In Faust, what happens to Mephistopheles and Faust in the end?

In Goethe's Faust, at the beginning,
to prove to Mephisopheles that all men are not evil, The Lord wagers with the other that
Faust, The Lord's servant, can be saved. Mephistopheles has taken the wager and does all
that he can to win Faust's soul, by tempting him in every
way.

Faust uses Gretchen poorly, but when she dies, she is
saved by The Lord in the end. There is a segment of the story where Faust becomes
enchanted with Helen of Troy and tries to take her away, but Paris stops him and
Mephisto takes Faust away. In the next segment of Part I, Faust and
Mephisto travel to Walpurgis Night, the witches' Sabbath. Faust sees many amazing sights
there, but leaves still wanting to find Helen. In Part II, Faust is
successful in liberating Helen from the Underworld and winning her. They have a son, who
dies. At this point Helen must return to the Underworld and leave
Faust.

Helen
then leaves Faust, expressing that happiness and beauty cannot be permanently
combined.

By Act IV of
Part II, Faustconsoles himself with a new plan. He has decided to
take back land that the sea has overrun. Ready to wage war against nature, Faust finds
himself in a war, helping the Emperor he had met earlier to be victorious. At the end,
he is given his own ship.

As Faust tries to carry out his
plan from the previous act, he attempts to buy land from an old couple, who refuse.
Faust asks Mephisto to evict and relocate the peasants, but instead, they are killed and
Faust is overcome with anger and remorse. Believing he is at fault, he commences to
doing penance to try to make right the wrong that has been committed. He is told that he
cannot be successful in his plan for the land, and even blinded, but he refuses to give
up, wanting to achieve this last good for the people.

At
the end of the summary, we discover Faust's fate: as The Lord has
wagered...

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Faust has a vision of people living on his
reclaimed lands and proudly says the words from his agreement with Mephisto in Part I:
'Stay, Thou art so fair.' He immediately dies, but his soul is saved before Mephisto and
his demons have a chance to claim
it.

Faust goes to Heaven.
There he finds Gretchen, his intercessor, waiting for him. In the company of the
heavenly host, he will now endeavor to reach his "ultimate
salvation."

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Ironically, Mephistopheles is an integral part
of the Lord’s design, as he tells Faust: 'A part of that power which always wills evil,
but always does good.' While Mephisto represents negation, by tempting Faust toward
surrender, he only succeeds in leading Faust toward his
salvation.

Does anyone know quotes in TKAM that expresses evil said by Bob Ewell referring to the Finch family?

Bob Ewell made only one specific threat against Atticus
following the Tom Robinson trial in To Kill a Mockingbird. Shortly
after the trial, Bob confronted Atticus outside the post office and spat in his face.
According to Miss Stephanie Crawford, who witnessed the encounter, Bob also "threatened
to kill him (Atticus)." He also called Atticus "'a nigger-lovin' bastard'" and other
"names wild horses could not bring her to repeat." In October, Bob "acquired and lost a
job in a matter of days"; Ruth Jones, "the welfare lady, said Mr. Ewell openly accused
Atticus of getting his job," and indirectly called him a
"bastard."

How long was Jeanne in Manzanar in Farewell to Manzanar? What happened to her father?

Jeanne Wakatsuki was at Manzanar for three-and-a-half
years. On February 25, 1942, all individuals of Japanese descent were ordered to
evacuate Terminal Island, California, where the Wakatsukis lived. Given only forty-eight
hours notice, they were forced to sell their possessions for "humiliating prices," and,
with the help of a charity organization, were able to resettle in Los Angeles. After a
short time, however, the order was given that Japanese Americans would have to be
relocated inland. In early April, 1942, Jeanne was interned at Manzanar, in California's
Owens Valley, where she remained until October, 1945. Jeanne was seven years old at the
time of her internment; ten-and-a-half when she was
released.

Because he operated a fishing boat off the
California coast for a living, Jeanne's father, Ko Wakatsuki, was one of the first to be
arrested in the aftermath of Pearl Harbor in December, 1941. In the hysteria engendered
by the attack on American soil, it was suspected that Wakatsuki, and other Japanese
Americans, would be loyal to the country of his birth, and would potentially engage in
espionage for Japan. Wakatsuki was imprisoned in faraway North Dakota, where he was held
for almost a year. After that time, he was reunited with his family at Manzanar, but his
incarceration changed him, and he returned a bitter, angry
man.

At Manzanar, Ko Wakatsuki was subject to sudden,
ferocious rages. He drank copiously, and when drunk, was abusive to his wife and family.
Eventually, however, he became resigned to what had happened to him, and spent his days
peacefully tending a Japanese garden he created on the desert grounds. When the family
was released from Manzanar, Ko relocated them in Long Beach, California. While his
children were determined to assimilate into the American mainstream, he stubbornly clung
to his Japanese customs, trying to instill an appreciation for their heritage in his
children, with little success. Having lost everything when the family was interned, Ko
Wakatsuki found himself essentially "starting over from economic zero." Unable to
support his family, he began drinking again, while, to his humilitation, his wife took a
job at a cannery to keep food on the table. After a couple of failed attempts at
starting his own business, and a near-death experience brought about by his excesses, Ko
Wakatsuki returned to farming. He pulled himself together growing strawberries outside
of San Jose, California, and continued in this endeavor until his
death.

Why did Theodore Roosevelt receive the Nobel Peace Prize? Explain.

Theodore Roosevelt won the Nobel Peace Prize in 1906,
while he was President of the United States.  He won it mainly for his efforts to end
the war between Russia and Japan that is known as the Russo-Japanese War.  This is
somewhat ironic because he is known as an aggressive president who was willing to use
America's military might to get its way.

In 1905, Roosevelt
invited both Japan and Russia to send delegates to the United States where he would
mediate between the to try to find a way to end the war.  Roosevelt wanted to do this
largely because he believed that great powers like Russia and Japan should each have
their own "spheres of influence" and that they should not try to take pieces of those
spheres from others.

Because he successfully helped the
Japanese and Russians to negotiate the end to their war, he won the Nobel Peace
Prize.

Compare two of the people living in the secret annex using Kohlbergs levels of morality in The Diary of Anne Frank.One acting the most...

Kohlberg's Moral Stages

Level
1. Preconventional/Premoral (egocentrical, responsive to rules and see reinforcements as
positive or negative)

Level 2. Conventional/Role Conformity
(want to please and help others and care about others
expectations)

Level 3. Postconventional/Self-Accepted Moral
Principles (understand right and wrong, considers the law and institutaional rules when
making decisions)

Mr. Van Daan and Otto Frank are on two
different sides of the Kohlberg spectrum. It's difficult to determine their real
character, because they were put in such an extreme situation. The following information
is my interpretation of two characters moral levels of
development.

On one side you have Otto Frank who willingly
allowed others to come into hiding with his family. He constantly gives of his time,
resources, and knowledge to help others, without wanting anything in return. Considering
his circumstances he didn't follow the law and instead went into hiding, so he didn't
meet level 3. Under normal circumstances, considering Otto's character I believe he
would fall into level 3.

Then you have Mr. Van Daan. He
steals food, without considering other people's feelings. He also didn't want Mr. Dussel
to move into the attic, because it would mean less food for him. He also puts down Anne
and tells her to be more quiet, like her sister. This is very egocentrical. Almost all
of his behavior consistently lands him in Kohlberg's Level 1
Stage.

Explain the theme of Thomas Hardy's poem "The Convergence of the Twain."

In the poem "The Convergence of the Twain," Hardy
describes the sinking of the Titanic by first describing the ship at the bottom of the
ocean.  Wandering fish peering into the ruins ask:

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What does this vaingloriousness  down
here?

This question is the
key to the theme.  Preceding this question is a description of the ship's opulence--its
jewels and mirrors. The ship was the "Pride of Life."T he poem answers the question
posed by the fish with a description of the iceberg slowly moving to its meeting with
the gleaming Titanic.  This meeting is described as a marriage of sorts, with two
opposing forces colliding.  Fate, or "The Immanent Will" created this meeting that shows
the fallibility of man. The best that man can devise cannot match the power of nature,
but it is man's vanity that makes him think that he is capable of controlling nature,
that he is invincible.  This vain struggle of man to compete against nature forms the
theme of the poem.

Why is Lenina's looking at the moon important?Brave New World by Aldous Huxley

Apparently, the hypnopaedia conditioning was not 100%
effective with Lenina.  She enjoys being with just one man, and there is some atavistic
magnetism from the moon that she senses.  In the real, natural world, the tides are
moved by the moon, and animal behavior is affected by full moons.  During full moons,
fish tend to be more active, as well, and often breed at this
time.

It is significant that Lenina senses, perhaps, the
energy from the moon. Certainly, there is something primal in her nature that wants to
respond to it. However, she is not quite capable of genuine, whole feelings because her
conditioning tells her to reject it.  All Lenina experiences are twinges from a soul
long buried in conditioning, consumerism and soma. 

The intuitive John, who loves nature, senses
the inclinations that Lenina has towards it and assumes that she has some natural
feelings.  But, such is not the case.  For, Lenina is simply not capable of feeling as
John wishes her. 

What is the problem that Hamlet faces in Act I of the play?Provide quotes from the play.

Hamlet's primary problem in Act 1 is his hearing the news
that the ghost of his dead father has been seen at the castle, and then his subsequent
meeting with the ghost.  The mere presence of a ghost is a bad omen -- ghosts don't come
for any good reasons.  Marcellus is prompted to say, "something is
rotten in the state of Denmark."  Marcellus doesn't even know that the ghost is coming
to reveal, but it can't be good. 

Hamlet's immediate
problem with the ghost is that this ghost could just be a devil in the disguise of a
loved one who "might tempt you towards the flood or the summit of cliff."  Horatio is
cautioning Hamlet to act with care because the ghost could be dangerous.  Hamlet won't
be deterred, and he leaves the others to go hear what the ghost has to
say.

During this scene, many of Hamlet's worst imaginings
come true.  The ghost reveals that he died with sins on his soul and is suffering in
purgatory -- a place where he is "confined to fast in fires" and that is so awful that
to hear more of it would make young Hamlet "harrow up thy soul, [and] freeze thy young
blood."

Then the ghost gets to his main purpose.  He
reveals that Claudius murdered him in the garden while he was sleeping, hence "the
serpent that did sting thy father's life / Now wears his crown."  The ghost of King
Hamlet expresses his distress over this, as well as, his disappointment in Gertrude's
quick remarriage to that murderer, Claudius.  He says to Hamlet, "Let not the royal bed
of Denmark be / A couch for luxury and damned incest."  He is asking Hamlet to seek
revenge.  He specifically tells Hamlet to focus on Claudius, and to "taint not thy mind,
nor let thy soul contrive / Against thy mother
aught." 

After all of these revelations, it is clear that
Hamlet's biggest problem in Act 1, and going from there, is the request by his father to
avenge his death and make right the moral situation in Denmark.  It is quite a daunting
task, and it takes Hamlet the rest of this very long play to fulfill all of his duties
to this situation.

What is a good thematic statement (universal theme) of the message/lesson the author of The Crucible conveys?

I would use some language that helps convey aspects of
those themes as well. For example, the use of guilt and manipulation play into those
topics as well.

1. Authority figures within Arthur Miller's
The Crucible allowed their hopes of maintaining great power
interfere with their care for humanity, the purpose of the very offices to which they
were appointed.

2. Fear manipulated the town of Salem
during Arthur Miller's The Crucible causing a mania that cost
people their very lives.

Are you writing a thesis statement
in two sentences? What is the purpose of your assignment?

Discuss the properties of English verbs with examples.

The properties of English verbs is a complex subject that
we can only touch on in part here. English verbs are a
word class that are lexically and morphologically distinct
and indicate an action, a state of being or an event
(occurrence). English verbs have inflectional
properties that indicate tense, aspect and
mood. They also show active and passive
voice, which indicates the relationship between the Subject
and the Verb of a sentence. There are regularly conjugated
and irregularly conjugated verbs. English verbs conjugate
for person: first (I; we), second (you; you) and third
person (she, he; they) in both singular and plural. English verbs have
non-finite, or infinitive, forms (to have, to be, to do)
and participle forms (singing, sang; staying, stayed).
English has auxiliary verbs and modal
auxiliary verbs. English verbs can be followed by article particles to
form phrasal
verbs.

Tense
locates verbs in time and shows past time, present time or future time. Examples are:
Past: Yesterday I swam. Present: Today I swim. Future: Tomorrow I will swim.
Aspect of a verb shows whether or not an action or
occurrence (event) is completed or not. Aspect shows that which is
incomplete through progressive aspect,
also called continuous aspect, and
complete through perfect aspect.
English verbs indicate mood, or attitude, as ordinary
indicative, questioning interrogative, urgent
imperative, contingent conditionals, and
doubtful or wishing subjunctive. Examples are: Indicative: I swam.
Interrogative; Will you swim? Imperative: You must not swim. Conditional: I might not
swim if it could be unwise. Subjunctive: If it were I, I would
swim.

Regularly conjugated verbs, or regular
verbs, are those that follow the standard English conjugation model for
present, past simple and participle forms: Root word: bake: bake, baked, baking;
infinitive: to bake. Irregularly conjugated verbs, or irregular
verbs, are those that follow a different conjugation pattern in the past
simple and past participle forms: Root: rise: rise, rose, risen. Root: bring: bring,
brought, brought. It is posited that these high usage words maintained Middle English
conjugation whereas lower usage words did not.

Finally,
English auxiliary verbs are do, be and
have. Modal auxiliary verbs, or
modal verbs, commonly known are can, may, could,
should, would, shall, ought (ought to), will, while some uncommonly known
ones are need, and dare. There are three
Simple tenses; three Perfect
tenses: have + -ed participle; three
Progressive (aka Continuous) tenses: be + -ing
participle; and three Perfect Progressive (aka
Perfect Continuous) tenses: have + be + -ing participle. The three
categories for each are Past, Present and Future yielding twelve English
tenses.

What is the role of Gerasim, the servant boy, in "The Death of Ivan Ilyich"?

Gerasim is able to connect with his master precisely
because of his simple peasant background and the way that he honestly accepts death as
part of the process of life. Note what he says in the first chapter of this story in
response to an inquiry about his master's death:

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"It is God's will. We shall all come to it some
day."

It is because of this
acceptance and recognition of death that he is able to connect with Ivan Ilyich and this
distinguishes him from Ivan Ilyich's family, who persist in holding on to the "lie" that
abhors Ivan Illyich so much:

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What tormented Ivan Ilyich most was the
deception, the lie, which for some reason they all accepted, that he was not dying but
was simply ill, and that he only need keep quiet and undergo a treatment and then
something very good would
result.

In contrast,
Gerasim's simple acknowledgement that Ivan Ilyich is dying and that he is happy to help
a dying man shows his sympathy and his desire to empathise with Ivan Ilyich's
position:

He
saw that no one felt for him, because no one even wished to grasp his position. Only
Gerasim recognised it and pitied him. And so Ivan Ilyich felt at ease only with
him.

Death is therefore shown
through the character of Gerasim to not be an unpleasant inconvenience that must be
ignored as much as possible but a natural process. Gerasim thus stands as a harsh
criticism about the civilised life that offers only despair to Ivan Ilyich up until a
few moments before his death.

What purpose does each dwelling serve in Robinson Crusoe?Compare and contrast his fortress (near the coast) and his "country home" (further...

Let us remember that the first dwelling that Robinson
Crusoe builds is done quickly and soon after he finds himself stranded on his island.
His immediate needs are to build a shelter for himself that he could use to protect
himself from any savages that might be on the island or any wild beasts that could come
to harm and destroy him. Thus it is that this shelter is chosen and built primarily for
its defensive capabilities. Later on, of course, Crusoe finds that the earthquakes that
the island is subject to makes the location for this shelter--beneath a mountain--not
very wise, however, it is important to remember that the cave-like shelter he creates
with its defences are for the purposes of protection above
all.

However, as time goes by, it is clear that Robinson
Crusoe has seen no other humans and no wild beasts that might endanger his life, and
having explored the island, he finds that the interior of the island is much more
suitable to live in as it contains an abudance of fruit and crops that he could use to
live off. Thus it is that he explores the island and finds the ideal place for his new
abode that is away from the shore:

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When I came home from this journey, I
contemplated with great pleasure the fruitfulness of that valley, and the pleasantness
of the situation; the security from storms on that side of the water, and the wood: and
concluded that I had pitched upon a place to fix my abode which was by far the worst
part of the country. Upon the whole, I began to consider of removing my habitation, and
looking out for a place equally safe as where now I was situate, if possible, in that
pleasant, fruitful part of the
island.

Thus we can see that
where Crusoe makes his second dwelling is far more sensible and logical given the new
situation that he finds himself in. Being on an island with no dangerous wildlife and no
other humans, as Crusoe assumes, means that he does not have to worry about protection
as he did at first, and can pick a location that is closer to the wildlife and crops and
fruit that will sustain him. Thus, when we think about the difference between the two
dwellings, we need to remember the different situations that Robinson Crusoe finds
himself in as he slowly gets used to living on the island and facing the challenges that
this situation brings.

How are Antigone, Gertrude and Ophelia similar?

In the plays Antigone and
Hamlet, Antigone, Gertrude, and Ophelia are all tragic victims,
though only Antigone, I would say, is a tragic
hero.

Antigone is a tragic
hero because she incites the action of the play, makes a tragic mistake,
and suffers dearly for it.  Her rebellion against Creon's unjust civil law causes her to
suffer and die.  And, let's face it, she makes the tragic mistake of being stubborn even
after she proves her point.  She goes to her death full of tragic
hubris (pride), a romantic zealot with a death
wish.

Gertrude and Ophelia get caught in the cross-fire
between the tragic heroes Hamlet and Claudius, but their roles are not enough to be
classified as tragic heroines along side Antigone.  Instead, I would classify them as
supplients who provide vision
of unmitigated suffering and helplessness.  This is an archetypal term used by critic
Northrop Frye, who kind of wrote the book on classifying
characters.

Other
similarities:

• All three die, obviously, but
  their deaths can all be blamed on the state (unjust laws,
  kings).


• All three are blind: Antigone to her pride;
  Gertrude to her son and husband and Ophelia to her father.
  

Differences:

• Antigone
  and Ophelia suicide, but Gertrude's death is murder
  


• Antigone and Ophelia are victims of incest, but not
  Gertrude (who commits it herself).  Antigone's family is cursed by incest: she is the
  daughter/sister of her brother/father Oedipus.  Ophelia is caught up in Hamlet's revenge
  against incest and adultery, not to mention her brother's and father's incestuous-like
  jealousy of her and Hamlet.

How did African-Americans survive during the Great Depression?

Jim Crow laws had successfully kept African-Americans "in
their place" in the years immediately following the Civil War, and were still actively
enforced through an entrenched system of vigilante justice in the Southern states. 
Share-cropping was the primary source of income, if you could call it that, for many
Southern blacks during this time.  Share-cropping usually involved a white landowner,
and the sharecropping family would be assigned a plot of land to farm/live on.  After
the harvest, a portion of the profit would go to the white landowner, and the
sharecropper could keep the rest.  How well a sharecropper could do under this system
was arbitrary and was linked closely to how fair--or unfair--the landowner was.  Since
most blacks couldn't read and write, it was very easy to cheat them; the storeowner
could pad their bill at the mercantile where they bought farming supplies, the landowner
could arbitrarily raise the percentage collected from sharecropping families, and/or use
the illiteracy to "doctor" the books and cheat the family out of money.  It was a system
that kept most blacks locked into poverty because they had nowhere else to go.  Blacks
that did make their way north into the cities had it a little better, as factory jobs
were available and wages, compared to those paid in the South, were fairly favorable. 
More importantly, perhaps, was the lack of vigilante justice and threat of possible
lynching present always in the South and making it very dangerous to make any sort of
misstep involving a white if you were a black male.

2 pipes A & B can fill a cistern in 12 min and 16 min resp. If both pipes are opend together then after hw mch time B shld be closed so tht the...

A  alone can fill  1/12 of the cistern in 1
minute.

B alone can fill (1/16)th of the
cistern.

Let the  pipes work together for x minutes to fill
the empty cistern

So in x minutes (1/12+1/16)x =  7x/48 of
the cistern is filled up.

If B is closed at the xth minute,
then the rest of the tank to be filled up by A alone = 1- 7x/48 =
(48-7x)/48.

(49-7x)/48 of the cistern can be filled by A in
{(48-7x)/48}/(1/12) minutes

Therefore  x+
{(48-7x)/48}/(1/12) = 9 minutes

=> x+(48-7x)/4 =
9

=>4x +(48-7x) =
9*4

=> 4x+48-7x =
36

=> 48-36 =
7x-4x

=> 12 =
3x

=> x = 12/3 hrs = 4
mins.

Therefore, B should be closed after 4
minutes so that the pipe A can fill the cistern is full in the 9
minutes.

Define and explain allotropy forms of carbon. allotopic forms of carbon

"Allotropy is
a behavior exhibited by some chemical elements. These elements can exist in two or more
different forms, known as allotropes of that
element."

In each allotrope
the atoms are bonded together differently.  The end result is different structural
modification of an element. Allotropy refers only to different forms of an element
within the same phase or state of matter.  "The changes of state between solid, liquid
and gas in themselves are not considered allotropy." 

The
following are some Carbon
Allotropes:

Diamonds form when
the carbon atoms are bonded together in a tetrahedral lattice
arrangement. 

Graphite forms
when the carbon atoms are bonded together in sheets of a hexagonal
lattice.

Fullerenes forms when
the carbon atoms are bonded together in spherical, tubular, or ellipsoidal
formations.

I need help to critically analyze the poem "Out, Out—" by Robert Frost

I suggest beginning with the origins of the title as
Macbeth's lament after the suicide of his wife Lady Macbeth (from the play by
Shakespeare). There is with both deaths an inconvenience suggested. Macbeth is in the
midst of fighting to retain the crown, and the woodsman have a job to finish. Both
deaths seem to be more of a momentary diversion than a greatly mourned
loss.

The poem makes great use of sibilance (repetition of
the 's' sound) to emphasise the menacing action of the saw, and the boy's life ebbing
away.

The buzz
saw snarled and rattled

Frost
also makes use of the caesura (an unnatural pause within a line) to suggest the
interruption and halting of the day's work - and the life of the
boy.

So. But
the hand was gone already

The
saw is also personified to suggest it is as responsible for the accident as the boy's
carelessness or his distractor's voice. It gives the saw a cruel appearance
too.

In Beowulf, what is the purpose of the eloquence that linked words and acts?

In the timeless epic of Beowulf, the
eloquence of the language used reinforces the hero's
accomplishments.

The grandeur of the words used by this
anonymous author create a mood of strength and heroism, making Beowulf and his actions
larger than life. In listening to the descriptions of battles before, the history of the
Geats and Danes, Beowulf's accomplishments, his honor to his feudal lord, and even his
refusal to take up a sword against the monster—when the monster chooses to come
unarmed—provide a theatrical presentation of the story.

It
is also important to remember that this story for many years was handed down in the oral
tradition: this means it was not written down for many years, but passed by
word-of-mouth. It would have been told countless times by bards (storytellers) who would
have had no vehicle in providing an appreciation of the story other than the words used:
there were no movies, DVD's, graphic novels or even books. The magic woven around
Beowulf's great feats rested upon the dramatic expression of the storyteller. (It also
had a great deal to do with how the bard was rewarded for the telling of his
story.)

The story is an epic (very long) poem, told by
using href="http://www.bl.uk/learning/langlit/changlang/writtenword/beowulfhome/beowulf.html">kennings.
A kenning is an Anglo-Saxon metaphor, and was created for an older language that had its
limitations—descriptions were not as rich as they are today. A kenning was a
"metaphorical description." For example, instead of staying "ocean" repeatedly, "whale's
home" would be used and mean the same thing, but be much more poetic. The word "ship"
might become "sea bark." The sounds of the words used, as well as the
manner in which they were presented, would have added to the
richness of this very old tale, and made it a favorite tale told in mead halls and
around fires for countless years.

In Animal Farm, the pigs and dogs now sit on a raised platform at their Sunday Meetings. How is this symbolic of a dictatorship forming?

In this situation, we will follow the allegory through to
the symbols in the novel. The pigs would represent a group rising in power and the dogs
would represent the hired force to keep the people in control. Whenever a dictator comes
to power, he generally has to do so by force. The dogs being on the platform with the
dogs represent the fact that the pigs have a protective group ready to defend them in
case of revolt. Usually when people see an injustice like the rise of a dictator, at
least some will question. If enough question, a revolution will begin, and an attempt to
dethrone the ruling dictator will ensue.

What is the empirical formula of the molecular compound C6H12O6?

Empirical formula is the ratio of the number of atoms of
each element that makes up the compound. This is derived by dividing the number of the
atoms of each element by any common factors of their number. Different compounds can
have the same empirical formula.

A large number of examples
are found in compounds of carbon which are usually created as a long chain of blocks of
CH2 with two blocks of CH3 at either end. This makes the empirical formula of chemicals
with a large number of atoms quite simple, for example the empirical formula of C6H14 is
C3H7, which is got by dividing the total number of each element in the compound by 2.
For differently shaped compounds the empirical formula varies, like benzene C6H6 has an
empirical formula of CH.

The empirical formula of C6H12O6
is determined by dividing the number of each element present in the compound by the
common factor 2, this gives C3H6O3.

What is the aesthetic value of the musical Les Miserables based upon Les Miserables by Victor Hugo.?

Here are some opinions on the musical's aesthetic
value:

• The essential theme of the injustices
  against Jean Valjean is presented adequately in the musical.  The marking of Valjeanas a
  criminal for stealing food for his family, and the retribution sought against him even
  after he becomes a kind and generous man are well presented. In the musical, the evil of
  this hounding of Valjean is evinced in the character of Inspector Javert who appears and
  reappears.  His sinister presence is well represented in the musical score and with his
  vocals, although these thoughts are not revealed in the novel. Perhaps because more of
  his soul is presented in the musical, the tragedy of his death is enhanced in the
  musical.


• The themes of change and transformation in
  Valjean and the class conflicts are also presented well, albeit not as thoroughly, in
  the musical.  The poignancy of the love that Valjean has for Cosette and her love for
  Marius is aesthetically enhanced with the musical score and vocals as well as the human
  presence of actors on a stage.


• The presentation of the
  inn keepers, the villainous Monsieur and Madame Thenardier, in the musical is one
  of comic relief.  However, these nefarious characters are anything but funny in the
  original narrative.  For, Madame Thenardier mistreats Cosette cruelly, beating and
  starving the child.  The unconscionable M. Thenardier is a deserter in battle, and robs
  the dead soldiers.  His life is one of crime, although he does aid Valjean in escaping
  from the sewers.  In the musical the Thenardiers are made up as clownish figures and
  presented in a farcical way that is completely out of character.  Their characterization
  is a travesty of the villainous personages they should be.  Perhaps they have been given
  the comic roles to entertain children, but this design seems inappropriate,
  nevertheless.

How does Charolotte Gilman use gothic conventions to create text in "The Yellow Wallpaper"?The gothic conventions she uses are: - idea of...

Certainly you could write an essay on the use of any one
of the Gothic conventions you have highlighted above, and in a sense it is important to
realise how all of them are inter-related through the excellent story that this author
has created. I will limit my answer to refering to the wallpaper and the description we
are given of it, whilst highlighting briefly how it is linked to some of the other
Gothic conventions you have outlined.

Certainly, from the
very first introduction we are given of the wallpaper, the impact it will have on the
narrator is foreshadowed. Note how it is described:

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It is dull enough to confuse the eye in
following, pronounced enough to constantly irritate and provoke study, and when you
follow the lame uncertain curves for a little distance they suddenly commit
suicide--plunge off at outrageous angles, destroy themselves in unheard-of
contradictions.

The
description clearly foreshadows the internal violence and madness into which the
narrator will descend as she contemplates this wallpaper more and more. The violence of
suicide and the "unheard-of contradictions" both suggest the powerful way that the
wallpaper is linked to the narrator's mental state. This is something that is developed
through the story as the narrator comes to see a trapped woman in the wallpaper, which
obviously links in to the idea of entrapment but also the divide between insanity and
sanity, as the woman is a projection of herself. Thus it is at the end that the narrator
comes to identify more with this woman than her own self, walking around the edge of the
room and waiting to get behind the wallpaper.

Why does Homer reveal Melanthius' treatment of Odysseus in The Odyssey?

We are first introduced to the character of Melanthius in
Book 17 of this epic classic. As Odysseus and Eumaeus head towards the city at the
behest of Telemachus, they are accosted by Melantius, a goat herder, who physically and
verbally attacks Odysseus. Odysseus has to struggle massively to stop himself from
immediately killing Melanthius for the way that he treats him, his rightful lord and
master. Undeterred by the threats of Eumaeus, Melanthius goes on in to join the suitors.
He is shown to have forsaken his loyalty to his master and joined the suitors in their
unscrupulous attempts to court Penelope and consume the resources of Ithaca. Thus he
damages Odysseus both by verbally and physically assaulting him, but also by his lack of
loyalty and the way that he abandons his master for the suitors. As such he can be said
to be a foil for Eumaeus, who remains loyal in a way that Melanthius does
not.

Prove that: (cos^3x - sin^3x)/(cosx - sinx) = 1 + cosx*sinx is always true.

We have to prove that [(cos x)^3 - (sin x)^3]/[cos x - sin
x]= 1 + cos x * sin x

Starting with the left hand
side:

(cos x)^3 - (sin x)^3 / cos x - sin
x

use a^3 - b^3 = (a - b)(a^2 + ab +
b^2)

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

cancel (cos x - sin
x)

=> [(cos x)^2 + cos x * sin x + (sin
x)^2]

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

=> 1 + cos x * sin
x

This is the right hand
side.

This proves that [(cos x)^3 - (sin
x)^3]/[cos x - sin x] = 1 + cos x * sin x

Describe the purposes and the types of literature that had major influences on the 18th century novel.

During the 18th century, the literary period that was most
pronounced was the Neoclassical Period (or the Enlightenment Period).  This period began
around 1660 and extended through 1790.

The classics pieces
that emerged during this period addressed the importance of logic and showed contempt
for concern with superstition.

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To a certain extent Neoclassicism represented a
reaction against the optimistic, exuberant, and enthusiastic Renaissance view of man as
a being fundamentally good and possessed of an infinite potential for spiritual and
intellectual growth. Neoclassical theorists, by contrast, saw man as an imperfect being,
inherently sinful, whose potential was limited. They replaced the Renaissance emphasis
on the imagination, on invention and experimentation, and on mysticism with an emphasis
on order and reason, on restraint, on common sense, and on religious, political,
economic and philosophical conservatism. They maintained that man himself was the most
appropriate subject of art, and saw art itself as essentially pragmatic — as valuable
because it was somehow useful — and as something which was properly intellectual rather
than emotional.

Hence their emphasis on proper subject
matter; and hence their attempts to subordinate details to an overall design, to employ
in their work concepts like symmetry, proportion, unity, harmony, and grace, which would
facilitate the process of delighting, instructing, educating, and correcting the social
animal which they believed man to be. Their favorite prose literary forms were the
essay, the letter, the satire, the parody, the burlesque, and the moral fable; in
poetry, the favorite verse form was the rhymed couplet, which reached its greatest
sophistication in heroic couplet of Pope; while the theatre saw the development of the
heroic drama, the melodrama, the sentimental comedy, and the comedy of manners. The
fading away of Neoclassicism may have appeared to represent the last flicker of the
Enlightenment, but artistic movements never really die: many of the primary aesthetic
tenets of Neoclassicism, in fact have reappeared in the twentieth century — in, for
example, the poetry and criticism of T. S. Eliot — as manifestations of a reaction
against Romanticism itself: Eliot saw Neo-classicism as emphasising poetic form and
conscious craftsmanship, and Romanticism as a poetics of personal emotion and
"inspiration," and pointedly preferred the
former.

Here is a reference
from a pdf which provides the main authors of the Neoclassic
Period:

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-Restoration Period (1660-1700): 
Sample writers include John Dryden, John Lock, Sir William Temple,
Samuel
Pepys, and Aphra Behn in England. Abroad, representative authors include Jean Racine
and
Molière.
-The Augustan Age (1700-1750): The principal English
writers include Addison, Steele, Swift, and Alexander Pope. Abroad, Voltaire is the
dominant French writer.
-The Age of Johnson (1750-1790):  Major writers
include Dr. Samuel Johnson, Boswell, and Edward Gibbon who represent the Neoclassical
tendencies, while writers like Robert Burns, Thomas Gray, Cowper, and Crabbe show
movement away from the Neoclassical ideal. In America, this period is called the
Colonial Period. It includes colonial and revolutionary writers like Ben Franklin,
Thomas Jefferson, and Thomas
Paine.

I truly hope this
helps. This period was one in which authors felt there was hope for change.  They found
it necessary to speak to the masses.

Is the triangle whose vertices are the points A(0 , -1) , B(2 , 1) and C(-4 , 3) a right triangle?

The triangle ABC has vertices at A(0, -1) , B(2 , 1) and
C(-4, 3).

The length of the sides
is

AB = sqrt [(2 - 0)^2 + (1 +
1)^]

=> sqrt (4 + 4) = sqrt
8

BC = sqrt[(2 + 4)^2 + (3
-1)^2]

=> sqrt( 36 + 4) = sqrt
40

CA = sqrt [( 4 - 0)^2 + ( 3 +
1)^2]

=> sqrt (16 + 16) = sqrt
32

As CA^2 + AB^2 = BC^2, by the Pythagorean theorem we
know that the triangle is a right triangle with hypotenuse
BC.

The triangle ABC is a right
triangle.

United Nations Declaration of Human Rights how the principles in this declaration can be related to the core values of Any University

Most universities would seek to create an education
environment where students would be free to speak opinions, hold beliefs, debate
concepts without fear of retribution. For example, University of Texas mission statement
states its mission is to “advance socially just learning and working environments that
foster a culture of excellence through diverse people, ideas and perspectives.”
  

The United Nations Declaration of Human Rights was
passed December 10, 1948 at the end of World War II in order to prevent future
atrocities similar to what happened to the Jews by Nazi Germany.  In essence the
declaration was that human rights must be protected by the International community.  The
preamble to the Declaration states:

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"The recognition of the inherent dignity and of
the equal and inalienable rights of all members of the human family is the foundation of
freedom, justice and peace in the world….Disregard and contempt for human rights has
resulted in barbarous acts which have outraged the conscience of mankind. The advent of
a world in which human beings shall enjoy freedom of speech and belief and freedom from
fear and want has been proclaimed as the highest aspiration of the common
people."

Articles 18 and 19
primarily represent that everyone has the right to freedom of thought, conscience,
religion, opinion and expression and to hold those opinions without interference.  
These are the underlying concepts in mission statements of most major universities which
also include traditional concepts of non-discriminatory policies in accordance with
federal law.  

Please comment on the similarities and differences between the narrators in "The Black Cat" and "The Cask of Amontillado."

Poe is a master of creating first person narratives where
we suspect that the narrator is profoundly unreliable, and these two excellent stories
are no exception. The biggest similarity that can be identified between the narrators of
these two stories is the way that they are clearly shown to be insane to a certain
degree. Note how the narrator in "The Black Cat" finds the second cat so abhorrent and
what kind of emotions a simple cat stirs within him:

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I am almost ashamed to own--yes, even in this
felon's cell, I am almost ashamed to own--that the terror and horror with which the
animal inspired me, has been heightened by one of the merest chimaeras it would be
possible to conceive.

He is a
character who is struck by unreasonable terrors and whose actions are based on these
fears.

Likewise, Montresor is shown to be a bloodthirsty
narrator fixated on achieving the most terrible of
revenges:

I
must not only punish, but punish with
impunity.

The way in which
Montresor punishes Fortunato so terribly for some supposed slight whose nature is never
explained seems to suggest the insanity of the
narrator.

Considering differences, it is clear that
Montresor has carefully thought through his crime and how to commit it without being
caught. It is definitely a premeditated murder, cunningly carried out so that Montresor
remains free. In contrast the narrator of "The Black Cat" kills his wife in a fit of
anger, and then quickly has to decide how to conceal the body.

Who is the narrator of The Great Gatsby and what type of narration is it?

Nick Carraway tells this story in retrospect, looking back
at it, after Gatsby's murder, after he comes back from the East. Nick functions as a
participant, first-person narrator. Because he is a minor character in the story, he is
both involved in Jay Gatsby's world (and draws the reader into it), yet he maintains a
somewhat objective point of view (POV) and tone throughout most of the
novel.

Before this story begins, Nick (like Gatsby)
has just returned from The Great War, and he shares Gatsby's ambitions to live the
American Dream. Unlike Gatsby, however, he "wanted the world to be in uniform and at a
sort of moral attention forever" (chapter 1, pg 2). In the same breath, Nick
acknowledges that Gatsby is exempted from his scorn for moral disorder because "there
was something gorgeous about him, some heightened sensitivity to the promises of
life"(chapter 1, pg 2).

Therefore, immediately in chapter
one, Nick is established as a minor character with two conflicting desires. On one hand,
he has an interest in maintaining a sense of moral order in the world. This corresponds
with his objective POV and tone as the narrator. He's neutral, nonjudgmental. On the
other hand, the very first thing he reveals to the reader is his father's advice to him:
"Whenever you feel like criticizing anyone . . . just remember that all the people in
this world haven't had the advantages that you've had" (Chapter 1, pg
1).

As a character himself, Nick is conflicted. He wants to
maintain a moral order and yet remain nonjudgmental of the moral disorder around him
(the riotous parties, drinking, fighting, cheating, criminal activity, debauchery). This
conflict in Nick's own character creates an interesting tension as the novel
progresses.

In contrast to Gatsby's life of riotous parties
and criminal activity, Nick is the character who stands for moral order. He attempts, at
the end, once he becomes disgusted with the callousness and debauchery of the characters
in the world around him, he attempts to restore order, to do the right thing (invites
Gatsby's "friends" to his funeral, etc.)

Is Nick a reliable
narrator? Can we trust his POV?

We can to a large
extent. Nick says his cardinal virtue is honesty. We have no reason to question this or
distrust him. And yet, we have to consider the various and limited sources of
information Fitzgerald provides about the character of Gatsby himself in this novel. We
have Nick's memory of events (memory is fallible, Nick is a minor character in Gatsby's
life); there is also a childhood schedule in the copy of "Hopalong Cassidy" Gatsby's
father brings to the funeral (a testament to the type of child Gatsby was); consider
Gatsby's own account of his past (his encounter with Dan Cody); consider what his party
guests claim and speculate about him (also consider how little they know about him); and
think about what Jordan says, what she tells Nick about how Gatsby and Daisy
met.

How reliable is Nick's account? ... Happy
analyzing!

What are the rhetorical devices in King Lear's speech in Act 4, scene 6?It is the speech where Lear is talking about adultry and saying that...

King Lear, Act IV, scene vi, is one
of the great monologues in literature.  It's full of sexual imagery, analogies, and
verbal irony (sarcasm).  Literally translated, it reads something like this (according
to my No Fear Shakespeare):

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Women are sex machines below the waist, though
they’re chaste up above. Above the waist they belong to God, but the lower part belongs
to the devil. That’s where hell is, and darkness, and fires and stench! Death and
orgasm!

In the monologue Lear
uses the following rhetorical
devices:

Rhetorical question:
"What was thy cause?
Adultery?"

Animal
imagery: "The wren goes to 't, and the small gilded
fly"

Eye /
Sight imagery: "Does lecher in my
sight."

Verbal irony (sarcasm),
sexual imagery, and analogy: "Let copulation thrive;
for Gloucester's bastard son Was kinder to his
father than my daughters Got 'tween the lawful
sheets."

Animal
imagery: "The fitchew (a skunk), nor the soiled horse, goes to
't / With a more riotous
appetite."

Hell / fire
imagery: "There's hell, there's darkness, there's the
sulphurous pit," AND "Burning, scalding, stench,
consumption;"

Appearance
vs. reality motif (women are gods above the waist, devils
below):

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"Down from the waist they are
Centaurs,"
Though women all
above:
But to the girdle do the gods
inherit,
Beneath is all the
fiends';

Analogy
and apostrophe (compares Gloucester to an apothecary; addresses an
apothocary not present):

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Give me an ounce of
civet,
good apothecary, to sweeten my
imagination:
there's money for
thee.

Describe the startling objects that Pip finds in Miss Havisham's opposite room in Ch. 11. What does she intend to have happen there after her death?

This room is the famous room that Miss Havisham has kept
as a reminder of how horrible it was when she was "left at the altar."  The most
startling thing about it is how it contains the rotting remains of the feast that people
were supposed to enjoy after her wedding.  There are mice and spiders all over
everything, for example.  The wedding cake is beyond recognition -- Miss Havisham points
it out to Pip.

Miss Havisham also tells him that she
intends to be laid out in that room after she dies.

Read Samuel Taylor Coleridge's poem The Rime of the Ancient Mariner, lines 582-590.What must the Mariner continue to do throughout the rest of his...

Samuel Taylor Coleridge's epic poem, The Rime of
the Ancient Mariner, is an example early Romantic writing. Of the
characteristics of Romantic writing, this poem has most of them, including the
supernatural and a reverence for nature.

Because the
Mariner has unthinking killed the albatross (a large sea bird), his judgment is harsh as
he watches his shipmates die and almost dies himself. It is only when he begins to feel
an appreciation for the sea creatures in the water that he is redeemed. However, the
rest of his life must be spent in penance, which comes to him in an unusual manner—one
that is impossible to ignore.

When the Hermit (the holy
man) questions the Mariner (who is pulled out of the water nearly dead) about who he
is:

Forthwith
this frame of mine was wrenched / With a woeful agony, / Which forced me to begin my
tale; / And then it left me free.  (lines
578-581)

This, then, is the
Mariner's penance. As he acts with the Wedding Guest he meets, when the Mariner meets
someone who needs to hear his tale—in essence, to take his responsibility to nature
seriously—the Mariner must tell his
tale.

Since
then, at an uncertain hour,
That agony returns;
And till my
ghastly tale is told,
This heart within me
burns.

I pass, like night, from land to land;
I
have strange power of speech;
That moment that his face I see,
I
know the man that must hear me:
To him my tale I teach.   (lines
582-590)

The Mariner no
longer sails, but moves from one place to another to tell his prophetic tale, revealing
the Romantic writers' concern for nature (seen also in the work of other Romantic
writers: Wordsworth, Byron, Shelley, Keats, etc.). When the Mariner sees the face of the
one that must hear his message, his heart burns—he is in emotional
and physical pain. Only when he finishes his tale does the pain
receded. In this, too, we see the hand of the
supernatural.

The Mariner's final words to the Wedding
Guest summarize the seaman's message:

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Farewell, farewell! but this I tell
To
thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both
man and bird and beast.

The
Mariner is saying that prayer and love go hand in hand, but extend not just to man, but
to nature: "bird and beast." And the task that the Mariner carries out seems to have had
the desired effect. The tale closes with the change that has come over the Wedding
Guest, as he carries the new responsibility of caring for the world in a way he had not
known before:

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A sadder and a wiser man,
He rose the
morrow morn.

The Wedding
Guest is sadder but wiser as he (like the Mariner) wakes the next day with new purpose
in life.

What is "academic honesty?"

I recently had the assignment to teach a senior English
class.  I assigned them a research paper to work on, and gave them 6 weeks to complete
it.

I showed them examples of research papers, gave them
examples to use, and spent almost two weeks on how to not plagiarize other's
work.

Being seniors, they did not think they should have to
do much in senior English, but unfortunately, I didn't think that way.  So, the
assignment was given.

When the papers were due, I had more
than half of the class that hadn't even start, and then, when they did turn in the
papers within the next three days, most of them were copied, word for word, without
documentation, from the internet.  They wouldn't even read a book to get information. 
Of course, their grades reflected their work, but they didn't understand.  Their
thoughts and verbalization on this was that the internet was for anyone to copy what
they wanted.

At the beginning of the semester, I had a
student tell me that he didn't need senior English because he'd already taken a course
online for another student.  I spent the rest of the year trying to convince the
majority of these senior students that copying work or letting someone else copy their
work was dishonest.  This young man plagiarized every word of his research paper, but he
made one hundred dollars taking an online college class for another student, and he was
proud of himself for that accomplishment.

So, what is
academic honesty?  It's simple.  It is you doing your own work and getting your own,
hard earned grades.  What it isn't is copying other's work, letting them copy yours or
having them do your work for you.  That's just plain old
cheating!

What does The Lowell Textile Workers suggest about the revolution that the country was undergoing economically and culturally?In the first half of...

The primary inference one draws from the Lowell Textile
Workers is the advent of the industrial revolution in America and the beginning of a
factory manufacturing system in this country. Economically it indicates a shift from an
agricultural economy to an industrial economy. It should be noted that this
transformation was primarily in the Northeast; the Southern states tended to remain
agricultural. Also because of the large production capacity of the factories (in the
case of the Lowell workers it was textile mills) the entire United States became a
single market, aided by increases in transportation such as railroads, canals and steam
boats. This has often been called the "market revolution" by
historians.

Socially, there was a demographic shift from
the farm to the factory. Often young ladies but at times entire families moved from
farming communities to working in the manufacturing sector. The early Lowell workers
were unmarried young women. As a result of their separation from their families the Mill
Company often assumed the role of parent by enforcing curfews and church attendance on
Sundays.

The Lowell workers mark a demographic and economic
shift in the country, primarily in the Northeast.

What is the central idea of "Geraldo No Last Name" by Sandra Cisneros?

The central idea of "Geraldo No Last Name" has to do with
the harsh anonymity of immigrants in this country.  In the vignette, the other character
Marin is quite upset when Geraldo is killed, but she cannot understand why she is so
upset because she did not really know Geraldo.  She only knows his first name, which is
the first marker of Geraldo's anonymity.  She believes that he works in a restaurant,
yet at the end of the vignette, the narrator suggests that Geraldo worked in a string of
kitchenettes to make enough money to send home to his family.  The anonymity of the
immigrant experience is highlighted at the end of the vignette when Geraldo's experience
is linked to that of others--in the end, his family knows that he left for a better
life, not knowing the hard fate that has befallen him.

When was gueridon service started?Iinformation & types.

Also known as "Russian service,"
gueridon service originated in Russia during the 19th
century. Usually reserved for upscale food customers, the service is usually presented
on a separate table, sideboard or, more recently, mobile carts or trolleys. It has long
been considered one of the most fashionable forms of restaurant or catering service.
Food is usually prepared in view of the guests. Proper gueridon service includes a table
or trolley equipped with a gas hob that enables food to be cooked on the table. It was
popularized by Henri Charpentier while working at the Cafe de Paris
in Monte Carlo, whose guests included Edward Prince of Wales.

If Montressor had met Fortunato during the day instead of at dusk, what is the outcome that would result from a change in setting?

The main thing I think would happen here is that the whole
story would feel less foreboding and spooky.  I think that if the two of them had met in
the middle of the day, it would have not felt like something bad was about to happen --
at least not so much.  Even though bad stuff can happen in broad daylight, we tend to be
afraid of the dark just because it seems spooky.  That is, I think, what the difference
would be.

I suppose that you could argue that if it had
been the middle of the day, maybe Fortunato would not have been so drunk.  Maybe if he
had been sober, Montresor would not have been able to trick him so easily.  To me, this
is the main possible reason for a totally different ending to the story.  However, it
was carnival time and Fortunato could have been drunk at any time of the day seeing as
how he seemed to like to drink a bunch.

Discuss the inner conflicts of Grace Ansley in the story "Roman Fever" written by Edith Wharton.

A story reflective and yet contrary to the Old New York's
stifled society, Mrs. Ansley and Mrs. Slade, rather than being truly friends, have been
thrown into intimacy by their social class.  They first met as young ladies vacationing
in Rome, and then they have lived most of their adults lives across the street from each
other.  Perhaps, it has been easier for them both to have maintained a friendship of
sorts.  Now that their daughters are friends, the two women find themselves again in
Rome.  And, naturally, as they sit together, now
widows,

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...they both relapsed upon the view,
contemplating it in silence, with a sort of diffused serenity which have been borrowed
from the spring effulgence of the Roman
skies.  

Unknowingly, both
Mrs. Ansley and Mrs. Spade reflect upon their own private memories, both believing they
know more of one night than the other. One inner conflict that Mrs. Ansley surely has
held in her heart has been that of the private night that she spent with Delphin Spade,
a night  whose incidents she has never revealed to anyone.  When she looks at her friend
Mrs. Spade how often has she wondered what her friend would think if she only knew what
had happened that Roman night?  With the mention by Mrs. Spade of the "spice of
disobedience when they were girls, Mrs. Ansley misses a stitch in her knitting,
indicatiing that she remembers her own night of
indiscretion.

Mrs. Spade is amazed that Mrs. Ansley can
continue to knit in the face of these memories reaching back to them here in Rome. 
Finally, revealing her jealousy of Mrs. Ansley, Mrs. Spade wonders aloud how such
"exemplary characters" as Mr. and Mrs. Ansley could have produced a dynamic child such
as Barbara.  She excuses herself by saying Rome brings "back the past a little too
acutely."  However, as Mrs. Ansley continues to knit, she must wonder how much Mrs.
Spade really knows about her and that first visit to Rome.  As Mrs. Spade continues to
talk, Mrs. Ansley feigns disinterest, conflicting with her true emotion which she
strives to squelch.  Finally, however, Mrs. Spade talks of the Coliseum where lovers
would rendez-vous.  All this time, Mrs. Spade feigns having a vague memory of the night
she had become ill from the night air in Rome while shadowing her inner conflicts of
wondering if Mrs. Spade knows much at all about the affair between her and Delphin, the
deceased husband.

Finally, Mrs. Spade reveals that she is
the one who has written the letter that called Mrs. Ansley to the
Coliseum. 

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"You tried your best to get him away from me,
didn't you? But, you failed; and I kept him.  That's all." 
 

And, saddened, Mrs. Ansley
says, "Yes. That's all," as, in conflict, she restrains herself from revealing all after
her hurt in learning the letter she has kept so long was not written by Delphin.  Mrs.
Spade does not understand; she has thought her friend would be amused. With this, Mrs.
Ansley suppresses her conflict between politeness and truth.  She reveals that Delphin
was indeed at the Coliseum because she responded to the forged letter.  Then, she tells
her friend that she is sorry for her because Delphin met her.  Mrs. Spade discredits the
sympathy contending that she has had Delphin for years as her spouse.  Overcoming her
last inner conflict because of this remark, Mrs. Ansley reveals what she has withheld
for years:  Barbara is hers and Delphin's child.

Why did American nativist groups oppose free, unrestricted immigration in the late nineteenth and early twentieth centuries?

Opposition in the late nineteenth century was a result of
the fact that the immigrants who came to the U.S. during this time were largely from
Eastern and Southern Europe, namely Poles, Russians, Jews, Italians, Greeks, etc. These
groups did not readily assimilate into U.S. culture; instead they tended to retain their
old world customs and even language. They primarily settled in big cities and lived in
neighborhoods with people of their own background.  They also tended to be fiercely
Roman Catholic, at a time when anti-Catholicism was still extant in the
U.S.

Opposition after World War I (the twenties) was partly
due to the horror of the war, and new ideas about genetic purity, such as Madison
Grant's Passing of a Great Race, which claimed that the great race
of Nordics from Northern Europe was being threatened by the Latin and Slavic peoples of
Eastern Europe. Also popular at the time was The Decline of the West
by Oswald Spengler, who argued that European civilization had entered an
inevitable state of decline, and would be superseded by a yellow race. There also was a
very popular false science known as Eugenics, which held that human race could be
controlled by controlling humanity.

These factors, and
continued anarchism in Europe led many Americans to conclude that all people of eastern
European ancestry were potential anarchists. The end result was the Emergency
Immigration Act of 1921 which severely limited immigration from all areas except the
Americas, and completely excluded people of Asian ancestry. This last was a blunt insult
to the Japanese, and did not help matters when war clouds began gathering in the
Pacific.

Please can you discuss the phrasing in "The Witch" by Mary E Coleridge? Thank you.

In Coleridge's poem "The Witch", the first two stanzas are
written in first person. Here, the speaker is discussing the challenges faced as walking
the earth.

In the third stanza, the narration changes. At
the beginning of the third stanza, the woman opening the door for the wanderer is
speaking. Later in the stanza, the narration changes to first person again. This could
denote that the two women have become one.

While the poem
has been referenced as a quasi-tribute to Coleridge's great-great uncle, Samuel
Coleridge, it also shows the power that the narrator(s) have as women in living in harsh
conditions.

Another point where the phrasing of the poem
mix are the speakings regarding the threshold. By both women mentioning the threshold,
it shows that the threshold holds importance for each. In the end, neither will see a
threshold again given both have changed.

Identify the speaker and tone of Shakespeare's Sonnet 29, "When in disgrace with Fortune and men's eyes," with quotations.

In Shakespeare's Sonnet 29, "When in disgrace with Fortune
and men's eyes," the author (who could be any man, not necessarily Shakespeare) starts
the sonnet by speaking of his life.

In William
Shakespeare's sonnets, he uses the structure of the sonnet to organize his ideas. Every
stanza of four lines is called a "quatrain." There are three of these that account for
twelve lines; the last two lines are a rhyming couplet: they rhyme with each
other.

The organization Shakespeare used was: the first two
quatrains (eight lines) presented an idea. In line nine, the focus of the sonnet shifts.
The third quatrain presents a different approach to what was introduced in the first
eight lines. The rhyming couplet at the end is used as a conclusion, summarizing or
driving home the most important point of the poem.

In the
first two quatrains, the speaker talks of how terrible his life is: his has bad luck and
gets no respect ("When in disgrace with Fortune and men's eyes"); he is lonely and
depressed ("I all alone I beweep my outcast state"); heaven won't listen to him ("and
trouble deaf heaven..."); and, he looks at his life and hates it ("And look upon myself,
and curse my fate...).

The same tone continues in the
second quatrain: he wishes he had more to look forward to, looked handsome like another
man or had his friends ("Wishing me like to one more rich in hope, / Featured like him,
like him with friends possessed..); he wishes he had another man's talents or
intelligence ("Desiring this man's art and that man's scope:); and, he finds himself
unhappy with that which brings him the most happiness ("With what I most enjoy contented
least").

Now, on line nine, the word that identifies the
shift of the author's ideas and tone is "yet." It is almost as if he has said, "But wait
a second." And here, he changes the direction of his ideas: it is a sudden and
enlightening shift. The sonnet becomes a love poem:

Yet
even when I almost hate myself ("Yet in these thoughts myself almost despising"); when I
think about you, my attitude changes completely and I feel the same joy a bird taking
flight to sing at the gates of heaven feels ("Haply I think on thee: and then my state,
 / Like to the Lark at break of day arising  / From sullen earth, sings hymns at
Heaven's gate").

The rhyming couplet summarizes all of
this, and it is powerful:

When I remember that you love me,
it brings such elation to my heart and soul, that I wouldn't exchange places with kings
("For thy sweet love rememb'red such wealth brings / That then I scorn to change my
state with Kings.")

Watching the sonnet's organization, one
can understand that at first the speaker hates his life; then he thinks about the woman
who loves him and his problems disappear: because when he thinks of her, he would not
change places with the richest, most important man on the
planet.

Why does Willy exaggerate Biff's importance in Death of a Salesman?In Act II

Willy has always been desperate for his son to achieve the
greatness and recognition of which he himself was not capable. He is driven by the
fatherly instinct to see his son attain success, but is also motivated by guilt.
Finally, his mental fragility shows us that he needs a positive outlook, however untrue,
to help him carry on

 Willy is reminded by Bernard in Act
II  that Biff changed dramatically after visiting Willy in New
England-

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BERNARD:…I’ve often thought of how strange it was
that I knew he’d given up his life. What happened in Boston,
Willy?

 Willy is very close
to burn out when he reaches the restaurant. He needs good news to keep going, however
untrue the news is. Willy and Biff argue about whether Biff was really a salesman or a
shipping clerk for Bill Oliver. Willy confesses why he needs to believe the
lie-

 WILLY:
I was fired, and I’m looking for a little good news to tell your mother, because the
woman has waited and the woman has suffered. The gist of it is that I haven’t got a
story left in my head, Biff. So don’t give me a lecture about facts and aspects. I am
not interested. Now what’ve you got to say to
me?

What does the author want to suggest about the in the end of her short novel The Birds?

Feeding into much of the fearful atmosphere of the world
stage after World War II, the story's conclusion brings to light the belief that the
birds will overcome civilization.  The bird attacks have swept the nation, and have
rendered human beings as almost defenseless to stop them.  In this light, the context in
which du Maurier is writing is extremely meaningful.  In a setting where the fear of
nuclear holocaust was real, along with the fear of "the other," in the form of
Communism, the end of the world feel of the story is brought to light.  While human
advancement has reached its zenith, at its heart, the ending of the story is one of
survival, where human beings can only fend for themselves against adversarial forces
that overwhelm the individual.  The ending of the story where Nat and his family hear
the "tearing sound of splintering wood" indicates that the birds have won in
overwhelming the humans.  All the family can do is sit and listen to what will bring
about their own end, just as other families like the Triggs.

Who was Dorothy Plunk and what happend to her?

Dorothy Plunk of course was the girl that Homer had fallen
in love with very early on in his high school career.  He studied with her and fell ever
more deeply in love with her as time went on but was broken hearted when his brother
took her out.  From that point on he vowed not to care for her anymore, but was
generally unsuccessful.

He writes that she (the girl whose
name isn't Dorothy Plunk but who the character was based on) went on to marry a
wonderful guy and raise a couple of wonderful daughters.  He writes that they are still
friends and that when he saw her again 25 years after their high school graduation, he
still loved her.

In "Heart! We Will Forget Him" how would you paraphrase what she means by warmth and light?

I had to edit your question down to
one.

The speaker is trying to forget someone. For whatever
reason, the memory of this person is causing the speaker distress. Perhaps this person
hurt her emotionally or the speaker just misses this
person.

The speaker asks her heart to forget the warmth.
The warmth is the emotional connection to this person. If the heart “forgets” this
overwhelming feeling, it will be easier for the speaker to put this person out of her
mind. The light could refer to the person’s physical appearance which can only be seen
in the light. The light could also refer to the mental connection. The memory exists as
long as there is light to shine upon it. The memory will fade as the light (on the
memory) dims.

Dickinson is using personification by giving
the heart human attributes when she asks the heart to consciously forget. When the
emotional connections (warmth) fades away, the heart will essentially, but not
literally, forget the feeling. This will make it easier for the light that shines on
that memory to “dim.”

In the poem "Success is counted sweetest" in the third stanza, what is the ear "forbidden" to hear?

The last stanza of this excellent poem by Emily Dickinson
seals her argument that success can only be savoured and understood most by those who,
ironically, do not succeed, by giving us an example to prove her point. This example
refers to a defeated and dying soldier on a battlefield, who as he lays there, awaiting
death and contemplating his failure to succeed, is described as hearing the sounds of
victory that the winning army make:

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As he
defeated--dying--

On whose forbidden
ear

The distant strains of
triumph

Burst agonised and
clear!

Thus the "ear" relates
to the ear of this dying soldier, who, Dickinson argues, can "tell the definition" of
success much better than any of the victorious army. To understand success, Emily
Dickinson seems to be saying, you have to not achieve it, because if you are successful
you take it for granted.

In To Kill a Mockingbird, how can the identity of the town of Maycomb best be described, and what does this community fear?

Maycomb is a town in which the old is preserved because it
is revered--rightly or wrongly. Its geographic location is a telling metaphor for this
characteristic: Maycomb is set away from the river, making access difficult. As a
result, Maycomb has

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remained the same size for a hundred years, an
island in a patchwork sea of cotton fields and
timberland.

One harmless
example of this tenacious preserving of what was is that the pillars of the original
courthouse adorn the conflicting style of the Victorian replacement of the
fire-destroyed original. A far less harmless and, indeed, to some, overtly harmful
example is the preeminence given to any one who is of a white ethnicity--even someone
like Bob Ewell, "the disgrace of Maycomb for three generations"--over any one who is
descended of an African ethnicity--even someone as admired and respected as Tom
Robinson.

The basic and essential fear of Maycomb in relation to this
descriptive characteristic is that the foundation of the revered antiquity of the past
may be shattered and the disturbing reality of the present may cause a revolution in the
old way of living, of doing things, and of being as Maycomb is made up of "a people
determined to preserve every physical scrap of the past."

How does Hardy suggest his own spiritual state by images of darkness, desolation and decay in "The Darkling Thrush"?

The spiritual state of the speaker in this excellent poem
is emphasised by the bleakness of the landscape which her surveys. Images of darkness,
bleakness and desolation abound in the first two stanzas of this poem, with the focus on
the "Frost" being "spectre-grey" and "The weakening eye of day" which is made
"desolate." In particular, one image that supports the collapse of faith that Hardy is
experiencing comes in the first stanza:

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The tangled bine-stems scored the
sky

Like strings of broken
lyres...

This simile of the
broken harps seems to point towards the absence of joy and the collapse of faith, as
harps are associated with angels and religion. In addition, you might wish to consider
the funereal imagery in the second stanza:

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The land's sharp features seemed to
be

The Century's corpse
outleant,

His crypt the cloudy
canopy,

The wind his
death-lament.

Note how, as
Hardy contemplates the earth at the end of the 19th Century, he seems to view it as
dead. References to the "corpse" of the Century and its "crypt" and "death-lament"
certainly add to the bleak nature of the poem. As Hardy faces a new century, it is
obvious that he regards this as a "death" rather than a new start, and he has little
hope for the new century ahead.

Who were John F. Kennedy's most important advisors?Answer Choices: A) Ted Sorenson and Robert Kennedy B) Ted Kennedy and Earl Warren C) Lyndon B....

The answer to this is going to depend on what your
textbook or your teacher says.  There are two answers that could possibly be
correct.

B and C are clearly not right.  Earl Warren was
the Chief Justice of the Supreme Court.  That is not a political post and he was not an
advisor of Kennedy's.  Johnson was Kennedy's vice president, but the two men were not
close.  Johnson had been chosen for political reasons (because he was from the South)
not because Kennedy really trusted him.

Robert Kennedy was
JFK's Attorney General and brother.  The two brothers were close.  Sorenson did not
really have a specific title, but was one of JFK's closest
advisors.

Both McNamara and Rusk were important members of
JFK's cabinet.  McNamara was Secretary of Defense while Rusk was Secretary of
State.

So it depends on what your book/teacher thinks.  RFK
and Sorenson were personally closer to JFK.  McNamara and Rusk had more important
titles.  So which pair was more important?  It's a subjective
matter.

In paragraphs 6 and 7 of "The Ballad of Father Gilligan," what did Father Gilligan do and why?

W.B.Yeats' "The "Ballad of Father Gilligan" is a moving
story of how God comes to the rescue of a sincere priest whose only concern is the
salvation of the souls of his
impoverished parishioners.

Father Gilligan who was
exhausted in fulfilling his priestly duties day and night during an epidemic in the
Irish countryside,  either  in giving the last communion to his poor parishioners who
were dying in large numbers or conducting funeral services for them,  was at home
one evening taking a well deserved rest and had dozed off in his
chair.

Just as Father Gilligan had dozed he was disturbed
from his sleep by the urgent call of another dying parishioner. Wearily, Father Gilligan
began to grumble and murmur about his lack of rest:

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'I have no rest, nor joy, nor
peace,
For people die and
die;

But the very next
instant he checks himself seeks God's forgiveness and kneels down by the side of his
chair and begins to
pray:

And after cried he,
'God forgive! My body spake, not
I!'

Father Gilligan
seeks God's forgiveness for his murmuring and grumbling by saying that it was his weak
and fatigued body which complained and not his spirit and mind which were keen to save
the souls  of the dying villagers. As he continues to pray he  is completely overwhelmed
by sleep. The tired Father Gilligan slept the entire night kneeling down by the side of
his chair.

In stanza 6 early in the morning, at dawn he
woke up to the cheerful sound of the chirping
sparrows:

Upon the time of sparrow-chirp When the
moths came once more. The old priest Peter Gilligan Stood upright on the
floor.

In the 7th stanza Father Gilligan wakes up
from his sleep and realizes that he has fallen asleep even while he was kneeling down
and praying - he was so tired and exhausted. He realizes that he has not attended to the
dying request for the last communion of one of the villagers and saddles his horse and
rushes off in a tearing hurry to administer the last communion to the dying villager and
thus hoping to save his
soul:

'Mavrone, mavrone!
the man has died While I slept on the chair'; He roused his horse out of its sleep, And
rode with little
care.

Poor Father
Gilligan realized his mistake and rushed off to the house of the dying parishioner, only
to be greeted by the dead man's widow with the news that he had actually come earlier on
and had ministered the last communion to the dying man and by doing so had ensured the
salvation of his soul:

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The sick man's wife opened the
door,
'Father! you come
again!'

It is then that he
realizes that God the Creator had taken pity on him who had worn himself out completely
in His service, had sent an angel to minister the last communion to the dying
man:

'He Who
is wrapped in purple robes,
With planets in His care
Had pity on the
least of things
Asleep upon a
chair.'

What does Gatsby call Tom Buchanan that he does not like?

I believe that you are referring to what happens in
Chapter 7, when Tom Buchanan and Gatsby are having their confrontation over who Daisy
truly loves.  In this chapter, Gatsby keeps calling Tom "old sport."  Gatsby calls many
people that.  He calls Nick that at many points, including in this same chapter.  It
seems that he is trying to emphasize that he went to Cambridge and is therefore
classy.

Tom does not like it when Gatsby calls him this. 
It is, after all, somewhat in bad taste to use a term of friendship like this when you
are trying to convince a man's wife that she has always loved you and never loved him. 
Tom also dislikes it because it is an example of Gatsby trying to pretend to be high
class when he is really from a very modest background and has gotten rich
illegally.

For these reasons, Tom tells Gatsby not to call
him "old sport."

for egleton literature is the domain through which social groups excercise and maintain power over others.. discussi know the lines told by...

Power, in Foucault, is that of knowledge; how knowledge is
disseminated and circulated through a culture is the means by which a power dynamic
comes to exist. Knowledge, here, is not necessarily information, nor, for that matter,
is it necessarily true. Rather, knowledge, in Foucault, is the way in which individuals
think, what it is acceptable and appropriate to think, how thinking manifests itself
both individually and in the larger cultural structure. The power structure of knowledge
is carried out not from top to bottom, but is rather a dynamic continuum – it is, in
effect, the social system. Or in slightly other words, social systems
are power dynamics.

In Marxism, the
Ideological State Apparatus (ISA) is the means by which this power structure perpetuates
itself. The educational system (public, private, secondary, university, etc.) is one
example. Eagleton’s views on literature as a means of disseminating power are similar to
the way in which feminist and multicultural critics approach the cannon: it is comprised
primarily of white males or, in other words, those who already have power and those who
seek to maintain that power. All of this occurs at a mostly unconscious level and, more
importantly, as a system. That is, there is not a “the man” at the
top exerting influence and making decisions; it is a design, but it is not designed.
(cont.)

In feminist thought, it is the system of patriarchy
which “exercises and maintains” power. In multicultural studies, it is the white/racist
system. In postcolonial studies, it is the imperialist (or post-imperialist) system. In
Marxism, it is the capitalist system. They each deal with power from a particular angle,
but the all agree that power is “exercised and maintained” through certain vehicles,
including literature.

As part of the societal ideology,
literature, in Marxism, is part of the superstructure. In “Marxism and Literary
Criticism,” Eagleton writes that understanding literature “means understanding the total
social process to which it is part.” He goes on to say, “Literary works are not
mysteriously inspired, or explicable simply in terms of their author’s psychology. They
are forms of perception, particular ways of seeing the world; and as such they have a
relation to the dominant way of seeing the world which is the ‘social mentality’ or
ideology of an age” (528). Furthermore, it is not enough to look at societal ideology by
itself, rather, the literary critic must also look at the greater
context of that ideology, including the “definite, historically relative structure of
perception which underpins the power of a particular social class” (529). This context
is not simply a reflection of a particular class, either, but rather a “complex
phenomenon” that includes myriad points of view, even worldviews, within a particular
social structure (529).

Literature
Cited

Eagleton, Terry. "Marxism and Literary Criticism."
Criticism: Major Statements, eds. Charles Kaplan and William Davis
Anderson, Boston: Bedford/St. Martin's, 2000. 525-543.