In The Kite Runner, what is Hassan's reason for deciding to move back in to the hut behind Baba's house instead of into Baba's house with Rahim Kahn?

Given that Hassan is a very, very intelligent man and one
with a relatively wide experience at the time he returns to Kabul to live with Rahim
Kahn, it makes sense for a number of reasons that he live in the small house rather than
the large one.

He understands his place in the society of
Afghanistan and knows that it won't be seen as proper for him to be living in his former
master's house regardless of whether or not he has permission.  He is comfortable and
proud of the role that he plays in supporting his former master and his former master's
friend and the household and he doesn't need the comforts of the big nice home to add to
that.

He also likely feels comfortable there, having grown
up there.  The bigger house may have presented an uncomfortable circumstance for him,
one he'd rather avoid.

Determine the limits of the range of y given by y=cos2x-4sinx .

In other words, we'll have to identify the maximum and
minimum values for y.

We'll re-write the expression of y,
using just sine function.

We'll apply the double angle
identity for the first term.

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

y = 1 - 2(sin x)^2 - 4 sin
x

We'll consider the maximum value for sin x =
1:

y = 1 - 2 - 4

y = -6 +
1

y = -5

Now, we'll consider
the minimum value for sin x = -1.

y = 1 - 2 +
4

y = 3

So, for a maximum
value for sin x, we'll get a minimum value for y, namely y = -5. For a minimum value of
sin x, we'll get a maximum of y = 3.

The
range of values of y, if y = cos2x-4sinx, is represented by the closed interval [-5 ;
3].

From "The Open Window" by Saki, H. M. Munro, write a brief character sketch of Mr. Nuttle and Mrs. Sappleton.

What we know about Mr. Framton Nuttel in "The Open Window"
by Saki (H. M. Munro) is that he has no social graces, which is to say he doesn't quite
know how to conduct himself in social situations, like that of paying a visit to total
strangers: "Framton Nuttel endeavored to say the correct something." We also know that
he makes a habit of staying by himself and not mixing with other people, as his sister
says to him: “you will bury yourself down there and not speak to a living soul.” We know
he has some sort of nervous complaint for which he is taking a "nerve cure" that entails
"complete rest, an absence of mental excitement, and avoidance of anything in the nature
of violent physical exercise." And we know that Framton is doubtful of the added benefit
to his nerve cure that might be derived from meeting complete strangers to whom his
sister has written "letters of introduction."

We also know
that his limited idea of conversation, which “labored under [a] tolerably widespread
delusion,” includes "only talk about his illnesses." We also know that Framton is
impressionable and naive and gullible. We know all this for two reason: the way he
describes the young niece, Vera, and the insight of hindsight we get at the close of the
short story. The narrator often reflects Framton's own observations such as when
describing the niece as "a very self-possessed young lady of fifteen"; as when later the
narrator adds, "pursued the self-possessed young lady"; and later still says: "The child
was staring out through the open window with a dazed horror in her eyes." The insight of
hindsight that informs us of Framton's impressionable gullibility comes when Vera starts
to make up an appalling story to explain Framton's behavior--just as she did to fill in
the void of Mrs. Sappleton's absence (notice how Sappleton is reminiscent of “sap,”
which means “a gullible or foolish person” (World English
Dictionary)).

Speaking of whom, what we know of Mrs.
Sappleton is that she is bright, cheerful, and energetic: "the aunt bustled into the
room." We also know that she is very enthusiastic in her praise of the activities of the
men she cares about, her husband and brothers (and their little spaniel dog). We also
know she is big-hearted and gracious when bored by tedious visitors (like Framton
Nuttel) but not at all unrealistic in her assessment of
strangers:

A
most extraordinary man, a Mr. Nuttel, ... dashed off without a word of goodby or
apology.... One would think he had seen a
ghost.

We also know that she
is good natured and a doting wife and loving sister, even when teased: "I said, Bertie,
why do you bound?" Finally, we know that Mrs. Sappleton doesn't understand Vera in the
least. She never suspects for a moment in the story that Vera is wreaking havoc with
people's imaginations through wild stories she convincingly concocts in an instant, like
the one about the men being lost in a quicksand bog and the one about "’a cemetery
somewhere on the banks of the Ganges [with] a pack of pariah dogs.’ … Romance
[adventure] at short notice was her speciality."

Explain how Rousseau's man of feeling became Faust in Part Two of Goethe's Faust.

It is easy to identify Rousseau's ideology in
Faust Part I, but harder to find a trace of it in Part II. The
reasons are three-fold. First, sixty years past between the originally published
fragments and Goethe's writing of Part II, recommencing it after his friends and
admirers begged him to complete Faust before the end of his life. Ultimately, Goethe
died just days after completing Faust Parts I and
II. It was sealed, not be opened until after his
death.

Second, Faust was begun in 1772
and helped launch the Romantic period. In 1777, because of a young woman's
self-inflicted death influenced by The Sorrows of Young Werther, a
copy of which was in her pocket, Goethe renounced all association with
Rousseau-influenced Romanticism.

Third, Goethe completed
Faust in the style of Classical drama, with no Romanticism in
Faust Part II, which is steeped instead in the classicalist’s
search for knowledge and reason as is proven by settings, characters, themes, and
allusions. Yet, there are three places where Rousseau-type feeling might be interpreted
as representing Rousseau's man of feeling.

The first is
Faust's encounter with Helen of Troy whom Mephistopheles (Mephisto) has liberated from
the classical underworld. It's interesting to note that when they meet in Part II, Helen
is speaking in Homeric verse and Faust, speaking in Elizabethan verse, teaches her
rhyming.

But
teach me why that man spoke aloud
With curious speech, familiar but
strange.

Faust loves Helen,
who was the first one to stir his passion--before Mephisto coerced him into taking the
youth and love potion that led to Gretchen's undoing. Their courtship and life together
is built on Rousseau's idea of the man of feeling--one who doesn't interrupt his flow of
feeling with the rational task of selecting, combining, and choosing language to produce
an affect of wit and the persuasive power of passion.

The
second is the son that Faust and Helen have. Euphorion is precocious, possessing a
spirit of adventure and exploration. Helen and Faust deeply love and pamper their son:
"It requires two noble hearts / For Love to bless humanity." One day, Euphorion insists
that he can fly and falls to his death: "Onward! I must! I must! / Let me but fly!" The
feeling Faust displays can link him to Rousseau's man of feeling. It is heightened by
his sorrow when Helen is called back to the underworld when their son is no more:
"Mother, don't leave me alone / In the shadows'
domain!"

The third is at the end of Faust's life. He has
completed almost all parts of his land reclamation project yet is plagued because one
old peasant couple has held out against his entreaties and clings to their land, trees,
and chapel--the chapel gives Faust a dread feeling. Mephisto goes too far when Faust in
haste requires that the couple be moved by force to another plot of land that he has
selected. The old couple dies of terror together when Mephisto and his generals storm
in. After Faust's feeling of rage at Mephisto is spent, his feelings turn to remorse and
he says, "Quickly said, too quickly done, I fear!" His final moments are spent in
exalted feelings--further connecting him to the man of felling--after being blinded by
Care, as he envisions a new achievement that will house
millions:

My
last and greatest act of will
Succeeds when ...
[I] make room for
many a million.

Why did the Second Continental Congress decide to adopt a declaration of independence?

The basic reason for this, of course, is that the
delegates to the Congress thought that it was time for the colonies to become
independent from Britain.  So the better question is to ask why the delegates had come
to believe this.  Why did the Congress declare independence when the First Continental
Congress had not?

I would point to three
reasons:

• Britain had rejected the "Olive Branch
  Petition" that the Congress had adopted in 1775.  This petition had restated the
  colonies' devotion to the King and had asked that he stop his government from
  mistreating them.  By rejecting it, Britain was telling the colonies that they would not
  get what they saw as fair treatment.


• Thomas Paine's
  "Common Sense" had been published.  This pushed many more colonists towards the idea
  that the colonies should be independent and that monarchy was a bad
  system.


• Finally, there was the war.  The colonies and
  Britain had been at war for a bit more than a year by this time and attitudes had
  hardened on both sides.

For these reasons, the
Second Continental Congress decided to adopt a declaration of
independence.

In Mary Shelley's Frankenstein, who was the "Modern Prometheus?"

Although more commonly know by the first half, the full
title of Mary Shelley's novel is: Frankenstein or The Modern Prometheus.  Both parts of
this title refer to the main character, Victor Frankenstein.  It is important to note
that his creation, the monster, is unnamed.

In order to
understand the comparison being made in the title, we need to look at Prometheus in
Greek mythology.  Prometheus was one of the Titans, who existed before the Greek
Pantheon of gods.  He is given credit for creating human beings from clay, water, and
divine breath.  In trying to advocate for humans, Prometheus inadvertently angers Zeus
who punishes humanity with misery and illness.  Finally Prometheus is sentenced to an
eternity of torture for bringing fire (which represents enlightenment and knowledge) to
his creatures.

From this description, there is a clear
comparision between Prometheus and Victor Frankenstein.  Both sucessfully created human
life and faced results not in line with their expectations.  In an attempt to help their
creations, both Prometheus and Victor Frankenstein caused more damage and disorder. 
This eventually led to the harm of both, either through death or eternal
torture.

In the story Dusk by Saki explain the expression : "that forlorn orchestra to whose piping no one dances".it should be a very very short answer...

Saki's short story "Dusk" presents people in a park who
partake in that time of day that is neither day nor night.  In this "gloaming" period
they pass along the walks unnoticed.  On the bench beside Gortsby sits an elderly
gentleman with "a drooping air of defiance."

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He belonged to that forlorn orchestra to whose
piping no one dances; he was one of the world's lamenters who induce no responsive
weeping.

The quote means that
the older man may have been someone of import in his earlier years, but now he was what
others might label a "pensioner," a man simply living out the remainder of his days
unnoticed and unvalued.  In fact, as he departs Gortsby gives him no more thought than
to imagine that he returns to some mere lodging where he lives in dull habitude from
week to week.