The equation has to be
solved.
First equate the base of both sides of the
equation.
27^(4x-1)
and
3^3
This gives:
(3^3)^(4x - 1)
3)
Now, the exponent terms of both the sides can be
equated to solve for x.
8x = 12x -
3
4x = 3
x =
3/4
The solution of the equation is x =
3/4.
To answer your question, one needs to understand Barthes
definition of punctum. Punctum, a
Latin word indicating a puncture wound or grammatical punctuation, is an inherent
quality of a photograph. It is something that the photographer captures through his
sense of art and observation, through what Barthes calls the photographer's "second
sight" (Camera Lucida, Barthes).
Punctum cannot be arranged by the photographer--it occurs before the photographer's eyes
and they have the foresight (or second sight) to capture it. Often, punctum juxtaposes
elements that are discontinuous with
each other: out of continuity; from separate spheres; living opposing lives; having
disparate experiences in a shared space.
An example of discontinuance
is the famous Koen Wessing photograph showing href="http://sites.google.com/site/bintphotobooks/KoenWessingNicaragua782.jpg"> two
nuns passing behind three soldiers carrying weapons--the second nun is looking
out toward the soldiers with stiffened features (perhaps in repugnance or dread). There
is a discontinuance between the world of the nuns and that of the soldiers; between the
soldiers focus and feelings and that of the nuns; between what the nuns are on their to
attend to (ministering of some sort) and what the soldiers are attending to (military
protection of some sort).
The nuns puncture the quietude of the
observer's experience with the photograph. They send a small wound to the observer's
psychological and emotional experience and perception. The nuns punctuate the photograph
and thereby divert attention away from a simple chronicle of a moment and toward a
special and unique occurrence frozen in time. Punctum is that inherent quality in the
photograph that is neither planned nor arranged and that arrests the observer's
experience with the photograph.
News photographs chronicle events and
thus are said not to contain punctum. While this is generally true, it may be argued
that it might occur that a photographer who is chronicling a news event may, through
photographer's second sight, wittingly or even unwittingly capture a moment punctuated
by punctum. Therefore it may be true that while the general rule is chronicles of news
events do not contain punctum, the exception to the rule may be that news photographers
may indeed capture discontinuous moments exposing punctum.
Pornography
cannot contain punctum because pornographic photographs are carefully arranged by the
photographer--and models are carefully posed, lighted, made up--to deliberately capture
the most dramatized erotic images. It may be argued, however, that someone taking covert
pornographic photographs may inadvertently hit upon a discontinuous moment and thus
inadvertently capture a moment of punctum. Nonetheless, due to the undirected,
unplanned, un-prearranged nature of photographs that capture discontinuance resulting in
punctum--photographs that are a product depending upon second sight--it may be generally
stated that news photographs, which chronicle, and pornographic photographs, which are
carefully arranged for a heightened effect, do not possess Barthes concept of
punctum.
When Willoughby learned of Marianne's potentially fatal
illness, he rushed straight from London to Cleveland. His intention of coming to speak
with Elinor was to "obtain something like forgiveness" (Ch. 44). Willoughby confessed
that his first motive for getting to know Marianne and the Dashwoods was to give himself
something nice to do while in Devonshire. Marianne's attentions played on his vanity,
making him even more vain, but his only intention was to flirt with her without ever
"returning her affection." He further confessed that the main reason he had no intention
of returning her affection is that he had always been extravagant and that he had many
debts, thus he planned to marry a woman with a fortune to ease his debts. Marianne was
poor, therefore, he knew he was only being vain and selfish by indulging in her
attention. However, he also confessed that despite his intentions, he did fall in love
with her. He told Elinor that he had intended to propose to her, but then his wealthy
cousin, Mrs. Smith learned of his affair with Colonel Brandon's charge and disinherited
him when he refused to marry Eliza.
He openly regretted his affair
with Eliza, wishing it had never happened. Eliza had passionately flirted with him, and
for a short time he returned her affections, leading to Eliza's fallen
state.
He also spoke passionately about how much seeing Marianne
before he left for London and receiving her letters broke his heart, but his love for
her could not overcome his "dread of poverty."
Mostly in his
conversation, he asks Elinor to have pity on him and his situation, particularly to pity
the fact that while being in love with Marianne, he was forced to marry another woman.
However, Elinor makes the excellent point, that he was still wrong; he made his own
choices. His speeches to Elinor helped to show us that he did not just use Marianne,
that he truly did care, but we must still blame him for his immoral, extravagant choices
and his lack of principles and propriety.
The text mentions nothing that Prince Prospero actually
"offers" to the specter, unless you are refering to the way in which Prince Prospero in
a frenzy of shame and anger at his cowardice pursues the mummer with a dagger in his
hand, planning to drive the dagger deep into the mummer's body for the insult that he
has caused having dressed up as the Red Death. Note what the text tells us about
this:
It was
then, however, that the Prince Prospero, maddening with rage and the shame of his own
momentary cowardice, rushed hurriedly through the six chambers, while none followed him
on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger,
and had approached, in rapid impetuosity, to within three of four feet of the retreating
figure...
Thus we could argue
that Prince Prospero "offers" the person of the mummer a drawn dagger as he pursues him,
if that is what your question is refering to. I hope this answers your question. If not,
please do respond and perhaps see if you can clarify what it is precisely that you want
to know.
This is a tough one since it is really hard to argue that
either side benefitted much in the long run. However, it is probably correct to say
that the US got more of a benefit from the Soviet invasion than the USSR
did.
The reason for this is that the invasion of
Afghanistan was a disaster for the USSR. It is typically said to be the USSR's
Vietnam. It is described in this way because it sapped the Soviet economy and because
it led to the deaths of thousands of Russian soldiers. One can argue that these costs
of the invasion helped to lead to the collapse of the Soviet Union in the late
1980s.
However, the US eventually lost from this invasion
as well. US support to insurgents fighting the Soviets helped to strengthen people such
as Osama Bin Laden who would later hurt the US badly through terrorist actions and
through the continuing fighting in Afghanistan today.
We'll shift the number alone to the right
side:
2^(x^2-5x+10) = 64
We'll
create matching bases both sides. For this reason, we'll re-write 64 =
2^6
We'll re-write the equation as it
follows:
2^(x^2-5x+10)=
2^6
Since the bases are matching now, we'll apply one to
one rule and we'll
get:
(x^2-5x+10)=6
We'll
subtract 6 both
sides:
x^2-5x+10-6=0
x^2-5x+4=0
We'll
apply quadratic
formula:
x1=[5+sqrt(25-16)]/2
x1=(5+3)/2
x1=4
x2=(5-3)/2
x2=1
The
complete set of solutions of the exponential equation is: {1 ;
4}.
At the very end of the original version of John Bunyan’s
The Pilgrim’s Progress, Ignorance approaches the gates of the
Celestial City. He assumes that he will easily be admitted, but when he is asked to
produce a “certificate,” he is unable to do so:
Then they asked him for his certificate, that
they might go in and show it to the King; so he fumbled in his bosom for one, and found
none. Then said they, Have you none? But the man answered never a
word.
When the King of the
city learns that Ignorance has no certificate, he refuses to meet Ignorance but instead
commands that he be tossed into hell.
The “certificate”
demanded of Ignorance has been interpreted in various ways, including the
following:
Elizabeth Willard's legacy to her son George is twofold -
the first is the desire to leave Winesburg in search of something better, and the second
is the eight-hundred dollars she has been saving for him, that will enable him to start
a new life somewhere else.
Elizabeth is a bitter woman,
frustrated because she has allowed that "secret something that is striving to grow"
within herself to be stifled by misguided choices and the resulting life of inertia in a
stultifying town and a marriage ultimately loveless and unfulfilled. In her son, she
recognizes the same longing for something more, that defines her own life. This
awareness of the void, along with the desire to find a way to fill it, is part of her
legacy to her son.
Elizabeth's father, too, had been aware
of the fruitlessness of his existence in Winesburg, and had begged his daughter not
to stay and marry Tom Willard. The old man had saved eight hundred dollars, and, on his
deathbed, he had urged his daughter to "take it and go away." Elizabeth had not followed
his directive, but later had realized that her father had been right. She had hidden
away the eight hundred dollars, so that her son might use it to do what, sadly, she had
not.
It is ironic that, in the end, Elizabeth is
ineffectual in following through in giving the gifts of her twin legacies to George. In
"Mother," George confides to her that he has indeed decided to leave Winesburg and seek
his fortunes elsewhere, but Elizabeth does not respond encouragingly, even though she
means to - "she want[s] to cry out with joy...but the expression of joy [has] become
impossible to her." Instead, she indifferently brushes off her son's dreams; Elizabeth
herself is so broken that she is unable to affirm that for which she most yearns - the
possibility of salvation for her son. In the same way, the eight hundred dollars she has
painstakingly hidden from her husband and saved for George all those years is also lost
to him. Elizabeth has never told George about its existence, and is rendered speechless
by a stroke in her dying days. As recounted in "Death," George never learns about the
legacy that his mother, throughout her lifetime, has so carefully guarded for
him.
In Harper Lee's To Kill a
Mockingbird, the first point Atticus makes is that even after this alleged
crime of rape, no one called a doctor. This is a serious breach in the prosecution's
ability to charge Tom Robinson with sexual assault if a doctor could not confirm it with
an examination. It also seems odd that no one cared enough for
Mayella to call a doctor to simply see if she was all right, regardless of the
ramifications affecting the court case.
"Did you call a doctor, Sheriff? Did anybody
call a doctor?" asked Atticus.
"No, sir," said Mr.
Tate.
"Didn't call a
doctor?"
"No sir," repeated Mr.
Tate.
"Why not?" There was an edge to Atticus'
voice.
"Well I can tell you why I didn't. It wasn't
necessary, Mr. Finch. She was mighty banged up. Something sho' happened, it was
obvious."
"But you didn't call a doctor? While you were
there did anyone send for one, fetch one, carry her to
one?"
"No
sir—"
Heck Tate continues,
pointing out that she was beaten badly, and that "she had a black eye
comin'."
This point sticks in Atticus' mind, and this is
the second point Atticus makes, without explaining—at this time—why it's important. He
asks Heck to describe which eye was blackened. Atticus wants to clarify exactly which
eye it was, based on the way Heck was facing, or based upon which side of the face the
eye was on: Tate thinks about it and then affirms that it was her
right eye. Looking at Tom, Heck remembers something as a thought
occurs to him; Atticus asks Heck to repeat himself, as something (the same thing) has
occurred to him, too.
"Sheriff, please repeat what you
said."
"It was her right eye, I
said."
"No…" Atticus walked to the court reporter's desk
and bent down to the furiously scribbling hand. It stopped, flipped back the shorthand
pad, and the court reporter said, "'Mr. Finch. I remember now she was bunged up on that
side of the face.'"
Atticus looked up at Mr. Tate. "Which
side again, Heck?"
"The right side, Mr.
Finch…"
Atticus is intent on
reminding the jury that no doctor was called to confirm the alleged rape, and that
Mayella had been struck on the right side of the face. This will become a central point
of consideration as the court case advances.
The Allies were able to fight a war on two fronts because
they had much more manpower and manufacturing capability than the Axis had. Because of
this, they (mostly the US) were able to fight on two
fronts.
Think about the countries that made up the Allied
powers. The Allies had both the USSR and the United States on their side. These were
two countries with huge populations compared to that of Germany or Japan. In addition,
the US had a huge manufacturing base that could not be damaged by enemy bombers the way
the Japanese and German ones could be.
When you combine
these two advantages, it explains why the Allies were able to fight on two fronts at
once.
When Woolf writes that “All human relations have shifted,”
she is making the point that Modernism involves a transformation or change from what was
originally held and in what believes were placed. Eliot’s work represents this in a
couple of ways. The first would be that the style of the work itself is indicative of a
Modernist period where “all… have shifted.” The style of narration and the work itself
“shifts” what literature is and what it can be viewed as. There can be a case made that
the work is poem, treatise, philosophical musing, and cultural analysis all in one.
This represents Modernism because Eliot does not render a piece that is standard or
traditional. At the same time, the lack of totality and consensus that Eliot’s work
renders is also indicative of Modernism, a period that espoused a total disbelief in
structures and principles that previously indicated a sense of coherence and identity.
In much the same way, Woolf’s writing accomplishes this idea of a fragmented view of
reality. The title character of her work upholds the façade of Victorian society, yet
her internal discussions and beliefs reflect a complete disenchantment with both her
world and her place within it. To this end, Woolf’s work also represents a sense of
loss and betrayal felt in that Clarissa is incapable of feeling a sense of certainty and
absolutism in the world that is supposed to give a woman meaning. At the same time,
this reflects a very questioning in the social structure that defines women. Woolf’s
work raises significant questions to the social order that relegates women to a specific
role, defining who they are and what they are supposed to be. There is significant
doubt raised to this construction, and this is representative of both Modernism and the
“shift” in thought that is a part of the movement.
First, we'll factorize by
tan(a+b):
tan(a+b)(1 - tan a*tan b) - tan a - tan b =
0
We'll move tan a and tan b to the right
side:
tan(a+b)(1 - tan a*tan b) = tan a + tan
b
We'll divide by (1 - tan a*tan
b):
tan(a+b) = (tan a + tan b)/(1 - tan a*tan
b)
But the function tangent tan (a+b) is the
ratio:
tan(a+b) =
sin(a+b)/cos(a+b)
We'll write the formulas for the sine and
cosine of the sum of angles a and b:
sin(a+b) = sina*cosb +
sinb*cosa
cos(a+b) = cosa*cosb -
sina*sinb
We'll substitute sin(a+b) and cos(a+b) by their
formulas:
tan(a+b) = (sina*cosb + sinb*cosa)/(cosa*cosb -
sina*sinb)
We'll factorize by
cosa*cosb:
tan(a+b) =cosa*cosb*[(sina*cosb/cosa*cosb) +
(sinb*cosa/cosa*cosb)]/cosa*cosb*[1 -
(sina*sinb/cosa*cosb)]
We'll simplify and we'll
get:
tan(a+b) = (sina/cos a + sinb/cos b)/(1 - tan a*tan
b)
tan(a+b) = (tan a + tan b)/(1 - tan a*tan b)
The identity tan(a+b)(1 - tan
a*tan b) - tan a - tan b = 0 is verified.
Atticus Finch, in Harper Lee's To Kill a
Mockingbird, is a father who loves his children more than anything else, but
he is also a responsible father who wants his children to be able to live moral lives by
teaching them how to live well, and be concerned for the good of
others.
In Chapter Three, Atticus gives his children good
advice in order to help them better understand and empathize with others. He tells them
to put themselves in someone else's position before they judge that
person.
You
never really understand a person until you walk around in their
skin...
Atticus also tells
the children to never kill a mockingbird. Miss Maudie explains his directive. She points
out that mockingbirds offer joy in their music to everyone, and never cause any harm. He
provided this example as a way for the children to learn to care about others—those who
cannot protect themselves and never bring to harm to others, should be cared for. In
this story, the two characters that symbolize mockingbirds are Tom Robinson and Boo
Radley. Miss Maudie says...
Mockingbirds don't do one thing but make music
for us to enjoy. They don't eat up people's gardens, don't nest in corncribs, they don't
do one thing but sing their hearts out for us. That's why it's a sin to kill a
mockingbird.
At the end of
the story, when Heck Tate is ready to release Bob Ewell's cause of death, he intends to
report that Bob Ewell fell on his knife while drunk. Atticus believes that Jem killed
Ewell, and refuses to let Heck report anything but the truth, even in an attempt to
protect Jem. Even though he believes his son will suffer with the public exposure and
censure he may receive, Attcus believes everything must be done "according to the book."
Otherwise, it will appear that Jem has been protected because of who his father his: a
betrayal of all Atticus has tried to teach his children. (It is, actually, Boo Radley
that Heck is trying to protect.) Atticus cannot live a lie, even to save his son; he
refuses to set a bad example, and says...
Heck, can't you even try to see it my way?
You've got children of your own, but I'm older than you. When mine are grown I'll be an
old man if I'm still around, but right now I'm—if they don't trust me they won't trust
anybody. Jem and Scout know what happened. If they hear of me saying downtown something
different happened—Heck, I won't have them anymore. I can't live one way in town and
another way in my
home.
Atticus has many
lessons he teaches his children, often by example. He is respected by the townspeople,
but the two people he is most concerned about are his children.
Dickens's classic novel Oliver Twist
about a small boy whose tragic life does not end in tragedy is forever
inspiring as it provides reader the promise that man is essentially good at heart. This
theme is best developed through the characterization of Oliver. For, in the words of
Charles Dickens himself--
I wished to show, in little Oliver, the principle
of good surviving through every adverse circumstance, and triumphing at
last.
It is important to focus on the presentation of the
central character in this story, Elisa, is presented. From the very beginning of this
excellent tale Steinbeck is quick to focus on the limitations of her life and the way in
which she is trapped--even by the weather. Note how the story begins by creating a very
strong image of restriction and incarceration:
The high grey-flannel fog of winter closed off
the Salinas Valley from teh sky and from all the rest of the world. On every side it sat
like a lid on the mountains and made of teh great valley a closed
pot.
The way in which the
story begins, coupled with the descriptive detail that "there was no sunshine in the
valley no in December," does much to reveal the kind of life that Elisa lives. She is
trapped and restricted, physically, emotionally and spiritually. We can see how she
suffers from loneliness by the way that she desperately shares her passion with the only
person who shows any interest whatsoever in what is important to her. Elisa has to
physically restrain herself from reaching out and clinging onto his leg. Her need turns
her into a "fawning dog." It is clear that her marriage and her position as a farmer's
wife is not fulfilling her and is not creating the necessary conditions for her to
thrive in her own self. Her attempts to reach out and communicate with her husband, who
is not a bad man in himself, reduce her to "crying weakly--like an old woman," as she
realises that the man she had talked to was not interested in her or what she said at
all, as the discarded chrysanthemum shoots illustrate.
Thus
throughout this story Steinbeck presents the way in which marriage and society has
reduced Elisa to a state of unfulfilled, desperate loneliness, where she is not able to
truly connect to anyone. Women are shown to live a bleak life in the world of this short
story, where they are misunderstood by the menfolk that surround
them.
Curley's wife, who is never given a real name, is merely a
genitive of Curley with no real identity. She comes around the bunkhouse because she
feels almost nonexistent without doing so. Even when she boasts of what she could have
done if she had not married Curley, she describes how she has and could have been
exploited by men. For instance, she says,
"'Nother time I met a guy, an' he was in
pitchers. Went out to the Riverside dance Palace with him. He says he was gonna put me
in the movies. Says I was a natural. Soon's he got back to Hollywood he was gonna write
to me about it."
At the same
time that Curley's wife is exploited by men like Curley, she is also a temptress, "jail
bait" as George calls her. Like Eve, she lures Lennie to sin and disobey George's
orders not to go near her when she brushes her hair and allows Lennie to pet
it.
In Act V, Brutus has refused to listen to Cassius who
urges Brutus to let their troops wait for those of the triumvirate rather than marching
to Philippi. Excited by the appearance of the troops of Brutus, Antony exclaims in
Scene 1,
In your bad strokes, Brutus, you give good
words.
Witness the hole you made in Caesar's
heart,
Crying “Long live! Hail, Caesar!”
(5.1.31-33)
Brutus and
Cassius say farewell to each other, for they vow not to be taken
alive.
But
this same day
Must end that work the ides of March begun.
And
whether we shall meet again I know not.
Therefore our everlasting farewell
take.
For ever, and for ever, farewell, Cassius!
If we do meet
again, why, we shall smile;
If not, why then this parting was well made.
(5.1.122-128)
Omens are seen
by the once skeptical Cassius; then, in Scene 3 Cassius is defeated and he has Pandarus
hold the same sword that struck Caesar as Cassius runs on it. Later, Brutus discovers
that his friend Cassius is dead and he exclaims,
O Julius Caesar, thou art might
yet!
Thy spirit walks abroad, and turns our
swords
In our own proper entrails
(5.3.105-107)
Then,
in the final scene, Brutus, too, meets with defeat and kills himself, calling upon
Caesar as he tells his ghost that he did not kill him as willingly as he slays
himself:
Farewell, good
Strato.
Caesar--now be stil:
I
kill'd not you with half so good a will
(5.5.55-57)
With the
presence of Caesar's ghost lurking over Brutus, the noble Brutus now sense tremendous
guilt for slaying Julius Caesar, for now all his efforts have fallen apart, thus giving
way to a crueler reign than ever was that of Julius Caesar.
In composing one's thesis for an essay, the writer needs
always to be consistent with the three elements that form the blueprint for the essay.
Perhaps, then, you may wish to change your thesis to include three opinions that all of
the same concept.
You have written that outcasts are faced
with judgments because they are powerless in society as your general statement. Is it
not, then, your objective to prove this statement? If you use the
why question, you can create the three
opinions that will form your blueprint for the essay. Here are
suggestions:
As somebody who has taught GCSE English but also marked
GCSE English Language exams, let me give you some advice. What the exam is testing your
ability to do is to write attractive and eye-catching descriptions of a certain
scenario, event or person. Part of the mark is based on your ability to use figurative
language (similes, metaphors etc.) yourself to convey a distinct visual image of the
thing you are trying to write about. Because of this, learning an excellent descriptive
passage off by heart is not going to help you, as you have no way of predicting what you
will be asked to write about and your description may not match the thing you have to
describe in the exam.
It is much better to practise at this
stage writing descriptive pieces for a wide range of possible topics that you could
receive in your exam. How would you describe your earliest childhood memory, for
example? How would you describe the person who has had most impact on you in your life?
You need to brainstorm these topics, identifying what is notable about them, and then
trying to remember what sounds, sights, smells, feelings, and so on that you associate
with them. Then you need to consider how you can use words to bring that person, or that
event, or that place, to life. I would argue this is the best thing you can do to help
prepare yourself for the exam. Learning a descriptive piece by heart will not help you
in the exam and it will come across as unnatural and stilted. Good
luck!
In Chapter 2 of Rolling Thunder, Hear My Cry
by Mildred Taylor, the Logan children are engaged in picking cotton along
with their mother. As Cassie climbs a pole to pick the high cotton, she can also see
above the field to the road where there are two figures walking briskly. One of them is
taller that the other, whose "fluid gait" looks familiar to Cassie. Squinting and
shadowing her eyes from the glare of the sun, Cassie gasps in recognition; she slides
down the pole, exlaiming "It's Papa!"
In disbelief her
mother utters the name of her husband. Then John and Little Man eagerly descend their
poles, and rush toward the barbed wire fence. Big Ma calls to them to not crawl through
the fence and trespass upon property that may not belong to the owner whose cotton they
pick, but the children pretend not to hear her as they rush to see their father, who has
left his work on the railroad to come home with another man.
At least one famous critic dismisses Milan Kundera's
The Joke as a political novel relevant mainly to the Soviet era,
but this is a mistake. The novel is about life/existence within a
communist/dictatorial regime, and attitudes and behaviors do emerge naturally out of
that setting (evidence of Kundera's skills). But the ideas and themes of the novel
certainly extend to life outside of the political
system.
The novel is famous for its seven-part
structure, for its treatment of music, for its use of Czech folk tales, for its love
stories.
It features fundamentalistic, over-zealous "true
believers," and example after example of human cruelty. It features the blindly loyal
and the naive. It features a longing for a simpler past, and a woman who snores. None
of these is exclusively political.
The novel should not
be dismissed or categorized as simply a political novel.
One concrete example of the novel's relevance is the idea
that people suffer from "bleak erotic horizons." Is this not true, or at least possibly
true, in most places at most times?
We need to define a transformation between the false scale
indication and the real temperature on a correct Celsius
scale.
The real extent of the incorrect scale
is
The length of incorrect scale
is
The
real temperature for 40 units on the incorrect scale
is
The real temperature for 80 units on the incorrect scale
is
Answer: The correct temperatures
corresponding to 40 and 80 are 44 and 88 degree
Celsius
As Hortensio watches Lucentio woo Bianca (with some biased
reinforcement from Tranio)—in Act Four, scene two, of Shakespeare's The Taming
of the Shrew—the man pretending to be a music teacher to gain Bianca's love
finally swears that he has had enough.
First, Hortensio
admits that he is not the music teacher that he pretends to be.
Hortensio agrees with Tranio that Bianca lacks loyalty. It bothers him that Bianca would
prefer a man of lower social standing (Cambio, who is really Lucentio) over him. When
Tranio (pretending to be Lucentio, another suitor—in support of
Lucentio's pursuit of Bianca) swears he will
no longer pursue Bianca if Hortensio will do the same, Hortensio joins him, swearing the
he will stop his attempts to woo Bianca, finding her not the woman
he believed her to be.
TRA:
Signior
Hortensio, I have often heard
Of your entire affection to
Bianca;
And since mine eyes are witness of her
lightness,
I will with you, if you be so contented,
(25)
Forswear Bianca and her love for
ever.
HOR:
See,
how they kiss and court! Signior Lucentio,
Here is my hand,
and here I firmly vow
Never to woo her no more, but do
forswear her,
As one unworthy all the former favours
(30)
That I have fondly flatter'd her
withal.
Once so sworn,
Hortensio announces that he will marry a wealthy widow whom he has only known a short
time, who has loved him as much as he has loved Bianca. He promises that from now on,
when searching for love, he will look for kindness in women, rather than their beauty.
I.e., he will look for the beauty within, rather than outward
beauty.
HOR:
For
me, that I may surely keep mine oath,
I will be married to
a wealthy widow,
Ere three days pass, which hath as long
loved me
As I have loved this proud disdainful
haggard.
And so farewell, Signior Lucentio.
(40)
Kindness in women, not their beauteous
looks,
Shall win my love: and so I take my
leave,
In resolution as I swore
before.
It would seem with
Hortensio's departure that the competition Lucentio has faced has been reduced to make
his pursuit of the lovely Bianca that much easier.
In Shakespeare's Julius Caesar,
Cassius is one of the conspirators that murdered Caesar. As lines are firmly drawn
before battle in Act Five, scene one—between Antony and his army, and Cassius and Brutus
and their army—Cassius tells Messala about his part in the war fighting under Pompey. In
reference to Pompey:
Cassius...was the
most famous of [his] clan...Cassius supported Pompey in the Battle of Pharsalus (48
B.C.), but Caesar forgave him and in 44 B.C. made him a praetor. Cassius was an active
conspirator and one of the actual assassins of Julius Caesar in 44
B.C.
Be thou my
witness that, against my will,
(80)
As Pompey was, am I compell'd to
set
Upon one battle all our
liberties.
Literary terms dictionaries define an antihero as "a
protagonist who is a non-hero or the anti-thesis of a traditional hero." Generally
speaking, a hero protagonist would be intelligent, strong, courageous, and independent.
It is quite clear that Holden does not encompass these qualities; he is more of a lazy,
dependent, unlucky character who would never be considered a hero or role model in any
sense of the term. Since Holden does have so many internal and external forces that are
countering his character, it does seem, however, that he is the novel's protagonist.
Linking all of these elements together, it does seem that Holden is an
antihero.
In the first scene in which we meet Hamlet we find out
that he is still wearing his mourning clothes of black and that "the clouds [of
mourning] still hang on [him]." Gertrude and Claudius both try to talk to Hamlet about
his continued grieving for his recently deceased father, but they are likely disturbed
by his grieving because they are clearly over their grieving of brother/husband,
evidenced by the fact that they have recently married each
other!
Gertrude tells Hamlet that he should move on because
"thou know'st 'tis common, all that lives must die, / passing through nature to
eternity." That everything eventually dies is certainly true, but that doesn't lesson
the emotion of the loss.
Claudius is even more harsh in his
commentary. He tells Hamlet while everyone has a "obligation" to mourn, "but to
persevere / in obstinate condolement is a course / of impious stubbornness." This
suggests that Hamlet's mourning is being done "on purpose" and that it is an unholy act
to carry on in his grief. He makes a further slam when he adds that it is "unmanly
grief." Calling Hamlet's manhood (vs childishness) into question is a rather low blow.
After this comments he tells Hamlet that people who mourn to long display "a will most
incorrect to heaven, / a heart unfortified, a mind impatient, an understanding simple
and unschooled." There is no part of Hamlet's character that isn't attacked in that
statement. Hamlet is charged with being sinful, weak-hearted, impatient, and stupid!
Claudius touches on the same theme as Gertrude when he points out that all father's die
and that Hamlet needs to get over it and accept that he will next on the throne after
Claudius and that he should just move on.
We don't know a
lot about Hamlet at this point in the play, but this speech makes us very disturbed by
Claudius and makes us feel more sorry for Hamlet than we did before this scene. Neither
of the adults seem to be very sympathetic at this point in the
play.
There are four or five primary characters in The
Wednesday Wars by Gary Schmidt, and each of them is distinctive. Here are a
few ideas for symbolic items which might represent each of
them.
Holling Hoodhood is the protagonist of the story,
and some fitting objects to symbolize him might include cream puffs (which keep coming
up in his story), the two rats (Sycorax and Caliban) which he inadvertently unleashes on
the world, or a complete works of Shakespeare, which of course he enjoys reading. The
most interesting visual image, though, is his Ariel costume. Holling
says,
[Mr.
Goldman] handed me a pair of bright yellow tights with white feathers on the...well,
I'll let you guess what part the feathers were attached
to.
Mrs. Baker's items might
also include a book of Shakespeare's plays, but she could also be symbolized by the
wooden box holding her Olympic silver medal or a telegram. The medal is representative
of her life outside of teaching, and the telegram is indicative of her husband who is
off fighting the war in Vietnam and becomes missing in
action.
Heather Hoodhood might best be represented by some
kind of flower-power symbol, such as the one she paints onto her cheek to demonstrate
her connection to the peace movement. She also leaves home in a Volkswagon beetle, which
is another representative item of her protest behavior.
Mr.
Hoodhood would be best represented by a business card with his company name on it:
Hoodhood and Associates. Since his major concern in life is business, this is an apt
item to depict him. Another choice might be some kind of an award certificate as
businessman of the year as presented by the Chamber of Commerce, as this is represents
the pinnacle of success for him.
Each of these characters
in the novel is distinctive, and these are the items that might best symbolize their
personalities as well as their interests.
Whatever you do, you HAVE to read this story! It is
awesome! My key points will not give anything away, but this is a story that you should
not pass up!
1. Rainsford hear a scream, yet can't tell
what type of animal it was after hearing pistol shots after falling
overboard.
2. Once on land, Rainsford find the place where
the prey had been shot the night before.
3. Rainsford
knocks on the door of a creepy house and is met by a large man pointing a revolver at
him.
4. General Zaroff comes down the hall a moment later
to greet him and tell him how honored he is to have such a great hunter in his
home.
5. Rainsford is led to a room to change clothes,
then returns with the large man (Ivan, Zaroff's servant) to dine with
Zaroff.
6. Rainsford admires Zaroff's collection of heads
on the wall of the game he has shot, especially the Cape
Buffalo.
7. Zaroff tells Rainsford he had become bored of
hunting as he always caught his prey. But now he had invented a new animal to hunt.
This interests Rainsford since he is such a big game hunter
himself.
8. When Rainsford realizes the true prey, he
tells Zaroff he is tired and goes to bed.
It is not really correct to say that Alexander the Great's
armies were defeated in India. Instead, it is more correct to say that the army
rebelled against Alexander and his ambitions and forced him to withdraw from
India.
Alexander's armies won their battles in India.
However, after a certain point, his armies and his generals decided they had had
enough. They had been out campaigning for too long and they were too far from home.
The weather was bad (monsoons) and they were worried about what opposition they might
face if they did as Alexander wanted and went to fight the kingdom of Magadha in the
Ganges Valley. For these reasons, they resisted Alexander's desire to push on.
Alexander finally agreed and the army withdrew from India.
Here is the full quote:
Whoso would be a man, must be a nonconformist.
He who would gather immortal palms must not be hindered by the name of goodness, but
must explore if it be goodness. Nothing is at last sacred but the integrity of our own
mind. Absolve you to yourself, and you shall have the suffrage of the
world.
This quote from
Emerson's essay, "Self-Reliance," is saying:
In order to be
a man—a grown up—he must be willing to turn his back on the
world regardless of what the world expects.
Whoso would be a man, must be a
nonconformist.
To be
remembered, a man must gather "immortal palms," and must not be held back by the "name
of goodness."
He who would gather immortal palms must not be
hindered by the name of goodness, but must explore if it be
goodness.
Nothing is at last
sacred but the integrity of our own mind. Absolve you to yourself, and you shall have
the href="http://www.merriam-webster.com/dictionary/suffrage">suffrage of the
world.
Integrity is born in a person's mind, and nothing
else is sacred unless you absolve yourself to who you are. In this way, you will have
the support of the world, of
mankind...
Emerson states
that to believe your own thoughts, and to know that what is true for you in your private
heart is true for all men—that is genius.
We'll re-write the left side
term:
(sqrt 5)^(2+4+...+2x) =
5^[(2+4+...+2x)/2]
We'll factorize by 2 within brackets
from superscript:
5^[(2+4+...+2x)/2] = 5^[2*(1+2+...+2x)/2]
=> 5^[(1+2+...+x)]
We'll re-write the
equation:
5^[(1+2+...+x)] =
5^45
Since the bases are matching, we'll apply one to one
rule:
1+2+...+x = 45
We notice
that the sum from the left is the sum of the terms of an arithmetical
sequence:
1 + 2 + ... + x =
x*(1+x)/2
The equation will
become:
x*(1+x)/2 = 45
x^2 + x
= 90
x^2 + x - 90 = 0
We'll
apply quadratic formula:
x1 = [-1+sqrt(1 +
360)]/2
x1 = (-1+sqrt361)/2
x1
= (-1+19)/2
x1 = 9
x2 =
-10
Since the value of x has to be natural, w'ell reject
the negative value and we'll keep as soution of equation x = 9.
In Bret Harte's "The Outcasts of Poker Flats," one of the
main characters in the story is the Duchess, who is a prostitute. She is one of the
several "undesirable" people who have been exiled from the
town.
In the paragraph in question, Piney, the young, naive
and loving (and lovable) fiancée of Simson has made the statement regarding the living
conditions they now find themselves in. Without knowledge of the Duchess' profession,
Piney notes that their humble surroundings may not be as nice as those the Duchess
enjoyed in Poker Flats. This is a stark reminder to the Duchess as to
why she is no longer in Poker Flats. It is embarrassing to her,
especially coming from Piney, who the Duchess comes to care for very
much.
"I
reckon now you're used to fine things at Poker Flat," said Piney. The Duchess turned
away sharply to conceal something that reddened her cheeks through its professional
tint, and Mother Shipton requested Piney not to
"chatter."
The "professional
tint" the author uses to refer to the Duchess' color of face is the makeup she wears
because of her profession, as opposed to her heightened color when
she blushes naturally, as she does with embarrassment at Piney's innocent
comment.
There is absolutely symbolism in this, and in fact the
title of this excellent work is linked to the way that the narrator remains anonymous
throughout the entire text. One of the key themes of the novel is the way that the
narrator is shown to be engaged on a search for his own identity, and yet he quickly
learns that being black makes him invisible to white eyes as they variously abuse or
ignore him. What is ironic about this search for self-identity is the way that others
are able to recognise the narrator's invisbility well before he himself is able to
recognise and accept it. Note what the vet at the Golden Day says to Mr. Norton
concerning the narrator:
Already he is—well, bless my soul! Behold! A
walking zombie! Already he's learned to repress not only his emotions but his humanity.
He's invisible, a walking personification of the Negative, the most perfect achievement
of your dreams, sir! The mechanical
man!
Of course, remaining
anonymous emphasises the hero's invisibility, as not having a name helps create and
support the sense in which the hero does not actually have an identity that is accepted
in white dominated society. To support this idea, note the way that Mr. Bledsoe says to
the narrator, "You're nobody, son. You don't exist—can't you see that?" At every turn,
the narrator is forced to realise that the colour of his skin makes him invisible,
somebody that does not count, and his anonymity only reinforces this
impression.
f(x)= sqrt[
(3x+2)/(2x-1)]
First we will separate the numerator and
denominator.
==> f(x) = sqrt(3x+2) /
sqrt(2x-1)
Now we will use the quotient rule to find the
derivative.
==> Let f(x) = u/v such
that:
==> u= sqrt(3x+2) ==> u' =
3/2sqrt(3x+2)
==> v= sqrt(2x-1) ==> v' =
1/sqrt(2x-1)
Now we know
that:
f'(x)= u'v - uv' /
v^2
==> f'(x) = [ 3sqrt(2x-1)/2sqrt(3x+2) -
sqrt(3x+2)/sqrt(2x-1) / (2x-1)
==> f'(x) = (
3(2x-1) - 2(3x+2) / 2(2x-1)*sqrt(3x+2)(2x-1)
==>
f'(x) = ( 6x -3 - 6x -4) /
2(2x-1)*sqrt(3x+2)(2x-1)
==> f'(x)=
-7/2(2x-1)^3/2 *(3x+2)^1/2
For me, as in other Shakespeare comedies, it would be
better to ask who the heroine is. It is Portia in this play who shines out as being the
character who heroically solves the situation that the menfolk, including her new
husband, are unable to even begin to resolve. It is she who is described as active,
whereas her husband is left standing passively, watching his friend Antonio about to be
butchered by Shylock without being able to do anything. The initiative for this
stratagem comes from Portia alone, and she in every sense shows herself to be superior
to the male characters of this play. During the court scene it is she who controls the
action and is looked up to by everyone, including the authorities, for her superior
judgement, wisdom and skill.
With such things in mind, let
us consider whether Bassanio could be judged a hero of the play. Again and again, in
spite of his ability to choose the correct casket and gain Portia for his wife, Bassanio
is shown as a less than impressive figure. He starts off by asking his friend to get
into debt for him, because he has wasted his money, so that he can gain a wife who will
bring him money. He speaks of Portia being more a financial investment rather than a
person whom he loves and cares for. Although we may argue that he comes to lover her
during the course of the play, the initial scene where he confesses his spendthrift ways
to Antonio and asks him for more money leave a very bad impression. His subsequent
helplessness in the face of Shylock's wrath and fury present him as a weak character,
and to my mind unfit for Portia.
So, to my mind, the true
hero of this play is Portia in the way that she is able to solve the legal dispute that
nobody else is able to cope with.
O. Henry's delightful story of two loving, unselfish,
"foolish" young people who sacrifice their most valuable possessions in order to buy
something that the other will enjoy has delightful language that abounds in allusions,
irony, and other literary devices. Among these are metaphor and simile. In the tenth
paragraph, for instance, after Della pulls out the pins holding her hair and it falls to
its full length, it is described as "rippling and shining like a cascade
of brown waters," a phrase that is a simile. And, with humor, O. Henry
points to his own metaphor: "Oh, and the next two hours tripped by on
rosy wings."
After Jim arrives home and
opens the door only to see Della with her short hair, he stops as
immovable as a setter [simile] at the scent
of quail. For, he has noticed that her hair is short. He reaches in his pocket and
lays the combs down. Stella hugs them and then says, "My hair grows so fast,
Jim!"
And then Della leaped up like a little
singed cat [simile] and cried, "Oh,
oh!"
Then,
when Jim receives his platimum watch fob, the "dull precious metal seemed to flash
with a reflection of her bright and ardent
spirit."[metaphor]
One
example of personification occurs in this line:
When Della
reached home her intoxication gave way to a little to prudence and
reason.
To evaluate the given expression, we'll use the
identity:
sin(x-y)=sin x*cos y - sin y*cos
y
Let x = 105 and y = 45
We'll
re-write the given difference:
sin 105*cos 45 - sin 45*cos
105 = sin (105 - 45)
sin 105*cos 45 - sin 45*cos 105 = sin
60
But sin 60 = (sqrt
3)/2
Therefore, the value of the given
expression is sin 105*cos 45 - sin 45*cos 105 = (sqrt
3)/2.
Gerald of Wales (1146?-1123?)
and Gerald of Canterbury are, indeed, one and the same
person. Gerald was born Gerald de Barri, of Norman and Welsh blood, and the son of a
powerful Welsh baron. (He is also known by the Welsh name Gerallt
Gymro and the Latin name Giraldus Cambrenesis). He was a
clergyman and writer. Gerald worked under the auspices of Richard of Dover, Archbishop
of Canterbury; thus, the reference to him as Gerald of Canterbury. Gerald wrote a series
of accounts of his journey to Ireland,
including
Gerald is referred
to as "Gerald of Canterbury" in a discussion on the
Book of
Kells (see link below).
Compare for example the following famous
description of an Hiberno Saxon Gospel manuscript, perhaps the Book of
Kells itself, written by the 12th century monk, Gerald of Canterbury
(Topographia Hiberniae
(1185).
.
There are already some good examples here of words
beginning with y and z. X is a trickier matter, and you would have to make a serious
case for any word you chose to fit this category in English. Most words that begin with
x in the English language are of Greek origin and/or were added to the language
centuries after the Renaissance period. “Xenophobia,” for example, is an early 20th
century construction, and “x-ray” didn’t appear until the
mid-1800s.
By a small stretch you could use “Xmas” for this
entry; it’s first known use was in 1551, X being visually of the same form as the Greek
letter chi, the first letter in Christos, the Greek word for
Christ.
There is also written evidence for the use of the
letter x- rather than sh- or
sch- at the beginnings of words in East Anglian, though this was in
the fourteenth century. For example the word shall was instead
written xall. This was not a widespread practice, however, and is
an even further stretch than “Xmas.”
Where is Nick's house, Buchanan's house and Wilson's
garage located?
I have to do a map indicating where the East Eggm
Buchanan's house, West Egg, Gatsby's house, Nick's house, Long Island Sound, Valley of
Ashes, T.J. Eckelburg billboard, Railroad tracks and motor road, Wilson's garage/house,
New York, Jordan's aunts apartment and Tom and Myrtle's apartment. HELP
ME!
I would argue that the statement that we can actually
justify is "God helps those who believe in him." The major characteristic of Father
Gilligan in this poem is not belief in himself, but rather a strong belief in and
dedication to God.
In the poem, God helps Father Gilligan
because Gilligan has worn himself out in God's service. Gilligan does not show any real
belief in himself. Instead, he believes strongly in doing God's work. We can see this
quite clearly in the following stanza from the poem:
"I have no rest, nor joy, nor
peace
For people die and
die";
And after cried he, "God
forgive!
My body spake, not
I!"
When Gilligan says this,
he is revealing a deep faith in God, not a belief in himself. He then drops to his
knees in prayer but falls asleep. This is when God helps him out by presumably sending
an angel that looked like him to the dying man.
From this,
you can see that God's help comes about not because Gilligan believes in himself, but
because Gilligan is dedicated to
God.
The answer to this question depends to some extent upon
the time period about which you are asking. The answer that comes most readily to mind
has to do with the time right after India became independent. At that point, the
religious diversity in the country led to a split on the subcontinent. At that time,
religious diversity caused the partition of Pakistan from
India.
This partition happened because of the presence of
both Muslims and Hindus in what was then India. Neither side had enough trust in the
other for them to function well as one country. Because of that, it was necessary for
the country to be divided. Religious conflicts before and after the partition led to
the deaths of somewhere in the area of 1 million people.
One of Dickens's most innovative works, A Tale
of Two Cities was originally a serialized novel, so Charles Dickens took
liberties with various
devices:
DOUBLING
Certainly,
the opening lines of the novel establish this doubling. In Book the First, for
instance, Mr. Lorry and Lucie Manette travel to Paris to retrieve Dr. Manette, who has
been imprisoned for the past eighteen years. This resurrection of the "Bastille Captive"
is momentous, yet it has its humorous doppleganger on the other
side of the Channel with the inimical Jerry Crucher, who prides himself as a
"resurrection man." Later, in Book the Third, Jerry's being a resurrection man is
pivotal to identifying a spy. Of course, the foreshadowing for Jerry's important
identification comes in Book the First with Jerry's humorous and suspenseful scratching
of his spiked head as he wondered one thing while the reader wonders about what he is
concerned,
No, Jerry, no!” said the messenger, harping on
one theme as he rode. “It wouldn’t do for you, Jerry. Jerry, you honest tradesman, it
wouldn’t suit your line of business!
Recalled—!
In both
characterization and motifs as well, there are doubles. Almost every character on one
side of the English Channel has a doppelganger on the other side. This doubling is
useful to continuity as well as igniting interest in the reader. With the motif of the
judicial systems of England and France there are serious flaws evident in the courts of
both countries as Charles Darnay is tried unjustly in both. In a creative manner
regarding these courts, Dickens explores the relationship of private grievance to public
violence.
LITERARY
DEVICES
Also present in Dicken's classic are select
chapters that become metaphoric. For instance, Chapter V of Book the First, "The
Wine-Shop" is almost an intercalary chapter meant to foreshadow the French Revolution
with the spilled wine as a metaphor for the blood of the multitude of aristocrats that
will be shed by the bonnets rouges. This chapter serves to
foreshadow the upcoming revolution led by many along with the Defarges, the wineshop
owners. Another chapter that also carries the motif of the Revolution is Chapter XXI of
Book the Second, "Echoing Footsteps." Like Chapter V, Chapter VII of Book the
Second the monseigneur becomes an archetype for the decadent aristocracy that has been
so pampered and waited upon that they are no longer able to even bring a cup to their
lips without the aid of several servants. Likewise, the Marquis d'Evermonde is the
archetype of the cruel and snobbish corrupt social order with Madame Defarge as the
archetype of revenge and La Violence for evil.
Symbols such
as the broken wine cask and Madame Defarge's knitting, the mender of roads, the gorgon,
the fountain, and the guillotine and tumbrils are serves to enhance meaning and further
plot.
Foreshadowing also gives continuity and suspense to
A Tale of Two Cities as "the footsteps" that Darnay hears and his
promise to do anything for Lucie ignites interest.
CHAPTER
TITLES AND ENDINGS
The clever use of ironic titles and ones
that are suggestive of future action furthers readers' interest. Such titles as "The
Fellow of Delicacy" and "The Fellow of No Delicacy" are examples. Title such as "The
Sea Still Rises" effects reader interest. "The Night Shadows" finds its completion in
"The Shadow" of Book the Third.
In our society, we look at individual rights because we
are an individualistic society. The United States has never been particularly inclined
to see groups as groups rather than as multiple individuals (although we have looked at
racial minorities that way).
By contrast, other countries
like Mexico have been much more corporatist. There, society is much more organized by
groups. The ruling political party was long made up of groups representing various
parts of society (like unions). By contrast, American political parties are made up of
individuals.
The only thing that I can attribute this to is
individualism. The US has been built on the creed that people are responsible for
themselves as indivduals. Therefore, we do not look at society in a corporatist way as
some other countries do.
There are many examples of foreshadowing in
Macbeth. The witches' prophecy, the bloody battle in Act I, and the
murder of Duncan and its link to sleeplessness.
To answer
your question, perhaps one of the most important examples of foreshadowing happens
during the murder of Duncan. When Macbeth murders Duncan, he
hears:
There's
one did laugh in 's sleep, and the other one cried
'Murder!'
This can be looked
at as foreshadowing of Macbeth's upcoming problem with sleep. Macbeth even mentions to
Lady Macbeth:
Macbeth will sleep no
more.
Macbeth knows that what
he has done is wrong, that the murder of Duncan will affect him in some way, and that he
has already begun to slip mentally. In the end, it is the murder of Duncan that leads to
Macbeth's inevitable slip into insanity and insomnia.
In the time between the beginning of WWII and the US entry
into the war in December of 1941, the US provided more and more help to the British in
response to U-Boat attacks on merchant shipping.
At first,
the US response was limited. The US, for example, agreed to the "Destroyers for Bases"
deal with Britain in which the US gave Britain more destroyers to use for anti-submarine
warfare. Eventually, however, the US started to actively patrol and to escort convoys
on its own even thought this was really the next thing to open participation in the
war.
By the summer of 1941, the US Navy was protecting
British and American ships from U-Boat attacks by escorting convoys much of the way
across the Atlantic.
In these ways, the US responded to
U-Boat attacks with greater involvement in the protection of British shipping even
though these actions were tantamount to participation in the
war.
In O. Henry's short story, "One Thousand Dollars," the
dissolute, self-indulgent Young Gillian, who inherits the sum of one thousand dollars
and is required to render an account of its disposition, is perplexed as to how to
dispose of this sum. Hitherto, he has squandered his uncle's allowance, having spent it
upon his own pleasures. But, because it is an inconvenient sum to Gillian--"...what can
a man possibly do with a thousand dollars?"--the young man is perplexed to do with this
inheritance. So, he rides to his club and asks the sardonic Old Bryson how to dispose
of this money. After Bryson "moralizes," he tells Gillian that there is only one thing
for such as he to do with the money: buy the chorus girl Miss Lotta Lauriere a diamond
pendant.
However, when Gillian offers her such a gift, the
jaded Miss Lauriere displays no interest. Then, Gillian takes a cab that lands him near
a blind man selling pencils. Approaching him, Gillian asks the man what he would do
with a thousand dollars. The blind man, who trusts Gillian because he has enough money
to take a cab in the daytime, shows the young gentleman his bank book which has a
balance of $1,785.00. And, after seeing this balance, Gillian makes his decision to
give the money to Miss Hayden, a ward of his uncle.
Thus,
somehow the blind man's disuse of his money effects Gillian's decision. Therefore, he
could be symbolic of the senseless wasting of purpose in life. Why, Gillian may wonder
about the blind man, does the pencil peddler sit on the street as a virtual beggar when
he can have a home and comfort? Much as in the parable of the man who gives his
servants talents, the blind man is like the servant who simply buried his talent.
Perhaps, Gillian chooses to not bury his "talent," demonstrating that he is not totally
dissolute; he gives the money to someone who can use it properly: a "quiet girl" who is
"musical."
In Gilgamaesh, nature is viewed as uncivilized. It is
guarded by Humbaba, the one who guards the forest. For man to become civilized, nature
must be tamed. Nature in itself is as wild as the animals that live in it. Gilgamesh and
Enkidu attempt to tame the forest by killing
Humbaba.
Mankind must tame nature in order to make a
civilized kingdom. Trees must be cut down to make houses to protect man from the
wilderness. Ironically, nature is a part of man and man is a part of nature. There is no
life without nature. Even the bread and wine that civilized men drink and eat must be
made from nature.
In trying to tame nature, mankind must
destroy its perfect form. In the end, mankind must protect nature from which men receive
their life substance.
Nature must be utilized but also must
be replenished in order for man to survive.
Enkidu is first
a wild man, a part of the natural forest. When he becomes civilized, he loses his
conncection with nature. Ultimately, he dies in his civilized condition. Woud he still
be alive in the rawness of nature?
The son had already been dead for a while and was
beginning to decompose. He knew that it was bad to tamper with fate, because wishing
for 200 pounds in money was probably what caused the son to be killed in the
machinery.
Mr. White also probably felt a huge sense of
guilt and dred at the possibility of facing his son after wishing for the money. Since
the money came from the death compensation from the company the son worked for, the
father would have to explain it to the son.
Finally, Mr.
White was afraid of the curse of the Monkey's Paw and would rather live with the result
of one bad wish than the result of more than one bad wish.
To safeguard the interests of shareholders, the Securities
and Exchange Board of India or SEBI has been created which overlooks all activity going
on in the stock markets and also has jurisdiction over off market activities by
companies that directly results in a change in the valuation of their stock and their
shareholding pattern.
Insider trading refers to the
transactions of shares of a company by people who are privy to information that is not
available to the general public.
The [Prohibition of]
Insider Trading Regulations, 1992 deems all share market transactions by "connected"
persons as insider trading. Connected persons can refer to the
director of a company, an employee of the company or any person or entity that has a
business relationship with the company and access to price sensitive information in the
last six months before the incident of insider trading
occurred.
The correct option in the question is option E,
all of the above.
You are right in identifying that this play, in spite of
its status as a historical tragedy with a focus on evil in the person of its title
character, is actually full of plenty of examples of humour. However, it is appropriate
that this humour, as befitting the overall tone and mood of the play, is darkly funny
and consists mainly of black humour. Most of the humour is based around Richard's
ability to laugh and make fun of himself, but also there are various examples of how he
ridicules those who foolishly place confidence in him.
For
example, you might like to consider the way in which dramatic irony adds to the humour
of the play. For example, in Act I scene 1, Richard makes many kind and caring comments
to his brother Clarence as he is being taken to prison, even though we know that Richard
is actually the one responsible for Clarence being locked up in the first
place.
Secondly, parody is used by Richard at various
stages to poke fun at someone or something that is meant to be treated with a serious
attitude. This is perhaps most clearly seen when Richard parodies both himself and Anne
following the success of his romantic overtures. Note how he makes fun of himself in the
following lines from Act I scene 2:
I'll be at charges for a
looking-glass,
And entertain a score or two of
tailors
To study fashions to adorn my
body.
Richard, therefore,
although he is a figure of evil, is nonetheless somebody who manages to present an often
grimly humorous take on what happens in the play and his own conduct, even being willing
to make fun of himself to add to the comedy.
We'll recall the formula that gives the slope of the line
that passes through two
points:
m=(y2-y1)/(x2-x1)
Let
x1 = x-1, y1 = y+2 and x2 = x, y2 = y.
We'll substitute
them in the formula of the slope:
m = [y-(y+2)]/[x -
(x-1)]
We'll remove the brackets and we'll
get:
m = (y-y-2)/(x-x+1)
We'll
eliminate like terms and we'll have:
m =
-2/1
m = -2
The
required slope of the line that passes through the points (x-1,y+2) and (x,y), is m =
-2.
From the very first reference to Ethan Frome's damaged
physique the narrator, and we as readers, are increasingly interested in the precise
details of how Ethan Frome had his "smash up." Harmon tells the narrator that, even
though the accident was very grave, the "Fromes are tough" and that "Ethan'll likely
touch a hundred." Also, he tells our narrator that it is Ethan who actually cares for
"the folks." Most of the "smart" inhabitants move away from Starkfield, however, Ethan
has been unable to do move away because of the responsibilities he has towards the
unspecified "folks" that he looks after. Even though the narrator assumes that since his
accident others have had to care for him, Harmon replies by telling him that Frome has
"always done the caring." Out of all the information that is told to the narrator, there
is one phrase that strikes him as being of particular
importance:
But one phrase stuck in my memory and served as
the nucleus about which I grouped my subsequent inferences: "Guess he's been in
Starkfield too many
winters."
This is something
that the narrator begins to understand as he lives through a winter there and
experiences what the "negation" of life would have been like for
Ethan.
g(x) = 3x^2 + 5x -12
We need
to find the extreme values.
First we notice that the
coefficient of x^2 is positive, then the function has a minimum
value.
Now we will find the derivatives
zero.
==> g'(x)= 6x + 5 =
0
==> x =
-5/6
==> g(-5/6) = 3(25/36) - 25/6
-12
==> g(-5/6)= ( 75 - 150 -432)/ 36 = -507/36 =
-169/ 12
Then the function has a minimum
value at f(-5/6) = -169/12
Margaret Mitchell's work displays the rather horrific
effects of total war, the policy advocated by Grant and Sherman towards the South in the
closing stages of the Civil War. This involved showing little mercy to the enemy and
sought to make a statement about the South's desire to secede in the first place.
Sherman understood it as involving a "scorched earth" policy where all of the South
would burn. This included plantations as well as the city of Atlanta. The burning down
of the plantations was a symbolic act, and Mitchell does not miss a chance to depict it
as such. The burning of the plantations represented the ultimate blow to Southern
pride, and also helped to reduce the South to a position where unconditional surrender
was the only option. Mitchell's work shows the Union forces burning down the
plantations to reflect a "death" of the Southern way of life. The condition that
Scarlett used to live in and used to believe in is now literally in flames, causing her
to redefine herself just as the South was forced to redefine itself. This Union forces
burning down plantations in the South was an integral part of this
redefinition.
Nihilism is probably the most dominant theme to come out
of Turgenev's work. It is shown to be a part of the generational gap between the older
culture and the younger culture. Turgenev is extremely skilled at showing an increasing
chasm in Russian society and that nihilism is a part of this. The abandonment of "old
world" values and the embrace of a more cold and calculating approach to consciousness
is part of this understanding of nihilism. For example, while the older generation in
the novel is shown to love poetry and the elements of life that emphasize feelings and
sensuousness, the younger generation is shown to be the opposite, favoring more
practicality and more of an approach that favors scientific determinism. Barzarov's
declaration that a "chemist is twenty times more useful than a poet" reflects this
nihilism which is also part of a generational shift. Turgenev argues that this is
where the relationship between older and younger people lie. Due to the fact that this
vision of nihilism presents an incommensurate notion of the good with the values held by
the older generation, one of its tenets is that Russian society is being stretched with
both sides advocating their notion of the good. The ending of the narrative is one
where nihilism is felt througout life, but rejected in the end for those "old world"
values that bring more meaning to life and to one's state of being in the world. In the
end, a poet is more meaningful to articulate the pain that one feels in such a
condition. The chemist lacks the capacity to do so, which is why Turgenev argues that
Bazarov will still experience those values that bring meaning even after
life.
In James Baldwin's "Sonny's Blues," I don't know if we can
be certain of what the "void" is, but we can speculate, as we might with any kind of
art: narratives, poems, music, paintings, etc. My impression of this phrase is the
Sonny's brother, as he is listening to his brother play, realizes that there is
something the his brother hears that most do not.
The
speaker says…
All I know about music is that not many people
ever really hear it. And even then, on the rare
occasions when something opens within,
and the music enters, what we mainly hear, or
hear corroborated, are personal, private,
vanishing evocations.
With
this statement, the narrator puts most in the category of people who hear music and just
don't "get" it, or get close, but experience it only as it pertains to them personally.
Sonny is different. Hearing music transports him; it changes his world, which other than
music, is pretty unimpressive. He doesn't hear what everyone else hears. When he
listens, he's...
...dealing with the roar rising from the void and
imposing
order on it as it hits the
air.
When the music hits
Sonny in it's pure and muddled—Sonny works with it, though the speaker says that it
isn't easy for him, but it is good for him,
and for us.
What is evoked in him, then, is of another
order, more terrible
because it has no words, and triumphant, too, for that same
reason. And his triumph, when
he triumphs, is
ours.
The
void could refer to a place deep within that may speak of a
darkness in the soul—what exists within a person when no one else is around. Or it could
speak to the chaos that rests within a person that can be controlled only by music: as
if the "music soothes the savage beast." For as the void, the chaos, the darkness hits
the air, the music takes the madness and forces it to take shape and make sense, which
is what happens when Sonny plays his
music.
It is one of the few things Sonny can "control" in
his life, and one of the few things that brings him real pleasure and a sense of
accomplishment.
In Modern English there are three forms of six tenses. Of
these six tenses, three are considered simple tenses: the present, the future, and the
past. They are called simple because there is only one verb used with the exception of
the future which has will before the present form. Here is the
verb to see conjugated in the simple past
tense:
I saw We saw SIMPLE
PAST TENSE
You saw You
saw
He/She/It saw They
saw
On the other hand, the perfect (which is Latin for
completed) tenses are compound tenses formed by using the
appropriate tenses of the verb to have with the past participles of
the main verb. Here, then, is the verb to see in the present
perfect tense:
I have seen We have
seen
You have seen You have
seen
He/She/It has seen They have
seen
Now, the difference between the simple past tense of a
verb and the present perfect tense is that the action of the simple past
is both begun and completed in past time. But, the action
of the present perfect tense expresses an action that has begun in the past and is
completed in the present.
Here are
examples:
Yesterday I saw the woodpecker in
our backyard tree. (SIMPLE PAST: All action is begun and ended in the
past.)
I have seen the woodpecker come into
our backyard tree all this week. (PRESENT PERFECT: The action began in
the past few days and is completed in the present.)
The impact of the Nazi-Soviet Nonaggression Pact had
little impact other than the early destruction of Poland. Its purpose was to prevent
another two front war as had been the case in World War I. The Pact provided that
Germany and the Soviet Union would remain neutral toward each other in the event of war
with a third party; but contained a secret proviso that the two nations would have
separate spheres of influence between then in Eastern Europe. Germany would control
Western Poland and Lithuania and the Soviets would control Eastern Poland, Romania,
Finland, Estonia and Latvia. At the time the Germans executed Operation Fall Weiss, the
invasion of Poland, Soviet Tanks entered Polish territory on the eastern
front.
Needless to say, the Germans at Hitler's behest
violated the pact by invading the Soviet Union under Operation Barbarossa. Hitler
considered the entire communist system to be bankrupt, and commented
once
You only
have to kick in the door and the whole rotten structure will come crashing
down.
The invasion was of
course one of Hitler's major mistakes. Had he abided by the Pact, the course and outcome
of the war might have been entirely different.
