Were the anxieties of Brutus and others about Caesar’s potential “kingship” justified?How do you think Shakespeare’s audience, living under...

With good intentions, Brutus kills Caesar. He is ridding
Rome of a dictatorship. How did Brutus know that Caesar had become overly ambitious?
Brutus is an honorable man. He is not trying to find wrong doing. At the same time, he
cannot allow it to happen.

Brutus knew Caesar very well. He
loved Caesar. He recognized that his friend was changing. Power can overtake one and
cause one to change for the worse.

Brutus is well respected
by all, even Antony. I don't believe that Brutus would have been a part of the
assassination had he not thought it absolutely
necessary.

Brutus' actions cause his country to come to a
civil war. Brutus understood the the freedoms of Rome were at stake. He did what he had
to do. The conspirators just helped him make up his
mind.

One cannot be honorable and well respected if one
does not have the best intentions.

Brutus loved Caesar.
Still, he knew he would have to die for the sake of Rome's freedoms. Brutus is honorable
in that he puts his country before his own
sentiments.

While some of the conspirators may have been
power hungry themselves, Brutus was nothing but honorable and well respected by all. He
could not and would not have killed Caesar if he had not been convinced of Caesar's
ambition to become a dictator.

What does the Common Man symbolize in A Man for All Seasons?

Robert Bolt's play, A Man for All Seasons,
is about the conflict that erupts when the pope, Sir Thomas More, refuses to
grant King Henry VIII a divorce from Catherine of Aragon. More remains obstinate in his
refusal, despite enormous pressure from the king and cajoling from the Duke of Norfolk
to bend his principles and comply. But More will not do so, for he steadfastly believes
that the law of God trumps the law of Man.

Bolt's
re-visioning of the events that transpire between More and King Henry VIII includes a
character called the "Common Man." The Common Man serves a role much like that of a
Greek Chorus, in that through his asides about the action, the audience gets a more
nuanced understanding of the tensions that exist and the rarity of a man of More's
outstanding character.

The Common Man is quite different in
appearance and action, however, than a traditional Chorus. He is, indeed, quite common.
He is hardly a great physical speciman. He is overweight, middle-aged, and serves in
many "common" working capacities, including acting as More's steward, as the boatman, as
the jury foreman, and as the "headsman" (executioner).

He
is symbolic of the common man because he takes the common path, that is, the easy way
out. There were few men of More's integrity in his day, and indeed, there are few in
modern times. Bolt's deft execution of how little things change makes the A
Man for All Seasons timelessly relevant.

In Shakespeare's Hamlet, what is the significance of each flower/weed in Ophelia's garland, and how does that reflect on her life in the play?The...

In Shakespeare's Hamlet, there are
references to four kinds of plants or weeds woven into a garland Ophelia wears when she
drowns. They are buttercups, nettles,
daisies, and long
purples.

Buttercups are symbolic of humility,
neatness and childishness. Those traits that apply to Ophelia first are humility and
neatness. Ophelia is very humble, speaking quietly and bowing to the requests of others.
She never tries to get her own way, but is subservient and helpful to Polonius (her
father) and her King (Claudius). She also tries to quietly return Hamlet's mementos,
things he has given her over time. She does not challenge or chide
him.

We can infer that she is neat as well. In Act Two,
scene one, Ophelia comes to her father having been frightened by Hamlet. As she was in
the sewing room, Hamlet appeared greatly disheveled. If she were not herself a neat
person, this would not bother her in someone else. She reports that his shirt was
unbuttoned, he had no hat, and his stockings were dirty: not pulled up but falling down
around his ankles.

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OPHELIA:

O,
my lord, my lord, I have been so
affrighted!(85)

POLONIUS:

With
what, i' the name of
God?

OPHELIA:

My
lord, as I was sewing in my closet,

Lord Hamlet, with his
doublet all unbraced,

No hat upon his head, his stockings
fouled,

Ungartered, and down-gyved to his ankle…
(90)

Childishness does not
appear until Ophelia goes mad. It is then that she begins to sing little songs, some of
them bawdy. She is unkempt and wandering around like a child, giving out what her mind
perceives as flowers, when they are really sticks and
such.

The second flower mentioned is the daisy. The daisy
symbolizes purity, innocence, unfaltering love, beauty, patience, and
"simplicity."

Hamlet's sexual innuendos fluster and
embarrass Ophelia during the play in Act Three. This would be because of her purity and
innocence. The other characteristics that apply to Ophelia are loyal love, beauty and
patience. She loves Hamlet and would support him it seems if he did not spend his time
driving her away—believing that she has abandoned him. Hamlet calls her beautiful during
her burial scene, in Act Five, scene one, line
230:

What, the fair
Ophelia!

Ophelia appears
patient, continuing to try to speak with Hamlet, or refraining from getting angry with
him when he speaks so inappropriately to her. Simplicity may be seen indirectly in
Ophelia by comparing her to her father, Polonius. She says what is on her mind and does
not engage in pompous dissertations.

Long purples are
thought to be orchids that grows in England in the spring and summer. The symbolism
associated with orchids that applies to Ophelia is love, beauty, refinement,
thoughtfulness, and "mature charm." We have already discussed love and beauty. Ophelia
is href="http://dictionary.reference.com/browse/refined">refined—well-bred and
free from vulgarity or coarseness. She is thoughtful of Hamlet, her father, Gertrude,
and Claudius. She is a gentle spirit who will do what she can for those around her, even
Hamlet's "parents" when they worry about their "son." Her charm is gentle, appreciated
even by Claudius who asks Horatio to follow Ophelia when she loses her sanity, to keep
her safe.

Nettles are weeds. They symbolize pain. And
certainly this has been Ophelia's lot, surrounded by so many manipulative, uncaring men.
As a side note, the weeping willow hanging over the water where Ophelia drowns
symbolizes forsaken love, what Hamlet has done with Ophelia's love for him: he has
forsaken the love and the woman.

What does Philip Larkin try to convey in his poem "A study of Reading Habits"?

I just have a few things to add to the very comprehensive
answer provided above. I would point out that in a number of Larkin's poems, there is a
definite and deliberate discrepancy between the title and the ending of the poem. Larkin
seems to delight in shocking his readers through the use of formal English in titles,
such as his famous "This be the verse" and then the use of trivial and colloquial
English therein. We can see this in this poem with the rather formal and pompous title
of "A Study of Reading Habits" and the colloquial language that he uses to end the poem,
where he argues that "Books are a load of crap." However, we need to be aware that
Larkin is far more subtle than his poetry at first glance would suggest. Just as he is
not really arguing that we should "get out" of life "while we can" and not have any
children (his argument in "This Be the Verse"), he is not really arguing that "Books are
a load of crap" in this poem.

Rather, what he is saying is
that it is how we use books and literature can be unhealthy and dangerous depending on
what we do with them. Clearly the examples that the speaker gives are rather unhealthy
ones. The fantasy worlds in literature allow the less-than-physically impressive speaker
to maintain some level of self-esteem through believing that he is able to show physical
supremacy against "dirty dogs twice my size." Likewise, he is able to fulfill and
gratify his sexual fantasies and cravings through literature, suggesting a rather
disturbing and grotesque series of fantasies and sexual
violence:

The
women I clubbed with sex!

I broke them up like
meringues.

The last stanza
suggests that the speaker does not read because these fantasies have become "too
familiar," which leads to the conclusion of the poem, which is vintage Larkin in its
cynical and sarcastic viewpoint. For an academic such as Larkin, he is not seriously
arguing that books are nothing more than "crap." He is pointing towards the excesses of
imagination and fantasy to which they can be used. This is the "study of reading habits"
that is explored through the poem.

What is the sollution of sin2x-sin3x?I got two solutions +-Pi/5 and +-3Pi/5 ...but I can't get one more, that is kPi...

We'll re-write what the enunciation provided in a proper
manner:

sin 2x - sin 3x =
0

We'll transform the difference of sines into a product,
to solve the equation:

sin a - sin b =
2cos[(a+b)/2]*sin[(a-b)/2]

sin 2x - sin 3x =
2cos[(2x+3x)/2]*sin[(2x-3x)/2]

sin 2x - sin 3x =
2cos[(5x)/2]*sin[(-x)/2]

We'll re-write the
equation:

2cos[(5x)/2]*sin[(-x)/2] =
0

We'll divide by
2:

cos[(5x)/2]*sin[(-x)/2] =
0

We'll cancel each
factor:

cos[(5x)/2] = 0

5x/2 =
+/-arccos 0 + 2kpi

5x/2 = +/-(pi/2) +
2kpi

5x = +/-(pi) + 4kpi

x =
+/-(pi/5) + 4kpi/5

sin[(-x)/2] =
0

x/2 = (-1)^k*arcsin 0 +
kpi

x/2 = kpi

x =
2kpi

The solutions of the equation are:
{-(pi/5) + 4kpi/5}U{(pi/5) + 4kpi/5}U{2kpi}.

Find an example of hyperbole in Romeo's declaration of love for Rosaline in Act 1, Scene 1 of Romeo and Juliet.

Figures of speech allow writers to create characters and
situations in an imaginative way, forming visual images in the mind of the audience or
reader. An audience is able to make assumptions about what may follow based on vivid
portrayals of situations or individuals. Shakespeare uses various figures of speech in
Romeo and Juliet and among the most well-known are the
"star-crossed lovers" (Prologue to Act I, line 6). There is allusion, alliteration,
metaphor, oxymoron and hyperbole in Act I, scene i. Hyperbole is never intended to be
taken literally because it is always an exaggerated, embellished manner of
over-emphasizing. 

In Act I, scene i, it is important that
Romeo is characterized as passionate, impulsive, spontaneous and even reckless right
from the beginning as the time frame does not allow for a slow development of character.
His behavior strengthens the plot of the story and makes his actions all the more
plausible. The figures of speech including hyperbole reveal just what extreme lengths he
will ultimately go to for love.  

In Act I, scene i Romeo
is lamenting how the days are long because Rosaline does not return his love. Romeo is
overwhelmed by his feelings and his use of oxymoron when, for example he says "O loving
hate... O heavy lightness" (lines 174 to 176) ensures that the reader is under no
illusions as to the depth of his feelings or his despair. It is important to recognize
the all-or-nothing obsession which he has and which will ultimately result in his tragic
death. The oxymorons are in themselves examples of gross exaggeration and Romeo goes on
to use hyperbole in his general description of Rosaline stating that in remaining chaste
she

...makes
huge waste; for beauty starved with her severity, Cuts beauty off from all posterity
(216 to 218).

In other words,
if Rosaline never has children, beauty will die with her because no-one, except Rosaline
or her own children could ever be beautiful.

What does "worrying another bone" in Chapter 9 mean in To Kill a Mockingbird?

In chapter nine of To Kill A
Mockingbird, Scout is speaking with
Atticus.

But I
was worrying another bone. Do all lawyers defend n-Negroes,
Atticus?

Scout is worried
about her father's reputation, even though she is young. When others accuse Atticus of
being a  "nigger-lover," Scout is ready to punch them with her fist. Even though she is
not quite old enough to understand, she realizes it is a negative
insult.

It is brilliant that Harper Lee uses the innocence
of an eight-year-old girl to ask questions that really shine the light on the prejudices
found in Maycomb. Scout exposes people for what they really are--prejudiced. She
understands that their prejudices are hateful and should not be allowed to exist. Scout
is offended by people's prejudices. She knows that it is wrong to be prejudiced.
  

How far will the car slide once the brakes are applied and it comes to a stop in the following case:A 14,700 N car is traveling at 25 m/s and then...

The car is initially traveling at 25 m/s. When the brakes
are applied there is a resistive force that leads to a decrease in the velocity of the
car and it eventually comes to a stop. The weight of the car is given as 14700 N. The
average braking force between the tires and the road is 7100
N.

The mass of the car is 14700/9.8. The deceleration due
to the braking force is 7100/ (14700/9.8) = (7100*9.8)/14700 m/s^2 = 71/15
m/s^2.

The distance traveled by the car while its velocity
decreases from 25 m/s to 0 m/s due the deceleration of 4.73 m/s^2 is given by
:

d = (v^2 - u^2)/2a

=>
(0 - 25^2)/2*(-71/15)

=>
(25^2*15)/(2*71)

=> 66.02
m

The car slides a distance of 66.02 m before it comes to a
halt.

How did laura become a cripple and when?The Glass Menagerie by Tennessee Williams

In Scene 7 of The Glass Menagerie, as
dinner has just finished, the lights go out because Tom has not paid the electric bill. 
So, the family and Jim rise from the table and go into the kitchenette.  There Jim
checks the fuses for Amanda but, of course, they are fine.  In the dark, Jim tries to
give Amanda a hand, but she refuses, telling Jim to keep Laura company.  In the parlor
Jim invites Laura to sit with him on pillows on the floor; they engage in conversation
although Laura is painfully shy.

As they talk, Jim recalls
the sobriquet that he gave Laura in high school:  "Blue Roses."  This name came about
because he misunderstood the illness that Laura contracted; namely,
pleurosis:

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JIM:  Aw, yes I've placed you now!  I used to
call you Blue Roses.  How was it that I got started calling you
that?

LAURA:  I was out of school a little while with
pleurosis.  When I came back you asked me what was the mater.  I said I had
pleurosis--you thought I said Blue Roses.  That's what you
always called me after
that!

A more familiar
name for pleurosis is pleurisy.  But, the condition is an inflammation of the pleura
lining of the lung cavity.  Evidently, Laura also suffered from some disease that caused
her one leg to be shorter than the other.

What prophecy is made in Act 3 of Shakespeare's Julius Caesar?

In Act 3 of Shakespeare's Julius Caesar, Mark Antony
obtains permission from Brutus to speak in Caesar's funeral. Brutus leaves him alone
with Caesar's body, while he goes to speak to the people himself. When Antony is alone
with his friend Caesar's body he speaks his true thoughts and feelings which he has
previously been concealing. His speech to the dead Caesar begins with the
words:

O
pardon me, thou bleeding piece of earth,
That I am meek and gentle with these
butchers.

He then goes on to
prophesy that "blood and destruction" shall reign when his speech to the multitudes will
"let slip the dogs of war" and he turns justice towards Caesar's
betrayers:

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Over thy wounds now do I
prophesy--
Which like dumb mouths do ope their ruby lips
To beg the
voice and utterance of my tongue--
A curse shall light upon the limbs of
men;
Domestic fury and fierce civil strife
Shall cumber all the
parts of Italy;
Blood and destruction shall be so in use,
And
dreadful objects so familiar,
That mothers shall but smile when they
behold
Their infants quartered with the hands of war,
All pity
choked with custom of fell deeds,
And Caesar's spirit, ranging for
revenge,
With Ate by his side come hot from hell,
Shall in these
confines with a monarch's voice
Cry "havoc!" and let slip the dogs of
war,
That this foul deed shall smell above the earth
With carrion
men, groaning for
burial.

Mark Antony will use
the analogy of Caesar's wounds to open mouths in his famous funeral oration. At one
point in that oration he says that if only he had the oratorical powers of Brutus he
could raise even the stones of Rome to rise against the
traitors:

put
a tongue
in every wound of Caesar that should move
The stones of
Rome to rise and mutiny.

This
is false modesty in Antony, to say the least. Antony's prophecy gives the audience a
foretaste of this man's formidable oratorical powers, which will be fully demonstrated
when he makes the funeral oration and turns the mob against the
conspirators.

True to Antony's prophecy, there were years
of "domestic fury and fierce civil strife" throughout Italy, but Shakespeare compressed
the historical events in his play. Antony's prophecy serves, in part, to cover that
chaotic period and also to show that, although Caesar may be dead, his spirit lives on
and thereby justifies the play being titled "Julius Caesar." When Brutus and Cassius are
defeated in the battle at Philippi in Act 5, Brutus says in an apostrophe to Caesar that
he still hold his might and his spirit leads their avenging swords to the right
targets:

O
Julius Caesar, thou art mighty yet.
Thy spirit walks abroad, and turns our
swords
In our own proper
entrails.

In the end, first
Cassius commits suicide, and then a short time later Brutus does the same. It turns out
that everything Antony prophesied in Act 3 came true.

In The Old Man and the Sea, why did Santiago want the marlin to turn and swim with the current?

While the marlin pulls on the skiff, it is swimming either
with, across, or against the current of the sea. If it is swimming against the current,
that shows that it is still strong and able to pull, meaning that it would more easily
escape if Santiago tried to pull it in and kill it. However, if it turned to swim with
the current, that would show that it is tiring, trying to swim more easily instead of
pulling the heavy skiff. The narration states:

readability="11">

"He's headed north," the old man said. The
current will have set us far to the eastward, he thought. I wish he would turn with the
current. That would show that he was tiring.
(Hemingway, The Old Man
and the Sea, Google
Books)

Santiago also wants
the marlin to tire because his hands are being injured by the line; he cannot tie it
off, because a sudden jerk will snap it. Instead, he has to hold the line taut and feed
it when there is tension, and so the pull of the marlin against the current hurts.
Unfortunately for Santiago, it takes a long time for the marlin to tire
out.

When are some instances in which the the last quote of The Great Gatsby played a role in earlier parts of the book?

The tremendous ending that Fitzgerald gives us in this
book explicitly relates Gatsby and the plot of the novel to the wider historical setting
of the new hope and possibilities of the American Dream as experienced by the first
Dutch settlers as they land upon the "fresh, green breast of the new world." One of the
interesting ways in which Fitzgerald himself relates the ending of his novel to earlier
sections is through picking up the imagery of the colour green, and relating it to the
light that Gatsby saw across the water, marking out the house of Tom and Daisy Buchanan.
Note how the ending refers to this green light:

readability="10">

He had come a long way to this blue lawn, and
his dream must have seemed so close that he could hardly fail to grasp it. He did not
know that it was already behind him, somewhere back in that vast obscurity beyond the
city, where the dark fields of the republic rolled on under the
night.

Thus the ending is
related to the symbol of the green artificial light that Nick spies Gatsby contemplating
at the end of Chapter One and almost worshipping. Of course, the difference between the
"fresh, green breast" of America and an artificial light seems to indicate the way in
which Gatbsy's dream is devalued and debased, but at the same time it points towards the
all-important theme of the American Dream in the novel, and how Gatbsy "believed in the
green light, the orgastic future that year by year recedes before us." Even though his
hope is misplaced, it is something that Nick is shown to admire.

What is the answer to the following problem?You in a race. Yoou need to pick up a basketball, go through a door, climb up a rope, and drop the...

The slowest step in the race is to climb the rope,
everything else is easy.  So you need to find a way to get up the rope quicker or use
something else instead of the rope - perhaps a ladder, a trampoline, or something
similar that would get you to the top more quickly.  Or you could lower the height of
the shelf so you could get to the top of the rope using less
energy.

Now how does this relate to a chemical reaction? 
In many chemical reactions, it is necessary to add some energy to the reaction to get it
started. For example, burning paper.  Paper is a good fuel but you need to first light a
match and put it next to the paper to get the paper started. That small amount of energy
results in a large amount of energy being released when the paper continues to
burn.

Chemical reaction energy diagrams are sometimes used
to illustrate this principle.  Imagine you are on a level surface and have to climb to
the top of a hill.  Once you get to the top  you can then slide down the other side.
Going up you are doing work (using energy) and coming down you are releasing energy.  If
you can make the hill smaller in height you can get to the top soon and then get to
slide down the other side.

In Fahrenheit 451, what are Montag and Beatty arguing about in the dream Beatty tells about?

You are referring to the second section of the book "The
Sieve and the Sand." This is after Montag has spoken with Faber and is actually wearing
an ear piece so that Faber can feed Montag information and hear what is going
on.

Beatty laughs and casually comments that he had a dream
that him and Montag were arguing spitting back and forth quotes from famous authors,
philosophers and doctors. The root of it is the conflict that Montag and Beatty would be
having if Montag were courageous to speak up his newfound beliefs about knowledge and
books.

Beatty takes this opportunity to teach Montag that
the way of the firemen is the right way. He quotes books that seem to support the values
of innocence is bliss and that books cause chaos and confusion rather than knowledge and
order.

Beatty tells Montag that in the dream he used the
words of the book to refute all of Montag’s arguments. He gleefully announces “what
traitors books can be! You think they’re backing you up, and they turn on you” In the
end of the dream, Montag and Beatty get into the Salamander (the firetruck) in happy
silence and amicably drive back to the firehouse in
peace.

Beatty tells Montag that in the dream he used the
words of the book to refute all of Montag’s arguments. He gleefully announces “what
traitors books can be! You think they’re backing you up, and they turn on you." In the
end of the dream, Montag and Beatty get into the Salamander (the firetruck) in happy
silence and amicably drive back to the firehouse in
peace.

This exchange shows that Beatty knows that Montag is
wavering about what is right and wrong in regard to books and knowlege. It also seems
that Beatty concocts this dream to bring up the topic without accusing Montag outright
of these traitorous thoughts.

Given the numbers a=square root(5-square root21) and b=square root(5+square root21), what is the product of a^-1*b^-1?

It is given that a = sqrt(5 - sqrt 21) and b = sqrt(5 +
sqrt 21)

We have to determine a^(-1) * b^(-1) =
1/(a*b)

a*b = [sqrt(5 - sqrt 21)][sqrt(5 + sqrt
21)]

=> sqrt [(5 - sqrt 21)(5 + sqrt
21)]

=> sqrt [ 5^2 - (sqrt
21)^2]

=> sqrt [25 -
21]

=> sqrt 4

=>
+/-2

1/(a*b) =
+/-1/2

The product a^-1*b^-1 is 1/2 or
-1/2

What is the meaning of this quote from "The Love Song of J. Alfred Prufrock"?"I have measured out my life in coffee spoons."

You might find it helpful, when considering this question,
to ask yourself the following question: Does a life that is measured out by "coffee
spoons" seem to be a life that has been exciting and heroic or boring? Think of all the
things that we could use to measure our lives: our achievements, places we have gone to,
things we have done, people we have known, legacies we have left behind us. J. Alfred
Prufrock, however, can only look upon his life as a life that has been characterised by
innaction, passivity and meaningless interactions that have not amounted to anything.
Note the context of the quote you have given:

readability="17">

For I have known them all already, known them
all--

Have known the evenings, mornings,
afternoons,

I have measured out my life with coffee
spoons;

I know the voices dying with a dying
fall

Beneath the music from a farther
room.

So how should I
presume?

Note the world-weary
and bored tone of the speaker in this stanza. His life seems to have been marked by
nothing more exciting than a series of meaningless interactions with others over coffee
or tea. A life that can only be measured out by coffee spoons suggests a life of a
cautious, fearful person, a life of someone who is afraid of adventure, excitement,
danger and risk. This is of course an excellent description of the life of J. Alfred
Prufrock with his narcissistic, self-absorbed fears that dominate so much of the
poem.

What was the Federal Reserve Act?

The Federal Reserve Act was a law passed in 1914.  It
created the Federal Reserve system that continues to exist and be very influential to
this day.

Economically speaking, it is very important for
all countries to have what are called central banks.  Central banks are banks that
control the money supply for a country as a whole.  This is very important because the
supply of money has a great deal to do with the economic health of a country.  In 1913,
the US had been without a central bank for nearly 80 years, since Andrew Jackson had
destroyed the Second Bank of the US.

By the early 1910s,
there was a great deal of sentiment for the creation of a central bank.  It was felt
that the US economy could not be stable and modern without one.  For this reason, this
act was passed and the Federal Reserve was created.

What are internal characteristics of Dill from To Kill a Mockingbird?

Although Dill is a fun playmate for Jem and Scout with a
wild imagination, he is a little boy with many problems. Primarily due to his
dysfunctional family life, Dill aches for attention and the love that is not provided by
his parents. Many of his stories turn out to be "whoppers," and it is never clear what
his parents do or how many fathers he actually has. He is shuttled around from relative
to relative while his mother--and Dill's various "fathers"--pursue their own
interests.

He is obviously bright and intelligent with a
knack for storytelling--all aspects that are attractive to Scout (who must also realize,
even at her young age, that writing may be in her future). Dill overcompensates for
the scant attention that he receives at home by bragging about the gifts he is given and
exaggerating about most of his experiences. His parent(s) apparently do provide him with
luxuries that Jem and Scout are not afforded, but Dill recognizes that their home life
is one to be envied. He is sickened by some of the mistreatment of others that he
witnesses in Maycomb: Mr. Gilmer's attack of Tom Robinson on the witness stand sends him
crying from the courtroom; and Dill finally comes to understand why Boo prefers to spend
his life inside of his house instead of enduring the cruelty of the outside world. Dill
desperately seeks love and happiness; he finds it in Scout and, after running away from
home, seems to have reached a better understanding with his parents, who seem genuinely
concerned about his absence.

Who are the main student characters in the novel? E. R. Braithwaite's To Sir With Love

In E. R. Braithwaite's To Sir with Love,
there are two main student characters in the new teacher's class:  Pamela
Dare and Denham.  However, there are also others such as the cheeky Jane Purcell whose
mature figure causes her to feel the equal of adults.  She frequently uses the offensive
"bleedin'" for math problems or whatever else the students are assigned. When
Braithwaite corrects her diction, she turns his question, "Do you use such words when
speaking to your father?" to a insulting remark, "You're not my bleeding father" and
clearly disturbs any discipline he has
achieved.

Pamela Dare, on the
other hand, takes a strong liking to Mr. Braithwaite.  She is a pretty red-haired,
mature-looking student who is at first somewhat defiant, but later defends her teacher
when the students are on the subway as they take their field trip.  In fact, she
develops a crush on her teacher, but Braithwaite conducts himself so professionally that
she does not compromise his position.  He serves as a role model, counseling her against
staying out late at night and getting herself into trouble. In the final chapter, Pamela
is the representative of the class who gives Braithwaite a present with the inscription,
"To Sir, with Love" on it.  As she returns to her seat, she breaks
down.

Denham, who is described
as a "blase" student is an athletic young man more interested in physical things such as
boxing or sexual activity with girls.  He defies Braithwaite's role as disciplinarian
and teacher by bringing obscene magazine's into class.  But, in Chapter 11 when he and
Braithwaite literally come to blows in a boxing match and Braithwaite punches Denham in
the stomach, the muscular boy acquires a respect for his teacher, addressing him as
"Sir" without any sarcasm in his tone. Later, he becomes one of the leaders of the
class.

To get from your house to your grandparent’s house you must avoid walking through a pond......To avoid the pond, you walk 0.5 miles south and 1.2...

To reach your grandparent’s house from your house while
having to avoid walking through a pond you have to walk 0.5 miles south and 1.2 miles
east.

If it were possible to walk through the pond the
distance you would have to travel would be given by sqrt (0.5^2 + 1.2^2). This follows
from the fact that when you walk towards the south and the east you are walking in
perpendicular directions. We can consider them to be the legs of a right triangle and
use the Pythagorean Theorem to find the length of the
hypotenuse.

sqrt (0.5^2 +
1.2^2)

=> sqrt (0.25 +
1.44)

=> sqrt
(1.69)

=> 1.3

The total
distance you would travel here is 1.3 m. The distance you avoid walking
is:

0.5 + 1.2 - 1.3 = 1.7 - 1.3 =
0.4

The distance you would avoid walking  is
given by option A or 0.4 miles.

Are there any missing parts from Pygmalion in the etext version on this site? In other words, is it the entire play?

Well, I have just quickly checked through it and it seems
all there to me. It even includes George Bernard Shaw's afterword at the end of Act V in
which he attempted to clear up a few misconceptions that audiences were left with after
watching the end of the play in terms of the fate of the characters and who Eliza
marries and why. However, it is important to realise that this e-text doesn't just
contain the text of the play, it is also an enhanced e-text, which means it contains an
embedded glossary and special notes for readers which are indicated by a red dotted line
that underlines various words and phrases. So, this is the full text, but also make sure
you use the added bells and whistles to their full benefit in your use of the e-text!
Enjoy!

In Shakespeare's Macbeth, Act One, scene one, what is Macbeth's state of mind as he makes his way to Duncan's chambers?

In Shakespeare's Macbeth, in Act Two,
scene one, Macbeth, who is on his way to murder his King, cousin and houseguest, suffers
from a unstable state of mind.

In Act One, scene seven,
Macbeth has shared his misgivings about the murder of Duncan with Lady Macbeth, so the
audience understands not only that he is torn about committing the deed, but that he is
also weak under the hateful scorn of his wife, who calls him a coward. Eventually she
convinces him that he can do it and all will be well.

At
the beginning of Act Two, Macbeth has just finished speaking to Banquo, worried that his
best friend might be a threat as he is the only person besides Lady Macbeth that knows
of the witches' predictions.

When he leaves Banquo, Macbeth
is either hysterical or experiencing a "supernatural" event. Certainly we know from the
end of the previous act that his heart is not in this plot: up until now, Macbeth has
not, as far as we know, ever considered murder. He has been a valiant soldier for the
crown and a dedicated servant to his King, who he loves. It is safe to assume that he is
nervous and conflicted at the thought of what lies before him. Macbeth has to know that
this one act will change everything for him, and he is wise enough to realize that when
the deed is done, life will be good if he is successful, but certainly not the same.
Before anything else, he will look at himself through different eyes. And in worrying
about the threat of Banquo and his secret knowledge, there is foreshadowing that Macbeth
will become worried, even paranoid, when it comes to protecting his place on the
throne.

One of the famous soliloquies of
Macbeth is in this scene when Macbeth imagines a dagger floating
before him, seeming to lead him to Duncan's chambers. He wonders if it is the result of
a "heat-oppressed brain" (a sick mind). He also questions the dependability of his
vision:

Mine
eyes are made the fools o'the'other senses...
(II.i.44)

When he looks
again, there is now blood on the blade. Still he thinks he is imagining what he sees. He
also allows that at night, strange things happen: the world sleeps and "wicked dreams"
fill men's minds; witches are doing their evil work; wolves wake murderers who then
silently move to kill their victims. (II.i.49-56)

Macbeth
is not only preparing to kill his King and someone dear to him, but he is also preparing
to turn his back on his moral compass. He admits his vaulting ambition drives him on,
but he has not been a man born to murder. For these reasons, he is torn between
believing his mind is playing tricks on him or his eyesight is unreliable; or, he may
believe the vision could be some kind of magic—he has seen the witches at work already.
Recognizing that evil things occur at night, Macbeth may well now consider the
he will become a part of that evil when he kills
Duncan.

When and where does Romeo see Juliet again after the party in Romeo and Juliet?

Having met and discovered his true love in Act I scene 5
during the party scene, Romeo withdraws, only to scale the orchard wall of the Capulet
residence and try to find Juliet again in Act II scene 1. Note how at the beginning of
this scene Benvolio and Mercutio are trying to find Romeo, and Benvolio notes where
Romeo has gone:

readability="5">

He ran this way and leapt this orchard
wall.

However, Romeo hides
himself from them so he is free to enter the orchard and go up towards the balcony of
Juliet, where he is able to remain unseen for a while and overhear the words of his love
before declaring his presence. The famous balcony scene is one of the jewels of
literature and occurs in Act II scene 2.

During the trial of Tom Robinson in To Kill a Mockingbird, who do the children sit when they enter the courtroom?

When Scout, Dill and Jem arrive to view their father in
the Tom Robinson trial, the African-American minister, Reverend Sykes, takes them under
his wing, more or less, in the mad rush of people to get seats, and the children end up
viewing the entire thing in the "colored" section, which is in the balcony of the
courtroom.  As Atticus finishes his closing arguments, Calpurnia enters the courtroom to
report that Scout and Jem as being missing.  Mr. Underwood promptly tells Atticus the
kids are sitting upstairs,  and have been since nearly 1:30 that
afternoon. 

After the predictable "guilty" verdict is
rendered and Atticus leaves the courtroom, Scout hears Reverend Sykes speaking to her: 
"Miss Jean Louise, stand up.  You're father's passin'."  This clearly shows the depth of
gratitude the African-American community felt to Atticus Finch for his ill-fated
attempts to defend Tom Robinson. 

What is an example of a strength and a weakness found in Wartski'sbook, A Boat to Nowhere?

A strength of Wartski's A Boat to
Nowhere is the use of foreshadowing to build suspense. Foreshadowing
effectively builds suspense because, though it may not be noticed as it is read, the
suggestions it subtly proffers and the anticipation it hints at add tension to the
reader's experience of the narrative thus building suspense or building the feeling of
upcoming or impending trouble or sorrow.

A good example of this
strength in building suspense through foreshadowing is in the opening pages of the
narrative. Loc and Hong have just run back into the Village and caused the men to go
look in the forest for a "Monster Man." The women are left in the Village to keep the
children safe, and one of the unnamed arguing women--arguing about what a Monster Man in
the forest might mean--says, "Maybe it's over, then. They've found out about us. How
could we hope to keep hidden forever?" Then later, the narrator relates that "Duc
nodded. 'He's come from the city. From outside,' he said urgently."
Though this foreshadowing is a little obvious, it does build suspense and a keen desire
to know what the villagers are doing that they must be hidden and fearful of anyone
"from the city. From outside."

This leads to a
weakness of the story. Wartski's authorial style is lacking in finesse and polish. One
example is the heavy-handed, so to speak, foreshadowing just spoken of: it lacks
subtlety; it is foregrounded through diction in such a way that it almost cannot be
missed by any level of reader. Another example of this is Wartski's choice of sentence
structure. Sentences, especially at the beginning of the story, are most often short,
simplistic, and staccato.

readability="7">

Her little brother did not answer. Mai found
herself trembling. The night was warm, but it was very dark. ... She could see no
friendly lanterns. Almost everyone had gone to
bed.

If meant to symbolically
represent the cadence of war, they accomplish this end as reading them feels like
confronting raid rounds of gun fire. While Wartski's style may produce certain desired
ends, it doesn't produce a polished subtle narrative: some readers and critics may
consider this a weakness.

What interventions help to correct an acid-base imbalance?We're learning about acids and bases and gastrointestinal fluid loss. I'm trying to...

You mention gastrointestinal fluid loss in the comments
regarding your question. I will assume the acid-base disturbance is caused by either
intractable nausea/vomiting or massive diarrheal stools. Naso-gastric tube suctioning
could also be a cause. First, we must treat the etiology of the gastrointestinal fluid
loss. If the patient is experiencing intractable nausea/vomiting, then medications and
or IV fluids should be promptly given to cease the emesis. If the patient is having
massive diarrheal stools, IV fluids must be given and a stool culture obtained to rule
out an infectious cause of the diarrhea. There are a few medications that are seldom
given for this scenario, mainly sodium bicarbonate, but the etiology of the GI fluid
loss must be ascertained and corrected.

In Harper Lee's To Kill a Mockingbird, in Chapter Six, at whom does Mr. Nathan think he has fired his gun?

In Chapter Six of Harper Lee's novel, To Kill a
Mockingbird, Jem, Dill and an unwilling Scout have crept onto the Radley
property so the boys can look in a window and try to see Boo inside the
house.

Under the cover of darkness, the children creep
through yards and garden and make their way to the Radley house as quietly as possible.
They make sure the gate between the Radley's garden and yard doesn't alert the Radleys.
Dill looks in one window, but sees nothing. Jem climbs up the stairs to look through
another window from the porch, but a squeaky step must alert Mr. Radley. (There is a
shadow on the porch which is probably not Mr. Radley, or he would have yelled at them
right away. We might assume this was Boo. However, seeing the shadow, all three children
bolt out of the yard and off of the property, climbing under the fence that leads into
the school yard.) As the three kids run, they hear the sound of a gunshot. Jem is
running hard, gasping for breaths that sound like sobs. The children are
terrified.

When they have calmed themselves, they casually
appear coming down the street, while the adults in the surrounding houses have come out
to see what the problem is. When the children ask what has happened, they are told that
Mr. Radley shot at a trespasser.

readability="5">

Mr. Radley shot at a Negro in his collard
patch.

When the children
innocently ask if he hit the man, Miss Stephanie says he did not because he shot into
the air. It seems that the children were especially lucky that he
did, or one of them might have been seriously hurt. All they have
to do now is explain why Jem doesn't have his pants on—as his "britches" lie on the
ground, still attached to the fence they got caught on while the children ran "for their
lives."

In Lewis Carroll's story, Alice in Wonderland, how are Alice's adventures like a dream?

Alice in Wonderland, by Lewis
Carroll, is an example of the "literary nonsense genre," and has been popular for many
years, with children and adults.

It is easy to see why
Alice's experiences might be perceived as a dream. Things take place underground that
are impossible in the real world. The first example is that Alice meets a talking
rabbit, dressed and holding a watch in his hand, concerned for being
late.

readability="15">

…suddenly a White Rabbit with pink eyes ran
close by her.

There was nothing so
very remarkable in that; nor did Alice think it so
very much out of the way to hear the Rabbit say to itself, “Oh
dear! Oh dear! I shall be too late!” …when the Rabbit actually took a watch
out of its waistcoat-pocket, and looked at it, and then hurried on, Alice
started to her feet, for it flashed across her mind that she had never before seen a
rabbit with either a waistcoat-pocket or a watch to take out of
it...

Next Alice slides down
the rabbit hole, something of an impossibility unless the rabbit is rather large, or
Alice very small. Her comment in Chapter Two expresses the sense of her
adventures:

readability="5">

“CURIOUSER AND
CURIOUSER.”

Other dreamlike
experiences include potions that make one large or small. Alice is able to talk to
animals, like the mouse that goes swimming by. Alice again meets the White Rabbit, and
is ordered around by him. She gets stuck in his house from a new potion, and the rabbit
wants to burn her out. This, too, is dreamlike, but darker, more a nightmare. Alice
escapes the White Rabbit and the other animals. The Caterpillar smoking the water pipe
is also "the stuff that dreams are made of."

The baby that
turns into a pig is quite imaginative, as is the famous Cheshire
Cat.

“Please
would you tell me,” said Alice, a little timidly, for she was not quite sure whether it
was good manners for her to speak first, “why your cat grins like
that?”

“It's a Cheshire cat,” said the Duchess, “and that's
why."

Alice makes it into the
garden. There, she sees playing cards painting! Some fear is introduced when Alice
learns that if the Queen is aware of the decorating mistakes taking place in the garden,
heads will be lopped off.

The Queen invites Alice to play
croquette, a very unusual and chaotic version:

readability="5">

The match is played with flamingos for mallets
and hedgehogs for balls...

In
the last part of the story, there is a trial where the Jack of Hearts is accused of
stealing tarts. Many of those taking part in the trial are creatures that Alice has
already met. Here there is a great deal more happening that makes Alice's adventures
seem unreal and dreamlike. There is no logic present, and the "rules" followed "above
ground" are not followed here. As the madness grows, so does Alice, as well has her
attitude, and she starts to speak up, criticizing the mayhem. The Queen turns on Alice,
who defies them all because they are only playing-cards, after
all.

“Hold
your tongue!” said the Queen, turning purple.

“I won't!”
said Alice.

“Off with her head!” the Queen shouted at the
top of her voice. Nobody moved.

“Who cares for you?” said
Alice (she had grown to her full size by this time.) “You're nothing but a pack of
cards!”

The cards fly through
the air at her and Alice wakes up from what has been a
dream.

All of these events give one the sense that Alice is
having a dream, as well as the foreshadowing in the first
chapter:

Alice
was beginning to get very tired of sitting by her sister on the
bank...

find f'(x) of f(x)=logax base a + lnax where a is constant.

The derivative of the given function
is:

f'(x) = [log a (x) + ln
(ax)]'

f'(x) = [log a (x)]' + [ ln
(ax)]'

We'll re-write the first term of the expression,
changing the "a" base into the natural base:

log a (x) = ln
x/ln a

We'll differentiate with respect to
x:

ln x/ln a = 1/x*ln a = 1/ln
(a^x)

[ ln (ax)]' = (ax)'/ax = a/ax =
1/x

The requested derivative of the function
is:f'(x)=1/ln (a^x) + 1/x

Please help me with the thesis statement for this topic: "The theme of loneliness in Of Mice and Men and 'Eleanor Rigby.’"

These are two great texts to compare and contrast based on
the theme of loneliness. Both texts present us with figures who are desperately lonely
and struggling to find purpose in their lives. Note how Eleanor Rigby and Father
Mackenzie are presented as isolated, failed and purposeless individuals. No one listens
to Father Mackenzie's sermons, and although Eleanor Rigby has a "face in a jar by the
door" the song haunts us with the question "Who is it for?" Eleanor Rigby ends up dying
unknown and unlamented, and Father Mackenzie ends having to face the fact that "no-one
was saved" through his work.

Similarly, the characters in
Of Mice and Men are desperate to try and stave off loneliness as
best they can. There is something pathetic in the way that Candy is so ready to cling on
to the dream of George and Lennie, and likewise Curley's Wife is so hungry for human
warmth that she even endangers herself by going to Lennie to find companionship.
Therefore a thesis statement that you could use to compare these texts would
be:

Of Mice and Men and "Eleanor
Rigby" present us with a series of figures who struggle with
loneliness.

This would allow you to explore the various
presentations of loneliness and lack of significance in these two texts. Good luck! This
is an interesting question to consider.

How to write an essay defining success.Please help outline/start an essay on the definition of success.

It may be interesting for you to begin with a quotation of
what successful people themselves believe is the key to success.  One new presidential
candidate, Herman Cain, who seeks the Republican nomination, recently told a reporter
that there are three points that he considers in making decisions that will affect the
success of the businesses which he has run (Burger King, Pilsbury, and Godfather's
Pizza).  So, researching him on the internet will provide you with some interesting
perspectives. 

Another successful man, who has lost
fortunes and remade them is Donald Trump.  Whether he is liked or not, no one can deny
that he is resilient and does, ineed, know how to be successful. Or, you may wish to
return in history to the gilded age when such magnates as Andrew Carnegie, John D.
Rockefeller thrived.  Another brillant business man was J. P. Morgan, who actually
bailed out the country in the time of the Great
Depression.

Now, when you go to make your outline, be sure
that you have a definition that you can defend.  Your thesis needs three opinions
(points) that you will defend in the body of the essay.  Keep in mind that these three
points must be written in parallel structure. The body paragraphs will support these
opinions/points by explaining why they are reasonable definitive parts of success.  Be
very specific and use solid supporting details, for the support is the most important
part of any essay.

See the links below to help you organize
and write.

What is the connection between The Mystery of Edwin Drood by Charles Dickens and the Victorian period?

I would want to answer this question by refering to two
aspects of this great unfinished classic by Charles Dickens. Firstly, and most
shockingly, the opening chapter introduces the theme of opium and its distorting impact
on the human consciousness which is such a major element of Victorian life and society.
It is a key element in other such novels as The Picture of Dorian
Gray, and it also serves to introduce another key Victorian concept which is
that of the double life that Jasper is shown to lead. Note the way that he is introduced
in Chapter One:

readability="11">

Shaking from head to foot, the man whose
scattered consciousness has thus fantastically pieced itself together, at length rises,
supports his trembling frame upon his arms, and looks around. He is in the meanest and
closest of small rooms.

It
becomes very evident that Jasper has a very different public and private persona, two
selves that remain separate. The public, respectable and honourable man that is Edwin's
uncle and a valued member of society is very different from the private opium addict
that is free to imagine and dream such fantastical and disturbing visions. However, at
the same time, it is clear that the fear that Jasper's presence induces in Rosa hints at
the way in which Jasper is unable to keep his darker side from intruding into his public
life. There are obvious parallels here with works such as The Strange Case of
Dr. Jekyll and Mr. Hyde and the Gothic concept of the
double.

How radical, in economic terms, were the Radical Republicans?

The radicalism of the Radical Republicans was more
political than it was economic.  The Radical Republicans' economic plan was really not
particularly radical.

Some of these men were willing to
propose radical plans.  Thaddeus Stevens, for example, proposed land redistribution in
the South.  He proposed that the largest estates in the South should be broken up and
distributed to poor whites, freed slaves, and even to Northern land buyers.  This would
truly have been radical.

As it was, however, the Radicals
did not do anything very radical in economic terms.  They did not even give any land
(not even the proverbial 40 acres and a mule) to the freed slaves.  The Radicals did do
radical things in politics, but they did not do anything particularly radical in
economics.

How did the aftermath of the war in Europe differ from the aftermath of the war in Japan?

I will look at the aftermath of the war in Japan and
Germany because, of course, the aftermath of a war is going to be different for the
winners like France and Britain than for the losers like Japan and
Germany.

There are a few major similarities between the
aftermaths in these two countries.  First, they were both devastated by the war and
would have to spend a fairly long time rebuilding.  Second, they were both occupied by
the militaries of one or more of the powers that defeated them in the war.  Third, they
both (at least in the case of West Germany) soon became allies of the powers that
defeated them.

The major difference between the two is that
Germany was divided as a country while Japan remained whole.  A second important
difference is that the US did much more to completely remake the Japanese system of
government than it did in Germany.  The US occupation of Japan was run by one person
(Douglas MacArthur) who undertook the project of giving Japan a new constitution with
provisions like land reform, women's rights, and pacifism that would completely change
Japan.  A smaller difference is that the pre-war "leader" of Japan, Emperor Hirohito,
was retained as a figurehead so there was some greater continuity (at least on a
cosmetic level) than there was in Germany.

What is the function f(x) if f(x)=f'(x)*f"(x), x is in the real number set?

We'll consider the degree of the function f(x) as being
n.

If we'll multiply 2 polynomials, the exponents of
matching variables are adding.

If the grade of f(x) is n,
then the grade of f'(x) is (n-1) and the grade of f"(x) is (n-2) => n= n-1+n-2
=> n=3

Therefore the order of the function f(x) is
n=3.

f(x)= ax^3 + bx^2
+cx+d

f'(x)=3ax^2+2bx+c

f"(x)=6ax+2b

f(x)=f'(x)*f"(x)

ax^3
+ bx^2 +cx+d=(3ax^2+2bx+c)(6ax+2b)

Comparing, we'll
get:

a=18a^2,
a=1/18

b=18ab

b=18*(1/18)*b,
therefore b may be any real number

c=4b^2+6ac =>
c=6b^2

d=2bc =>
d=12b^3

The requested function f(x) is f(x)=
(1/18)x^3 + bx^2 +6bx+12b^3.

if tgx=1/3, the is the value of sinx or coxI know, the cotgx is inverted value, so its 3 (i hope). I know, that i can calculete arctg 1/3 and after...

We'll apply Pythagorean
identity:

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

We'll divide by (cos
x)^2:

(tan x)^2 + 1 = 1/(cos
x)^2

We'll replace tan x by
1/3

1/9 + 1 = 1/(cos x)^2

10/9
= 1/(cos x)^2 => cos x = +sqrt 9/10

Since it is not
specified what is the range of values of x, the values of cosine function may be
positive or negative.

cos x =  -3sqrt10/10 or cos x = 
+3sqrt10/10

sin x = sqrt (1 -
9/10)

sin x = sqrt10/10 or sin x =
-sqrt10/10

The values of sin x and cos x,
when tan x = 1/3, are: sin x = sqrt10/10 or sin x = -sqrt10/10 and cos x =  -3sqrt10/10
or cos x =  +3sqrt10/10.

Explore the connections between heroism and saintliness in Beowulf and The Dream of the RoodAny suggestion for points of discussion welcome

Excellent question! Both in Beowulf
and in “The Dream of the Rood,” true heroism is associated with a Christian willingness
to sacrifice oneself for others – a willingness rooted in devotion to
God.

For example, Beowulf demonstrates true Christian
heroism through his final battle against the dragon, a battle that results in the deaths
of both. As Beowulf is dying, he thanks God for his victory over the dragon. He realizes
that he has made a worthy sacrifice of himself by remaining true to his Christian
principles, thereby benefitting his people.

Similarly, in
“The Dream of the Rood,” Christ himself is presented as a kind of epic hero – a man
willing and indeed eager to sacrifice himself so that others (in this case all of
humanity) may benefit. Both Beowulf and Christ are “defeated” in a worldly sense (since
both die), but each shows, in the process of sacrificing themselves, how easily heroism
can be reconciled with saintliness from a Christian perspective.

State the center, the vertices, the foci, the lengths of the major and minor axis for the following ellipse. ((x-1)^2/25)+((y+3)^2/9=1

We'll recall the general equation of the
ellipse:

(x - h)^2/a^2 + (y - k)^2/b^2 =
1

The center of the ellipse is no longer (0,0), but
(h,k).

Now, we'll check the given equation of the ellipse.
We notice that the larger of the values a and b is 25 and it is the denominator of x
fraction, therefore the major axis of the ellipse is
horizontal.

In our case, the center of ellipse is C(1 ,
-3).

To determine the horizontal vertices of the ellipse,
we'll add and subtract 5 from x value: A(6 , -3) and A'(-4 ,
-3).

To determine the vertical vertices of the ellipse,
we'll add and subtract 3 from x value: B(1 , 0) and B'(1 ,
-6).

Since a = 5 and b = 3, we'll determine the lengths of
the major and minor axis.

The major axis length is given by
2a = 2*5 = 10

The minor axis length is given by 2b = 2*3 =
6

To find the coordinates of the foci, we need to determine
the value of c first.

c = sqrt(a^2 -
b^2)

c = sqrt(25 - 9)

c =
sqrt16

c = +/-4

Now, we'll
determine the foci adding and subtracting 4 from x value, since the foci are located on
the major axis, that is x axis, in this case.

The
coordinates of the foci are: F(5,-3) and F'(-3 ,
-3).

The center of ellipse: C(1 , -3). The
vertices of ellipse: A(6 , -3),  A'(-4 , -3), B(1 , 0) and B'(1 , -6). The coordinates
of the foci are: F(5,-3) and F'(-3 , -3). The lengths of the major and minor axis: 2a=10
and 2b=6.

In "A Visit from Saint Nicholas," line 19 compares "coursers" to "eagles." Is there a "trick" meaning to this question?But a miniature sleigh, and...

Actually, no, this is not a trick question. By calling the
reindeer "coursers," the poet is comparing them to horses, not to eagles. The line
reads: "More rapid than eagles his coursers they came." He's not saying that the
reindeer are like eagles; he's saying they're like coursers,
horses.

In the Middle Ages, coursers were used as
warhorses. They were smaller and less expensive than the destrier, another breed of
warhorse. According to horseguild.com, the courser was a "steady, long winded horse"
that we'd refer to as an "endurance horse" today. That sounds like the perfect
description of Santa's reindeer to me. They certainly had to be strong and long winded,
able to endure a long ride.

I hope this
helps.

What is the creative aspect of literary translation?

Why translations fall
flat

In fact Queneau’s work offers an excellent
example of many of the potential pitfalls into which a literary translation can fall.
I’ll list a few of the literary qualities Queneau is known for that make his work such
dangerous material for translation:

1. Puns/wordplay,
jokes. Humor is incredibly subtle and often culture-specific, while plays on words are
obviously specific to their original language. An equivalent has to be found in the new
language and sometimes these simply don’t work or need to be cut, or a completely
different play on words has to be invented to retain the liveliness of play. In such
cases, the translator and editor might have to decide which is more important to the
passage, the literal sense of the phrase or the playfulness that it brings to
bear.

2. Slang & colloquialism. Probably the most
important issue with slang is timeliness—will the approximate slang chosen by the
translator remain relatively current? With some translations you can almost identify the
year, if not the month, in which it must have been translated. Another issue is
appropriateness to the situation in the book, and here the problem is often that a
translator will “clean up” the foul language in the original, often without even
realizing, simply because he or she is not comfortable using such foul language, even
though the original writer was. This happens more often than one would expect, and
translators tend to realize it only after an editor has pointed it out.

3. Translating a baroque style. How do you make the
translation sound baroque rather than just awkward and clumsy? This is typically a
systematic problem, and the translator of such a work has to be extraordinarily creative
and resourceful, or else should not attempt the
translation.

4. Purposeful awkwardness in the original that
simply does not work in the new language, that falls flat. You can try to convey the
sense of awkwardness in other ways—by subtly referring to it, for instance, or moving
direct dialog into indirect, etc.—although sometimes you simply have to leave the
passage out. In leaving it out, you lose something, but then in any translation you
always lose something. The important thing is that the translation not call attention to
itself in a way that will destroy the reader’s experience of the
book.

5. Cultural, historical, and geographical references.
If references are not obscure or difficult for the original audience, they should not be
obscure or difficult for the new audience. Of course there are real limits to the extent
to which it is possible to make such references familiar, but certain simple tricks can
contextualize for the reader without damaging the reader’s experience of the book. For
example, you can add an inconspicuous explanatory phrase, or mention that So-and-so is a
“town,” or add the word “Avenue” where it was left out of the original. Here as
elsewhere the translation editor has to assume the position of the reader, and should
consider the overall experience of reading the original and how best to approximate that
experience for readers in English.

Could you please give any type of evidence that shows Don Quixote is not insane?

I think that the largest piece of evidence that might help
to persuade that Quixote is not insane is that he sincerely believes in his ideals. 
Quixote represents a force of reality that seeks to transform the world into what should
be as opposed to what is.  For Quixote, he recognizes that this can only happen with an
embodiment of life that represents the ideal.  In his case, this takes the form of
chivalry and the belief of living life in accordance to these ideals.  Quixote is
conscious of this, and this is what might help to make him not appear
insane.

God
knows whether Dulcinea exists on earth or not. I contemplate her in her
ideal.

For Quixote, the
appropriation of the world in accordance to ideals that exist outside of it is what
constitutes his state of being in the world.  The understanding that this ideal form of
the world is different from it is what makes him aware of the gulf between ideals and
the real world.  This consciousness and awareness is what helps to make the argument
that Quixote is not insane, but rather zealously idealistic.

In the poem "This is the dark time, my love" by Martin Carter, why do you think the poet uses soldiers and guns in association with nature?

Interpretation of the poem will differ with individual
readings and, therefore, understand that this is my own personal interpretation and
answer to your question.

In the poem "This is a dark time,
my love", Carter shows the power that artificial elements have over those which are
natural. (Artificial elements are guns and soldiers- soldiers because they are made into
soldiers by man.)

A specific line in the poem that supports
that man is seen as superior to nature is:

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Whose boot of steel tramps down the slender
grass

The narrator is warning
his love that this is a time of war. During war, nothing weak is able to survive. The
sun must hide itself and the red flower (or rose), a symbol of love, must bend its head
(personified to show that the rose, which depicts love, cannot exist). The narrator is
also warning his love that even her dreams are not safe from the weapons of
man:

It is the
man of death, my love, the stranger invader
Watching you sleep and aiming at
your dream.

Here, one could
interpret that the lines again personifies death as having a human body which can invade
ones life and kill their dreams. While death does kill ones dreams, one cannot dream
when dead, it is much more significant when taken in the context that dreams are natural
and can be killed by man.

Mention some hyperbole in James Thurber's story "You Could Look it Up?"

Hyperbole is the literary term for
exaggeration.  If you go fishing and come home and tell your family that you caught a
bluefish that was 100 yards long, you are using
hyperbole.

In James Thurber's short story, "You Could Look
It Up," there are many examples of hyperbole.  Below are a few
examples.

a) "He [the manager, Magrew] bad-mouthed
everybody...including the Wright brothers, who, he claimed, had yet to build a airship
big enough for any of our boys to hit it with a ball
bat."

The Columbus baseball team in this story
might be inept, but surely they could hit an airplane with a
bat.

b) "So he [Magrew] was settin' there,
tellin' this bartender how heart-breakin' it was to be manager of a bunch a blindfolded
circus clowns"

The Columbus team does not
actually consist of blindfolded circus clowns.

c) "'Come on in and see the greatest collection
of freaks in the world! See the armless pitchers, see the eyeless batters, see the
infielders with five thumbs!'"

Again, an
exagerrated way of describing the Columbus team's lack of
talent.

d) "'Don't shake hands with 'em, Pearl,
'cause their fingers is made of chalk and would bust right off in your
paws.'"

This is an exaggerated way of saying that
the players' hands are stiff and breakable, like chalk.

Who is the main character of "Julius Caesar" —Caesar or someone else? Although we aren't surprised that Caesar is killed, we are a little...

I believe that the main character in Shakespeare's
Julius Caesar is Marcus Brutus. The play is named for Caesar, but
it is actually what happens to him, and in Rome after his death, that marks the play as
a true "tragedy."

Some sources insist that Caesar cannot be
ignored in this play, even though he is in it only for a short time. It is Caesar at the
center of the story as Brutus, Cassius, et al, conspire to murder him. His importance in
the play cannot be underplayed, even after his death.

It
is, however, Brutus who seems to be the one man most capable of driving the plot. He
loves Rome, but is fearful that Caesar does not love Rome enough.
Brutus decides to participate in Caesar's murder even though Brutus loves Caesar. He
explains his actions to the crowd after Caesar's death, and is ready to face any
criticism from any friend of Caesar, for what has happened—that it is not that he loved
Caesar less, but loved Rome more than he loved Caesar, and this is the thread of his
logic throughout the play.

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If there be any in this assembly, any dear
friend of Caesar's, to him I say that Brutus' love to Caesar was no less than his. If
then that friend demand why Brutus rose against Caesar, this is my answer: Not that I
loved Caesar less, but that I loved
Rome more. (III.ii.18-22)

Brutus
is idealistic; devoted to republicanism; may lack political judgment (he seems easily
manipulated); he may join the conspirators for the wrong reason; and, he is tragic
hero. Brutus is the story's main tragic figure. He is a noble citizen of Rome, one loved
by Caesar—who loves Caesar in return, but becomes involved in Cassius' plot in order (he
says) to guarantee Rome's "freedom." Brutus' actions have grave consequences;
they:

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plunge...him into a personal conflict and his
country into civil war.

While
the play is named for Julius Caesar, Caesar is only in three scenes. Brutus, who is
listed far below Caesar in the original list of characters, is in the play much more,
even in the play's final scene, when he dies.

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To look upon Caesar as 'the real as well as the
nominal hero' of the play, however, is [a] mistake. Shakespeare's Caesar does not
fulfill the demands of a tragic hero...

A.C. Bradley
distinguishes between Caesar's role and that of Brutus without detracting from either
one: Caesar...is in a sense the dominating figure in the story, but Brutus is the
'hero.'

Aristotle lists the
characteristics of a tragic hero as: the hero must be a great man; he must die due to a
tragic flaw; and, his death must be his own fault. As a tragic hero, Brutus must have a
tragic flaw, which is seen by some as:

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...his philosophical commitment to
principle...

Brutus is a
great man, well-loved and respected by Caesar. He dies because of a tragic flaw, which
is his overzealous sense of commitment to republicanism, leading to murder and civil
war; and, his death is his own fault in that he had a choice in joining Cassius; he
doesn't check Cassius' "facts;" he allows himself to be
manipulated.

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Tragedy often works precisely because the
protagonist in choosing good, chooses something that will lead to
unhappiness.

I believe that
Brutus is the main character, that he is our tragic hero, and the story's protagonist.
And for a good reason, he makes a bad
choice.

Additional
Source:

http://en.wikipedia.org/wiki/Hamartia#.22Tragic_flaw.22

In The Time Machine, how do the guests react to the tale of the Time Traveller's adventure?

The Time Traveller himself anticipates that the account of
his adventure would be met with absolute scepticism, and he is right. Of course, his own
vague sense of what had happened and whether it was real or not does not necessarily
help matters much either. The editor, for example, responds to the Time Traveller by
saying, "What a pity it is you're not a writer of stories!" The medical man asks of the
flowers that the Time Traveller brought back with him from the future, "Where did you
really get them?" The Time Traveller himself then feels the urge to look upon the
machine to prove that he did actually travel through time, deliberately casting his own
adventure into doubt by saying:

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I'm damned if it isn't all going. This room and
you and the atmosphere of everyday is too much for my memory. Did I ever make a Time
Machine, or a model of a Time Machine? Or is it all only a dream? They say life is a
dream, a precious poor dream at times--but I can't stand another that won't fit. It's
madness. And where did the dream come from? I must look at that machine. If there
is
one!

To the Time
Traveller himself, then, his story, now that he has told it, has the quality of an
insubstantial dream, and he feels the compulsive need to check the reality of his Time
Machine to assure himself of the truth of his adventure. Lastly, the narrator himself,
we are told, thought the adventure a "gaudy lie." It is only when he returns and sees
the Time Traveller disappearing that he has cause to question his
judgement.

What are secondary sex characteristics?What is the 2nd sex characteristic??

Secondary sex characteristics are those characteristics we
associate with male and female characteristics after the onset of puberty. After the
primary characteristics of egg or sperm production, secondary characteristics develop as
a result of the male and female sex hormones testosterone and estrogen, respectively. In
males, the secondary characteristics include a deeper voice, body and facial hair, a
bigger size and growth of the sex organs. In females, a larger hip area(for later
childbearing), breast development, pubic hair, menses, a larger uterus and feminine body
shape. In most animals where there are males and females, secondary sex characteristics
may provide a selective advantage for mating. Male peacock feathers that are displayed
as part of a courtship ritual are an example. Male lions have an impressive mane. These
can help attract females to males to insure reproduction occurs.

What does Aunt Georgiana's appearance upon her arrival in Boston tell you about her life in Nebraska in "A Wagner Matinee"?

The appearance of this "misshapen figure" when she arrives
at Boston from Nebraska clearly indicates the way that toil and country living have
ground down this former music teacher into a shadow of the person that she was. Note the
way that the narrator describes his Aunt when she descends from the
train:

She had
come all the way in a day coach; her linen duster had become black with soot and her
black bonnet grey with dust during the journey. When we arrived at my boardinghouse the
landlady put her to bed at once and I did not see her again until the next
morning.

Note the way that
Aunt Georgiana is made to appear dazed, bewildered, timid and unassuming. The narrator
then goes on to compare his aunt's appearance to the battered bodied of explorers,
suggesting that her life in Nebraska has been full of deprivations and harships, one
that has stunted her and one that is not suitable for who she is as a
person.

What are some quotations that prove the monster's desire to be included in society in Frankenstein?

A great place to look would be when the creature tells his
maker about his life after he was made and then abandoned by Victor. In particular, if
you are looking for quotes that show his yearning for inclusion in human society,
examine the section when the creature tells Victor about meeting the De Laceys and being
a part, albeit a hidden one, of their family circle. At the beginning of Chapter Twelve,
he says to us that, having observed them and their warmth and love, he "longed to join
them." As he continues to observe them and learns how to read and write, he becomes more
aware of how impossible it is for him to participate in human society, culminating in
his demand of Victor:

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"You must create a female for me with whom I can
live in the interchange of those sympathies necessary for my
being."

The monster
recognises that he has emotional needs, but because of the way that Victor has made him,
those emotional needs can never be met by fellow humans. Only another of his own kind,
abhorrent in physical appearance as he, can give him the love and emotional warmth that
he requires.

In Macbeth, Act 3 scene 4, what's ironic about Macbeth's speech before the arrival of the ghost?

Let us remind ourselves of the context of this scene.
Macbeth has just found out from the Murderers that Banquo has been killed by his orders.
He then rejoins his party, trying to play the part of the host and benificent King. Note
what he says to the assembled masses:

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Here had we now our country's honour
roof'd,

Were the grac'd person of our Banquo
present;

Who may I rather challenge for
unkindness,

Than pity for
mischance!

Macbeth is saying
that if Banquo were present he would have the best and most noble members of his country
all under the same roof. However, it is clear that this is verbal ironly in a number of
levels. Having just arranged Banquo's assassination, on the one hand it is unlikely that
Macbeth will believe this. On the other hand, the irony could actually run deeper, as
this speech may operate at some level to express the way in which Macbeth recognises
that Banquo is a much better man than he is, and there is truth therefore in what he
says. Either way, the irony of his speech lies in wishing for the presence of Banquo
overtly whilst secretly he knows that Banquo has been murdered.

Analysis of three races: vampire, werewolf, and human. How related to these races issues in twilight: eclipse?

Vampires: they were previously humans but they were bitten
with the vinom of vampires but without losing all their blood thus they didn't die but
they became immortal.

Werewolves: they are descendends of
Indians or something in the story thats why you find Jacob and his people all
tanned.

Humans: you , me "the real
people"

they are all related in terms of a contradictory
relationship, for example Edward and Jacob have a treaty that neither of them comes to
the other's land, and that they hate how the other smells, and they have been enemies
since forever.

as for humans the werewolves are humans and
they don't hurt humans, they can marry humans and they can transform their shape into
humans so the humans and the werewolves have lots of
similarities.

as for vampires well... you can say they are
basically the outsiders, werewolves hate them, humans are afraid of them, and in the
case of Twilight, the Cullens are a "vegitarian" family in their own sense; meaning that
they don't drink human blood because they don't want to hurt humans but they drink
animal's blood, thus in the story the Cullens are somewhat close to humans and that is
why they were able to live with them and be around them but for the new ones it was
hard.

In the short story "The Mouse" by Saki, what is the climax, meaning, and summary of the story?

In the short story, "The Mouse," by Saki, the main
character is a gentleman who is sitting next to a lady on a train. The gentleman
realizes that a mouse is in his clothing. He is in fear and embarrassment at the
thoughts of having to remove his clothing in front of the lady. Of course, she is
sleeping and will not notice. Therefore, the gentleman puts up a rug between his
carriage and the lady's carriage.

After the gentleman has
disrobed, the mouse jumps out, but at the same time, the rug falls and the lady awakes.
The gentleman bgrabs the rug to cover himself. He begins explaining why he is covered in
a rug, only partially clothed. He explains about the mouse. The woman seems to not care
one way or another about the gentleman's lack of
clothing.

Approaching the train station, the gentleman
realizes he will have to drop the rug and begin clothing himself in front of the lady
next to him. He feels he has no other option. He drops the rug and puts his clothes on
again. The woman seems to not mind.

Arriving at the train
station, the lady asks the gentleman if he will call someone to help her off the train.
The climax of the story occurs when she states that she is blind. Ironically, she has
not seen anything that the gentleman was trying to hide from her. The gentleman has been
embarrassed for no reason.

As pastor of First Purchase in "To Kill a Mockingbird," what community responsibilities would Reverend Sykes have?

Reverend Sykes appears in the novel To Kill a
Mockingbird the day Calpurnia takes Scout and Jem to the Sunday service, at
the trial of Tom Robinson, and assisting Helen Robinson, Tom Robinson's widow. 
African-American communities in the South tended to be very close knit, and the church
and church officials tended to be the informal leaders.  This makes sense when one
considers that African Americans weren't allowed to vote, much less hold any sort of
public office; the ministers were really the only source of leadership the
African-American community had to look to.  As church officials were the de facto
leaders of the community, the church itself was the social fabric of the community,
since blacks weren't allowed into, or were strictly segregated
in public venues.   

Discuss Keats' concept of negative capability.

Keats' concept of negative capability was one of the most
philosophically profound elements of both his work and Romanticism, in general. 
Essentially, the concept argued that there is something beautiful and acceptable in
living with the unknown.  This idea flies in the face of the Neoclassical Enlightenment
belief systems that preceded Romantic thought.  It suggests that there is a beauty about
that which is unknown and that not everything in consciousness requires a direct and
absolute answer.  Keats saw consciousness as something in which negative capability
played a major role.  Consider how Keats felt about the poet's need to convey this to
the audience, defining negative capability in terms that would make an empiricist
stammer at its lack of totality:

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capable of being in uncertainties, Mysteries,
doubts, without any irritable reaching after fact &
reason…

For Keats' and his
poetry, exploring this domain was extremely important.  No better is this seen than in
his closing couplet to "Ode on a Grecian Urn."  The idea of "all ye need to know" is
something rooted in negative capability, learning to live within limits of one's state
of being in the world.  Interestingly enough, this helps to set the stage for Modernist
thought, which takes the idea of negative capability to its logical conclusion in its
suggestion that everything is subject to negative capability.

Why was cement put in the hole in the tree in To Kill A Mockingbird?

Nathan Radley filled the knothole in the tree. He claimed
it was dying. He is trying to save it. That is what Mr. Radley tells Scout and Jem in
their conversation with Mr. Radley about why he filled the knothole in the
tree.

Scout and Jem had a type of communication with Boo
Radley because of the knothole. Boo would fill the knothole with items that created an
interest for Scout and Jem. In return, they put thank you notes in the knothole. Now,
Scout and Jem feel a disconnection with Boo for he cannot fill the hole with special
items.

Scout cries about the knothole being filled. Atticus
thought the tree looked healthy.

Could it be that Mr.
Bradley is trying to stop Scout and Jem from communicating with Boo Radley? Mr. Radley
could be worried about the relationship that is developing between Scout, Jem and Boo.
He feels he has to put a stop to it.

Please give an example on how to view Medea in a psychoanalytic perspective.

Psychiatrists have identified a condition which they have
termed the Medea Complex. Several articles on the subject are accessible on the
internet, including those on the reference links below. An article in the
British Journal of Psychiatry titled "The Medea Complex: the
Mother's Homicidal Wishes to her Child” describes the condition in part as
follows:

1.     The situation in which the mother harbours
death wishes to her offspring, usually as a revenge against the father, is described and
named the Medea complex.

2.     It is shown that there is
considerable resistance against admitting these thoughts to the consciousness of the
mother or any other person, but that they are of general
occurrence.

The Medea complex is somewhat analogous to the
better-known Oedipus complex in that both involve unconscious death wishes. A mother who
is afflicted with the Medea complex typically projects her hatred for her children’s
father onto the children themselves. It is noteworthy that Medea in Euripides’ play has
two sons. It seems more likely that a mother would project hatred onto boys rather than
girls because boys would be far more likely to remind her of their father. However, a
mother harboring hatred for an unfaithful husband or lover might influence daughters to
share her generalized hatred of men in general and make it difficult for them to have
normal relations with any man. Such seems to be the case with Miss Havisham in Charles
Dickens' novel Great Expectations.

The
article in the British Journal of Psychiatry states a profound and
tragic truth in restrained scholarly prose. A mother would have “considerable resistance
against admitting” these death wishes against her own children, but such wishes “are of
general occurrence,” meaning that many mothers would like to murder their children
because of their hatred of the children’s father. Fortunately, not too many children are
actually murdered by their mothers, but a significant number of children suffer all
their lives from having been emotionally rejected by their mothers and from having been
psychologically or physically abused, or both.

A harrowing
memoir of child abuse by a mother is A Child Called “It” (1995) by
David James Pelzer.