Review the Ethical Standards for Psychotherapy.

The American Psychological Association's (APA) Ethical
Principles of Psychologists and Code of Conduct can be compared to the formal structure
of a constitution.  It is structured with an introduction, a preamble, general
principles and specific ethical standards. In the Introduction the document’s intent,
organization, procedural considerations, of the Ethics Codes are discussed. The Preamble
and General Principles are the goals that should guide psychologists toward the highest
ideals of psychology. The actual standards are written in generalizations.  If they are
ignored or not followed as ethical law by the psychologists they can lose their license
to practice.  The standards are:

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“Standard 1: Resolving Ethical
Issues

Standard 2:
Competence

Standard 3: Human
Relations

Standard 4: Privacy and
Confidentiality

Standard 5: Advertising and Other Public
Statements

Standard 6: Record Keeping and
Fees

Standard 7: Education and
Training

Standard 8: Research and
Publication

Standard 9:
Assessment

Standard 10:
Therapy”

In Macbeth, which king possesses the "king-becoming graces" mentioned by Malcolm in Act 4, scene3, lines 104 to 106?MALCOLM: 'But I have none: the...

In the passage, Malcolm is not referring to a particular
king; he is naming all the characteristics that a good king must possess. Within the
context of the play, they would most accurately describe King Duncan, whom Macbeth had
murdered. Even as he prepares to kill Duncan, Macbeth recognizes what an excellent king
Duncan is. Again, in reference to the list, Banquo, Malcolm, Macduff, and Donalbain are
not kings. Malcolm is, however, the rightful heir to the throne following his father
Duncan's death.

How is Grendel’s mother finally defeated in Beowulf?

Beowulf and Grendel had a horrid final battle in which
each put the most of each in order to defeat the other. What we do know is that right on
the most poignant moment in the story Beowulf saw a sword all of a sudden which is
described as:

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An old giantish sword with firm edges, An honour
of warriors, it was the choicest
weapon.....

From what we can
infer, that sword was an ancient and powerful symbol of ultimate defeat which he took in
a very heroic moment. With all the might in his heart he grabbed such sword and struck
her through the neck, breaking her bones and decapitating her with it. Therefore,
Grendel's mother was beheaded by a old gigantic sword.

What is the main theme in "Kubla Khan"?

There has been lots of critical discussion about the
precise "meaning" of this amazing poem. Some have suggests that this poem is all about
the act of creation and imagination, as expressed in the visions that the poet sees. In
lots of ways, however, the poem defies interpretation or categorisation being imposed on
it, so there is no definite answer to your
question!

Personally, I do think this poem has a lot to say
about the act of creation. We start off with a description of Xanadu, which is clearly
an act of creation in itself, representing a huge triumph of imagination in its
construction:

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So twice five miles of fertile
ground

With walls and towers were gridles
round:

And there were gardens bright with sinuous
rills,

Where blossomed many an incense-bearing
tree;

And here were forests ancient as the
hills,

Enfolding sunny spots of
greenery.

The author is
clearly inspired by this tremendous act of creation, which is described as "a miracle of
rare device," and we see in the last stanza the desire of the speaker of the poem to
copy Kubla's act of creation through music, inspired by the Abyssinian maid as a muse.
The narrator likewise wishes to impose order through his act of creation in a dangerous
universe, and be thought of by society as an artist, one whose power to create and force
of the imagination makes him feared:

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That with music loud and
long,

I would build that dome in
air,

That sunny dome! those caves of
ice!

And all who heard should see them
there,

And all should cry, Beware!
Beware!

His flashing eyes, his floating
hair!

Therefore, arguably,
this poem has much to say about the act of artistic creation, the triumph of the
imagination, and the way that society treats artists: those who are able to create their
works of art out of thin air.

In The Westing Game, why is everyone surprised when Otis Amber testifies?

The answer to the question can be found on page 163 where
Otis comes out and testifies. The reason why everyone is shocked is because they all
thought that Otis was just some simpleton who worked at the soup kitchen, and they may
have overestimated him. They did not know he was a hired private investigator who was
hired precisely to find out the truth of the heirs. That came to them as a huge
surprise.

What does the boy give up for Sheila in "The Bass, the River, and Sheila Mant"? What does he learn from the experience?

The boy gives up the chance to catch "the biggest bass
(he) had ever hooked" for Sheila Mant. The bass is so huge that it is able "to draw a
fully loaded canoe backward - the thought of it (makes the boy) feel faint." Sadly,
Sheila has just expressed an antipathy towards fishing, and the boy is intent on
impressing her and keeping her happy. The boy almost has the bass, all he needs to do is
to grab the rod and reel it in, but in his determination not to do anything that might
ruin his chances with the girl of his dreams, he lets the fish
go.

The boy's date with Sheila ends in disaster. After
paying little, if any, attention to him during the dance, she comes over when the music
has stopped and announces that she is going home with another boy, Eric Caswell. This
conclusion had been evident to all but the narrator, as Sheila had shown no interest
in him throughout the narrative, and had even mentioned Eric twice on their ride to the
dance. When Sheila announces her intention to go home "in Eric Caswell's Corvette," she
looks at the boy for the first time that night and tells him he's "a funny
kid."

After the dance, the boy reflects on what has
happened, and says, "it was these secret, hidden tuggings in the night that claimed me."
The tuggings of which he speaks are the physical and romantic longings set off by a
beautiful woman, which caused him in this instance to sacrifice the chance to catch the
biggest fish he had ever come across. From his experience, the boy has learned that the
allure of a woman is fleeting, but that being true to himself and his own nature is a
call which must be recognized. The boy is a fisherman through and through, and he
regrets his decision to sacrifice the bass for the attentions of a woman who does not
even, in the end, care about him. The boy gives a name to the "tuggings" on his heart,
and resolves never to make "the same mistake again."

Describe the writing and artwork of Emmeline Grangerford. What does Huck think of her pictures and poems?

Basically, the late Emmeline Grangerford's art and poetry
was all completely morbid and sad.  As Huck says about her
poetry,

she
could write about anything you choose to give her to write about just so it was
sadful.

All of her pictures
are of dead or dying things.  She has one of a woman mourning at a grave.  She has one
of a woman mourning a dead bird.  The one she was working on when she died was a woman
about to commit suicide.  Her poetry was also about dead
people.

Huck says that he thinks all of her work is nice
but that he can't "take to it.  It is all too sad and it depresses him to see any of
it.

You can find more details in Chapter
17.

How does Shakespeare use language and stagecraft to achieve effects and engage his audience in Act II, scene iii of Much Ado about Nothing?

The primary language device Shakespeare uses in Act II,
scene iii of Much Ado about Nothing (pronounced
note-ing) is plays on words. The scene opens with one instance of
this. Bendick calls his servant in. The servant unintentionally--or
intentionally--misunderstands Bendick and gives him a nonsensical reply: When sent to
collect a book and bring it back, he replies, "I am here already, sir" to which Benedick
is forced to reply, "I know that; but I would have thee hence, and here again." This
creates a humorous effect and engages the audience.

Another
instance of word play is when Don Pedro, Claudio, and Leonato are talking about
Benedick--for Bendick's benefit--and playing off the word "quarrel."  Don Pedro says
Benedick "undertakes / them with a most Christian-like fear" to which Leonato replies,
"if he break the peace, he ought to enter into a / quarrel with fear and trembling."
This adds an engaging humorous twist to the notion of a soldier's courage in battle that
applies to personal relations. Another similarly engagingly humorous instance occurs
later when Leonato and Claudio know something and Don Pedro exclaims his amazement upon
hearing it: "How, how, pray you? You amaze me." The same engaging effects based upon
language occur later in Benedick's monologue after having overheard this staged
conversation.

Stagecraft in Act II, scene iii that creates
effects and engages centers around comings and goings. Entrances and exits create
perceptions of activity, feelings of anticipation and suspense, thus engaging the
audience. As the scene opens, Bendick is alone onstage. He raises his voice and calls
for the entrance of his servant. When the "Boy!" exits, Benedick delivers the first of
his two monologues in the scene. Don Pedro, Claudio, and Leonato enter calling for the
entrance of the musician Balthasar who adds to the engagement of the stagecraft by
singing a context-relevant song. Later, Don Pedro, Claudio, and Leonato exit. Bendick is
alone on stage and delivers his second monologue about requiting Beatrice's love: "Love
me! / why, it must be requited." The scene ends with a pithy exchange as Beatrice enters
and exits.

Would "carbohydrates" be the correct answer to the nutrient that is the most energy efficient and also to which is the most energy densed?

I do not know what you imply by the terms "energy
efficient" and "energy densed."

In terms of the amount of
energy that nutrients contain, there are three nutrients that can provide energy. These
are carbohydrates, proteins and fats.

Carbohydrates contain
the least amount of energy at 3.75 kilocalories per gram, proteins have a higher amount
of energy at 4 kilocalories per gram and fats have the maximum at 9 kilocalories per
gram.

The body, though, is able to extract energy from
carbohydrates in the easiest manner as compared to proteins and fats. This is the reason
why carbohydrates are first used as a source of energy and only when they get exhausted
does the body move to extracting energy from proteins and fats.

In Animal Farm, how do Napoleon and Snowball treat other animals?I'd like to hear the similarities/differences please :)

Although they are both strong leaders, Napoleon and
Snowball have very different ideas about the revolution.  While Snowball believes in the
ideals of the revolution, Napoleon sees it as an opportunity to garner power for
himself.  Snowball has the brains, but Napoleon has the
brawn.

After the revolution, Snowball tries to get the
animals to work together, get educated, and be involved in government.  Napoleon, on the
other hand, wants the farm to be governed by an elite group of pigs rather than
committees of animals.   

Snowball is a strong orator, but
Napoleon is a master manipulator.  Ultimately, Napoleon’s power-grabbing is successful
and he is able to not only run Snowball off the farm but continue to use him as a
scapegoat after he leaves.

How did the development of the Renaissance differ between the regions of Europe?

There are several important differences between the
Italian Renaissance and that of Northern Europe.  At the end of the Middle Ages, Italian
towns grew into independent city-states, governing themselves and the surrounding
country.  Spurred by overseas trade, these city states began to grow and huge fortunes
were made by Italian merchants and bankers. Wealthy families, such as the de Medicis of
Florence, began to rule these city states.  The independence of these city states
allowed these rulers to experiment in government and in the world of ideas.  The wealth
of these ruling families allowed them to sponsor artists and writers and pay for statues
and new buildings.  In contrast, the Northern Renaissance developed differently.  In the
Middle Ages, feudalism was more highly developed in Northern Europe than in Italy. The
traditions of chivalry and knighthood were stronger there. Therefore, in Northern
Europe, it was nobles and royalty that had the most power and money.  Kings, queens and
nobles were patrons of the arts there as opposed to wealthy merchant and banking
families in Italy. Learning in Northern Europe centered around royal courts, not the
homes of great families.

In Italy, the work of the artists,
writers and architects that were sponsored by these wealthy ruling families reflected
the ideas of humanism.  Humanists took an interest in the classical writing and admired
the classical culture of ancient Greeks and Romans and stressed the importance of the
individual. It emphasized classical learning and human potential and achievements. 
Northern Humanism differed from Italian humanism.  Northern Europe had fewer large towns
which could act as cultural centers, so the church played a more active role in the
Northern Renaissance. Northern humanists stressed the importance of spiritual life more
than the Italians.  Though Northern humanists studied the classical works of Greece and
Rome, they also learned the Greek and Hebrew language in order to carefully study the
writings and thoughts of early Christians.  Artistic styles also differed.  In the
North, oil based paints were used which dried more slowly allowing colors to be mixed
more easily creating newer, more subtle shades.

What are some of Snowball's and Napoleon's character traits in Animal Farm?

Just put something about how the characters tie in to the
Russian Revolution and the roles of each. Napoleon is Stalin and Snowball is Trotsky.
You could also put your opinion on how evil they both are and which you think is more
evil than the
other.

Napoleon:

has
the "secret police" (the dogs)

took Snowball's idea on the
windmill

Squealer is his personal
servant

has gone against or changed every rule that started
Animal Farm

drove Snowball
out

blames anything bad that happens to the farm on
Snowball

tricks people into dying to prove a
point

needs everyone to love him... otherwise they
die

Snowball:

extremely
smart

based everything that he did off of what Old Major
would have wanted

fought in the battle of the
cowshed

risked his life for everyone on the
farm

helped found Animal
Farm

If you search in Google the ties between
the Russian Revolution and Animal Farm that should be enough to write at least two
pages. I wrote 10 pages on just this topic and I had 22 other questions to also
do. 

What effect does Macbeths behavior have on the feast?How does this reflect the situation of scotland

The feast that Macbeth disrupts in Shakespeare's
Macbeth occurs in Act 4.3.  Macbeth puts an abrupt end to the feast
and once again brings his wife's wrath down on
himself.

Macbeth in lines 41-45 continues his strategy of
giving the appearance to others that he doesn't know Banquo is probably dead by now, by
announcing that he wishes all of the "country's honor [were] roofed" at the feast:  all
the honorable men in Scotland were together at this feast.  He specifically mentions
Banquo, saying that he will rebuke Banquo for his unkindness in not being
present. 

Unknown to Macbeth, Banquo is present, in the
form of a ghost, having entered according to the stage directions between the split
parts of line 38.  When Macbeth does notice him a few lines after his speech, the
ghost's presence, in effect, rebukes Macbeth. 

Macbeth
shouts and shrieks and the honors that are present--in bodily
form--"start to rise" according to the stage direction between lines
54-55. 

Lady Macbeth tries to calm the men by lying to
them, saying that her husband is often this way, and has been since his youth.  It is
just an illness, she claims.

Lady Macbeth chastises her
husband--telling him his vision is nonsense, and that it's just like the bloody dagger
he saw just before he killed Duncan (imaginary)--and the feast settles down once the
ghost disappears.

When the ghost reappears, however,
Macbeth panics again, and in Lady Macbeth's words:

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You have displaced the mirth, broke the good
meeting

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With most admired [amazing] disorder.  (Act
4.3.110-111)

Lady Macbeth
then dismisses the men, telling them to exit quickly and not to worry about exiting in
an orderly manner--just to go. 

Once again, Macbeth has
behaved in a way his wife keeps warning him against--in a way that draws attention to
their guilt.

In the novel To Sir, with Love, what is the role of love?

In its different forms, I would say that love plays a
fairly important role in Braithwaite's work.  On  one hand, there is the obvious love
that Braithwaite develops for his students.  While not evident at the outset, over the
course of the narrative, Braithwaite and his students develop a love for one another
because both see one another in the vein of respect and true regard.  With the success
he experiences in the classroom, Braithwaite becomes loved by the community, as well. 
There are some intimations that Braithwaite and Blanchard might have some feelings for
love for one another and that Pamela Dare is infatuated with Braithwaite.  Yet, I think
that the greatest level of love and its strongest display is most present with how
Braithwaite comes to view the craft of teaching.  By the end of the narrative,
Braithwaite comes to understand that his true identity is that of a teacher and with
this, there is a level of love present.  It is not that he "loves" teaching, which
Braithwaite certainly might feel.  Yet, rather it is the secure understanding that his
identity as a human being is linked to the craft and vocation of teaching.  This shows
an internalized love or connection to teaching and the profession of being an
educator.

The height of a triangle is twice it's base and the area is 576 square inches . What is the length of the base?

First, we'll recall the formula of the area of a triangle,
that contains the base and the height.

A = b*h/2
(1)

b = base

h =
height

From enunciation, we have
that:

h = 2b (2)

We'll
substitute (2) in (1) and we'll get:

A =
b*2b/2

We'll simplify:

A =
b^2

From enunciation, the value of the area
is:

576 square inches =
b^2

We'll take square root both
sides:

sqrt 576 = sqrt b^2

b =
24 inches

The length of the base of triangle
is b = 24 inches long.

I wanted to know what are two similarities and two differences between our involvement in Vietnam and our 2003 involvement in iraq.

This is a very powerful question whose answers will have
to examined through the lens of political affiliation.  On one hand, some differences
between both conflicts would be that the military escalation of forces is not the same. 
In Vietnam, the conflict experienced a wide escalation or swelling of military personnel
before a deescalation.  In Iraq, this is not present.  The President has committed to
withdraw troops with somewhat of a timetable, but the noticeable escalation of military
presence that was such a part of the Vietnam war is not there with the Iraq conflict. 
Another major difference is the casualty count.  Any and all loss of military life is
extremely painful for which to account.  Yet, the casualty number in Iraq is nowhere
near the count for Vietnam.  When such a number far exceeds 50,000, the situations are
not entirely the same.

Some similarities are present.  The
first would be that the wars experienced an increased in unpopularity.  The Iraq
Conflict and Vietnam Wars were and are unpopular.  The large scale of increased support
from the body politic are not as present in analyzing both conflicts.  Another
similarity would be that each conflict proved to be more difficult than originally
envisioned.  The Vietnam Conflict was seen as the mighty power of America against a
"bunch of people in black pajamas."  Yet, once the war had continued, there was a
distinct complexity that forced America's hand in being trapped between options that
were undesirable.  The same situation presented itself in the immediate stages of the
Iraq conflict.  The notion that America would be "greeted as liberators," that there
would be an immediate reality of a lower price of oil, and that once Saddam Hussein
would be removed from office, democracy could take a quick hold were all false
assertions.  The removal of Hussein and anti- American fervor that developed ended up
allowing multipolar tensions to surface, making "the enemy" that much more difficult to
identify.  Additionally, the removal of Saddam Hussein actually helped to allow Al-
Qaeda operatives to enter the region, causing even more
instability.

What are two external conflicts in Marked, from the House of Night series, by P. C. Cast, and name the conflicts?

Zoe Redbird is the protagonist in
Marked from the House of Night series by P.C.
Cast and Kristin Cast.  She has a conflict with Aphrodite who is an older vampire
fledgling and leader of the Dark Daughters, an elite group at the House of Night. 
Aphrodite wants to be the center of attention and is a bully. Zoe also ends up with
dating Erik, Aphrodite's ex-boyfriend who dumped her.

In
the end, Zoe is given Aphrodite's post as the leader of the Dark Daughters because of a
conflict with an evil spirit that Aphrodite mistakenly summons. It attacks Zoe's
ex-human-boyfriend. Zoe is able to send it back with the help of her friends in a circle
she casts.

In "A Modest Proposal," in paragraphs one through five, Swift uses the term, "mother." In paragraph six, he changes this to what word?

You are right in identifying that in paragraph six Swift
cleverly uses a different word to describe the "mothers" that have gone before in
previous paragraphs. Clearly the diction that Swift employs is key to his overall
success in overtly presenting a serious and reasonable "proposal" whilst at the same
time highlighting the shocking and dehumanising way in which many of his contemporaries
viewed, treated and thought of the Irish. Note the example that you refer
to:

The
number of souls in Ireland being usually reckoned one million and a half, of these I
calculate there may be about two hundred thousand couples whose wives are breeders, from
which number I subtract thirty thousand couples, who are able to maintain their own
children, although I apprehend there cannot be so many under the present distresses of
the kingdom, but this being granted, there will remain an hundred and seventy thousand
breeders.

The word "mothers"
has been exchanged for "breeders," which clearly suggests a view where Irish women are
dehumanised and viewed only for their ability to "breed" in the same way that animals
are referred to. Note how Swift uses this term ironically; he is actually reinforcing
the point that women are not animals but human beings, but highlighting the way in which
they are being treated like animals at the moment.

In Act 2 Scene 1 of A Midsummer's Night Dream, contrast Oberon’s and Titania’s speech with that of Puck and the Fairy.

I believe you mean Act II, scene
1.

Both Puck and the Fairy are minions, although Puck seems
to be Oberon's right hand man, so to speak.  He brags about his tricking mortals.  He
seems to delight in the misfortune of others, especially if he can be a part of that
misfortune.  The Fairy seems to know and recognise
him.

Oberon and Titania, on the other hand, are very
powerful beings who rule the forest and the world of the night.  They have been
quarrelling about a young boy, aka the changeling child.  Oberon believes that it is
time for the boy to live in the world of men.  A young noble male child would begin his
training with the women as a page.  Entering puberty is was time for him to learn in the
world of men as a squire and finally he would become a knight.  Each of these terms
are mentioned.  Puck says Oberon wants the boy to become a knight of his train.  Titania
calls him her young squire and Oberon refers to him as her
page.

The result of their quarrelling has affected the
world of mortals as Titania describes in her speech concerning their effect as their
parents and originals.

When Oberon observes Helena's plight
with Demetrius, he wants to help her.  This is in contrast to Puck who delights in
tricking mortals.        

Based on Okada's characterization of Ichiro as a no-no boy. Detail how you believe Okada himself felt about being a yes-yes boy.

From the way that Okada portrays Ichiro in this book, it
makes sense to infer that Okada himself was glad of his decision to answer the questions
with a "yes-yes."  A reader can infer this from all of the troubles that Ichiro faces
due to his "no-no" answer.

In the book, Ichiro has refused
to swear allegiance to the US or serve in its armed forces.  This causes problems for
him that are both internal and external.  Externally, Ichiro runs into trouble with
other Nisei who answered "yes-yes" and with society in general.  Internally, Ichiro is
very conflicted about who he is.  He knows he is different from his more Japanese
parents (especially his mother) but he has answerd "no-no" and so he is not truly
American.

From this, one can infer that Okada's "yes-yes"
answer helped him to feel more American and to resolve the tension between America and
Japan that Ichiro clearly feels.

What are the roots of the equation 16^x-3*4^x+2=0?

We'll write 16 = 4^2.

We'll
re-write the equation in this manner:

(4^2)^x - 3*4^x + 2 =
0

We'll substitute 4^x by the variable,
t.

t^2 - 3t + 2 = 0

We'll
apply quadratic formula for finding t:

t1 = [3+sqrt
(9-4*2)]/2*1

t1 = [3+sqrt
(1)]/2

t1 =
(3+1)/2

t1 =
2

t2 =
(3-1)/2

t2 =
1

We'll find the values of x,
now.

4^x =
t1

4^x=2

We'll write 4^x =
2^2x

2^2x = 2^1

Since the
bases are matching, we'll apply one to one property:

2x =
1

x =
1/2

4^x =
t2

4^x = 1

4^x =
4^0

x =
0

The solutions of the
equation are {0 ; 1/2}.

What does Jonas learn about what happens during release in The Giver?

It is in Chapter Nineteen that Jonas learns the true
nature of the word "release" in his community. You would do well to re-read this chapter
and consider how the author reveals both to us and to Jonas what actually happens when
somebody is "released." Key to note is how this chapter completely transforms the
understanding and relationship of Jonas to his community and to himself, and above all
to his father. Note how he starts off ironically desiring to see the release of the twin
that his father was going to perform that day:

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He liked the thought of seeing his father perform
the ceremony, and making the little twin clean and comfy. His father was such a gentle
man.

However, the reality of
"release" is somewhat different. Jonas' father takes a syringe and a needle and fills it
with a liquid. Then he injects it into the baby's forehead. As Jonas watches, he sees
the baby twin jerk his arms and legs. Then he goes limp. With a sickening realisation,
Jonas realises that "release" is actually a euphemism for execution, and he has just
seen his father cheerfully perform his duties as an executioner.

In "The Dead", what was the cause of Gabriel's quarrel with his mother and who was proven right?

Gabriel quarrels with his mother over a conception of
Gretta, Gabriel's wife. 

Gabriel's mother is described as a
person with some ambitions for her children and some considerable
pride. 

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Gabriel remembers that she opposed his marriage
to Gretta and that she called Gretta, in a derogatory way, "country
cute.''

This is
the source of the dispute between Gabriel and his mother. Though the text leaves open
the possibility that Gabriel truly disagrees with his mother, it also leaves open the
possibility that Gabriel is upset with his mother's epithet because he believes it to be
true. 

At the end of the story it is the dead who "win".
Gretta's young lover, Michael Furey, died when he was seventeen. Though years have
passed, Michael still seems to own Gretta's affections as demonstrated when Gretta
refuses Gabriel's advances in deferral to a feeling of mourning for Michael. In this
choice, Gretta may prove Gabriel's mother correct. She does belong in the
country. 

To use a common phrase, we might say that her
heart has never left the country. 

Is abortion a theme in "Hills Like White Elephants"?

Well, interesting question, because the answer to this is
that yes, abortion is definitely a theme, but I would argue it is linked to the far
bigger theme of how the partner subtly forces Jig to get the
abortion.

What is interesting about this story is that
although the abortion hangs over this couple, nowhere is the word actually used.
Reference is only made to the "awfully simple operation" that is "not really an
operation at all" and is "just to let the air in." It is a topic that is avoided head-on
by the couple, especially Jig, who, while her partner gives her his medical opinion
about abortion first pointedly "looks at the ground" and then "says
nothing."

What is clear as you read the story carefully is
that Jig does not want the abortion, but the unnamed partner does. Jig has to choose
between saving the baby and saving her relationship, which, to be honest, doesn't look
that good anyway. The partner shows incredible lack of empathy and understanding. From
his point of view her unwanted pregnancy is "the only thing that bothers us" and he
promises that everything will be "alright" and "nice again" once she has had the
operation performed. What is particularly sinister is the way that the partner keeps on
repeating, again and again, the phrase "But I don't want you to do it if you don't
really want to." The fact that he keeps on bringing up the topic and keeps on saying
this, even when Jig is desperate to change the topic and not talk about it even more,
indicates that he will make sure Jig has the abortion but he wants to come across as
reasonable and not pressuring her:

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"All right. But you've got to
realise--"

"I realise," the girl said. "Can't we maybe stop
talking?"

They sat down at the table and the girl looked
across at the hills on the day saide of the valley and the man looked at her and at the
table.

"You've got to realise," he said, "that I don't want
you to do it if you don't want to. I'm perfectly willing to go through with it if it
means anything to you."

As we
read the story it becomes clear to both the reader and Jig that the partner will have
this abortion one way or another and the imposition of his will against Jig reveals his
dominance and brutality. The irony of the story is that it ends with Jig saying she is
"fine" when it is obviously a lie.

In Frankenstein by Mary Shelley, how does Alphonse Frankenstein describe the death of William?

In Chapter 7 of Frankenstein, after
Victor has returned from a wonderful outing on verdant hills under what he calls "a
serene sky," he receives a letter from his father, Alphonse Frankenstein.  In this
letter, the father tells Victor that his sweet child who delighted him with his smiles
and congenial ways has been murdered on the seventh of
May. 

On that Thursday, Alphonse, his niece, and two sons
went for a walk in Plainpalais on a lovely evening.  The weather was so pleasant that
they continues their walk farther than usual.  When dusk came, William and Ernest were
not to be found as they had gone on ahead; finally, Ernest arrived, but no William. 
Ernest told the father that William had run and hid in their game, but he was unable to
find his brother. They searched until dark; then, they returned with torches.  At around
five in the morning, Alphonse discovered his son, stretched on the grass, white and
motionless with an indentation made by the  the murderer's finger was on his neck. 
After carrying him home, Elizabeth begged to see William; when she examined the neck of
the victim, Elizabeth exclaimed, "O God! I have murdered my darling child," and she
fainted.

Later that evening, Elizabeth informs Mr.
Frankenstein that William had begged her to let him wear a valuable miniature of hers 
that was made of his mother, and, now, this picture is gone, having probably been taken
by the murderer.

What is the mood of "since feeling is first" by e.e Cummings ?

It seems difficult to me to say what mood this poem
conveys. cummings is restating his philosophy that feeling and emotion are primary and
reason is secondary. He believes that those who live their lives by reason alone will
"never fully kiss you." That is, reason and convention cannot contain emotion just as
syntax and form (paragraphs) are portrayed as metaphors for constricting emotion and
meaning. So, he, stylistically and meaningfully, is saying that emotion and feeling are
only fully experienced if they are not constrained; by syntax or reason. So, the mood
seems to me to be either or instruction or annoyance. Reading it, I get the impression
that he's almost annoyed at reason, or annoyed at the suppression of emotions. "Life is
not a paragraph" - Life can't be described by a reasonable, objective, scientific series
of connected statements as you would find in a grammatically and thematically cogent
paragraph. For cummings, life is more like formless poetry, with stops and starts,
run-on meanings, and many ambiguities subject to different
interpretations.

Japanese bombing of Pearl Harbor, What is the significance of this event?

As you should probably know, this bombing got the United
States into World War II.  It led, therefore, to the defeat of Japan, but also to the
defeat of Germany.

Before Pearl Harbor, Americans were dead
set against getting involved in this war.  They felt it did not have to do with them. 
But once Japan bombed Pearl Harbor, Americans were gung ho to join the war and get
revenge.

The Pearl Harbor attack led to Germany declaring
war on the US and that really hurt Germany because US production capabilities (as well
as soldiers) were a large part of defeating Germany.

What is the natural number n if C(2n-3,2)=3?

By definition, C(2n-3,2) =
(2n-3)!/2!*(2n-3-2)!

C(2n-3,2) =
(2n-3)!/2!*(2n-5)!

But (2n-5)! = (2n - 5)!(2n - 4)(2n -
3)

2! = 1*2 = 2

C(2n-3,2) =
(2n - 5)!(2n - 4)(2n - 3)/2*(2n - 5)!

We'll simplify and
we'll get:

C(2n-3,2) = (2n - 4)(2n -
3)/2

Now, we'll solve the
equation:

(2n - 4)(2n - 3)/2 =
3

(2n - 4)(2n - 3) = 6

We'll
remove the brackets:

4n^2 - 6n - 8n + 12 =
6

4n^2 - 14n + 6 = 0

We'll
divide by 2:

2n^2 - 7n + 3 =
0

We'll apply the quadratic
formula:

n1 = [7+sqrt(49 -
24)]/4

n1 = (7 + 5)/4

n1 =
3

n2 = (7-5)/4

n2 =
1/2

Since n2 is not a natural number, we'll
accept as solution just n = 3.

In As You Like It, what does Rosalind mean when she says, "Not one to throw at a dog," to Celia?In Act 1st scene third

In order to understand this phrase, think about what is
going on in the previous scene.  In that scene, Rosalind has fallen completely in love
with Orlando.  She is overcome with the strength of her emotions.  She also seems to
suspect that bad things are going to come of her love, probably because she realizes
that Duke Frederick is not at all happy with
Orlando.

Because of this, she is not really herself.  She
just doesn't want to talk to anyone.  This is what she is saying in the line you cite. 
Celia has asked her if she does not have any words.  She replies that she does not have
even a word to throw at a dog.  She is just saying in a very hyperbolic way that she
does not feel like saying even one word.

What are some of the writing techniques used in "Old Ironsides"?

For "Old Ironside" if you have to choose just one writing
technique, I would focus on either imagery or verbal irony because Holmes relies heavily
on both devices. For imagery, consider all the examples of images and sounds present in
the poem, from the "tattered" flag to the red deck to Holmes' comparison of the ship's
cannon to a meteor. The poet's decision to use imagery helped ignite readers' emotions
toward rallying for the ship's preservation.

If you choose
to focus on verbal irony, discuss Holmes's tone (one of bitter irony) demonstrated by
lines such as "Ay, tear her tatter ensign down!" (Line 1) or "Oh, better that her
shatter hulk / Should sink beneath the wave" (Line 17). The verbal irony causes readers
to consider what kind of nation would "thorw away" something as valuable as the USS
Constitution.

Describe Jem and Scout's relationship through these chapters as Jem matures. Why did Dill run away from home back to Maycomb?

As Jem enters puberty, he becomes more distant and
short-tempered with Scout. When he tells his sister to "start bein' a girl and acting
right!", Scout bursts into tears and seeks solace with Calpurnia. Scout also misses
Dill, who has not arrived yet for his regular summer stay. Jem and Scout are able to
agree on their dislike for Aunt Alexandra, who unites them when she comes to stay with
them at the end of Chapter 12. But the two get into a fistfight in Chapter 14, and
Atticus has to step in. Things get better later that night when Dill makes his
appearance--from underneath Scout's bed. Dill has run away from home, and he claims it
is because of his "new father," who has chained him and left him to die in their
Meridian basement. Since Dill has exaggerated so often about his father, it's hard to
get a straight story about what happened. We do know that he feels unloved by his
parents, who

readability="6">

"ain't mean. They buy me everything I want...
They kiss you and hug you good night and good mornin' and goodbye and tell you they love
you--"

But Dill's parents
never spend any time with him, so he decides to head to Maycomb where he feels love and
companionship from Jem and Scout.

Who is the winner in The Lion and the Jewel?

At least on a simple level, the Lion is the winner since
he eventually wins the hand of Sidi, the woman for whome he and Lakunle are competing. 
He has to try a variety of tricks before he is able to finally convince her that she
ought to accept his proposal, but in the end, his final ruse succeeds.  Lakunle is very
well spoken but lacks the ability to follow through on much of what he says, eventually
helping Sidi in her decision to marry the Bale.

What can you do to reduce the risk of an allergic reaction due to food?

Some of the important ways to reduce the risk of an
allergic reaction due to food include:

• Identify
  the foods that lead to the allergic reaction. For example, if a person is allergic to
  peanuts, s/he must know that it is peanuts which lead to the adverse reactions when
  consumed.

• When food is cooked at
  home, care should be taken to not use the allergenic food as an ingredient. It is also
  important to not allow the allergic person to come in contact with even tiny amounts of
  the foods; this requires thorough cleaning of vessels and not sharing any of them while
  dishes are being prepared.

• While
  shopping for food it is essential to read the labels and verify that the allergenic food
  is not an ingredient. Most manufacturers are also required to mention if there is a
  possibility that the food being bought could have come in contact with any
  allergen.

• Many restaurants now
  follow a policy of asking their clients about food allergies and informing them if they
  could come in contact with these when food cooked in the restaurant is consumed. An
  attempt should be made to visit restaurants that follow this policy and specifically
  inform the management about any food
  allergies.

Why would the man who doesn't want the wall ask the neighbor to rebuild it? Might he want something more than just a hand with repair work?

The speaker asks his neighbor to help him mend the wall.
It's something they do together every year. It seems that the speaker doesn't see any
point in mending the wall, but his neighbor remains behind his old
saying:

He
only says, 'Good fences make good neighbors'. 
Spring is the mischief in me,
and I wonder 
If I could put a notion in his head: 
'Why do they
make good neighbors? Isn't it 
Where there are cows? 
But here there
are no cows. 
Before I built a wall I'd ask to know 
What I was
walling in or walling out, 
And to whom I was like to give
offence. 
Something there is that doesn't love a wall, 
That wants
it down.'

Yes, it looks like
the speaker would want something more, or, at least, he would like to stop mending a
wall which, from his point of view, serves no purpose.

The
poem is a comment on isolation and being stuck with ideas that may have had some purpose
in the past but no longer hold in the present. The speaker sees his neighbor as a
"savage" who moves in "darkness," as someone who is ruled by outmoded thoughts and lack
of originality. It should be noted, though, that most of my students, when we read the
poem in class, side with the neighbor. They agree that "good fences make good
neighbors."

A progressive wave is travelling. How far apart are 2 points (i.e. situated at minimum distance) 60 degree out of phase?Wave Frequency is 500 Hz...

We know that  frequency *wavelength = volcity.
Or

n*L = v.  But frequency n = 500  and  v =
360m/s,

Therfore wave length L = v/n = (360)/500 = 0.72
m.

Therefore in a cycle (one full osciilation of ) 360
degree the wave progress 0.72m. The points onthe a wave with aphase difference of 60
degree are at a distance  of (60/360)*(0.72m) = 0.12 meter
apart.

Determine the side of a square if the area of the square is 45 more than the perimeter.

We'll note as x the side of the
square.

We'll write the formula for the area of the
square:

A = x*x = x^2

We'll
write the formula for the perimeter of the square:

P = x +
x + x + x

P = 4x

Now, we'll
write mathematically the condition imposed by
enunciation:

x^2 = 4x + 45 (area is equal to the perimeter
plus 45)

We'll subtract both sides 4x +
45:

x^2 - 4x - 45 = 4x + 45 - 4x -
45

We'll eliminate like
terms:

x^2 - 4x - 45 = 0

We'll
apply the quadratic formula:

x1 = [4+sqrt(16 +
180)]/2

x1 = (4+14)/2

x1 =
9

x2 = (4-14)/2

x2 =
-5

Since the length of the side of the square cannot be
negative, we'll reject the second root x2 =
-5.

The length of the side of the square is x
= 9.

If a dart board is divided into twenty equal sectors and the diameter of the board is 18 inches, what area of the board does each sector cover?If a...

Area A of the circle is given by the
formula:

A = pir^2.

The
diameter of the dart board = 18 inches.

So the radius of
the dart board = diameter/r = 18/2  = 9inch.

So the area of
the circular dart board = pi*r^2 = pi*9^2. = 81pi sq
inches.

Since board is covered in 20 equal sectors, the
area covered in each sector = A/20 = Pir^2/20 = 81pi/20  = 4.05pi sq inches = 12.7235 sq
inch nearly.

The area covered in each of 20
equal sectors = 4.05pi sq in, or 12.7235 sq in.

Find all values that satisfy the inequality 2x+5 =

2x + 5 =< 4(x-1)

We
need to find x values.

We will solve the same way we solve
the equation.

The goal is to isolate x on one
side.

First we will open the brackets on the right
side.

==> 2x + 5 =< 4x
-4

Now we will subtract 4x from both
sides.

==> -2x + 5 =<
-4

Now we will subtract 5 from both
sides.

==> -2x =< -4
-5

==> -2x =<
-9

Now we will divide by -2 and reverse the
inequality.

==> x >=
9/2

Then the values of x that satisfies the inequality
should be equal or greater that
9/2.

==> x belongs to the interval [
9/2, inf).

Does Victor find something when he returns to his room? Mary Shelley's Frankenstein

On a stormy night of November, Victor Frankenstein gives
life to his creature, a creature whose dull yellow eye and "shrivelled complexion and
straight black lips" appear horrific in their distortions. Terrified at what he has
created, Victor flees to his bedchamber where he paces in his torment until, exhausted
he falls into a fitful sleep.  When he beholds the wretched creature standing over him,
Victor "escapes" and runs out to the courtyard where he remains the rest of the night. 
In the morning, he walks into the town of Ingolstadt where he encounters his dear
friend, Henry Clerval.  Taking notice of Victor's appearance, Henry escorts his friend
back to his apartment where Victor precedes him in order to search for the monster
within.  When he does not perceive his presence, Victor, relieved, invites Henry
inside.  However, Henry notices how odd Victor acts, laughing with a wildness in his
eyes, he asks Victor,  "what, for God's sake is the
matter?"

"Do
not ask me," cried I [Victor], putting my hands before my eyes, for I thought I saw the
dreaded spectre glide into the room; "he can tell.--Oh, save me!  save!"  I imagined
that the monster seized me; I struggled furiously, and fell down in a
fit.

Whether Victor actually
sees the creature in his room is uncertain since he is in such an agitated state.  But,
since Henry does not leave his side and tends to Victor through his illness, it seem
dubious that the creature is truly present.

In Death in Venice, does von Aschenbach die for love or does he die for lust?

I think it is quite self-evident if you read the text
carefully that the passion that von Aschenbach has for the Polish boy Tadzio is based on
lust rather than love. Clearly the feelings that von Aschenbach has for Tadzio are not
based on self-sacrificing love. Consider the following example, when von Aschenbach
follows Tadzio and his sisters as they take a
gondola:

readability="19">

Leaning back among soft, black cushions, he
swayed gently in teh wake of the other black-snouted bark, to which the strength of his
passion chained him. Sometimes it passed from view, and then he was assailed by an
anguish of unrest... Yes, this was Venice, this was the fair frailty that fawned and
that betrayed, half fairy-tale, half snare; the city in whose stagnating air the art of
painting once put forth so lusty a growth, and where musicians were moved to accords so
weirdly lulling and lascivious. Our adventurer felt his senses wooed by this
voluptuousness of sight and sound, tasted his secret knowledge that the city sickened
and hid its sickness for love of gain, and bent an ever more unbridled leer on the
gondola that glided on before
him.

It is clear that there
is nothing pure in this love. Note how von Aschennach is apparently inspired by the
decay and corruption and lust of Venice to give an even more "unbridled leer" towards
Tadzio. Note too that he is described as being "chained" to the gondola and following
the object of his affection by "the strength of his passion." Arguably, love is not
something that enchains us but liberates us. Again and again in the text, von Aschenbach
shows that he is actually ensnared by his passions, strongly indicating that they are
based on lust and not love. In Venice, it is clear that von Aschenbach has fallen into
the "half-fairytale, half-snare" of the city that has beguiled so many others before
him.

What is the setting for On the Banks of Plum Creek by Laura Ingalls Wilder?

The Banks of Plum Creek is set in
Minnesota near a town called Pepin in in the mid-1800s.  It is about a family of
pioneers who move from Kansas to be homesteaders, so there are not many towns or cities
near Plum Creek.  The family lives in a dugout, and the children attend school in
Pepin.  Since Laura is 4 in this book, the story takes place in about 1872.  As in the
other books in the series, the family lives off the untamed land.  Conditions were harsh
for pioneer settlers, but at least at this time in her life Laura lived near a town and
was able to attend school.

How does the creature say he learned to live in the world in Frankenstein?

He learns the same way we learn-by
experience. Of course, he is at a disadvantage, having no parent there to
guide him through his trials. But he slowly learns to "distinguish [his]
sensations from each other": recognizing forms, light, sound, etc. He
also learns to use tools, wielding fire to his advantage after burning himself
once.

One
day, when I was oppressed by cold, I found a fire which had been left by some wandering
beggars, and was overcome with delight at the warmth I experienced from it. In my joy I
thrust my hand into the live embers, but quickly drew it out again with a cry of pain.
How strange, I thought, that the same cause should produce such opposite effects! I
examined the materials of the fire, and to my joy found it to be composed of
wood.

Essentially,
he learns scientifically, through observation. These chapters represent a
child taking his/her first steps in the world, slowly discerning each new
sensation.

Political, religous and art references in "The Dead." examples of each

In the introduction to the Dubliners
published by Penguin Books, Dubliners is
declared a "stages of man" collection of related stories.  And, as such, it is a
narrative replete with church-related ideas and events, political ideas and situations,
and music and poetry--all of which are part of the Irish
culture:

POLITICS

Molly Ivors
is the Irish nationalist who accuses Gabriel of being a "West Briton" (a member of the
English nation in Ireland). For, when Gabriel says that he goes on a cycling trip to
France and Belgium, Miss Ivors lashes out,

readability="8">

--And haven't you your own land to visit...that
you know nothing of, your own people, and your own
country?

Later Gabriel
reviews the dinner speech he will deliver, wondering what Miss Ivors will think; he
decides to contrast his aunts with her, indicating her lack of "hospitality."  However,
Molly leaves before the dinner, anyway. 

THE
ARTS

In his speech, Gabriel refers to his old aunts as "the
Three Graces of the Dublin musical world."  At one table where Bartell D'Arcy is seated,
"The subject of talk was the opera company which was then at the Theatre Royal," and the
guests discuss tenors. 

When people leave at midnight,
Gabriel notices his wife, who listens to an air sung by Mr. D'Arcy; as he watches,
Gabriel imagines that if he were a painter, he would depict the scene, naming it
Distant Music.

After they arrive at
the hotel, Gretta reveals that she is thinking about Michael Furey and a song, "The Lass
of Aughrim." 

RELIGION

The
setting is Christmas time.

Lily, the maid, has a name
associated with the flower that is a symbol of the Archangel Gabriel, the name of the
protagonist who is attracted to her.

At one of the
dinner tables, Mrs. Malins tells others that her son is going to Mount Melleray, a
Trappist monastery for a rest.  A Protestant in the group, Mr. Browne, cannot believe
that the monks let someone stay for free, and that they "never spoke, got up at two in
the morning and slept in their coffins." 

After they
leave, he and Gretta ride in the cab to the hotel which crosses O'Connell Bridge and
pass the statue of Daniel O'Connell; known as "The Liberator, he achieved Catholic
Emancipation in 1829.

Gretta tells her husband that Michael
Furey died after she left for the convent school at Nuns'
Island.

Explain the references in Monster to telling the truth and lying.

Perhaps the most important example regarding "truth" in
the novel is spoken by the protagonist, Steve Harmon.

readability="5">

Truth is truth. It's what you know to be
right.

This example calls
question to Steve.  The truth is the truth, but it is not what "you" know to be right.
It is what everyone knows to be right.  Here, one could question Steve on his
understanding of the truth.  This example shows that Steve could make something true for
himself if he alone knows it to be right.

readability="5">

What's the truth? Anybody in here knows what the
truth is? I don't know what the truth
is!

This example is provided
per the VO (voice over) of Inmate 1.  This is perhaps one of the most intriguing quotes
from the text regarding truth.  The inmate is stating what many feel.  Once involved in
the judicial system, the truth lies in the hands of the court system (the jurors, the
lawyers, and the judge).  Think about it this way, many people have been found guilty of
crimes that they did not commit, but the fact that they are convicted makes it a truth
to the community.  But is it really?

Basically, as much as
many would like to believe that "truth" exists, truth is subjective.  The novel embraces
this and runs with it.  Throughout the novel we, as readers, are expected to have
compassion for Steve.  We are expected to trust in him, believe him.  The idea of what
is truth comes under fire by everyone involved in the novel- including the reader. 
Therefore, there is no other better true judge of how the concept of truth impacts a
reader than the reader him/herself.

How does just-in-time processing differ from the conventional manufacturing process?

Just-in-time processing differs from conventional
strategies in that it tries to ensure that a company has as little inventory as
possible.  The reason for this is that keeping inventory around incurs costs, generally
called carrying costs.  Therefore, a company that is able to manage its inventory on a
just-in-time basis can save money.

In conventional
strategies, companies keep excess inventory around on what is sometimes called a
"just-in-case" basis.  They want to be sure that they are never caught not having an
item in inventory because that would mean that they might lose a
customer.

Just-in-time inventory management is meant to
keep customers satisfied, but without having the costs of keeping inventory around. 
This means that a firm must keep very careful track of how much inventory it has and how
much it is likely to need.  It then orders the exact amount of inventory it will need
and it times its orders to be sure that it will only receive the inventory right when it
needs it.

Just-in-time is a much riskier strategy.  It
forces a firm to be very accurate in its forecasting of what it will need and when. 
When it works, though, it is a very good way for a company to save
money.

What does "a" mean in "playing a in the dark" in the Twitter tweet quoted below?"'We all dance around in a ring and suppose but truth sits in the...

With regard to "tweets," as anyone can publish them, it's
hard to get a good take on the content. It's nice that Robert Frost's poem, "A Secret
Sits," is alluded to, short though it may be.

Stallone's
line, "life is playing a in the dark with NO referee pal...",
probably reflects nothing more than a typo. I have not seen slang
used with "a." I have read some of Mr. Stallone's messages to get a sense of the kind of
writer he is, and based on his style, I'm guessing it was an inadvertent
slip.

Perhaps I assume too much, but if he "tweeting on the
run," the way some of us text-message, that "a" may simply be slip of the...thumb,
(rather than tongue).

Your question makes perfect sense,
but I believe "a" is simply a mistake—though I wouldn't presume to tell you that I know
for certain. Don't worry that it's "only" a tweet: the only "silly" question is one
never asked. Above all, I hope this clarifies the text's content for
you.

Define the difference between Political Culture and Political Ideology.

Political culture and political ideology are two different
ideas. Political culture is more of a general concept. It focuses on values, attitudes,
and ideas that many people have about the government of a country. We believe our
leaders should be elected as a result of a democratic process. In our country, we
believe in the concept of a democratic republic as the way our leaders should represent
us. Most people, regardless of their political ideology, support these
ideas.

Political ideology is much more specific and may
lead to disagreements between people and political parties. The Democratic Party has a
political ideology that is very different than the political ideology of the Republican
Party. The Democratic Party believes the government should have a larger and more active
role in society. They believe there should be many government programs or agencies to
help the needy and to regulate the actions of businesses. The Republican Party believes
the government should have a more limited role in our lives. They want taxes to be
lower, and they want fewer government regulations on businesses. These ideologies are
very different, and they clearly mark the differences between the political parties.
There is a significant difference between political culture and political
ideology.

In Madame Bovary, how does the contrasting perspective in the Bovary marriage correspond to the treatment of reality?

The Bovaries are a couple with conflicting personal issues
that do not enable them see life for what it really is. They, within themselves, are
prone to fantasize about their realities. Then, as a marriage, they allow for the
fantasy to exist by recoiling back into the comfort zones of their
imagination.

In the case of Charles, he knows exactly here
he is coming from: as a child he was bullied. Growing up, it was a challenge for him to
learn. As an adult, he had to overcompensate her lack of energy for life and did his
best by trying not to get into any kind of trouble. He was a purist in terms of bland
determination.

The only time when fantasy struck Charles
was when he met Emma. In her, he saw all the passion he had lacked from life, because
she, herself, was quite a passionate spirit (albeit not to him). In his fantasy
marriage, Emma is a beautiful woman who does her best as a wife even if it is the
minimal.

On the other hand, Emma also married Charles under
a fantasy spell. She had not yet awoken to the passionate adulthood that awaited her and
Charles was ill-suited for her tastes. She would read French novels and wish to be an
aristocrat with money. She began then to try to fulfill her dreams by taking lovers and
developing an obsession with money and having things that she cannot
afford.

When reality struck and she found herself helpless,
bankrupt and left out of all of her lover's lives, she could not help but killing
herself, still under the notion that she was deserving of something
better.

In Sonnet 131 (I'd sing of Love in such a novel fashion) by Petrarch, what is the intent of the author/speaker?What message is supposed to be...

In the first two stanzas, the speaker relates to a "love"
that he is unable to woo at first. He must work hard at it, drawing “by force/a thousand
sighs a day, kindling again/in her cold mind a thousand high desires.”  The second
stanza suggests that this person has done him wrong. He’s comparing his love to someone
“who feels regret...for causing someone’s suffering by mistake.” While this is a
comparison, it still suggests that she’s not treated him fairly, but that he’s willing
to look past that.

The scarlet roses in the
snow and the ivory that “turns to marble those who see in near them” can be looked at
symbolically. There’s a sense of purity, but also of blemish. Again, he’s willing to let
the “blemish” of the roses roll past him because of his love for her. Finally, in the
last stanza, he knows that this will cause great suffering, but he doesn’t “mind/[his]
discontentment in this one short life,/but [looks for] glory rather in [his] later fame.
The later fame is the afterlife.

In the poem "Metaphors," what are Plath's feelings when she says she has "boarded the train there's no getting off"?

Famously this poem talks about Plath's own feelings when she was
pregnant, and she uses a series of metaphors to describe herself. However, within these
descriptions we can see her own feelings about her situation and her life. Descriptions
such as "I'm a means, a stage, a cow in calf" really indicate her sense of loss of her
own identity and the way that, in a sense, pregnancy has dehumanised her and she has
lost something of herself. The culmination of this poem comes in the final line that you
have identified, that clearly shows that whatever Plath feels about what is happening to
her, it is too late to do anything about it now, for she has:
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Boarded the train there's no getting
off.

This clearly displays the feelings
of Plath in recognising that this is a process that has robbed her of control and which
is now inevitable. It conveys the negative feelings that she has when considering her
pregnancy and expresses a sense of powerlessness and
helplessness.

What difficulties ensue from the Heraclitean theory of flux?

Perhaps the two most famous statements attributes to
Heraclitus are "everything flows" and "you cannot step in the same river twice, for
different and different waters will flow over you." Both of these fragments suggests
that in some way the world is in constant flux. Plato's Cratylus and Theaetetus are both
extended responses to the consequences of Heraclitean physics.

How can
we know or speak of a world in which there is no being but only becoming? The knowledge
one gains from perception is constantly obsolete as the perceived object will have
changed by the time perception is crystallized in memory. One cannot know what an object
is, but only what it was at the moment of perception. One cannot make general claims,
such as “humans are featherless bipeds” because that presumes stability. Nor can one
speak at all, for meaning in language presumes stable objects of reference or
signification for words.

Does anyone have some memorization tricks that would help with memorizing a scene from Romeo and Juliet?

Have you ever watched a movie so many times that you can
quote entire scenes without even thinking about it?  Have you ever listened to a song
and before you know it, realized you know every single
lyric?

My best advice for memorizing
anything is to recite it (or listen to others recite it) out loud. 
Writing your lines over and over would be a great idea if ultimately you were required
to write them for the performance.  But consider that performance
is more audio than visual.  Practice your lines (with other acting as the other
characters in the scene) just as you would perform them.  You'll be amazed as you
realize certain verbal cues keep you going.  Be sure to work on different inflections
and emotions as well, because, again, these audio nuances will trigger your memory
better than writing the lines over an over.

Start by
reading your scene (out loud) a few times through.  Then, slowly attempt to put down the
script and see how much you can remember without looking.  If there is a particular line
you always seem to forget, add a gesture to that section to help remind you of the
line.  Keep it natural, of course, so that you can use it in your performance as
well.

They say there is a direct link between music,
motion, and memory.  The lines themselves have a musical quality so don't feel you need
to "sing" them in order to remember.  However, I do encourage you to get up and move
about, just as if you were on stage, as you practice.  It may sound silly, but it really
works.

The link below contains some other helpful ideas to
consider.

Who was corrupted in the story of Young Goodman Brown and how do you know this?

In the story, Young Goodman Brown is corrupted because he
goes to meet with the devil. This could be literal or metaphoric, real or a dream.
Meeting with the devil is not necessarily bad, but Brown repeatedly attempts to turn
back to his Faith. This implies that each step he takes is one more down the path of
evil. But, Brown’s own walk with the devil is not really what corrupts him. When he
realizes that most of the townspeople have also discoursed with the devil, he loses his
faith in humanity.

The pun is on “faith,” since she
represents goodness in this story. Brown feels guilty for leaving “Faith” in the first
place. His corruption becomes complete when he cannot believe that goodness exists in a
world where everyone he knows has taken part in some evil. For Brown, everyone looks
like hypocrites. And he would be correct. But Brown’s stubborn or absolutist religious
views (Puritan) make it difficult for him to accept that the duality of good/evil is a
part of human nature.

Brown concludes that if this is a
world of evil, he will be evil himself.

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In truth, all through the haunted forest there
could be nothing more frightful than the figure of Goodman
Brown.

Brown has lost faith
in the world, himself and his wife.

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“My faith is gone!” cried he after one stupefied
moment. “There is no good on earth; and sin is but a name. Come, devil; for to thee is
this world given.”

Discuss the main theme of "The Nun's Priest's Tale" in The Canterbury Tales.

The famous story of Chanticleer and Pertelote has a clear
message to it, which is particularly heightened when we remember the person who is
telling the tale. Chanticleer is shown to be a creature that is easily beguiled by the
words of Pertelote, and in particular her rebuke about the seriousness with which he
takes his dream:

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"Alas!" cried she. "For, by the Lord
above,

Now you have lost my heart, lost all my
love.

I cannot love a coward, that I
swear!"

It is his love for
her that causes Chanticleer to go against his better judgement and leads to his near
escape with the fox. Thus the message of this tale, apart from the danger of succumbing
to flattery, perhaps can be said to concern the dangers of heeding the advice of women.
This is not particularly politically correct in today's world, but we need to remember
that this was an immensely popular medieval theme, focusing on Eve as the archetype of
the woman as temptress. Women were viewed as "the weaker sex" and thus offered foolish
and dangerous advice.

Let us think about why it is that the
Nun's Priest tells the tale. His role is a servant to the Prioress. From what we have
seen of her, she is depicted as rather foolish and overly sentimental. His work dictates
that he must live surrounded by women who are working under her, and thus perhaps share
her failings. Thus we can see this tale as a barbed attack against his mistress and also
against the women by which he is surrounded.

What are some quotes that Jonas says from The Giver that define who Jonas is?

Quotations are an excellent way to gather details of
characterization about a character for use in essays and other
analysis.

Jonas is thoughtful and wise beyond his years. 
One of the first indications that Jonas is not like other children is in the very
beginning of the book, when Jonas is trying to describe his feelings.  The quote
says:

“Jonas
was careful about language.” (page
3)

This quotation directly
characterizes Jonas.  Throughout the book, we see other examples of direct and indirect
characterization of Jonas.  For example, when the plane flies overhead and the Speaker
orders everyone inside, Jonas is described with this
quotation:

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“Instantly, obediently, Jonas had dropped his
bike on its side on the path behind his family’s dwelling.”  (page
2)

This is another example of
characterization.  Jonas is obedient.  His bicycle is very important to him.  All
children his age take great care of their bicycles, because they wait so long to get
them.  Bicycles are a symbol of independence and adulthood.  The fact that Jonas drops
his so quickly and runs inside shows that he is instantly, unquestionably
obedient.

How are Lord Capulet and the Nurse different in Romeo and Juliet?I need a personality/character trait of Capulet that CONTRASTS with a character...

To underscore the excellent answer above, the scene in
which the Nurse discovers Juliet "dead" is very telling of the natures of her and of
Lord Capulet.  In Scene 5 of Act IV, the Nurse enters and finds that she cannot rouse
Juliet.  She exclaims,

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Alas, alas!  Help, help! My lady's
dead!

Oh, welladay that ever I was
born!....

Oh, lamentable
day!....

Oh me, oh me! My child, my only
life.

Revive, look up, or I will die with thee.
(IV,v,15-22)

When Lord
Capulet enters, he claims that Death

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...hath ta'en her hence to make me
wail,

Ties up my tongue and will not let me
speak....

Death is my heir,  I will
die,

And leave him all--life, living, all is
Death's....

O child!...My soul, and not my
child!

Dead art thou!  Alack, my child is
dead,

And with my child my joys are buried. (IV,
v,37-67)

So, while both the
Nurse and Lord Capulet cry that they, too, will die, Lord Capulet demonstrates more
selfishness in his laments, stating that his joys will now be gone as Juliet has died. 
He thinks of his lineage and how the wedding will now turn to a funeral:  "Our wedding
cheer to a sad burial feast."  All the sentiments of Lord Capulet contain his own
reflection in them.

On the other hand, the Nurse simply
expresses her deep sorrow and dismay, wishing herself dead if she no longer can be with
Juliet.  She thinks of nothing else, only "her child."

What are some examples of connotation in "A & P" by John Updike?

A connotation is a word that has two meanings: its literal
interpretation and the cultural interpretation that it is given. Many phrases that we
use today in our language have no literal meaning in the context in which we use them,
however they have come to be accepted as having a secondary meaning, such as "raining
cats and dogs."

In "A & P," we are given a
first-person account from a young man, who, understandably, expresses things as he sees
them one day working behind the till from his own cultural understanding. Thus it is
that this account contains many connotations. Consider the following
examples:

By
the time I got her feathers smoothed and her goodies into a bag... the girls had circled
round the bread and were coming
back.

Note how the expression
"feathers smoothed" refers to the "witch" of a customer that the narrator was serving as
the girls entered. This literally of course has no meaning: the woman has no feathers,
but the narrator is referring to calming her down and restoring her composure after she
has just "given him hell." This of course is another connotation. The woman is unable to
literally give "him hell," but it refers to her sudden anger and annoyance when the
narrator accidentally rings one of her purchases up
twice.

So, hopefully with these two examples you will be
able to go on and re-read this excellent story, looking for more examples of
connotation. Good luck!

What is the complication in "The Cask of Amontillado"?

In Poe's "The Cask of Amontillado," nearly every part of
Montressor's plan of revenge goes according to schedule, so there are not too many
complications from his angle.  The only real snag is for the reader, as we are not in on
the plan from the beginning.  We are like Fortunato, oblivious to the plan of
revenge.

Getting Fortunato into his catacombs is easy: the
amontillado does the trick.  The complication, I guess, comes in making him walk deeper
and deeper into its dark passages.

For the reader, the
complication comes when Fortunato debates turning back. Fortunato is ill with a bad
cough, and the nitre of the catacombs only makes it worse.  Even Montressor beckons him
to return:

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"Come," I said, with decision, "we will go back;
your health is precious. You are rich, respected, admired, beloved; you are happy, as
once I was. You are a man to be missed. For me it is no matter. We will go back; you
will be ill, and I cannot be responsible. Besides, there is
Luchesi-"

This, of course, is
really part of the plan, verbal irony by Montresor scripted to make it seem like he is a
friend who cares about his health.  This bit of reverse psychology is the only
complication I can see.

Please help with these questions about Shakespeare's Othello.1. What does the Duke mean by "Men do their broken weapons rather use/Than their bare...

Though you are technically only allowed one question per
submission, I have only edited out one of the three that you proposed, as the two above
relate to the Duke and his point of view on the elopement of Desdemona and Othello. 
Please re-submit as individual questions any other questions you have about the Duke and
Brabantio.

These quotes are from Act I, scene iii, and
relate to Brabantio's claim that Othello has "stolen" his daughter Desdemona, making her
elope with him.

The first quote you cite comes in this line
of the Duke:

I
think this tale would win my daughter too.

Good
Brabantio,

Take up this mangled matter at the
best;

Men do their broken weapons rather
use

Than their bare
hands.

First,
it must be noted that these lines are in direct response to one of the most famous
speeches in all of Shakespeare -- Othello's recounting of how he, as a welcomed guest in
Brabantio's house, wooed and won the heart of Desdemona with his tales of his
adventures.  This speech reveals the poetic, eloquent and noble nature of Othello, and
casts Brabantio's harping and false accusations in a very poor
light.

In the line cited above, the Duke remarks upon this,
suggesting that the situation might be a "mess," but that Brabantio should cut his
losses, since his accusations or "weapons" have been "broken" by Othello's speech.  His
line ends with a veiled caution that Brabantio probably does not want to tangle further
with Othello in bare "hand to hand" combat.

Once Desdemona
has confirmed her free choice of Othello, Brabantio reluctantly gives up ("I have done,
my lord.") and the Duke has a few final thoughts about the matter for
Brabantio:

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To mourn a mischief that is past
and gone,

Is the next way to
draw more mischief on. . . .

The robb'd that
smiles, steals something from the thief,

He robs himself
that spends a bootless
grief.

Clearly, though
Brabantio says that he is "done" he seems headed towards harboring a grudge against
Othello and his daughter.  The Duke, in the lines above, cautions him to let bygones be
bygones, because clinging to "mischief" from the past will surely bring more "mischief"
or misery.  He creates an image of robbery that calls upon the Christian notion of
turning the  other cheek, proposing that Brabantio, though he feels he has been "robbed"
of his daughter, "smile" anyway and save himself from causing his own future misery by
hanging on to a pointless ("bootless") grief.

For more on
this scene, please follow the links below.

Who is Emily Dickinson trying to help in the poem "If I can stop one heart from breaking"?

From the poem itself, it is not evident that Dickinson is
trying to help anyone specific. Therefore, it is possible that she's saying that if just
one person is impacted by her poetry, she "has not lived in
vain."

It's important to take a step back here, however.
When reading poetry, we must make sure that we do not just assume that the poet is the
speaker of the poem. The speaker of a poem is similar to the narrator of a story. That
being said, I think we can make the case that Dickinson herself, is speaking
here.

If we make that choice, we can tell by her word
choice, or diction, that she doesn't mean anyone specific. For instance, in the first
line, she says, "If I can stop one heart from breaking." She uses the word "one," rather
than "your" or someone's name.  She also uses "heart" and "life" as what she's trying to
save, which are very general terms to the concept of humanity. She
does however, become specific in talking about the robin. In that light, we can further
our case that she's being general about humanity.

What ideas of changing self are being explored in Jane Austen's Pride and Prejudice?

Both Elizabeth and Darcy
experience a change in self. Elizabeth realizes that she
has been prideful and prejudicial while Darcy realizes that he has acted with
conceit.

Elizabeth first realizes she has
acted with prejudice and pride after reading Darcy's
letter. In fact, she realizes that she has wrongfully taken great pride in
her abilities to discern, or to judge, as we see in her
lines:

How
despicably have I acted ... I, who have prided myself on my discernment!--I, who have
valued myself on my abilities ... and gratified my vanity, in useless or blameable
distrust. (Ch. 36)

In other
words, in contrast to Jane, Elizabeth believes that she has the ability to rightly judge
character while her sister always sees people as much better than they are. However, it
turns out that she incorrectly judged Wickham as being the best man she's known, simply
because he is charming, well-mannered, very friendly, and conversational. Hence, when
Wickham speaks ill of Darcy, reporting that Darcy cheated him out of his inheritance,
Elizabeth felt inclined to believe him. She prejudicially accepted Wickham's account and
prejudicially judged Darcy to be a despicable person merely because Darcy appears to be
proud, conceited, and has a reserve. Once Elizabeth makes these realizations, she
changes by becoming more accepting of Darcy and more distrusting of
Wickham.

Darcy also changes
himself as a result of Elizabeth's opinion of him. During his first
proposal, he learns that she has always believed him to be arrogant,
conceited, and selfish. She also accuses him of making a proposal in a
less "gentleman-like manner" than he should have done (Ch. 34). Both accusations deeply
shock and mortify him, so much so that he not only writes a letter justifying his
character but also makes every endeavor to appear less arrogant, conceited, and selfish.
In particular, when Elizabeth is discovered touring Pemberley with her Aunt and Uncle
Gardiner, he asks to be introduced. Elizabeth notes that he seemed surprised to learn
that the Gardiners were some of her working class relations that made him claim she and
her family are inferior to himself, but sees that Darcy readily enters conversation with
them, continues walking the grounds with them, and even invites Mr. Gardiner to fish on
the estate. However, Darcy's true character is revealed when he heroically bribes
Wickham into marrying Lydia, all for the sake of saving Elizabeth's reputation. During
his second proposal, Darcy even confesses to feeling ashamed about how he had addressed
her in his first proposal and says that her words, "had you behaved in a more
gentleman-like manner," had been a source of great torment, leading him to make the
necessary changes (Ch. 58).

Find the solution of the equation 5^(11x-1)=7^x

Since the bases are not matching, we can use logarithms to
solve exponential equations.

We'll take logarthims both
sides:

log5  [5^(11x-1)] = log5
(7^x)

We'll apply the power rule for
logarithms:

(11x-1) log5 5 = x log5
7

We'll recall that log5 5 =
1

We'll re-write the
equation:

11x-1 = x log5
7

We'll subtract x log5 7  both
sides:

11x - x log5 7 =
1

We'll factorize by x:

x(11 -
log5 7) = 1

We'll re-write log5 7 =
lg7/lg5

x(11 - lg7/lg5) =
1

We'll divide by 11 - lg7/lg5 =
9.7909

x = 1/9.7909

Rounded to
four decimal places:

x =
0.1021

What was Trotsky's role in the October Russian Revolution?

The brief answer to this is that Leon Trotsky's main role
in the October Revolution was that of military leader.  Trotsky was the man who planned
the overthrow of the provisional government that had been ruling the country since the
February overthrow of the Tsar.  It was Trotsky who devised the plan in which a group of
soldiers would attack the Winter Palace in St. Petersburg as the government met
there.

In addition to his role as military leader, Trotsky
was also the second most important member of the Bolshevik Party.  His place in the
Party was second only to that of Lenin.

So Trotsky was a
major player in the Bolshevik Party and was its military leader.  He planned the October
overthrow of the provisional government and led the Red Army through the ensuing civil
war.

In Shakespeare's A Midsummer Night's Dream, how does Demetrius feel towards Hermia and Helena at the start of the play?

At the very opening of the play, Demetrius feels that he
is in love with Hermia. In front of Duke Theseus and Egeus,
Hermia's father, he begs Hermia to relent to her father's will and agree to marry him,
which would thereby save her life or save her from other harsh punishment. We see
Demetrius beg Hermia to give in to her father in his lines, "Relent, sweet Hermia; and,
Lysander, yield / Thy crazed title to my certain right" (I.i.93-94). We further see
evidence that he believes he is in love with Hermia when he asks Helena where she and
Lysander have gone, as we see in the lines, "Where is Lysander and fair Hermia? / The
one I'll slay, the other slayeth me" (II.i.193-194).

In contrast,
although there is evidence that Demetrius was in love with
Helena before he ever laid eyes on Hermia, at the beginning
of the play, he feels that he hates Helena. We see evidence of his hatred in the cruel
manner in which he treats Helena when she follows him into the woods in pursuit of
Hermia and Lysander. He not only says hateful things to Helena, he even threatens her
with physical violence, as we see in his lines, "Tempt not too much the hatred of my
spirit; / For I am sick when I do look on thee" (II.i.215-126). He is even so hateful
and goes so far as to threaten her with rape, as we see in his
lines:

You do
impeach your modesty too much
To leave the city and commit
yourself
Into the hands of one that loves you not;
To trust in the
opportunity of night,
...
With the rich worth of your virginity.
(218-223)

The references to
her modesty and virginity are a clear attack on her maidenhood and a clear threat of
rape, showing us just how cruelly Demetrius is treating Helena, due to his
hatred.

Hence, at the beginning of the play, Demetrius believes he is
in love with Hermia and believes he hates Helena.