tell the story himself means that we gain unprecedented
access to his thoughts and motives, seeing what he things about other people that he
comes across in the story and also what he thinks about himself. This is a very
revealing narrative choice that the author has made, and one of the fascinating
stylistic consequences of using a first person narrator is that the narrator can
themselves be unreliable, perhaps unknowingly. When we think about this in relation to
this novel, we can see how Holden Caulfield often presents himself as a character who is
a "phoney" whilst at the same time he bemoans the "phoniness" in others as a negative
trait. Consider the following example from the beginning of Chapter
Three:
I'm
the most terrific liar you ever saw in your life. It's awful. If I'm on my way to the
store to buy a magazine, even, and somebody asks me where I'm going, I'm liable to say
I'm going to the opera. It's terrible. So when I told old Spencer I had to go to the gym
to get my equipment and stuff, that was a sheer lie. I don't even keep kmy goddam
equipment in the gym.
Holden
himself admits that he is a liar, but he does not associate this trait with him being a
"phony" at all, which causes us as readers to question his objectivity. A thesis
statement you might wish to use therefore to link narrative and character style would be
the following:
The first person point of view of
The Catcher in the Rye allows us to see the internal complexities
of Holden Caulfield as a character and gives us even more understanding of his quest
than he has himself.
Such a thesis statement would allow
you to explore the inconsistencies within Caulfield himself and explore his character
and how it develops through his trip.
For a function to be bijective, it has to be injective and
surjective at the same time.
We'll verify if the function
is injective.
We'll calculate the 1st
derivative:
f'(x) = [x'*(3x+1) -
x*(3x+1)']/(3x+1)^2
f'(x) = (3x + 1 -
3x)/(3x+1)^2
We'll eliminate like
terms:
f'(x) = 1/(3x+1)^2
We
notice that f'(x) is positive, therefore the function is strictly
increasing.
A strictly monotonic function is
injective.
We'll check if the functino is
surjective.
We'll evaluate the limit of f(x), if x
approaches to - infinite:
lim f(x) = lim x/(3x + 1) =
1/3
We notice that the function is not continuous towards -
infinite, therefore the function is not
surjective.
Since the function is not
surjective, therefore the function is not
bijective.
For the given quadratic to have 2 equal roots, the
discriminant delta is cancelling out.
delta = (2t-4)^2 -
4(t+1)
delta = 0
We'll expand
the square and we'll remove the brackets in the expression of
delta:
4t^2 - 16t + 16 - 4t - 4 =
0
We'll combine like
terms:
4t^2 - 20t + 12 =
0
We'll divide by 4:
t^2 - 5t
+ 3 = 0
We'll have to determine the roots of the expression
t^2 - 5t + 3 = 0
t^2 - 5t + 3 =
0
We'll apply the quadratic
formula:
t1 = [5+sqrt(25 -
12)]/2
t1 = (5 + sqrt13)/2
t2
= (5 - sqrt13)/2
The values of t, for the
given quadratic to have equal roots, are: {(5 - sqrt13)/2 ; (5 +
sqrt13)/2}.
The series 3, 8, 13, 18, ... is an arithmetic progression.
In an AP the difference between two consecutive terms is constant. For the given series
it is 18 - 13 = 13 - 8 = 8 - 3 = 5
The nth term of an AP is
given by a + (n - 1)*d where the first term is a and the common difference is
d.
We have a = 3 and the common difference d =
5
The 20th term is 3 + 19*5 = 3 + 95 =
98
The required term of the given AP is
98.
