An alloy is a physical mixture of two different metals
forming a homogeneous mixture.
A voltaic cell uses
differences in oxidation potential of two metals to generate an electric current. The
original voltaic cells were stacks of copper and zinc alternating, with an electrolyte
between the pieces of metal. Alloys were not used in these cells, just the pure
metals.
Do not forget that Odysseus plans "death and destruction"
for all the suitors. In general, they are a group of despicable
characters.
When Penelope solicits and entices marriage
gifts from the suitors, she has a double purpose in mind. First, she wishes to keep the
suitors off guard. Second, she wants to prove her loyalty to her husband, whom she has
correctly suspected as the disguised stranger.
With the
help of enhanced beauty from Athena, Penelope accomplishes what she sets out to do. The
suitors are in a general state of complacency and self indulgence. She asserts power
and intelligence when she entices them into desiring her more and further tricks them
into giving her gifts. In so doing, she proves she has these men under her
control.
Odysseus is both pleased by his wife's loyalty and
proud of her ability to put the suitors into a weaker position for his surprise
attack.
At its zenith, the Mongol Empire was the largest the world
has ever seen. The Mongols dominated China, the Middle East, large portions of Russia,
and most of Eastern Europe. An attempt to expand the empire into Japan failed when the
largest fleet assembled before World War II was destroyed by a typhoon. The Japanese
denominated the typhoon as a "divine wind," or kamakaze, a term
that became synonymous with sacrifice in World War II. Their large Empire actually
encouraged rather than inhibited inter-cultural exchange. The Silk Roads, the primary
means of exchange between Europe and Asia were heavily policed by the Mongols which
allowed trade and ideas to pass freely without fear of Bandits. The Mongols brought in
outsiders to administer their territories locally. They were not administrators, and did
not trust the local people, so others, even from Europe, were brought in. A classic
example of this is Marco Polo who presumably was made governor of a Chinese province by
Kublai Khan. Genghis Khan's favorite wife was a Christian, so he also was curious to
learn more about this religion. Mongol exchange of ideas did not extend to political
alliances, however. Once when the Pope proposed an alliance to defeat the Muslims, the
Mongol Khan declined, and advised the Pope to submit to Mongol rule or be
destroyed.
To establish the minimum value of a function, we'll have
to calculate the first derivative of the function.
Let's
find the first derivative of the function
f(x):
f'(x)=( x^2+x-2)'=(x^2)'+(x)'-(2)'
f'(x)=2x+1
Now we
have to calculate the equation of the first
derivative:
2x+1=0
2x=-1
x=-1/2
That
means that the function has an extreme point, for the critical value
x=-1/2.
f(-1/2) = 1/4 - 1/2 -
2
f(-1/2) = (1-2-8)/4
f(-1/2)
= -9/4
The minimum point of the function is
(-1/2 ; -9/4).
Friar Lawrence warns Romeo, "Wisely and slow, they that
run fast stumble." He gives this warning after agreeing to marry Romeo and Juliet. He is
essentially warning against the hastiness of their union. They have only just met, and
he is cautioning them against moving too
quickly.
Ultimately, his warning foreshadows their doom.
Romeo's tendency to act without thinking first directly leads to the death of both
characters. The friar states:
"These violent delights have violent ends. Which
in their triumph die, like fire and gunpowder, which as they kiss, consume."
(2.6.9-11).
The violent
delights, or the love, of Romeo and Juliet, often have violent ends, in this case death.
While their love may be beautiful and powerful, it is also brief and destructive. Thus,
with his words, the Friar unknowingly foreshadows the passionate but brief love of Romeo
and Juliet, which ends in death.
Like many idiomatic expressions, I think that it it is
difficult to find the exact location of the phrase's origin. The phrase, "Kick some
a**, take names," reflects a gradual and progressive ascent to success. For example,
when an athletic team wins continual games, one after another, it can be said that the
team is out there to "kick some a**, and take names." The vanquishing of one's foes
represents the "kick some a**," while the growing list of conquests reflects the aspect
of "taking names." I first became familiar with the phrase from a 1987 film,
"Wall Street." The protagonist, Bud Fox, starts to become more and
more successful, through dubious means. In the film, when he is being moved to a corner
office as compensation for the level of success he reached, someone congratulates him
for his recent bout of good fortune. Fox looks at him and says, "Just kickin' a** and
taking names." Bud Fox represents and typifies the type of person who would use the
idiomatic expression.
We'll differentiate each term of the sum with respect to
x:
d[arc tan (1-x^2)]/dx = (1-x^2)'/[1 +
(1-x^2)^2]
d[arc tan (1-x^2)]/dx = -2x/[1 + (1-x^2)^2]
(1)
d[arc cot (1-x^2)]/dx = -2x/-[1 +
(1-x^2)^2]
d[arc cot (1-x^2)]/dx = 2x/[1 + (1-x^2)^2]
(2)
We'll add (1) + (2):
d[arc
tan (1-x^2) + arc cot (1-x^2)]/dx = (-2x+2x)/[1 +
(1-x^2)^2]
Since the terms of numerator are eliminating
each other, we'll get:
d[arc tan (1-x^2) +
arc cot (1-x^2)]/dx = 0 q.e.d.
Austen is the queen of detailed, elaborate, flowery,
lengthy conversations between characters. This is why many people struggle with her
novels, and why others love them. A conversation can start on one page and ten pages
later still be going. Consider Austen's background and life herself; living in England
in a time when women were expected to sit around and do practically nothing all day,
what else did they have to do besides talk?
Dialogue helps
relay crucial and important information, shape the characters in the novel, introduce
conflict, and resolve problems. One major role it plays is in shaping the characters of
the story. Austen always has a garrulous and excessively chatty character that says
foolish things and is a bore and annoyance to everyone around them (Mr. Collins, as an
example). She likes to use conversation to shape those types of characters. Her
heroines (like Elizabeth or Jane) are often more limited and wise in their
conversations, being the listeners as opposed to the
spouters.
Also, consider also how much of the
NON-conversation narration in the novels centers and focuses around conversations that
were just had. The characters not only have long conversations, but then go home and
sit there and analyze every tiny thing that was said in that conversation for potential
hidden meaning. So even though they aren't talking constantly, most of the story IS
centered round people talking OR analyzing the talking that has occurred. It reminds me
of a group of teenage girls talking about a party that a cute boy talked to them at, and
they all analyze and interpret, and read meaning into each and every word that poor boy
said. That is what the characters do.
So, whether is it
actual talking to shape characters, introduce conflict or resolve it, or if it is the
characters thinking about what was just said, conversation is the main driving force in
Pride and Prejudice. I hope that helped; good
luck!
Stop looking and start taking a good look at who you are
and who you want to become; please spend some time on this. Because in doing this he
will come to you rather than you finding him or at least it will be a mutual thing. If
you allow him to start looking for you, someone who is a deep thinker and more of a
human being than a human doer. You will be happy you did, unless you want to simply go
through the motions. I admire you for asking the
question.
Here are a couple of books that will help you
along the way:
The Tao of Pooh and Te of Piglet, by
Benjamin Huff spent 46 weeks on the New York Times Bestseller List when they debuted in
1992. It is a two volume set at about 240 paperback pages each. I just love the way
that Pooh and Huff exchange their thoughts about Taoism. This is a very easy read that
sheds some light on being while along the way it teaches Taoism, what some call the Way
of Nature. No need to worry, it is not to replace your faith, but add dimension to
yourself.
The other is a book called Being and Caring.
This one is a college level psychology book, but it was so good, I purchased it and have
always kept it near just in case I find myself Caring too much for someone that I lose
track of who I am and the importance of my own healthy self
esteem.
So what I am saying is in your freshman year in
college is if you take the time to spend on yourself and your own healthy self-esteem;
growing more into yourself that soon, you won't be looking for a boyfriend, he will be
looking for you. You will have developed into a woman with more substance and with
healthy boundaries. This is so important to learn now instead of by default,
later.
If I could have read one book or met one person
before I became an adult, it would have been Virginia Satir. A loving woman, she wrote
many books on psychological matters, primarily family systems theory and books on
self-esteem. She died the year after she wrote my favorite book, "The
Newpeoplemaking". She had grown up in some tough times where there was a lot of family
dysfunction and so had I, but she had a way of learning how to deal with it and live
past it, that it actually became a virtue of who I am today. I hope that you will at
least have a look at her book. It's an easy read with cartoons, I laughed and then I
cried but when I was done, I knew more about who I was and from where I had come and now
where I could go; there was no longer any fear, false expectations appearing real. I
began diving with sharks and traveling to many untraveled places. I hope she does this
for you too. And like I said, it's more important to be wanted than to want someone
else.
I wish you well and more importantly I wish you a
college career that helps you reach past your fears and into places you never dreamed
you'd have the opportunities to explore.
I agree with both of the above questions, as they have
great specific examples of the power struggle between the two branches. I wish to add,
however, what is really in my opinion the most effective tool Congress has to restrain
foreign policy: the power of the purse, or the
budget.
While the Constitution designates foreign policy as
an area of the Executive, when we say foreign policy we often mean wars, or foreign aid,
military aid, etc. In the case of the Iraq or Vietnam Wars, for example, Congress could
end those wars immediately simply by refusing to write any more checks to fund them.
The President has a very limited amount of discretionary funding to spend as he sees
fit, and certainly not enough to wage a major war, so he depends on Congress to keep
paying the bills, and there is no Constitutional requirement that they continue to do
so.
In this chapter, Diamond is arguing that the Europeans
were able to dominate the Australians because Europe (and Eurasia in general) was able
to create large societies based on food production. Meanwhile, Australians were not
able to produce food on any large scale.
Because the
Australians were not able to produce food, they had to remain as hunter-gatherers. This
meant that they could not form large, sedentary populations that could eventually create
technology. Because they had no technology, they could easily be dominated by the
Europeans and their technology.
This is consistent with the
main thrust of Diamond's whole book. He is arguing that places (like Australia) got
dominated because of their lack of technology. The lack of technology generally stemmed
from geographic disadvantages that made food production
difficult.
In “A Midsummer Night’s Dream”, there are two distinct
worlds: The woods and the court. The former stands for reason and order whereas the
later epitomizes fantasy, madness, disorder or even chaos. In addition, the forest is a
place where the unthinkable can happen. Consequently, by crossing the threshold between
the court and the woods, the young Athenians become vulnerable to this world of fantasy.
In order to understand the madness going on in the wood we may look at Bottom’s
words:
“I
have had a dream past the wit of man to say what dream it was”. “The eye of man hath nor
heard, the ear of man hath not seen, man’s hands not able to taste tongue to conceive,
nor his heart what my dream
was.”
Here we have a figure
of style called Synaesthesia, in which sensations get mixed up. In this case, we have an
eye that hears or an ear that sees.
Like Bottom, the young
Athenians undergo transformations because of the love potion. For example, in the
beginning two men, Demetrius and Lysander are in love with the same woman, Hermia.
Later, under the effect of the love potion, both men will fall in love with another
woman, Helena.
Conclusively, the woods inhabited by fairies
serve to contrast with the well-organized Athenian court. The transformations in the
woods also serve to highlight the condition of being love.
Let the number of boys be B and the number of girls be
G.
There are 18 more boys than
girls.
Then, B = G + 18
...............(1)
Also, given that 5/7 of the students are
boys.
==> (5/7)* (B+G) =
B............(2)
We will substitute (1) into
(2).
==> (5/7) * (G+18 + G) =
G+18
==> (5/7) *(2G+18)=
G+18
==> Multiply by
7.
==> 10G + 90= 7G +
126
We will combine like
terms.
==> 3G =
36
==> G =
12
==> B = 18+12 =
30
==> G + B = 30+12 =
42
Then there are 42 girls and boys in the
group.
There are many reasons why Victor became so fixated in the
idea of building a living thing. First, he had been studying for a while the concepts of
alchemy, science, biology, and most importantly, electricity. His fixation with
electricity was particularly important in that Victor thought that he had conceived a
notion: That electricity, that invisible and yet destructive force, can also be the link
to reviving things and bring them back to life.
Therefore
he embarked on a crusade to proof his theory. Do not forget also that Victor became kind
of arrogant and ambitious, obsessive, and too full of himself. He was playing God and he
knew it. Hence, out of a pile of dead body parts he put together this creature to which
he would apply a treatment of electricity, as he thought. And therefore, not only would
he proof himself correctly, but he would have achieved the amazing deed of creating life
and be godlike.
In all, it was a combination of arrogance,
obsession, passion for science, curiosity, and the ultimate achievement of creating
life.
Because he is sick with the flu and, more importantly,
because he has misunderstood the doctor's reading of his temperature, Schatz has become
"detached." His face is white from the high temperature, and he soon displays an
attitude of hopelessness. Instead of sleeping, he sits staring "strangely," preferring
to stay awake. He seems worried that he is bothering his father, who he assumes would
rather be doing something else. So, the father takes a break and goes hunting, flushing
a covey of quail before returning. Still flushed himself, Schatz is still staring as he
was before. He does not want his father to enter the room, fearing that he will catch
what the boys has. He asks the father if the medicine wil do any good, and then he asks
when he is going to die. Schatz did not understand when the doctor told his father that
his temperature was 102 degrees: Schatz was used to the centigrade scale, but the
American doctor was using the Fahrenheit scale. The next day, Schatz relaxed a bit, but
"he cried very easily at little things that were of no
importance."
Douglass' use of the word "bread" suggests that knowledge
is as necessary to human life as is food.
Furthermore,
Douglass is clearly playing upon his readers' knowledge of the Bible. (His memoir was
intended as an argument against slavery.) In the Bible, references to bread in the New
Testament are numerous, and Jesus' body itself is equated with bread, among other
things.
The Lord's Prayer is Jesus' own words in which he
asks for "our daily bread"--the stuff of life here are again directly equated to our
spiritual well-being.
Therefore, bread, and by metaphor,
knowledge, take on a sacramental, holy quality for Douglass, and, he hopes, in the minds
of his readers.
Knowledge, for Douglass and his audience,
is not merely a matter of literacy, it is also about becoming fully human, and fully
capable of developing spiritually, morally and emotionally.
This is a relly broad question. Literary criticism is as
old as literature itself. In the past, literary criticism was primarily conceived as the
study of great literature. Criticism was therefore mostly about passing value judgements
in literature and about creating a canon of texts that were the best and the greatest.
This conception of criticism has been challenged by the so-called "sociological turn" in
literary studies that took place in the 1960s with the introduction of cultural studies.
Critics increasingly pointed out that the works included in the canon reflected the
predominant ideological views of a given era. The greatness of a literary work and of
the canon in general could not be established objectively, but was socially constructed.
Since the introduction of Cultural Studies, western criticism has been less oriented
toward value and more toward analysing the connections between literary texts and
society. In particular, the categories of race, gender and class have constituted a
paradigm to analyse both contemporary and past literature.
We know that the quadratic formula for finding the roots
of the quadratic equation is:
x1 = [-b + sqrt(b^2 -
4ac)]/2a
x2 = [-b - sqrt(b^2 -
4ac)]/2a
We know that the expression under the square root
is called the discriminant of the quadratic, delta.
If
delta is positive, the equation has 2 real distinc
roots.
If delta is zero, the equation has 2 equal real
roots.
We'll compute delta. For this reason, we'll identify
a,b,c:
a = 1 , b = 7 , c =
9
delta = 49 - 36
delta = 13
> 0
Since delta is positive, the equtaion has 2 real
distinct roots:
x1 = (-7+sqrt
13)/2
x2 = (-7-sqrt
13)/2
To calculate the length of an arc in the circle you need
to measure the radius (r ), and the central angle (a)
The
central angle is the angle subtended at the center of a circle by two given points on
the circle.
or, the central angle is the ratio of the arc
to the radius.
The length of the arc = radius X central
angle
or s= r *
a
Example: in a circle whose radius is 10 cm, and the
central angle is 4/5 ... find the length of the arc
s =
r * a = 10 * 4/5 = 8 cm
Certainly any work of literature could be argued to have a
number of different themes, and this excellent short story by D. H. Lawrence is no
exception. However, one of the themes that I found interesting was the way that society
is regarded. Throughout this short story, the two central characters are variously shown
to be repressed by society, albeit in different ways.
Mabel
is clearly impacted greatly by society because of her poverty. Consider how the text
describes this impact:
Why should she think? Why should she answer
anybody? It was enough that this was the end, and there was no way out. She need not
pass any more darkly along the main street of the small town, avoiding every eye. She
need not demean herself any more, going into the shops and buying the chepaest
food.
We can see therefore
that it is partly the stigma of poverty applied to her by society that drives her to
attempting to commit suicide.
Yet at the same time,
Fergusson is just as impacted by society. Note how his success as a doctor makes him
feel that he is too good for the town that he describes as a "hellish hole." His feeling
of superiority causes him to fear for what others would think when he has declared his
love for Mabel:
That he should love her? That this was love! That
he should be ripped open in this way! Him, a doctor! How they would all jeer if they
knew! It was agony to him to think they might
know.
Throughout the story
therefore, society is presented as a destructive and dominant force, that compels
characters to act and think and feel unnatural actions, thoughts and emotions, even as
they surrender themselves to their true natures.
In the remote Scottish village where Victor begins his
creation of a female companion for his "monster" with what he calls "a tremulous and
eager hope." However, one night as the moon just begins its ascension from the sea,
Victor Frankenstein must take a break; as he does he begins to reflect upon what he is
doing:
Three
years before I was engaged in the same manner, and had created a fiend whose
unparalleled barabarity had desolated my heart, and filled it for ever with the
bitterest remorse. I was now about to form another being, of whose dispositions I was
alike ignorant....
Victor
worries about what this female may become. And, while the monster has sworn to leave
the area and never come around people, the female, if created, would not have made such
a commitment. What could happen then? Also, Victor wonders how his monster will react
if he must face one daily that resembles him. Or, she might turn from him in abhorrence
if she is composed in a more pleasing fashion. Then, the monster would again be alone,
and renew his revenge upon mankind. Carrying his thoughts further, Victor is anxious
about the couples' reproducing, if possible, and "a race of devils would be propagated
upon the earth" who could diminish the current species of man. All these reflections
turn Victor from the "sophism" of the being he has already created. He fears that if he
creates yet another, future generation will curse him as "their
pest."
When he trembles and looks up, Victor sees "the
daemon at the casement," who face,Victor feels conveys malice and treachery. In a
passionate reaction, Victor tears to pieces the "thing" which he fashions. The creature
outside witnesses this and "with a howl of devilish despair and revenge" he goes
away.
This passage is significant because in it
Shelley explores the debate of scientific discovery and its ramifications for humanity.
Besides the sin of Victor as he presumes to create a being, there is also the question
of whether scientific discovery can always benefit man. May it not hinder the soul, the
goodness in man as it substitutes for actions that should be dictated by the human
heart?
Concerning Romeo and Juliet, I won't
write the paragraph for you--that's your job. I'll help you with the information you
need.
Tybalt kills Mercutio, though it is in part,
accidental. Tybalt and Mercutio are playing around, but it is a dangerous game they're
playing. They're sword fighting, with "live" swords, swords that aren't blunted or
tipped. There's anymosity between the two, but they're not really trying to kill each
other.
Romeo, in an attempt to make peace and get them to
stop fighting, gets in between them and inadvertantly causes a thrust by Tybalt to be
missed by Mercutio, and the thrust mortally wounds
Mercutio.
Romeo avenges Mercutio and kills Tybalt. The
consequence is the banishment of Romeo, which of course leads, eventually, to the
tragedy at the conclusion of the play.
I'll leave it to
you whether or not the killing of Tybalt is justified.
"The Scarlet Ibis" is told in the retrospective point of
view. That is to say, the narrator is an adult looking back on events from the past. In
this particular story, the narrator is relating very significant events from his own
childhood and in doing so, he reveals a great deal about himself, both as a child and
and as the man he became.
As a boy, the narrator was
conflicted. He truly loved his little brother Doodle, but he was also embarrassed by his
weakness and delayed development. The two boys spent countless hours together which
nurtured the bond between them, but sometimes the narrator resented being responsible
for Doodle. Because he was older and stronger and because Doodle depended upon him, the
narrator exercised power over Doodle. Sometimes he treated Doodle with childish cruelty,
such as the time he forced the little boy to touch his own
coffin.
As Doodle neared school age, the narrator feared he
would be teased because of his little brother's disabilities. His concern for himself
led him to push Doodle into physical deeds that proved to be beyond his endurance. The
narrator became obsessed with pride in himself for fostering Doodle's accomplishments
before the little boy finally broke.
As a child, the
narrator was all of these: loving, cruel, prideful, and self-absorbed. His personality
was to lead, but his own selfishness and immaturity led his little brother to a tragic
death. When Doodle dies, however, another aspect of the narrator's personality emerges.
As he holds his little brother's body, "sheltering" it from the rain, the narrator
clearly is shown to be a gentle boy capable of feeling great tenderness and deep
grief.
As an adult, the narrator is painfully honest in
telling the story of his relationship with Doodle, the little boy's untimely death, and
his own role in it. He details his every cruel act. He takes responsibility for his own
sin of pride and does not excuse himself for it. In reliving his time with Doodle, the
narrator shows that he is still gripped by Doodle's death. As he recounts what happened
and how it happened, he also seems to have an adult understanding of why it happened,
which indicates he has spent many years thinking about Doodle's death and the part he
played in his brother's destruction. The narrator can be seen as a man who now
recognizes and values the precious boy Doodle had been, a truth that he had once been
too young to understand.
The initial velocity ufeet/sec. The bell is at a height of
20 feet above. Whether the contestantwill be able to jump a 20 feet height from the
spring board is the question. So the actual equationis h(t) = ut-(1/2)gt^2 in accordance
with the laws of motion, where h(t) height at time t from the take off, and g is the
acceleration due to gravity.
Given data initial velocity u
= by 32 ft/sec and g = 32 ft/sec^2 a fact
assumed.
Therefore the the equation of motion is h(t) =
utt-(gt^2).
h(t) =
ut-(1/2)t^2.
So if the spring board has a height of 20 ft,
then the model would have to be h(t) =
32t-16t^2+20.
Therefore d(t) = -16t^2-bt+20 and
32t-16t^2+20 must be identical.
So when time t = 0, d(0) =
-16*0^2+32*0+20 = 20 is the platform height which is the initial height of the contest
from where he takes off.
The bell is at 20 ft above the
platform. So the heightof the bell = platform height+20 = 20+20 = 40
ft.
The maximum height d(t) is when d'(t) = 0 and d"(t)
< 0.
d(t) =
ut-1/2gt^2+20 .
d'(t) = u-gt and d"(t) = -g <
0.
d'(t) = 0 gives u-gt= 0. So t = u/g , when
d(t) is maximum. Or d(u/g) is the maximum height the contestant
jumps.
d'(t) = -16*2t+32 and d"(t) = -32
< 0.
When initial velocity u =
32ft/sec:
So d'(t) = -16*2t+32 = 0, or 32t = 32. so t =
1
The maximum height the contest jumps = d(1) =
-16*1^2+32+20 = 36 < 40ft.
Therefore the contest
does not reach the bell.
If u = 35 ft/sec, then the maximum
height the contestant can jump = d(u/g) = d(35/32) = -16(35/32)^2+35(35/32)+20 = 39.14
ft < 40 ft. so the contest falls down before reaching the
bell.
If u = 40, then the contest can jump a maximum height
of d(u/g) = -16(40/32)^2+40(40/32)+20 = 25+20 = 45 ft > 40 ft. So the contest
reaches the bell and above a. So he can ring twice the bell while going up and falling
down.
If u = 45 ft, then the maximum height the contestant
reaches is
dt) = d(u/g) = d(45/32) =
-16(45/32^2+45(45/32)+20 = 51.64 ft > 40 ft. So the contest reach a height above
the bell. So he can ring the bell twice. He can ring while going up and falling
off.
If u = 32 ft/sec, then the contest reaches a maximum
height of d(u/g) = d(32/32) = -16*1^2+32+20 = 36 feet = (20+16) ft. So the contest jumps
16 ft above the platform. So if the bell is placed at 10 ft, 12 ft and 15 ft above the
plat form, the contest can reach and ring the bell. But he can not reach the bell place
at the height of 18 feet as his maximum jump is only 16ft above the
platform.
The function P(x) = -x(- x - 2)^2(x + 2)is not
polynomial, as (-x-2)^2(x+2) is exponential.
To find the
zeros of P(x) = -x(- x - 2)^2(x + 2).
The zeros of P(x) are
those values of x for which P(x) = 0.
=> the values
of x for which -x(- x - 2)^2(x + 2) = 0.
=>
(-x)*(-x-2)^2(x+2) = 0.
=> -x = 0, or (-x-2)^2(x+2)
= 0.
(-x-2)^2(x+2) = 0 gives: (x+2)^2(x+2) * (-1)^2x =
0.
=> (x+2)^2(x+2) =
0.
=> y^2y = 0. There is no number for which y^2y
=0, as 0^0 is undefined.
Therefore x = 0 is
the only zero of P(x).
We'll impose the constraints of existence of square
roots:
x - 1>=0
x
>= 1
2 -x >=0
x
=<2
The interval of admissible values for x is [1 ;
2].
Now, we'll solve the equation. We'll subtract sqrt(2-x)
both sides:
sqrt(x-1) = 1 -
sqrt(2-x)
We'll raise to square both
sides:
x - 1 = 1 - 2sqrt(2-x)+ 2 -
x
We'll combine like terms:
x
- 1 = 3 -x - 2sqrt(2-x)
We'll subtract 3 - x both
sides:
2x - 4 =
-2sqrt(2-x)
We'll divide by
-2:
2 - x = sqrt(2-x)
We'll
raise to square both sides:
4 - 4x + x^2 = 2 -
x
We'll subtract 2 - x:
x^2 -
3x + 2 = 0
(x-1)(x-2) =
0
x-1=0
x =
1
x-2=0
x
= 2
Since both values belong to the interval
of admissible values, we'll accept them as solutions of the
equation.
As a literary device, irony is the general name given to
such techniques that involve surprising, interesting, or amusing contradictions. With
verbal irony, words are used to indicate the opposite of their
usual meaning. Here are some examples of this type of irony (the verbal irony is how
Scout expresses her comments on the situations, which may in themselves also be
ironic):
Chapter
One
1. Scout as narrator relates that her
father went to Montgomery to learn law; later when he was admitted to the bar, he
returned to Maycomb and began his practice. However, during his first five years,
Atticus "practiced economy more than anything."
[What Scout really means is that Atticus had little business
and had to economise because he was poor.]
2. So
Jem received most of his information from Miss Stephanie
Crawford, a neighborhood scold. [In actuality, Jem
is
misinformed.]
Chapter
Two
3. After Scout reads for Miss Caroline,
the teacher tells her that her father does not know how to teach. Scout
narrates,
I
never deliberately learned to read, but somehow I had been
wallowing illicitly in the daily
papers.
[Scout
does nothing wrong when she reads the papers She says this to ridicule Miss Caroline's
comment about Atticus.]
4. When she is scolded for
writing, rather than printing, Scout remarks, "Calpurnia was to
blame for this." [Thanks to Calpurnia who placed the written
letters on a tablet before her, Scout has practiced handwriting on rainy days and
learned before third grade.]
Chapter
Three
5. After her scoldings by Miss
Caroline and Calpurnia, Scout thinks of running away if she must refrain from reading
and writing. However, she remarks,
By late afternoon most of
my traveling plans were complete. [ She has abandoned thoughts
of running off]
For, she and
Jem race each other to greet their father who comes from his
office.
It seems that there is the element of fear in that ad.
Losing a hand would be devastating to young and old, alike. Psychologically, it seems to
show how absurd it would be to continue smoking even with an amputated hand. Losing a
hand would mean a huge disability no matter what the age of the person is. Think of all
of the reasons having a hand is so important in terms of career, day to day activities,
education, sports and being independent in general. Traditionally, most non-smoking
campaigns target the lungs and show how the lungs look in a smoker's chest. This seems
to be a different route to illustrate the negative effects that smoking cigarettes can
have on a person's health.
In this poem, the poet discusses things that are shining
and why she loves them. All of the first examples are form nature, such as the moon,
stars, sun, glow-worms, butterflies, and a cat’s eyes. The next examples are man-made,
including beads and candles. The theme is that we need to find and enjoy beauty around
us. The poem ends with the line, “The beauty of all shining things is yours and mine/It
was a lovely thought of God to make things shine.” The implication
for theme is that we should enjoy the world and each other.
The poem "Out, out --" by Robert Frost is titled as an
allusion to a passage from Macbeth by Shakespeare. In the allusion
passage, Macbeth is commenting on the fragility of life, and the meaningless of death.
The dramatic situation of this poem is about a teenage boy who is "doing a man's work"
on the family farm. He is just about done for the day when the chainsaw in his hands
"leaps" from his control and cuts off his hand. He is in such shock as what has
happened that his first instinct is to laugh, but then the speaker tells us the that
"the boy saw all." This suggests that he sees all of the reality of the situation: he
has lost his hand; he sees that he is losing a lot of blood; he sees that he is in deep
trouble. Once the doctor arrives, he puts the boy under the anesthetic, ether. Then,
shockingly, the boy dies! As they are checking his pulse and breathing, they see his
life just quickly fade away. The death of the boy who died too young is a clear
connection to the Macbeth speech -- his life was blown out like "a
brief candle." (Which is the line of the allusion.) While the death of the boy is
troubling, what is more disconcerting is the last two lines of the poem. The speaker
relates to us that "there was nothing more to build on there." It sounds rather
dismissive of the boys life and his death. This attitude is compounded in the last line
where we learn that those around the boy, went "back to their affairs." This could mean
that they did what they had to do to deal with the dead body, but it sounds more like
they just walked away because there was nothing more to do and went back to whatever it
was they were doing just before the accident. If that is the case, it is a further
connection to the Macbeth speech where Macbeth says that life is "a
tale, told by a fool, full of sound and fury, signifying nothing." Could that be true
for the young man? Is his too short life, his foolish/accidental death, and the
aftermath just meaningless in the bigger picture? Frost certainly leaves his readers
with something to think about here.
To find out the extreme value of a function, we'll have to
calculate the first derivative of the function.
Let's find
the first derivative of the function
f(x):
f'(x)=( 4x^2-8x-18)'=(4x^2)'-(8x)'-(18)'
f'(x)=8x-8
Now we
have to calculate the equation of the first
derivative:
8x-8=0
We'll
divide by 8:
x-1 =
0
x=1
That means that the
function has an extreme point, for the critical value
x=1.
f(1) = 4*1^2 - 8*1 -
18
f(1) = 4 - 8 -
18
We'll combine like
terms:
f(1) =
-22
The extreme point of the function is a
minimum point whose coordinates are: (1 ; -22).
Wuthering Heights, by Emily Bronte,
is a story that spans two generations.
At the story's
beginning, Mr. Earnshaw, who is the master at Wuthering Heights, one day brings home an
orphan from Liverpool. He intends to raise the boy, Heathcliff, as one of the family.
Heathcliff and Catherine, Earnshaw's daughter, become very close. Hindley, her brother,
is jealous of the attention his father shows Heathcliff. He goes off to school and Mr.
Earnshaw dies. Hindley returns to Wuthering Heights, its new master, with a wife.
Hindley loses no time in treating Heathcliff like a
servant.
Catherine, who was injured by a dog bite and must
stay at the neighboring Grange for five weeks, returns greatly changed in dress and
manner. She seems a stranger to Heathcliff, and treats him differently. Eventually
Heathcliff runs away, but when he returns, he is educated and has money. He is intent on
vengeance.
In the meantime, Catherine has married Edgar
Linton who lives at the Grange. From this point on, Heathcliff does all he can to win
Wuthering Heights for himself: he is obsessed with the idea. He wins the estate from
Hindley through gambling, and ultimately marries Isabella, Edgar's sister, for her
inheritance. Heathcliff does all of this for the sake of Wuthering Heights. Isabella
finally leaves him, in fear, and moves far away, giving birth to a frail baby
boy.
Catherine and Heathcliff renew their friendship, much
to Edgar's distaste. Heathcliff goes to visit her one day—she is very pregnant. When
Edgar returns home, Heathcliff is holding the unconscious Catherine who has fainted. She
gives birth to a daughter without ever waking up, and then she dies. Both men are
devastated. Heathcliff forces Edgar to allow Hindley's son (at Hindley's death) to live
with Heathcliff, still intent on revenge for the way Hindley treated
him as a child. When Isabella dies, she sends her son, Linton, to
Edgar, but Heathcliff demands to have his own son with
him.
Heathcliff raises the children;
he is still intent on controlling them so that he can control the Heights. One day,
Catherine's daughter, young Catherine, happens to meet Heathcliff, Hareton, and see
Linton again. After a time, when Catherine visits the Heights, Heathcliff forces her to
marry Linton. When she runs home to be with her dying father, Heathcliff forces the
unwell Linton to sign all of his and Catherine's property over to Heathcliff. Young
Catherine returns in time to nurse her dying husband. When Linton passes, she is alone
and must live at the Heights.
The story began with a
traveler from London—Lockwood—learning about Wuthering Heights from the servant Nelly.
When he returns some months later, Heathcliff has died, and Catherine and Hareton are in
love.
In his last days, Heathcliff was haunted—as he had
wished—by Catherine's ghost. When he dies, Heathcliff was buried
next to Catherine, with both sides of their coffins open so that over time, their ashes
could intermingle. At last, they were
"reunited."
Heathcliff loved Catherine from the time he was
a child. I think he wanted her in his life more than anything because she accepted him
for who he was and genuinely cared about him when they were children. When he lost
her, the only thing he could have was Wuthering Heights, and it
brought him no satisfaction. His obsession hurt a lot of innocent people, and never made
him happy, but I believe his obsession with Wuthering Heights helped him to ease his
sense of loss in losing Catherine.
The speaker, the fictional Ulysses, is speaking to an
implied audience in Tennyson's poem named after him. The poem is a dramatic monologue,
although the silent listener is an implied audience--so there is more than one silent
listener.
Ulysses says "You and I are old." The "you,"
here, is presumably plural. He may be addressing his former followers who returned home
with him after his adventures, although this would alter the story as written by Homer
in The Odyssey."
Ulysses also
addresses his audience as "my friends." Thus, the reader knows he is addressing more
than one person. The poetic dramatic monologue form was new at the time Tennyson wrote
the poem, so the convention of only addressing one silent listener was not well
established.
In short, then, Ulysses is talking a group of
followers, old men as he is, into going on an adventure with
him.
We'll note y^2 + 3 = t
We'll
re-write the equation in t:
t + 12/t =
7
We'll multiply by t both sides, after that, bringing all
terms to one side:
t^2 + 12 - 7t =
0
We'll re-arrange the
terms:
t^2 - 7t + 12 = 0
We'll
apply quadratic formula:
t1 = [7 + sqrt(49 -
48)]/2
t1 = (7+1)/2
t1 =
4
t2 = (7-1)/2
t2 =
3
But y^2 + 3 = t
For t =
4=> y^2 + 3 = 4
y^2 = 4 -
3
y^2 = 1
y1 = 1 and y2 =
-1
For t = 3 => y^2 + 3 =
3
y^2 = 0
y3 = y4 =
0
The real roots of the equation are: {-1 ; 0
; 1}.
Ophelia only has a few scenes in the play, so it is
difficult to "get in her head" to see what she desires for herself to any great degree,
but from what we see, it easy to recognize that she loves and respects Hamlet, and wants
what is best for him.
When we first meet her she has two
separate conversations about her relationship with Hamlet, one with her brother Laertes
and one with her father. In both instances, she speaks highly of Hamlet and his
intentions toward her. Laertes has only her best interests at heart when he warns her
that Hamlet may not be able to choose her because he is a prince and therefore, "his
will is not his own." Ophelia listens, but doesn't argue. When her father disparages
Hamlet's character, suggesting that Hamlet is only using Ophelia and isn't sincere in
his affections, she interupts him in at least three places to defend Hamlet's actions
towards her. Ophelia is loyal to Hamlet and their
relationship.
That said, she does obey her father and end
her contact with Hamlet and allow herself to be used in attempting to draw out Hamlet to
determine what is wrong with him, but I defend her by thinking that she probably thought
she was doing a good thing. If Hamlet has truly gone mad, then maybe she can get to the
cause of the madness and help to restore him. A review of her lines in the famous "Get
thee to a nunnery scene" reveal this belief. As Hamlet is ranting at her she isn't
defending herself, she is praying for Hamlet's sanity/reason to be restored. She says
things like, "O, help him, you sweet heavens" and "O, heavenly powers restore him."
When Hamlet leaves the scene, her short soliloquy reveals how heartbroken she is that
the "noble mind" she once knew is "quite
overthrown."
During the play-within-a-play scene she is
likely perplexed by Hamlet's bawdy talking to her. She could either be disgusted or
amused, but there is no extension of her reaction; so the audience is left to speculate
there.
The last times we see Ophelia are in Act 4 when she
has lost her mind. The subject of her songs reveal her despair over the loss of her
father, killed by the man she loved. She also reveals how upset she is over the end of
relationship with Hamlet. In her madness, I am not sure we can suppose what she
desires, except perhaps that none of these events would have happened. Her suicide is
even left a bit open ended. Did she seek death (desire to die) or did she just let
herself drown in her madness?
In Chapter XXXIV of Great
Expectations, Pip begins to realize that his "great expectations" have been
delusionary. In moments of increasing maturity, Pip reflects that he may have had a
happier life if he had never met Miss Havisham, for then he would have been content
with being apprenticed to Joe and living on the forge. As he sits in the evening gazing
into his fire, Pip feels that there was "no fire like the forge fire and the kitchen
fire at home."
With this realization of the illusionary
properties of his new life in London, Pip learns in the following chapter, Chapter XXXV,
that Mrs. Joe has "departed this world." Pip's reaction to this sad news is a
"shock of regret without tenderness." That is, he feels rue
that he has lost his sister and wishes that he could have pursued Orlick, whom he
suspects of having murdered her. At the same time, his memories of Mrs. Joe are touched
with the recall of Tickler, and the harsh treatment that she dealt him as a child.
However, these memories are softened some by his assessment of his own shortcomings; so,
he hopes that when he, too, dies, others will soften their memories of him. These
reflections also indicate the new maturity of Pip.
Whether a tragedy or not , Eugene O'Neill's play ,
Desire Under the Elms , is surely a drama of passions , dealing
with love , hate , revenge , working out quite controversially the themes of incest ,
infanticide and intense possessiveness.
Ephraim's bid to
dispossess his son , Eben , from the inheritence of his mother's land , Eben's mother
being overworked to death , Eben's clever alluring modus to drive his two half-brothers
from their father's farmland , the love-hate tumult between Eben and his father's young
wife Abbie , the smothering of the incest-born child of Eben and Abbie, the catastrophic
isolation of old Ephraim--all suggest the reduction of human beings to the level of
promordial savagery and passions.
The play may not be
called a true tragedy though O'Neill has borrowed motifs and structure from ancient
Greek tragedies. Characters are all passion-driven, and may be said to lack tragic
depths and heights. The conclusion seems more pathetic than truly
tragic.
Your question certainly goes to the heart of this
excellent story and what Bradbury has achieved by it. Note how at the beginning the
house is presented as a complete organism that ironically does not need humans at all to
keep on functioning. Robotic clocks carry on announcing the wake-up call, mechanised
kitchens keep on churning out meals and the house robots clean and maintain it every day
according to a strict schedule:
Out of warrens in the wall, tiny robot mice
darted. The rooms were acrawl with the small cleaning animals, all rubber and metal.
They thudded against chairs, whirling their moustached runners, kneading the rug nap,
sucking gently at hidden dust. Then, like mysterious invaders, they popped into their
burrows. Their pink electric eyes faded. The house was
clean.
Bradbury thus
emphasises the state of technological sophistication that mankind has reached in this
future world. However, it is incredibly noteworthy that this story is probably one of
the few I have ever read that does not have any human characters in it. The minds that
designed such incredible technology are all gone, the only momento of their existence is
the "five spots of paint" on the wall marking the members of the family whose house is
the focus of the story.
In addition, let us not forget the
massive irony of the title of the story. The poem that gives the story its title is all
about the ephemeral nature of humanity, and how we are temporary in the large scheme of
things, and how, when we do eventually die out, Nature will "scarcely know that we were
gone."
Thus, through irony, Bradbury points out that
technology can be dangerous in making us think more of ourselves than we should, and
ignoring our fragile and transient state as beings on a planet. All such technology is
very laudable, but let us not forget that the same minds that made robotic cleaning mice
also made atom bombs capable of wiping ourselves out so
completely.
What if you wrote to Finny and then to the other boys at
the school who are close to Finny? Gene hurts this group the
most.
I would not say "Dear Phineas" because Gene almost
always refers to Finny by his nickname. So after you address him as "Dear Finny," you
could use your first paragraph to discuss what Finny means to Gene and how much he
misses him as his roommate and friend at Devon. After that, it would be appropriate to
get into the apology--what exactly Gene did, why he thinks he did it, and a petition for
Finny's forgiveness.
In regards to writing the other boys,
Gene could address it to the Super Suicide Members. This letter should be similar to
the letter to Finny in that Gene admits to what he did, discusses how he realizes that
by causing Finny's injury, he took away someone who was a true friend to all the boys at
Devon, and again ask for their forgiveness. Since Brinker seems to enjoy formal
processes, Gene could make this letter almost like a resolution listing steps that he is
willing to take in order to make everything right.
Good
luck--it sounds like an interesting assignment. You might want to use the link below to
get a better understanding of Gene.
The two terms, "Green revolution" and "green movement"
refer to two very different things. Green revolution refers to rapid increase in
agricultural production in countries like India that took place in second half of the
twentieth century by adoption of advanced farming technology and new varieties of
crops.
Green movement on the other hand refers to a wide
ranging initiatives undertaken around the globe to protect the environment, particularly
the natural resources such as green cover of forests and other flora and fauna of the
world. The word green in both the term is derived from the predominantly green colour of
all kind of vegetation, which is closely identified with agriculture as well as the
natural flora of the world.
I do not think that there is
much of similarities between the two programs. As a matter of fact the two can be
opposed to each other in some areas. For example, increased use of insecticides promoted
in green revolution conflicts directly with the need reduce environmental pollution due
to use of insecticide. Also usually increase in agricultural production may involve
clearing some of the current forest land and other sites of natural vegetation and
converting them in farm lands. This is also directly in conflict with green
movement.
However perhaps there is considerable scope for
collaboration between green revolution programs and green movement to find ways of
developing programs that achieve objectives of both
simultaneously.
We have to prove that the functions f(x) = sqrt (x^2 + 5)
and g(x) = (2*sqrt x – 1)^2 grow at the same rate as x
-->inf.
Two functions grow at the same rate if [lim
x--> inf ( f(x) )] / [lim x--> inf ( g(x) )] = constant not equal to
0.
Substituting the functions we have
here:
[lim x--> inf (sqrt (x^2 + 5))] / [lim
x--> inf ((2*sqrt x – 1)^2 )]
=> lim x
--> inf [(sqrt (x^2 + 5)/(2*sqrt x – 1)^2 ]
divide
the numerator and denominator by x
=> lim x
--> inf [[(sqrt (x^2 + 5)/x] / [(2*sqrt x – 1)^2/x]
]
=> lim x --> inf [[(sqrt (x^2/x^2 + 5/x^2)]
/ [(2*sqrt x / sqrt x – 1/ sqrt x)^2] ]
=> lim x
--> inf [[(sqrt (1 + 5/x^2)] / [(2 – 1/ sqrt x)^2]
]
As x --> inf , (1/x) -->
0
=> [(sqrt (1 + 0)] / [(2 –
0)^2]
=> 1 /
4
As 1/ 4 is a constant and not equal to 0,
the two functions grow at the same rate as x-->
inf.
On a moonlight summer night, Dill, Jem and Scout venture
into the Radley backyard in order for Jem and Dill to look through one of the dark
windows of the Radley house and discover what they can. However, as Jem climbs one of
the steps, there is a prominent squeak. Scout, waiting for the boys, now perceives the
shadow of a man with a hat, a shadow that crosses before Jem. Then, it turns and goes
to the side of the house where it reenters as it has come. Terrified, Jem leaps from
the porch and he and Dill attempt to flee, but Jem catches his pants on the fence. He
writhes out of them after hearing the blast of a shotgun over his
head.
Knowing that the neighborhood will come into the
street with this thunderous sound, the children sidle beside Miss Maudie, unobserved at
first. However, Atticus notices that Jem has no pants. But, glibly Dill lies, saying
that he won them in strip poker. Jem, too, lies to mitigate the horror of Dill's aunt
that they were gambling; Atticus tells him to retrieve his pants from Dill. Of course,
Jem feels he must secretly return to the Radley's for his pants lest Atticus learn of
his lie. So, he sneaks out and Scout waits for him to return. He does;
however, instead of his pants awkwardly suspended from the Radley fence, they are neatly
folded over the fence for Jem's return. Jem discovers them there and realizes, too,
that they have been roughly repaired. Scout remarks,
"--somebody knew you were comin' back for
'em."
"like somebody was readin' my
mind..."
Jem shudders at the
thought. The children are further spooked as they consider that someone knew what Jem
would do.
Reinforcement
schedules
Continuous
Reinforcement
Occurs when the reinforcement
is given every time the behavior is down; reinforcing the desired response every time it
occurs.
Extinction may occur; when we stop delivering food
every time the rat presses the bar (the behavior soon
stops)
Partial (intermittent)
reinforcement
Reinforcing a response only
part of the time; reinforcement is not given after every behavior; much greater
resistance to extinction
Fixed-Ratio
schedules
Reinforces a response only after a
specified number of responses (after a set numbers of behaviors;
ratio)
Variable- Ratio
Schedule
Reinforces a response after
unpredictable number of responses, produces high-rate of responding; reinforcers
increase as the responses
increase
Fixed-interval
schedules
Reinforces a response only after a
specified time elapsed
Variable-interval
schedules
Reinforces a response at
unpredictable time intervals; slow steady responding
Gatsby knows that the only way to Daisy's heart is through
money and objects. He begins his seduction at Nick's, and to do so effectively he must
be sure that the stage is set. It would not so to go back to courting Daisy as a
commoner. He was once at Nick's level financially and Daisy discarded him because of it.
Now, he wants to prove to her that he has all that she desires and can give her all that
she wants. He starts his seduction at Nick's, then brings her to his own home where he
shows her all of his expensive things (think about the scene in the bedroom with the
expensive shirts). Gatsby hopes that, by showing Daisy that he has more than even Tom
has in terms of money and possessions, that Daisy will remember that she was once,
supposedly, in love with him and will return to him.
The limit `lim_(x->0) (1-cosx)/x^2` has to be
determined.
If we substitute x = 0, the result
`(1-cosx)/x^2` is the indeterminate form `0/0` . In this case it is possible to use
l'Hospital's rule and replace the numerator and denominator with their
derivatives.
`(1 - cos x)' = sin
x`
`(x^2)' = 2x`
The limit is
now:
`lim_(x->0) sin
x/(2x)`
If the substitution x = 0 is made here, the result
is again the indeterminate form `0/0` . Using l'Hospital's rule, replace the numerator
and denominator with their derivatives. This
gives:
`lim_(x->0) cos
x/2`
Substituting x = 0 gives the result
1/2.
The limit `lim_(x->0) (1-cosx)/x^2 = 1/2`
.
The short story "To Build a Fire" has as its main theme
Man vs. Nature. In this story, the juxtaposition of the man with the dog points to the
strength of animal instinct against the rationality of man. So, the absence of a name
for the character extends him from the particular to the general--Jack London's intent
in this naturalistic story in which a human being is subject to natural forces beyond
his control.
Against the advice of the "old-timer," the
man, whose "trouble...was that he was without imagination," ventures out on a nine-hour
trek across the Klondike. With him trots a dog,
a big native husky, the proper wolf dog,
gray-coated and without any visible or teperamental difference from its brother, the
wild wolf....Its instinct told it a truer tale than was told to the man by
the man's
judgment.
Clearly,
the natural forces, ones that the man ignores, win out against the human who ignores an
intuitive sense that he may have.
As a naturalist, Jack
London was among a group of writers who went beyond realism in an attempt to portray
life exactly as it is. Naturalists were infuenced by Charles Darwin's theories of
natural selection and suvival of the fittest which held that huan behavior is determined
by heredity and environment. Relying on new theories in sociology and psychology, the
naturalists dissected human behavior with detachment and objectivity, like scientists
dissecting laboratory specimens. "To Build a Fire" is the recording of such an
"experiment." And, as such, there is no need to give the man a name, since he
represents any man who behaves as he did, any man who does not understand that fur and
instinct are necessary for survival in the Klondike in the
winter.
Edgar Allen Poe is famed for his short fiction which
characterises the word Gothic so excellently. Gothic is a term used to describe literary
works that contain supernatural, wild or/and mysterious and natural elements. The
majority of Gothic fiction is characterised by gloomy, depressing and scary settings and
an overwhelming atmosphere of terror and mystery. The shorter fiction of Poe is Gothic
because it combines the gloomy setting with action that creates terror and fear in our
hearts as we read it. Consider how "The Fall of the House of Usher" opens, for
example:
During the whole of a dull, dark, and soundless
day in the autumn of the year, when the clouds hung oppressively low in the heavens, I
had been passing alone, on horseback, through a singularly dreary tract of country; and
at length found myself, as the shades of the evening drew on, within view of the
melancholy House of
Usher.
Note how the setting,
the "dull, dark and soundless day" combined with the clouds and the season of autumn
combine to create a gloomy atmosphere, perfectly preparing us for the horrors that
follow in this tale. Of course, the mysterious connection between Roderick and his twin
sister, Madeline, and the terror of her "resurrection" and her final union with her
brother, combined with the destruction of the House of Usher, presents themes of
mystery, evil and the supernatural that remain unexplained and ambiguous. This, in a
sense, is another aspect of Gothic literature: it always leaves us with questions,
unsettled and wondering. Gothic literature as in the short stories of Poe leave us
doubting our perception of the world. They rob us of easy answers that can explain away
the marvels that we have read and profoundly unsettle us.
A longer day at school does not mean that the students
have learned any better, nor any more.
What defines quality
education is not quantity. In fact, the best moment of the day to actually acquire
information is the morning hours. Most students are already tired, their medication
gone, or just not motivated enough in the afternoon.
What
they need to do is shorten the day to 5 full hours of learning, and then take 3 hours of
diverse enrichment and re-teaching if needed, plus good activities for incidental
learning.
In "An Acre of Grass," Yeats' speaker is an old man who
believes that books are his "acre of grass." Because he is an old man, he can no longer
run around outside to keep fit; his "strength of body" has left him. However, his mind
has not. At the end of the poem, he calls it "an old man's eagle mind." He's no longer
able to keep his body sharp and strong, but he can keep his mind in top
form.
In illustration of the books he turns to, Yeats
mentions the great literary artists. For instance, he mentions, King Lear, one of
Shakespeare's most tragic figures. He mentions the literary giant William Blake and the
great painter Michelangelo. Through these minds, which he can still read about and which
can still inspire him, he is able to keep his mind "inspired by
frenzy."
Symbolically, the old man desires to become these
different people. It's not enough to read about them. In the case of King Lear, I would
imagine that the old man would want to learn from Lear's mistakes and continue on to
"make the truth known." The advantage he has as an old man is wisdom. That is where his
"eagle mind" will ultimately help him. Coupled with the "frenzied" motivation of time
running out, he can still become the person he always wanted to
be.
The image of the folded pants symbolizes nurturing and
loving care. Just as a parent might fold the pants of a child and leave it on the bed
for him, ready to wear, so someone, whom the reader later discovers is Boo Radley, has
neatly folded Jem's pants and left them for him to pick up later. The image is ironic,
in that it suggests that things may not be exactly what the children expect them to
be.
Jem, Scout, and Dill are terrified of Boo Radley, and
the unknown (and perhaps imagined) dangers that lurk in his house. Although they
themselves have never had the opportunity to interact closely with the him, neighborhood
gossip and lore feed into the belief that unwholesome forces are at work in the house,
and should be avoided at all costs. Their perception of the reclusive Boo is of a
malevolent man who is a danger to them.
In reality, Boo
Radley is a lonely man with a vast sense of humanity, and though he keeps himself
hidden, he watches the children, and watches over them as well. He
is the protector, as he proves later when he saves Scout and Jem from Bob Ewell's
attack; the image of the folded pants symbolizes his benevolent nature, and foreshadows
that, like a mother hen, he will take care of his children.
F. Scott Fitzgerald's novel The Great Gatsby is at times a
snapshot of The Jazz Age, and, as such the characters reflect the dissolute and the
disembling of this era. In many ways, they have chosen to create their own realities,
much as people of modern times
do.
Gatsby is certainly
involved in both deception and self-deception as he displays his new wealth in material
possessions and evening gayla with friends whose names he does not know. Yet, he
himself is deceived in his pursuance of an illusionary "American Dream" of wealth and
love, both of which prove false. Daisy, whose voice "sounds like money" is impressed
with this many colored shirts and his car, but vacillates in her profession of love for
him. But, Gatsby, who does have real books inside the leather covers in his library, as
Owl Eyes has discovered, is basically genuine; he chooses the deceptive life in order to
reach the illusionary green light at the end of Daisy's pier, in order to attain
her.
Daisy, like her name
appears pure and sweet in her white dresses that mirror the flower whose name she
bears. Yet, as the "golden girl" and one who loves money and is materialistic and
shallow, she is much like the center of her flower--yellow, the color of corruption and
gold.
Tom Buchanan involves
himself with deceiving Mrytle Wilson into believing that he actually cares for her and
thinks of her as an equal, but when she dares to criticize his class, he blackens her
eye. He attempts to deceive his wife with this tryst with Mrytle, of course, while
adding to his deception of others by dressing like the country gentleman in riding
attire. Perhaps, his most villainous deception is that of leading Mrytle's husband to
believe that Gatsby has driven "the death car." Tom's concept of reality is that it can
be manipulated by those who are most powerful, an idea he certainly suggests in his
promotion of his own race to maintain control of
society.
Meyer Wolfsheim's
name indicates much about him. He is a predatory man who uses Gatsby to further his own
wealth, caring nothing for the dreamy Jay Gatsby. As a foil to Gatsby who is loyal to
Daisy, Woflsheim has no deceptions of honor or the like in his morally corrupt soul. His
main deception is in his creation of a business that is outside the parameters of
legitimacy and the real business world, but he knows himself and is wary of others.
Wofsheim's perception of reality is at its most sordid; he is paranoid as he knows there
are others wolves waiting to devour him. His cuff links, two molars, suggest this
idea.
To know the mind of a bird , one should at least be a
bird. Keats attributes the state of aesthetic -delight on the nightingale .It is
forgetful of the world of suffering , betrayal , and death .It lives in its ecstasy .As
the bird signifies Keats' concept of art and immortality , so does it possesses the
beauty of life .
In the poem no hungry generations tread it
down .From remotest past to the times of the poet , and further , it continues on its
glory of joy .The Biblical Ruth , medieval -emperors , maidens captivated by wicked
magicians , - got soothed and delighted with the bird's music .Certainly , the poet does
not mean an individual bird .From age to age the same trend of music perpetuates .This
implies that the stage of art achieved by an artist remains the same
.
The poet for achieving the state of the bird , tries to
send his senses into sleep .With the wings of imagination , he stations himself to the
bower of the bliss where the bird is singing with full-throated -ease
.
There are a couple of things that could be pointed out as
the cause, but it is difficult to know exactly why without perhaps being able to consult
with Fitzgerald himself, who apparently made all the decisions about the narrative! In
some ways you might also argue that Nick hasn't entirely broken the story at this
point.
But he does begin to realize that Gatsby isn't
everything he is cracked up to be, given that he remembers him from the war and
previously and knows that his background could be fleshed out but isn't. Gatsby allows
the rumors to fly.
Perhaps the reason why Nick begins to
flesh things out is that he cannot wait much longer if there is to be a dramatic build
up until everyone else finds out the whole story. It also helps to set up the reasoning
for why Daisy won't actually totally fall for Gatsby as there has to be a connection to
his less than high-class past for that to become the strong theme that it
does.
Its themes make it universal and timeless. There is fear,
racism, prejudice, superstition, betrayal, love, hatred, lust, loyalty, and power. All
of these themes are still around today, and play a large role in all of our lives. It
tells a story where a bunch of people, who are afraid of getting in trouble, blame
someone else. That is something that happens all of the time, that all of us have
done. Others, who are upset because of their life circumstances, look for answers and
other sources for their pain. We do that too.
Another
things that makes this play universal is the characters. They seem like real,
well-rounded characters with strengths and weaknesses that we all can relate to. John
is a stubborn, proud man who is trying to fix mistakes that he has made and do the right
thing. He is real, grounded, and relatable. Abby is a very dynamic and dividing
character, easy to hate and a perfect villian on which to fix our
frustration.
A last way that this story is timeless is that
its major theme, that of a witchhunt, is still applicable today. In the 1950's, we had
the red scare, in the 1980's we had the cold war, and even today in underdveloped parts
of the world, actual witch hunts are still happening. Mass hysteria continues to
ransack towns hit by disaster, and even sporting
events.
Because of its applicable themes, great characters,
and recurring situations, this play is timeless, and a great tool for discussion and
connections in classrooms.
I suspect you are referring to Act III, scene i, just
after the Conspirators have murdered Caesar. Antony has made himself scare and sends
his servant ahead of him to ask the Conspirators if he might speak with them. There is
no letter, that I can see, involved. Also, when you say "he," I'm assuming that you
mean the servant, but will also look at what Antony says upon his entrance into the
scene at line 147.
Here is the upshot of the servants
words:
Thus, Brutus, did my master bid me
kneel,
Thus did Mark Antony bid me fall down,
And,
prostrate, thus he bade me say. . .
Say I love Brutus and I honor
him;
Say I fear'd Caesar, honor'd him, and loved him.
If Brutus
will
that Antony
May safely come to him and be
How Caesar hath deserved to lie in death,
Mark Antony shall not
love Caesar dead
So well as Brutus living, but will follow
The
fortunes and affairs of noble Brutus
Thorough the hazards of this
state
With all true faith. So says my master
Antony.
So Antony, by way of
his servant, says a few things. First he directs the servant to prostrate himself
before Brutus, something one would usually do before royalty. In this way, he flatters
Brutus as a "kingly" figure. The servant then describes how Antony loved Caesar, but
will devote himself to Brutus and his cause if the
Conspirators can satisfy him as to why Caesar "deserved to lie in death." In effect, he
pledges to be a loyal follower of Brutus as he was a loyal follower of Caesar. The rest
of the play and history lets us know that this is simply not true. It must be a ruse, a
ploy, and part of Antony's scheme to overcome the Conspirators and gain power
himself.
Upon his entrance after Brutus and Cassius agree
to hear Antony, he has a speech in which he bids goodbye to Caesar and all but dares the
Conspirators to kill him also if they wish, saying:
I do beseech ye, if you bear me hard,
Now, whilst your purpled hands do reek and smoke,
Fulfill your
pleasure. Live a thousand years,
I shall not find myself so apt to
die.
When they do not, Antony
proceeds to "bloody" his own hands by shaking the bloody hand of each conspirator, all
the while plotting his own ascension and revolt against Brutus and his
co-conspirators.
For more on Antony and this scene, please
follow the links below.
This poem is based around two central comparisons that the
speaker of the poem makes between herself and then a tree and a flower. It is this sense
of kinship--or the lack of it--that is explored through the poem. Note how in the first
stanza, the speaker begins by stating how she is different from these two objects. The
speaker says that she is "not a tree with my root in the soil" and likewise she is not
"the beauty of the garden bed." The speaker, by using these negative metaphors to
describe what she cannot be compared to, distances herself from these lovely and
fruitful images. She is not like a tree that will "gleam into leaf," and neither is she
beautiful and a sight that attracts the appreciation of others. Her desire is to have
the "longevity" of the tree and the "daring" of the flower. It says a lot about the
speaker that seeing nature makes her aware of her deficiencies. However, it is at night
when the speaker imagines lying down that she can be "useful" and have communion with
these aspects of nature:
It is more
natural to me, lying down.
Then the sky and I are in open
conversation,
And I shall be useful when I lie down finally:
The the
trees may touch me for once, and the flowers have time for
me.
Is this a veiled reference to death
and how our dying brings us closer to nature when we become one with the earth? Lying
down "finally" perhaps would indicate this. Certainly a lot of Plath's poetry uses
imagery and symbolism relating to death and dying, so perhaps this is
possible.
The mechanical hound is clearly described as a deadly
predator designed specifically to hunt down and immobilise prey. When we are first
introduced to the mechanical hound that is kept in the fire station, we are told how to
amuse themselves the firemen would let loose rats or other animals in the firestation
compound and watch the ensuing carnage:
The animals were turned loose. Three seconds
later the game was done, the rat, cat, or chicken caught half across the areaway,
gripped by gentling paws while a four-inch hollow steel neeedle plunged down from the
proboscis of the Hound to inject massive jolts of morphine or
procaine.
Of course, we see
how the hound operates with a human at the end of the story, when the hound catches a
man who is depicted to be Montag and leaps up into the air, before seizing this poor
figure and injecting him in the same way that the animals are injected and
killed.
The stock market crash of October 1929 caused a banking
crisis largely because of the amount of money that had been borrowed to buy
stocks.
During the 1920s, banks loaned out large amounts of
money to people who wanted to use the money to buy stocks "on the margin." The people
would provide something like 10% of the stock's value and then borrow the other 90% from
an investment firm or bank. The banks were eager to loan because they had needed to
offer high interest rates to attract depositors.
As long as
the stock prices continued to rise, this was fine. People would pay the loans back with
profits from their stock sales. But when the stock prices fell, the banks lost their
money because people who had borrowed could not repay the loans. When the banks lost
their money, they failed.
The failure of the banks, caused
by excessive lending to people who were buying stocks on the margin, is why the stock
market crash provoked a banking crisis.
Caliban is certainly one of the most intriguing characters
in this play. He is variously abused and insulted by the other characters, but we learn
most about his background from Prospero, whose prejudice is self-evident. Note how he
refers to Caliban as "Thou poisonous slave, got by the devil himself / Upon thy wickend
dam." Although Prospero and Caliban, by Caliban's own ackowledgement, at first were
friends, his attempt to rape Miranda quickly ended that. Caliban interestingly does not
attempt to deny this charge, merely bemoaning his lack of success, dreaming about
"peopling" the island where the play takes place "with
Calibans."
Caliban is thus enslaved by Prospero. However,
he is also deceived and enslaved in similar way by Stephano and Trinculo. Interestingly,
his motives for committing murder are clearly shown to be not as terrible as the plan to
kill of Antonio and Sebastian, offering an interesting moral
comparison.
Thus, when we consider Caliban, we see that he
is exploited and abused by other characters. Whilst we can definitely say his actions
show he deserves some of this treatment, at the same time we might emerge feeling more
sympathy for Caliban than for other characters. Interestingly, many modern productions
cast him in a very sympathetic light, using Caliban to comment upon the evils of
colonialism.
The lines that you quote here come from the very beginning
of the book. At this point, the nobleman has seen Shasta and wants to buy him from his
"father." The "father" is trying to get the nobleman to give him more money for
Shasta. This is when he says the line you quote to the
nobleman.
The meaning of the line is that people's children
(and the love between them and their children) are more valuable to them than material
goods. The "natural affection" mentioned here is the love between parents and
children. We are told that it is more valuable than food. A "carbuncle" is a jewel.
We are told that people's children are more valuable to them than
jewels.
This would be a touching speech if it were not for
the fact that we know that Shasta's "father" is not sincere about what he is saying. He
is just trying to get more money for selling Shasta.
Hemingway uses the setting as a metaphor for the couple's
relationship. What the setting tells us is that, while both parts of the view are part
of the same landscape, the parts are are divided from each other. What the metaphor of
the setting tells us about the characters is that, while they are a couple and
metaphorically part of the same landscape, they are as divided as the landscape. This
foreshadows the unwritten outcome of the debate they are having and of their
relationship. It also tells us that one individual in the couple represents a position
that equates to a landscape with no trees and no shade (but this does not indicate which
character this is). It also tells us that the characters have perspectives and precepts
that make them like two sets of train tracks going separate
ways.
On this
side there was no shade and no trees and the station was between two lines of rails in
the sun.
Their physical
actions display and reinforce their separateness, a characterization that overrides and
belies the words they might speak. While saying how he only wants Jig to agree to the
"operation" if she wants to, the man goes into the bar alone and has a second Anis
(probably without water) alone and watches the other people being "reasonable" while
they await the coming train. This, of course, implies that the man perceives Jig as
unreasonable.
They were all waiting reasonably for the train.
He went out through the bead
curtain.
Similarly, when Jig
walks to the end of the station to look at the scene and the Ebro, she is demonstrating
her separateness from the man. So while she says she is being amused, she is really
being driven apart from the man:
'And we could have all this,’ she said. ‘And we
could have everything and every day we make it more
impossible.’
