Is the narrator content after killing Fortunato? "The Cask of Amontillado" by Edgar Allan Poe

After Montesor, who is the narrator of "Cask of
Amontillado" walls his his foresworn enemy, he repeats the words of Fortunato with an
emphasis toward his justification of his revenge:  "Yes,...for the love of God." 
However, when Fortunato does not reply, Montesor grows impatient and shouts his victim's
name.  Still, Fortunato does not reply, and Montesor cannot delight in his cruel revenge
as he wants:

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There came forth in return only a jingling of the
bells.  My heart grew sick--on account of the dampness of the catacombs.  I hastened to
make an end of my labor.  I forced the last stone into its position; I plastered it
up.

Montesor as narrator then
remarks that for fifty years no one has disturbed this grave of Fortunato. 
"In pace requiescat!" he states ironically.  However, the irony
seems to be spent upon Montesor himself as it is he who is disturbed by the horror of
his act.  For, the perpetrator of the horrible deeds in this gothic tale is no
supernatural power, but the terrible act of one human being against another.  It is this
realization of the real horror lying within himself that disturbs Montesor, that makes
him call out to Fortunato, and that keeps him for resting in peace over the murder he
has committed. 

How is the plot of John Steinbeck's "The Chrysanthemums" embellished?

Usually "embellish" is what someone does who adds to a
story they have heard, adds more to an experience than what really happened, or outright
makes up lies about someone or something. It can also refer to
"ornamentation."

Dictionary.com defines "embellish"
as:

to enhance
(a statement or narrative) with fictitious
additions.

In embellishment
with literature, I expect this means that more information is provided than might
otherwise be necessary in the telling of the tale. Of course, when
the author does this, he adds details that provide a clearer image of a character and/or
a better understanding of the plot.

In John Steinbeck's
short story "The Chrysanthemums," the part that impresses me the most comes in the
character of the tinker or peddler. The "meeting" of the dogs leads to the casual dialog
that connects Elisa and her visitor.

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The rangy dog darted from between the wheels and
ran ahead. Instantly the two ranch shepherds flew out at him. Then all three stopped,
and with stiff and quivering tails, with taut straight legs, with ambassadorial dignity,
they slowly circled, sniffing daintily...Now the newcomer dog, feeling outnumbered,
lowered his tail and retired under the wagon with raised hackles and bared
teeth.

The man on the wagon seat called out, "That's a bad
dog in a fight when he gets started."

Elisa laughed. "I see
he is. How soon does he generally get started?"

The man
caught up her laughter and echoed it heartily. "Sometimes not for weeks and weeks," he
said.

The other embellishment
that adds to the significance of the tinker's visit is found in all the details of their
"small talk" before the man gets down to the business of asking for work. During this
discussion, the reader notes that this is a traveling man who
easily makes conversation with complete strangers. However, he
seems genuine and easy to relate to. His arrival in the story also allows the author to
present the idea that Elisa envies his way of life—important to understanding that she
is not totally satisfied with her own circumstances.

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He drew a big finger down the chicken wire and
made it sing. "I ain't in any hurry, ma am. I go from Seattle to San Diego and back
every year. Takes all my time. About six months each way. I aim to follow nice
weather."

Elisa took off her gloves and stuffed them in the
apron pocket with the scissors..."That sounds like a nice kind of a way to live," she
said.

The tinker is able to
wheedle some work out of Elisa with his charm and humor—and an expression of interest in
her flowers.

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The irritation and resistance melted from Elisa's
face. "Oh, those are chrysanthemums, giant whites and yellows. I raise them every year,
bigger than anybody around
here."

He says he knows a
woman who would love them, and Elisa generously offers some. These plants are like her
children—they are very dear to her.

When the man leaves, we
don't realize how much we have learned about Elisa. He could simply have stopped to ask
for work and Elisa could have given it to him, but instead we learn of her wish to
travel without being tied down—not appropriate for a woman of her era. We see her
loneliness as he expresses interest in her flowers—her resistance "melts." There is
generosity when she shares her flowers. And we learn how fragile she is when she and her
husband drive to town for dinner: there on the side of the road are the discarded
plants, where the charming and (we now know) manipulative tinker dumped them once he
left Elisa.

What characters can be identified as being "wanton" in David Copperfield?

The answer to this question depends on what you mean by
wanton. A dictionary will give you something like the following definition: a wanton
character is one who is merciless, lewd, malicious, undisciplined and spoiled. Given
these adjectives, and thinking about this excellent bildungsroman from Dickens, the
major character that could be described as wanton would be James Steerforth. In the
novel, he is an attractive, charming individual who nevertheless shows himself to be
completely unprincipled and incredibly selfish in the way that he uses others,
especially David Copperfield in his innocence and naivety. Throughout the novel,
Steerforth only uses David for his own ends: to gain prestige and status through the
connections that David has and then to cruelly betray him. The way that he preys on the
innocence of the title character is obvious to us as onlookers, but is used to emphasise
the innocence of the narrator.

What are three examples of each of the four freedoms being either expressed or denied in To Kill a MockingBird?The four freedoms are freedom of...

FREEDOM OF SPEECH.  I'm not
sure there are many examples in the novel of a person's freedom of speech being denied.
Certainly, Jem and Scout knew to hold their tongues in some instances, such as when they
were being scolded by Atticus, Calpurnia or their Aunt Alexandra. Examples of speech
being freely expressed are frequent.

• B. B.
  Underwood's editorial in the local paper compared Tom's death with the "senseless
  slaughter of songbirds."


• Atticus begs the jury to
  overlook their racial prejudice and judge Tom fairly.


• Bob
  Ewell is allowed to tell his side of the story in the courtroom, even though it is
  inflammatory and it is apparent that he is
  lying.

FREEDOM OF
WORSHIP.  Likewise, I don't recall any examples of the denial of free
worship. Although it is almost certain that Maycomb's Negroes would not have been
welcome in the town's all-white churches, the narrator never mentions this in the
novel.

• When Jem and Scout joined Cal at the
  First Purchase Church, they were confronted by Lula, who objected to the white children
  attending their church.


• Boo's parents were known to be
  highly religious, but they chose to worship within the walls of their own
  house.


• Miss Gates points out the injustices that
  Germany's Jewish population felt under Adolf
  Hitler.

FREEDOM FROM
WANT.  Several examples arise during Scout's first day at
school.

• Walter Cunningham Jr. has no lunch or
  lunch money, nor can he pay back the money offered by Miss Caroline. Feeling sorry for
  him, Jem invites Walter to eat lunch at the Finch
  house.


• Burris Ewell comes to school filthy and
  lice-ridden. He announces that he won't be back, signifying his father's total disregard
  for his children's welfare and education.


• It can be
  argued that Boo Radley is forced by his family to remain inside their home, where he has
  no friends or other human contact. Even when Boo attempts to make friends with Jem and
  Scout via the secret knothole, Boo's brother cements the tree, effectively ending their
  relationship.

FREEDOM FROM
FEAR.

• Bob Ewell's ability to roam
  the town at will obviously worried Aunt Alexandra, though Atticus tried to downplay the
  depths of Bob's revenge.


• School children feared Boo
  Radley, but Boo may have also feared others who misunderstood
  him.


• Atticus feared that there would be an attempt to
  take Tom from the jail, and both he and Tom were lucky that the lynch mob left
  empty-handed.

Discuss how Bigger approaches both murders he commits in Native Son.

I think that both murders represent a great deal of
similarity and simultaneous difference. Analyzing what brought both murders to fruition
requires an analysis of why Bigger did what he did, or his motive, and then examining
the exact nature of each murder.  I think that the motive of each is equally similar,
yet different.  Bigger wanted to silence both women’s voices. His attempts to do so
result in violent means of accomplishing that goal.  Mary’s murder was accidental
suffocation, in that he wanted to keep her quiet so he would not be discovered as being
with her.  Certainly, he did not mean to kill her, but his use of violence or physical
means to ensure her silence resulted in her death.  Desiring to keep Bessie silent is
what motivates Bigger to silence Bessie, yet this murder featured a motive of self
preservation.  Bigger recognizes that Bessie is going to divulge his and her involvement
in criminal activity.  In the attempt to ensure her silence, he kills her.  This intent
is a bit different than what was involved in Mary’s murder.   On one hand, both are
fairly brutal.  Bigger did not need much in way of weapons in order to kill both women. 
At the same time, the fact that both murders are deliberate crimes against women is
another factor that helps to add to the brutality of each. The sexual violation of
Bessie prior to her death and then throwing her down a staircase is another version of
the post- mortem gruesome brutality of Mary in stuffing her remains in the furnace.  In
the end, Bigger shows that he lacks the vocabulary and the means to effectively
articulate his helplessness that he feels in American society.  Murder, sex, and
violence are the only means he is able to control, and while this does not excuse his
actions, it widens the understanding around them.

there is a theme of betrayall in othello,in your own words describe how shakespeare potrayed this theme and give examples from the text?

In 'Othello' the central theme is jealousy and betrayal.
Iago inspires jealousy in several of the central characters, most notably, Roderigo and
Othello.

Iago sets in place malice in Roderigo towards
Othello for marrying Desdemona but what Roderigo does not realise is that he is being
duped by Iago who not only has no intention to promote Roderigo to Desdemona but is also
milking Roderigo for every penny that he is
worth.

Iago plants seeds of doubt about
Desdemona's faithfulness to Othello informing him that she has been unfaithful to him
with Cassio and as a result he murders her and asks Iago to kill Cassio on his
behalf.

Eventually, all parties come to realise
that Iago has betrayed them all.

He betrays Othello by
lying about Cassio and Desdemona

He betrays Roderigo by
lying about Cassio and Desdemona and subsequently killing
him.

He betrays his wife by killing her when she exposes
him.

He betrayed Desdemona by lying about her
virtue.

He betrays Cassio by engineering his
demotion.

Othello is not
innocent:

He also betrays
Desdemona

He betrays
Cassio

and to a certain extent he betrays himself by
succumbing to jealousy and fulfilling the expectations that Venetian society had of him
based on race.

He also betrays the audeince because in the
final Act when we think he is going to come clean and explain his actions he does the
opposite and decides to remain silent.

If you are looking
for key quotations, Act 3 Scene 3 is the central scene and marks the turning point of
the play. In this scene, there are several quotations that relate to jealousy and
describe it as being a poison or disease. In terms of betrayal the final Act provides
several good examples of how Othello copes with the realisation of his betrayal of
Desdemona.

How can the US improve exports?

The only thing that any country can really do to improve
its ability to export is to increase its comparative advantage in some way.  A country
has to identify what advantages it has over other countries and maximize those as much
as possible.

In the case of the United States, the most
likely comparative advantage is in technology and education.  Americans as a group are
well-educated and should therefore be able to compete well with other countries in areas
needing a great deal of "brain work."  In order to maximize this comparative advantage,
the best thing for the US would be to improve support for education and for research and
development.  American firms need to work on producing higher technology using greater
brainpower than other countries.  The government needs to spend its money promoting
education and technological development.  This is how the US could increase its ability
to export.