Complete the string with the missing number 2,8,14,20,x,32.

This is a pattern sequence question. Look at the numbers
we have been given:

2,8,14,20, X,
32

X is the number missing in the pattern
sequence. Look at the other given numbers; 2, 8, 14, 20. Do you see a number pattern
here amongst these numbers? Look at the numbers 2 and 8. What is the number difference
here between the numbers? To get to the number 8 from the number 2, how many spaces must
we move. We are already on 2, so let us count over to 8, starting with the number 3
because we ae already on 2!   3, 4, 5, 6, 7, 8 How many
spaces did we need to count over to get to the numbe 8?  6, that is correct!  Now let's
do the same steps for the numbers between 8 and 14; ready;
9,10,11,12,13,14. How many spaces did we need to get to
14?   6.   Do you see a number sequence pattern now? If so, you should be able to find
out what X is by adding the pattern number we just discovered! Are you still not sure?
Let's take the numbers 14 and 20, and apply the same steps; ready?  15,
16,17,18,19,20. How many spaces did we need to get to 20?  6!  Hmm that
number 6 seems to have come 3 times now!  Let us see what happens if we count over 6
spaces from here; ready?  21,22,23,24,25,26. Great, now let
us take the last number, and count back 6 numbers and see what number that brings us
too, resdy?  31,30,29,28,27,26. Hmm there is that number 26
again. Let us bring the original question
back:

2,8,14,20, X, 32 What
number logically could and will replace the letter X?  26?  Great, because
26 is your answer!

To answer these in the
future, remember it is best find the pattern first, and this will help you solve the
answer!

What is x in equation 2/e^x = 5/(1+e^x)?

We have to solve for x using the equation 2/e^x =
5/(1+e^x)

2/e^x =
5/(1+e^x)

=> 2* ( 1 + e^x) = 5*
e^x

=> 2 + 2*e^x =
5*e^x

=> 2 =
3*e^x

=> (2/3) =
e^x

take the natural logarithm of both the
sides

=> x = ln
(2/3)

=> x =
-0.4054

Therefore x = ln (2/3) or
-0.4054

In "My Heart Leaps Up When I Behold" by Wordswoth, is its directive primarily objective/intellectual or subjective/emotional?Please explain why.

Romantic poetry tends to be more subjective/emotional than
objective/intellectual. Romantic poetry was a reaction against the reason of the
Enlightenment. The emphasis of Romanticism was emotion and individualism. So, most of
what is now considered “romantic” is subjective, introspective and emotional. A lot has
to do with personal experience, themes in rural settings and
individualism.

This poem is mostly subjective and
emotional. The speaker says that the site of a rainbow currently makes his heart leap
just as it did when he was a child. He hopes for the same effect when he is an older
man. Wordsworth believed that a subjective outlook was preferable and that people were
not as emotionally (or intellectually) restrained in rural and natural
settings.

The speaker hopes his days are bound by this
natural piety. On one hand, this means that he hopes his feelings of free expression and
wonder with nature never leave him: his days are bound by this perspective. This is his
personal, subjective way of engaging the world.

On the
other hand, you could interpret this as a hint towards an objective in the sense that
such a perspective could be shared by all people. Subjectivity implies difference
between all individuals. Objectivity implies a truth that applies in all situations. The
only way you can attribute this “personal love of nature” sentiment as an objective
sentiment that may apply to all people is with line 7. “The child is the heart of man.”
If he had said, “my child,” the poem would retain its complete subjectivity. But this
statement is sweeping. It applies, or attempts to encourage the speaker’s sentiments to
all “man” or human kind.

So, it is primarily subjective,
but there is a subtle plea for objectivity; each individual is capable of this
subjective and emotional perspective of nature.

Who does Harriet Beecher Stowe, author of Uncle Tom's Cabin, blame for slavery?

This is open to debate, as you're talking about the
background motivations of an author in the 1850s.  The novel itself was written in
response to the passage of the Fugitive Slave Act, requiring Northerners to aid the
recapture of runaway slaves.  In this sense, she blames
lawmakers. 

On another level, Stowe blames slaveowners,
some of whom are portrayed as kind and paternalistic in the novel.  To her, slaveowning
is an absolute moral wrong, regardless of how kind or cruel an owner
is.

Lastly, I think she places blame on those in the North
who tolerate slavery, or refuse to take up the abolitionist cause.  I think she is most
angry with this crowd, particularly northern Chrisitians.

How are the style and tone of the narrator's voice different than that of the characters in "A Good Man is Hard to Find"?

This is a very interesting question to consider. When we
think of tone we need to examine the diction or word choice and the action that a story
contains. In a sense, this great story is a mix of different tones: it contains elements
of bleak severity, humour and grim irony. The feuding between the grandmother and her
son's family is hilarious, as is the description of the children's mother as having a
face that was:

readability="6">

as broad and innocent as a cabbage and was tied
around with a green headkerchief that had two points on the top like rabbit's
ears.

Whilst smiling wryly at
the mother's unfortunate fashion choice, we also see elements of irony in the tale. The
grandmother uses the presence of the Misfit in the first paragraph to persuade her son
into going to Tennessee rather than Florida. Of course, it is ironic that in spite of
saying this it is she that leads her family into the hands of the Misfit when she takes
them on a diversion. The tone of course darkens tremendously when we reach the Misfit
and we understand the terrible danger the family are
in.

However, these range of approaches always keep us at
arms' length from the characters. Detachment is a key note of O'Connor's style. We are
never allowed to become too intimate with her characters and they are all shown to us
warts and all so that we are free to judge them without sympathy affecting our judgement
in any way. Of course, at the end, we see these normal, average characters confront a
terrible situation where the only escape for them is in death. O'Connor throughout makes
stylistic choices so we can judge and assess these normal characters and see how they
face this crucial understanding of their own mortality.

I recieved questions that say in chapter 1 and 2 there are epigraphs from a friend and the other is by the McCandless, but I don't know where it is?

An epigraph is a quotation used at the opening of a text
or, in this case, a chapter. Chapter 1 opens with McCandless’ own writing on a postcard
he sent in April 1992. It is a very fatalistic piece of writing, and McCandless seems
almost assured that he will not survive the experience. It also contains the words which
became the inspiration for the title of the text-

readability="5">

 I now walk into the
wild.

 Chapter 2 begins with
another epigraph from McCandless: an observation on the writer Jack London. Krakauer
indicates that the words were found carved on a piece of wood at the site of McCandless’
death. We realise as a reader that he did not survive the experience. Krakauer then
includes a quotation from “White Fang” by Jack London, which illustrates the majestic
yet fearful environment which captivated McCandless so
completely-

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 It was the Wild, the savage, frozen-hearted
Northern wild.

In Fahrenheit 451, what role does the unidentified old woman play in Montag's character development?

This unidentified woman tries to portray herself at the
beginning as a innocent by-stander to the call that the men have come to address. After
the men go about and prepare the house, and the books, she tells
them

"You
can't ever have my
books."

What impacts Montag
most during these moments is the fact that she then stays on the scene that the men
intend to light on fire, near the books. Even though Montag pulls her away she stays.
After Beatty begins a countdown, she remains there and pulls her own match out and
lights the fire choosing to die herself with the books. She plays
the role of an enlightener or a
trigger to Montag. She introduces to him that these books
have value worth dying for. She is almost a martyr for the
process of thought and this leaves great impact on Montag. It triggers his desire to be
on a quest to learn about why a person would do such a thing.

In The Great Gatsby, why does Wilson lock up his wife, Myrtle, in anticpation of taking her west?

George had known from early in their marriage that Myrtle
held him in contempt. Her opinion of him had changed drastically a short time after
their wedding when she discovered he had had to borrow a suit to get married and had not
told her. George, she determined, was not a gentleman: ". . . he wasn't fit to lick my
shoe," she said. Their marriage was a misery and George became a brow-beaten husband. As
Michaelis said of George Wilson, "He was his wife's man and not his
own."

Discovering Myrtle's infidelity stunned George and
drove him into uncharacteristic behavior. He made her a prisoner, literally locking her
up in an upstairs bedroom. Visiting George at the gas station, Michaelis heard "a
violent racket" that "broke out overhead." When George explained that he had locked up
his wife, Michaelis was shocked:

readability="6">

Michaelis was astonished; they had been neighbors
for four years and Wilson had never seemed faintly capable of such a
statement.

George locked up
Myrtle because he knew she finally had reached a point in their marriage when she would
leave him. Despite their years of unhappiness, Myrtle had stayed, but circumstances had
changed. George believed Myrtle had somewhere else to go, and he was determined to stop
her.

What is the purpose of tone?Question is multiple choice A)To express the author's attitude toward the reader or a subject B)To quicken the pace of...

Tone is so important to a piece of writing that if the
reader does not recognize it correctly, the meaning of the work is either mitigated or
lost.  For instance, imagine--as has happened in some high school classrooms--that a
reader were to take Jonathan Swift's "A Modest Proposal" literally and not recognize the
biting satire that is prevalent throughout his work? 

Or,
imagine that a reader miss the ironic tone in so many works?  One example is Saki's
short story "The Open Window" in which a young girl toys with a nervous visitor and, at
the end, when she covers her act by telling her aunt another story, the narrator remarks
that "Romance at short notice was her specialty."

There is
no question that understanding the tone of a literary work is essential, for this tone
conveys the authors' attitudes, and, thus, their purpose for writing the work.
(a)

What are three character motivations for Atticus in To Kill a Mockingbird?

Atticus is motivated by personal belief, by the desire to
teach his children to be good people, and by the desire to see justice
done. 

Atticus lives by his own moral code, that does not
match the standards of most of Maycomb.  Atticus sees everyone as a person, and treats
all people with respect regardless of age, race or social class.  For example, he is
respectful and courteous to his children and other children.  He talks to children like
adults.  He also does not look down on people of other races or classes, contrary to the
typical Maycomb belief that "good families" are better than poor ones, whites are better
than blacks.

Atticus is also motivated by his desire to
teach his children to respect other people, regardless of race or class.  He repeatedly
teaches his children to respect other adults, and to look beyond the story of a person
to find out what that person is really like.  For example, he encourages his children to
be polite toward the Radley family and Mrs. Dubose.  He teaches them that people of
other races or social classes are not to be looked down upon by the way he has them
treat Calpuria and the Cunninghams.

Finally, Atticus is
motivated by his desire to see justice done.  He does not accept racism, but he also
takes Tom Robinson's case because he believes that Tom is innocent and wants to see him
get a good defense, regardless of the liklihood that they will do well at trial.  He
also wants to repeal the verdict, even though Tom does not believe it will do any
good.

Describe how Ben is characterized, and discuss whether the characterization was fashioned to serve the story vice versa?From "The Storm" by...

In McKnight Malmar's short story, "The Storm," Ben is
characterized as a man who is especially frugal (tight with money), who does not like to
talk about things he wishes to avoid (to the point that he gets "ugly"), and is "set in
his ways." It would seem, too, that he is private about certain aspects of his life:
gone from home for long periods of time, ostensibly traveling to and from
work.

The reader gets the sense that his wife, Janet, finds
security with Ben and generally likes his company, but she also feels sometimes as if
something is missing in their relationship.

In terms of
whether Ben's characterization was fashioned for the story, or the story fashioned for
Ben's character, it almost seems like a "chicken vs. the egg" question: which comes
first?

My personal opinion is that the story is fashioned
for Ben's characterization. Were it not for the characterization of Ben, the storm would
have been frightening by itself. However, even before Janet sees the body in the
basement, she already almost dreads Ben's return home, fearing he
will be in an ugly state of mind because he has received another letter from New York
City, which always puts him in a foul mood.

The story's
entire mood feeds off of the fact that there is a terrible storm, Janet is cut off from
the rest of the world, and she is petrified. However, what we know of Ben does not put
the reader's mind at ease when he arrives.

It is hard
not to connect the letters with the lady in the trunk,
not accidentally dressed in red, which makes us suspicious of the
kind of woman she was: if not a prostitute, certainly a woman very unlike the man Ben is
portrayed to be—stiff, structured, and stingy. Red gives way to a sense of passion,
flamboyance, and/or and wildness.

The sense of comfort we
expect from him does not come from Janet's description of him, or his behavior when he
arrives, but from Janet's expectations of Ben, believing that if he
is not in a bad mood, all will be well when he
arrives.

This brings up another question: since the letter
from New York City arrived only three days before, why is Ben
NOT miserable and angry as he usually
is? One can also not forget that Janet returns home one week early, unexpectedly. Ben
makes a fuss about how welcoming the lights are in the dark night, but they also alert
him, if he is indeed the murderer of the woman in red, that his secret may already have
been compromised, as IS the case.

All
of these details from the story that surround Ben's characterization lead me to believe
that the story was fashioned to serve Ben's characterization because so much of the
story revolves around Ben, and who he is.

What a
wonderfully, wicked, frightening, story!

How is Skinner's programmed instruction theory similar to Montessori's beliefs?

Skinner's operant conditioning theory offers that behavior
can be achieved through a series of processes that involve motivation, reinforcement,
and feedback until the behavior can be achieved without the consistent application of
such interventions.

Montessori and OPT are similar in that
they both place importance in the individual need to achieve a specific behavior and how
to manage it independently. For example, Montessori and Skinner would agree in that
students must become independent learners with incremental processes of instruction
where they can expand their horizons, and considering the developmental appriopriateness
of the activity.

They are different, however, in that
Skinner's philosophy depends much on an initiator consistently monitoring the intervals
of reinforcement whereas Montessori uses less intervals of interventions by an
adult.

By the end of the 17th century, which European nations were in better shape, and which were weaker, than they were at the beginning of the 1500's?

Your use of the term "17th Century" means the 1600's,  so
your question spans the years from 1500 to 1699.   By 1699 the English, French, and the
Dutch were quickly gaining on the Spanish and Portugeuse in wealth and in world
dominance.   Since Spain and Portugal were still quite powerful nations in 1699,  its
really hard to pin down exactly which countries were dominate.   By the late 1700's
however;  with the British in firm control of much of India,  the Americas (minus the US
of course),  the Caribbean,  and other parts of Asia,  I would conclusively say they
were the most powerful nation at that time.  Spain was on the way out,  with most of
their new world colonies soon to gain Independence.   But in 1699,  world dominance was
very much up for grabs.   But Spain and Portugal were clearly losing influence world
wide mainly to the British, French, and the Dutch.  

In chap. 9, where does Squealer say Boxer will be sent? Where is he actually sent? How does Boxer spend his last hours, according to Squealer?

Squealer says that Boxer is going to be sent to the
hospital and that Napoleon is sacrificing great amounts of money to ensure that Boxer
gets the best care and medicines.

Boxer is actually sent to
the knacker. The knacker is a horse slaughterer who will use Boxer's parts for glue.
Thus we can believe that Napoleon was to make good money off of
this.

Squealer professes that Boxer's last hours are spent
saying that Napoleon is always right, and that we must keep working hard, and he
whispered in Squealer's ear that Animal Farm must live on. It was very inspirational
according to Squealer.

In "The Mark of the Beast" by Rudyard Kipling, what does the story reveal about the British presence in India?i need the answer really fast......

You probably cannot find this because it is not
specifically stated in the story -- you are supposed to infer it from what happens in
the story.

To me, what Kipling is trying to show is that
the British presence in India is often arrogant and ignorant.  He shows this through the
actions of Fleete.  Fleete is arrogant enough to desecrate the image of the god with no
regard for what the Indians might think of his action.

We
see the ignorance of the British the fact that none of them seem to understand, at
first, what is going on.

Pick out at least five key phrases in Kate Chopin's "Story of an Hour."

These are some phrases that advance the central theme of
the story, that of the oppressive position women were forced to accept in
nineteenth-century marriages.

readability="8">

"She was young, with a fair, calm face, whose
lines bespoke
repression..."

The author
does not spend a lot of time describing Mrs. Mallard's physical appearance. It is
significant that "repression" is one of the few words she chooses to describe
her.

"She was
beginning to recognize this thing that was approaching to possess her, and she was
striving to beat it back with her
will..."

The realization of
her situation and her longing for freedom are taboo during her time, and Mrs. Mallard
does her utmost to prevent herself from acknowledging these inclinations in herself,
knowing they can lead only to destruction.

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"She would live for herself. There would be no
powerful will bending
hers..."

Women are subjugated
by the will of their husbands. What they want is not important; it is what the man wants
that takes precedence during these times. With the removal of her husband, Mrs. Mallard
will be able to experience a freedom which has long been denied
her.

"What
could love, the unsolved mystery, count for in face of this possession of self-assertion
which she suddenly recognized as the strongest impulse of her
being!"

Self-realization is
more important even than love by Mrs. Mallard; it is
all-consuming.

readability="6">

"She breathed a quick prayer that life might be
long. It was only yesterday she had thought with a shudder that life might be
long."

Mrs. Mallard's married
life was so odious to her that she did not feel it was worth living. This was true even
though her husband was a kind man; the impulse towards self-realization inside herself
was that strong.

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"...she had died of heart disease - of joy that
kills."

This statement has
multiple meanings. "Heart disease" refers to Mrs. Mallard's physical ailment as well as
to her longing. The "joy that kills" is the sense of identity and freedom she craves; in
the society and times she lives in, it is a forbidden thing that can only result
in ruin.

What is the plot summary of "Through the Tunnel"?

The story begins on the first day of the holiday of a
young English boy and his mother in an undisclosed location, but probably either in
France or North Africa. As they walk down to the "safe" beach where they always go,
Jerry looks longingly at a more "wild" beach where he would like to play. However,
because he does not want to upset his mother, who is a widow and has worked hard to try
to raise Jerry by herself, he goes with her. The next morning however, he asks to go
down to the wild, rocky beach and is given permission. The mother goes away to her beach
worrying about whether she is being a good parent and getting the balance right between
protectiveness and independence.

When Jerry arrives at the
wild beach, he goes for a swim and is able to see his mother on her beach from afar. He
notices some local boys on a promontory above him and they wave at each other. They dive
in to the sea in turn and Jerry is impressed by them. Eventually, the boys dive and do
not come up for a long time, until they emerge from the other side of a dark rock and
breathing deeply. Jerry dives down to see what is there and finds a big black wall of
rock and understands that the boys have swum through some hole in it to the other side.
The boys take 160 seconds to go through the rock and the boys go away, leaving jerry
experiencing failure and crying.

Jerry asks his mother for
some goggles and determines to repeat the feat of the boys. He finds the hole and then
begins practising holding his breath, making his nose bleed and exhausting himself.
Jerry determines to go "through the tunnel" the day before they leave holiday and
continues exercising his lungs. On the last day he attempts his feat and although it is
hard, he manages it. He returns home, exhausted and having suffered a massive nose
bleed. The mother notices that he looks somewhat "strained" but determines not to worry.
As Jerry announces how long he can stay underwater, the mother tells him not to overdo
it and is ready for a "battle of wills" but Jerry gives in, finding it not important to
go to his wild beach now that he has gone through the tunnel.

Why does Antony say "The evil that men do lives after them;" ? Or in other words exactly what does this statement mean?

Marc Antony employs many statements with hidden meanings
in his famous funeral oration of Act III, Scene 2, and "The evil that men do lives after
them" is certainly one of them. This statement implies that history records the wrongs
of people in more inflammatory words that are long remembered, while often their good
deeds are either mitigated in the shadow of the more interesting evils or even
forgotten.

Those who hated Caesar were eager to speak of
his evil, Marc Antony hints in his statement; this act of suggestion is his subtle way
of beginning to cast aspersions upon the conspirators. Soon afterward, Antony alludes to
the accusations of Brutus and the others, but he again is subtle as he
adds, 

       
                   The noble Brutus
Hath told you Caesar was
ambitious.
If it were so, it was a grievous fault,
And grievously
hath Caesar answer [for]it.
 (3.2.79-80)

Thus, Brutus
begins to sow the seeds of doubt into the minds of the plebeians who listen, so that
when he reaches the end of his speech, the crowd will be eager for
rebellion.

In Kate Chopin's book The Awakening, how does the sea represent freedom?

At the end of the novel The Awakening,
Edna goes out into the sea to swim.  It has been revealed earlier that Edna
has not known how to swim and has only recently learned.  So at the end of the novel,
swimming far out into sea is probably something that Edna should not reasonably be
doing.  This is the clue that Edna's actions are not meant to be read literally, but
figuratively.  Eventually, Edna continues far out into the sea and her body becomes
tired, and although it is not stated directly, it is implied that she drowns herself. 
For the length of the book, Edna has been trying to break free from her lifestyle which
she finds constricting, but she can never manage to be truly happy in the paths that she
takes.  The sea for Edna is expansive and holds limitless possibilities, and this is
what she wants for her life.  Her suicide by means of the sea is symbolic of her finally
attaining the freedom that she has been seeking.

In the satire Candide, is there a connection between irrational belief and violence or cruelty in the passage explaining the origin of...

In Chapter four of Candide, Voltaire
gives full rein to his biting satire of the optimism promulgated by the mathematician
and philosopher G. W. von Leibniz. 

After meeting a beggar
covered with sores, having lifeless eyes, a rotted nose and teeth that fall out with
every racking cough of his wretched body, Candide is moved to give the poor creature a
florin, whereupon the beggar hugs him.  Candide is appalled to discover that this beggar
is Dr. Pangloss.  After Candide learns from him that Cunegonde is dead he exclaims, "Oh
best of all possible worlds--after the philosophy of von Leibniz--, where are you?" 
Pangloss explains that he has contracted syphilis from Paquette who was infected, "a
present given to her by a learned Franciscan friar," who in turn contracted it from
another on back to a Jesuit who received it from a shipmate of Christopher Columbus. 
When Candide suggests that it has all stemmed from the devil, Pangloss contradicts him,
saying,

Not
at all....It was an indispensable element in the best of worlds, a necessary ingredient,
becuase if Columbus, on an American island, hadn't caught that disease which poison the
source of generation, ...and which is obviously opposed to the great goal of nature, we
would now have neither chocolate  nor
cochineal.

In this passage,
of course, Voltaire parodies von Leibniz's reasoning as well as the blind optimism of
his philosophy that holds that since God has created the world, and God is all good,
then the world, also, must be good.  This attempt of Pangloss to explain evil in a world
where all is good by suggesting that the evils have served a good purpose, the
production of chocolate, for instance, is absurd.

How did Lower class American society behave in the 1920's?

Your question is rather broad, so I'd like to focus on
just one aspect of the way that poorer Americans acted in 1920 that is very
interesting.  As the conditions deterioriated throughout the decade, gathering momentum
at the end, with the loss of farmland to drought, the loss of good jobs to a faltering
economy, the continuous concentration of capital into the hands of fewer and fewer
people through the de-regulation of wall street, Americans tended to blame
themselves.

The ethic of being able to pick yourself up by
your own bootstraps had been so effectively inculcated into American society that so
many people who found themselves without a job, without land to farm, without a home,
they blamed this entirely on themselves.  There was no real welfare system so they had
nowhere to turn to and they tried to avoid bread lines and other things as long as
possible given the stigma that was attached to either of those
mechanisms.

How does the setting in A Streetcar named Desire set the mood?

The establishment of New Orleans helps to bring to light
the fact that the South has definitely changed.  From the upbringing of both sisters at
Belle Reve to a modern metropolis like New Orleans, the South of the past has long since
passed.  In this light, the feeling of different worlds is evoked.  Blanche's discomfort
is also akin to the setting because she, too, is of a different time and world.  The
South that she knew is long gone and in its place is this new vision where she cannot be
assimilated.  The fact that the area of New Orleans in which Stella and Stanley live is
working class or poor also brings to light the difficulty of this modern vision for
someone like Blanche, who is used to the "finer things" or at least believes herself to
be worthy of these elements.  There is not much in way of happiness or contentment in
this setting, and this helps to establish Blanche's emotional climate, where there is
much unsettled and little that is constant.

What are examples of cultural, economic, or environmental diffusion between the Sumerians and ONE other society (please give name of this...

The Sumerians are of unknown origin; some scholars say
that they originated from Northern India.

They ruled
Mesopotamia from 3200-2360 BC. ( 840 years long )

The
Acadians of Semitic origin conquered Mesopotamia by the 2350 and took over almost all
Sumerian civilization.

The Sumerians started with writing :
Cuneiform writing which developed later to the Latin alphabet, via Phoenicia, the Greeks
and the Etruscans

The Gilgamesh story ( of the Flood )
ended up in the Jewish Bible.

The worshipped three gods (
Trinity ) which has been taken over by Christianity – also influenced by the holy cypher
of Three by the Indo-Europeans.

Numeration based on the
number twelve. Which is more convenient that the decimal numeration, since 12 can be
divided by 1, 2, 3, 4, 6 and 12. ( 10 has only 5 as main divider ). Therefore we count
in 24 hours and 60 seconds. We divide our angles in 360
degrees.

Now it is obvious that the Sumerians influenced
people all over the world an not only one society.

What is the common difference of an AP if the first term is 2 and the fifth term is 14 ?

We'll determine the common difference of the arithmetical
progression, writting the general term of the sequence.

an
= a1 + (n-1)*d

a1 is the first term and d is the common
difference

We'll substitute an by a5 and we'll
get:

a5 = a1 + 4d

We'll
substract a1:

a5 - a1 = 4d

d =
(a5 - a1)/4

We'll substitute the given values for a5 and
a1:

d = (14-2)/4

d =
12/4

d = 3

The
common difference of the given arithmetical progression is d =
3.

What is the Interrelation of Action and Reflection in Modern Literature, especially relating to Ernest Hemmingway and Henry James?

The difference between Action and Literary Reflection in a
literary work is that Action describes what the character does throughout the narrative
in a story, while Literary Reflection describes the moment in the narrative when the
character discovers his faults and changes his/her actions. Frequently the character
will have this moment of revelation at the climax of the story. Action and Literary
Reflection in a story are interrelated because often times action will lead to the
moment of reflection, or action will stem from the moment of reflection.

We can use Ernest Hemingway's book, For Whom the Bell
Tolls, as a good example of Literary Reflection. The protagonist of the
story, Robert Jordan, leaves his job as a university professor and volunteers to fight
on the Republican side in the Spanish Civil War. However, as the action progresses,
Jordan figures out that he does not actually support the Republican cause, he only
joined because he loathes Fascism. However, this moment of self-reflection does not
necessarily change how he participates in the war. Jordan continues fighting against the
Fascists. This moment of self-reflection is an excellent example of Literary Reflection
that stems from action in the story, but does not alter it.

In
contrast, the protagonist in Henry James' book, The Ambassadors,
has a moment of self-reflection that does completely alter the protagonist's actions.
The protagonist, Lewis Lambert Strether, a U.S, ambassador in Paris, is a small town
American who changes from being puritanical and closed minded to being broad minded and
cosmopolitan. At the beginning of the story he acts without any confidence and by the
end, he learns to trust himself and sees that his priorities have been wrong. However,
despite this total transformation in character, he decides to leave Paris because he is
too old to give up his small-town life.

If one were to write a paper
comparing the interrelation of Action and Literary Reflection in these two books, one
could compare how one character's moment of self-reflection does not lead to a change in
action, while the other character's moment does

Why is it significant that Joanna eats in the kitchen in The Adventures of Huckleberry Finn?

The setting of chapter 26 in Mark Twain’s
Huckleberry Finn is the home of the Wilks family during a dinner
where Huck and the impostors who called themselves “the duke” and “the king” were
guests. Huck ate in the kitchen with Joanna, who was the youngest of the sisters. He
noted that she had a cleft lip, for which he nicknamed her “the hare lip girl”. Although
the narrative does not indicate anything strange about Huck and Joanna eating in the
kitchen what could be significant is that:

a)      Huck and
Joanna were the youngest diners. The special places at the table were often reserved for
adult guests by order of precedence.

b)      The family was
embarrassed to have a child with a visible facial flaw, hence sent her off to eat in the
kitchen alone. However, this is unlikely because the sisters treated Joanna quite
lovingly.

c)       The family wanted the younger diners to
get acquainted, so they separated them from the elder
diners.

d)      It was a good technique to add to the story
because, from this acquaintance, Huck developed affection for the Wilks that motivated
him to protect the sisters from the con men.

About Henry Ford, the inventer of the car.1.What inspired him to start his car invention? 2.Is his car invention environmental friendly? 3.Did...

1.  His early career as an engineer working with steam
engines gave him a great deal of expertise working with engines and a passion for racing
and automobiles (still very exotic at the time) led him to his interest in building a
car.

2.  There are a variety of ways to answer the question
of whether they are friendly.  Some would argue that it was environmentally friendly as
it solved the problem of horse manure in city streets.  But most would likely argue that
it isn't as its primary mode of power comes from burning fossil fuels (though there was
a switch on early models to allow them to be powered by alcohol that some could argue
should never have been discontinued) so the emissions and carbon dioxide released make
the fundamentally not evironmentally friendly.

3.  Again
many would argue that his invention flourished and succeeeded.  Look around you.  A
possible argument against this would be the relatively slow pace of innovation and
improvement since he brought about a rather substantial change in the car market. 
Average mileage has only increased by around three to four miles per gallon since the
1930s...  Of course horsepower, reliability, other things have increased.  But so have
the costs of cars.  So you could go either way on this
one.

4.  He knew that people would enjoy the perceived
freedom of being able to get places more quickly and more comfortably than on horseback
or on foot, and he also knew that particularly at the time the idea of owning an
automobile was still exotic enough that the low price cars he offered would be
absolutely devoured by the public and he was correct.

What is the turning point of the play The Merchant of Venice?

You might find a range of different answers in response to
this excellent question. However, for me, the definite turning point in the play comes
in Act IV scene i, in the famous court scene, when Shylock looks as if he is just about
to gain his much-desired vengeance, before he is stopped by Portia disguised as the
famous lawyer. Note what she says:

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Tarry a little; there is something
else.

This bond doth give thee here no jot of
blood;

The words expressly are "a pound of
flesh."

Take then thy bond, take thou they pound of
flesh;

But in the cutting it if thou dost
shed

One drop of Christian blood, thy lands and
goods

Are by the laws of Venice
confiscate

Unto the state of
Venice.

Note how, with this
one speech, the situation of Shylock has been transformed from being a victor to being
defeated and outcast. Up until this point, the action has steadily pointed towards this
final confrontation, and the seemingly hopeless situation of Antonio and Shylock's ever
more desperate desire to gain his revenge. This is the turning point, because it
represents the moment when Shylock becomes defeated and Antonio now has power over
him.

Give four reasons why salivary amylase cannot act on proteins.

The enzyme known as amylase acts on a specific substrate
which is starch. The chemical reaction of starch begins in the mouth as it begins
to hydrolyze into maltose, a sugar. Amylase, as all other enzymes, are very specific.
One reason is that their 3-dimensional shape has a particular active site that binds to
a substrate based on the molecular shape, much like a key fits to a particular lock.
Other factors that affect enzyme specificity are charge as well as the hydrophilic and
hydrophobic characteristics of both enzyme and substrate.

Prove that sin^-1(x)+cos^-1(x)=pi/2

sin^-1 (x) + cos^-1(x) =
pi/2

Let sin^-1 (x) = a ==> sin(a) =
x

Let cos^-1 (x) = b ==> cos(b) =
x

Then we conclude
that:

sin(a) = cos(b)

We need
to prove that a+ b= pi/2

We will use the right angle
triangle to prove.

Let a , b, and c=90 be the angles of a
right angle triangle.

Then we know
that

sina = opposite/hypotenuse=
bc/ac

cosb= adjacent/ hypotenuse =
bc/ac

Then we conclude that sina =
cosb

==> But we know that the sum of the angles in a
triangle is 180 degrees.

But one of the angles in a right
angle triangle is 90 degree.

Then the sum of the other two
angles (a and b ) is 180-90 = 90

Then a+ b= 90 =
pi/2

==> But sin^-1(x)=a and cos^-1(x) =
b

==> sin^-1 (x) + cos^-1 (x) =
pi/2..........q.e.d

What are sin x, tan x, cot x, if 180

The angle x is in the 3rd quadrant, so the value of the
function sine is negative, but the values of teh functions tangent and cotangent are
positive.

We'll apply the fundamental formula of
trigonometry:

(sin x)^2 + (cos x)^2 
=1

(sin x)^2 = 1  - (cos
x)^2

(sin x)^2 = 1  -
(-4/5)^2

(sin x)^2 = 1 -
16/25

(sin x)^2 = 9/25

sin x =
-3/5

tan x = sin x/cos x

tan x
= -3/5/-4/5

sin x = -3/5, tan x = 3/4 and cot
x = 4/3

In The House on Mango Street, what does the quotation mean from "The Monkey Garden"?"I looked at my feet in their white socks and ugly round shoes....

This excellent vignette that makes up one of the chapters
of this coming-of-age novel concerns an epiphany regarding Esperanza's own sense of
sexuality and the role of women in her community. Note that what produces the reaction
you have highlighted in the final paragraph is the way that Sally has been pressurised
into playing various "games" with the boys from the neighbourhood. At first, Esperanza
is appalled and wants to protest violently at the way that Sally is being pressurised
sexually:

I
don't know why, but something inside me wanted to throw a stick. Something wanted to say
no when I watched Sally going into the garden with Tito's buddied all
grinning.

When she goes to
Tito's mother, she does not find sympathy for her gut feeling. Likewise when she returns
to Sally, she is made to feel "crazy" and "ashamed." The garden, which had been such an
excellent place to play, and her feet, are both now tainted by the knowledge that
Esperanza has gained about what happens between girls and boys in her community, and how
wrong it is, but how nobody does anything to prevent it or protest against
it.

How does Aristotle explore the relation of poetry and reader/audience through his definition of tragedy?

In his Poetics, Aristotle says that
tragedy is the greatest of literary art forms because its agents and devices are better
than us (the reader/audience).  Whereas comedy is more realistic, even below us in its
aims, tragedy leads man to question the moral choices and responsibilities of being a
human and, therefore, enters the religious and ethical
realms.

His definition of tragedy is as
follows:

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Tragedy, then, is an imitation of an action that
is serious, complete, and of a certain magnitude; in language embellished with each kind
of artistic ornament, the several kinds being found in separate parts of the play; in
the form of action, not of narrative; with incidents arousing pity and fear, wherewith
to accomplish its katharsis of such emotions. . . . Every Tragedy,
therefore, must have six parts, which parts determine its quality—namely, Plot,
Characters, Diction, Thought, Spectacle,
Melody.

So, the embellished
language (the poetry) must be elevated, higher in purpose and more beautiful than
everyday speech.  Since early Greek tragedy was religious in nature, its language was a
form of praise.  It is much like a combination of a poetry, sermon, and hymn from a
church service.

The chorus is the ideal reader/audience in
Greek tragedy.  Through their melody (embellished language, poetry, choral odes), the
chorus not only informs the audience how to act or respond to the action of the play,
but they give unity to the plot.  Since they are always on stage, and since the audience
is always watching, they are an intermediary between the actors and
audience.

In the end, the embellished language by the
actors and chorus must move the reader/audience toward a katharsis,
a purgation of pity and fear.  The audience must pity the tragic heroes and fear that
the tragic heroes' fate may be their own.

In chapter 4, why does Gatsby have Jordan ask Nick if he'll invite Daisy to his house, instead of asking Nick himself?

I think that he does it for a couple of
reasons.

First, I think he might be a bit embarrassed to do
it himself.  He might think it would be easier if Jordan did it so that he didn't have
to ask such a personal favor himself.  She says Gatsby was afraid Nick would be
offended.

Second, I think he wanted Jordan to tell Nick
about Gatsby's past with Daisy.  I think he figured Jordan could tell Nick about it and
make Nick a lot more likely to be willing to help him out.

Whose viewpoint regarding the Spanish American War is more convincing? US or Spain?

There are a number of ways that you could define each
country's viewpoints regarding this war.  I will set out how I see each
viewpoint.

For the US, the viewpoint was that the Spanish
were brutally subjugating the people of Cuba.  Many Americans felt that the Spanish
tactics against the Cuban rebels were atrocious.  They also felt sympathy with the Cuban
rebels since they were fighting for independence.

For
Spain, the viewpoint was that Cuba was an integral part of their territory and they were
trying their best to accomodate the rebels' demands.  They felt that they were trying to
improve their rule of Cuba giving the island, for example, some amount of
autonomy.

As to which is more convincing, I would say
neither.  Americans did not really care about Cuba's independence, as can be seen from
the fact that the US took a great deal of control over Cuba after the war (see Platt
Amendment link below).  At the same time, the Spanish were only really trying to give
Cuba enough concessions to get the US off their backs.  They were not really sincere
about relaxing their hold on the island.

I would argue that
this was a plain and simple war for territory between two imperialist powers and neither
side's arguments were very convincing to me.

How does N. Hawthorne present the problem of sin and expiation in The Scarlet Letter?

As narrator, Hawthorne cries his theme in his concluding
chapter: 

Be
true!  Be true! Show freely to the world, if not your worst, yet some trait whereby the
worst may be inferred!

It is
the recognition of sin that makes one human, for secret sin destroys the sanctity of the
soul.  This hypocrisy leads one to only an abyss of sadness.  In his secret sin of
revenge and desire to make Dimmesdale his victim, Roger Chillingworth becomes "a fiend"
who finds only a "black blossom" in his heart.  And, in his secret sin of hypocrisy, the
Reverend Arthur Dimmesdale who cannot until the end take the hand of his living
conscience, Pearl, is destroyed by his hypocrisy:

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No man, for any considerable period can wear one
face to himself, and another to the multitude, without finally getting bewildered as to
which may be the true.

Only
Hester Prynne, who is ignobly scorned and humiliated and "branded" with the scarlet
letter, lives genuinely.  Her quiet strength and unselfish activities gradually make her
less of an oddity and pariah in the community and the letter upon her bosom is
reinvented or reinterpreted as meaning Able or
Angel. Nevertheless, the scarlet letter "has not done its office." 
Hester Prynne has not shed her pride, her independence, her sense of the need for a
mighty change in womanhood.  She has shed only her sin, rendering the single letter
meaningless. 

What is the critical analysis of Act III scene ii of Much Ado About Nothing?

This scene is absolutely crucial to the overall plot and
the rising action of the play. Note how when Don Pedro says he will leave after the
marriage, Claudio is quick to offer to accompany him, which severely questions the
"love" he has for Hero. It suggests that Hero for him is a prize to be won rather than
representing a relationship to grow into and learn about. Of course, one of the biggest
changes in this scene is the change in Benedick, who has now changed his appearance and
no longer seems willing to play his role of jester for Don Pedro, saying only in
response to the taunts that "I have the toothache." This is certainly a massive change
as he has obviously tired of engaging in the witty repartee that he was so successful
in. Love for Beatrice has wrought a fantastic transformation in his character,
indirectly commenting on the "love" of Claudio for Hero.

Of
course, the major element of this scene is the revelation of Don John's stratagem to
overthrow the happiness of the assembled masses. It is important to note how cunning he
shows himself to be. By appealing to the jealousy of Claudio and the good name of Don
Pedro, he shows he knows their characters and the weaknesses well and has thought about
what he needs to do to ensnare them in his plot. Don John dominates the dialogue,
mastering the conversation and psychologically Claudio and Don Pedro too. Of course,
the willingness of Don Pedro and Claudio to believe this claim says a lot again about
the nature of Claudio's love for Hero but also the role of women in this
society.

What is the purpose of proving that Lady Macbeth is a fourth witch in Macbeth?I mean she does act like a witch and has similar characteristics to...

I think that an attempt to "prove" that Lady Macbeth is a
fourth witch in Macbeth would involve a misinterpretation of both
the play and the role of the supernatural in culture and literature.  First, Lady
Macbeth does not have similar character traits when compared to the witches--the witches
are simply harbingers of fate and they do not direct Macbeth to act one way or another. 
Lady Macbeth, on the other hand, does influence her husband to act, and she largely
persuades Macbeth to murder King Duncan.  Next, the number three is symbolic when
looking at elements of fate and destiny, and this would be broken by adding a fourth. 
Finally, Lady Macbeth is round character in the play as she goes from being quite greedy
and driven to being remorseful when she realizes that many people have died at Macbeth's
hand.  The witches remain constant throughout the play.

In what ways does Saki play with the readers' expectations in the story "The Interlopers"?In other words, how does the action in the story follow...

This is an excellent question. One aspect of literature in
which Saki excels is the surprise ending, and this short story is certainly no
exception. Saki employs situational irony to devastating effect, letting his two main
characters experience a shocking reversal of fortunes, completely the opposite of what
we have been led to expect as readers.

Let us consider how
he achieves this. We are presented with two sworn enemies who, perhaps rather
ironically, are trapped together under the same tree. As each waits for their henchmen
to arrive and cut them lose, they begin to tell the other what will
happen:

"When
my men come to release us, you will wish, perhaps, that you were in a better plight than
caught poaching on a neighbour's land, shame on
you."

However, the close
proximity they are forced into and their shared fate leads them to resolve their
differences and strike up a surprising friendship. We, as readers, all want a happy
ending to a conflict such as this, and we join in with Ulrich and Georg as they begin to
dream of how they can show each other that their overtures of friendship are
real:

For a
space both men were silent, turning over in their minds the wonderful changes that this
dramatic reconciliation would brig about. In this cold, gloomy forest, with the wind
tearing in fitful gusts through the naked branches and whistling round the tree trunks,
they lay and waited for the help that would now bring release and succour to both
parties. And each prayed a private prayer that his men might be the first to arrive, so
that he might be the first to show honourable attention to the enemy that had become a
friend.

Of course, this
heightens our expectation as readers as we wait to see whose men will come first and we
begin to dream likewise of the happy ending. Note how Saki deliberately plays with us by
letting the two men hear sounds that they conclude are a group of men searching for
them. Thus they shout out and Ulrich even gives a "joyful" cry when he sees figures
approaching, and then shares other information "gladly." It is only in the last few
lines that Saki hits us with the full force of the situational irony as we realise that
it is not men, but a pack of wolves who are coming to "help" the defenceless
men.

Find the x-intercepts for the parabola: y = x^2 + 4x - 3

The x-intercepts for a function are the points where the
graph of the function meets the x-axis. Here the value of f(x) is
0.

For the given equation of the parabola: y = x^2 + 4x -
3, we find the x-intercepts by equating y = 0 and solving the resulting
equation.

y = x^2 + 4x - 3 =
0

x1 = [-b + sqrt (b^2 -
4ac)]/2a

=> x1 = [ -4 + sqrt ( 16 +
12)]/2

=> -2 + sqrt 28 /
2

=> -2 + sqrt
7

x2 = -2 - sqrt
7

The x-intercepts of the parabola are at the
points ( -2 + sqrt 7 , 0) and ( -2 - sqrt 7 ,
0)

At the end of All My Sons, Joe Keller commits suicide. Has justice been done? Is this an acceptable/satisfying ending?

The greater question is what is
justice?

Is Joe Keller a tragic hero? I don't think so
since he is not a man of great stature, not a king or leader or hero, so who is he?  Is
Joe a likable guy?  Yes, but he was man who makes a grave error.  He does not accept
responsibility for his actions but rather blames his partner.  Is this the action of an
honorable man?  I think not.  What Joe is is a human being.  When he is confronted with
the truth he justifies his actions.  Everybody who manufactured for the war effort did
similar things therefore in his mind he was not guilty and saw no reason why he should
have to go to prison.  It was terrible that 21 men died as a result of his decision but
it was wartime.

Kate states that if she were to admit the
truth of Larry's death, then Joe was to blame.  Ironically, he was since Larry could not
live with the shame of Joe's action and crashed his
plane.

Is the ending acceptable/satisfying?  It is the only
possible ending once the truth is out.  Joe stated earlier that he would kill himself
rather than go to prison. 

It seems to me that Miller was
influenced by Ibsen where we see recognisable human beings struggling with their
realities.  And as in Ibsen the ending is not neat or tidy.  What happens to Kate now
that she has been forced to face the truth?  What will happen with Chris and Ann since
they too have been forced to face the truth?  Life goes on and there are no easy
answers.

The argument of "To His Coy Mistress," a carpe diem, can be divided into three parts. What are these three divisions?

If you wanted to summarize the poem in terms of three
arguments, simply put they might be as
follows:

1. If we had eternity, there would be
   nothing wrong with your being coy and not wanting to make love with
   me.


2. But we don't have eternity, and one cannot make love
   in the tomb.


3. If we make love now as I want, it will be
   earth shattering--we will give the sun a run for its money, as they
   say.

The three "arguments" are organized into
stanzas, so they're easy to investigate. 

Of course, the
whole is much greater than the sum of its parts.  Reducing this hyperbolic, intelligent,
"metaphysical" poem to an essay-like argument does not do it justice. 
 

Differences between Renaissance and Pre-Renaissance literature?

One of the primary differences between Renaissance and
Medieval (Pre-Renaissance) literature is the rediscovery of texts from classical
antiquity. In the Middle Ages, there was extreme attention given to Biblical and
religious texts, while writers largely dismissed the great writers of the past because
they were pagan.

This began to shift during the Humanist
period in Italy, when Dante, Petrarch and Boccaccio began to examine classical writers
within the context of religious themes; thus we have the Roman poet Virgil as Dante's
guide through Christian Hell in his
Inferno.

The discovery of Plato (who
was largely lost during the Middle Ages) in the Renaissance led to Neo-Platonism in the
Renaissance, which proved to be very compatible with Christian ideology due to the idea
that the more perfect soul is trapped inside the corrupt body. Not only did this
influence literature, but also the other arts, as seen in both Michelangelo's poetry and
sculpture.

Literature in the Renaissance also began to be
more personal and examined, as Petrarch wrote sonnets about his own individual condition
in his Rime sparse, evoking the first person singular in reference
to his melancholy disposition. This proved to be an early indicator of what would come
in modern literature.

The future of business cannot be safe if its information is not safe.In light of this statement, how can business organizations ensure system safety?

I think that internet safety and computer protection is
extremely important to the future of business organizations and their information.  This
has become critical to all businesses who depend on the internet or on computers for
their needs:

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Small business owners need to
recognize the various threats involved in conducting business over the Internet and
establish security policies and procedures to minimize their risks. As a writer for
Business Week noted, "With your business ever more dependent on safe use of the
Internet, security savvy has become as important as understanding marketing and
finance." Internet security measures range from hardware and software protection against
hackers and viruses, to training and information programs for employees and system
administrators.

I
think that the safety of information for businesses depend on the idea of ensuring that
there is a particular safety in their use of computers and of technology.  Establishing
these good practices with both solutions such as the latest in anti-virus software or
the use of firewalls, as well as teaching employees safe internet and computer use
habits becomes critical in protecting business information and the safety of business
viability in an increasingly technological
marketplace.

In "The Raven," what does the speaker begin to feel about the tapping? What happens when he whispers Lenore?Getting at meaning.

When the speaker first hears the tapping, he becomes
anxious and feels that he is filled with "fantastic terrors."  He attempts to calm
himself by reasoning that he simply has a late-night visitor.  However, when he opens
the door and sees that no one is there, the speaker's anxiety returns, and he begins to
think that the ghost of Lenore is in the hallway.  When he whispers the name "Lenore!"
all he hears in return is the echo of his own voice.  The confirmation that there is no
ghost in the hallway angers the speaker because he has been tormented by the loss of
Lenore.  His reactions to the tapping and his actions in the hallway suggest that the
speaker has not yet let go of his lost love.

What are your feelings about Mr. Bennet in Pride and Prejudice. Is he a good father?

Mr. Bennet is definitely one of the most humorous
characters in the entire novel. It is also clear that he loves Lizzie Bennet very
deeply, and that Lizzie herself is attached to him. However, when we consider the
question of whether he is a good father, the text is not sparing in revealing his
failings.

For example, in spite of Lizzie advising him
strongly against it, he decides to give Lydia permission to go to Brighton. As he
himself admits afterwards, the ensuing tragedy is of "his own doing." However, he does
have the humility to admit he was wrong and to praise Lizzie for her
foresight:

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"Lizzie, I bear you no ill-will for being
justified in your advice to me last May, which, considering the event, shows some
greatness of mind."

We can
also find other criticisms of his character in the letter that Mr. Darcy writes to
Lizzie in Chapter 35. When she reflects on its contents in Chapter 36, note how she
comes to agree with his thoughts of her father:

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The situation of your mother's family, though
objectionable, was nothing in comparison of that total want of propriety so frequently,
so almost uniformly betrayed by herself, by your three younger sisters, and occasionally
even by your father.

However,
above all, his role as a father is shown to be bad by the way that he constantly exposes
their mother to ridicule in front of them and by the way that he had not laid aside any
money in case of emergencies, because he had been hoping for a boy that could inherit
Longbourne. Thus, although witty and amusing, unfortunately we have to come to the
conclusion that Mr. Bennet is not a good father.

The ratio of 7th and 5th terms of expansion (square root 2 +1)^n is 2. What is n?

We'll write the formula of the general term of the
expansion:

Tk+1 =
C(n,k)*a^(n-k)*b^k

The 7th term
is:

T7 =
C(n,6)*(sqrt2)^(n-6)*1^6

The 5th term
is:

T5 =
C(n,4)*(sqrt2)^(n-4)*1^4

T7/T5 =
2

C(n,6)*(sqrt2)^(n-6)/C(n,4)*(sqrt2)^(n-4) =
2

C(n,6) = n!/6!(n-6)!

C(n,4)
= n!/4!(n-4)!

C(n,6)/C(n,4) =
4!(n-4)!/6!(n-6)!

C(n,6)/C(n,4) =
4!(n-6)!(n-5)(n-4)/4!*5*6(n-6)!

We'll simplify and we'll
get:

C(n,6)/C(n,4) =
(n-5)(n-4)/5*6

C(n,6)/C(n,4) =
(n-5)(n-4)/30

(sqrt2)^(n-6-n+4) = (sqrt2)^-2 =
1/2

(n-5)(n-4)/30*2 =
2

(n-5)(n-4) = 120

We'll
remove the brackets:

n^2 - 9n + 20 - 120 =
0

n^2 - 9n - 100 = 0

We'll
apply quadratic formula:

n1 = [9+sqrt(81 +
400)]/2

Since n is not a natural number, the
equation has no solution.

PLEASE EXPLAIN LINES 157 TO 175 OF THE TRIUMPH OF LIFE BY P.B. SHELLEY.PLEASE GIVE SIMILES USED BY THE POET IN THESE LINES.SOME OF THE WORDS SEEM...

This is the section of the poem to which you are
referring:

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..the fiery band which held
Their
natures, snaps--while the shock still may tingle
One falls and then another in
the path
Senseless--nor is the desolation single, _160

Yet
ere I can say WHERE--the chariot hath
Passed over them--nor other trace I
find
But as of foam after the ocean's wrath

Is spent upon
the desert shore;--behind,
Old men and women foully disarrayed,
_165
Shake their gray hairs in the insulting wind,

And
follow in the dance, with limbs decayed,
Seeking to reach the light which
leaves them still
Farther behind and deeper in the
shade.

But not the less with impotence of will _170
They
wheel, though ghastly shadows interpose
Round them and round each other, and
fulfil

Their work, and in the dust from whence they
rose
Sink, and corruption veils them as they lie,
And past in these
performs what,...

Generally,
lines of poetry can be discussed as a separate entity and as a part of the greater
whole.  It is generally best to do both.

These lines
discuss the decay and degeneration of the people whom the Chariot of Life has both run
over and enslaved.  These people are described as being broken and demoralized but have
no choice but to slavishly continue to follow the
Chariot. 

These lines may be confusing by themselves, but
in the greater context of the poem, the reader can see that these people are those that
have given in to the worldy temptations of Life, which is personified as the Shape and
its Chariot.  Metaphorically, Life has "run over" them, leaving them in God's anger and
without salvation, which is most apparent in lines
168-169.

The words you mention are, indeed, misspelled. 
They  are "natures," "deserts," and "foully,"  from lines 2,7, and 8
respectively. 

You specifically ask about similes.  In the
lines directly preceeding this selection, lines 152-155, similes are
used.

...and
as they glow,
Like moths by light attracted and repelled,
Oft to
their bright destruction come and go,

Till like two clouds into one
vale impelled, _155
That shake the mountains when their lightnings mingle And
die in rain..

This passage
refers to young people who, during their youth, are attracted like insects to light, or
to bright but senseless things such as wealth.  Then they seem to dart back and forth. 
He uses another simile for the destruction they turn into by comparing them to two
clouds which cause a violent and fatal storm.

Describe the ever-changing nature of the sailors with reference to the context of "The Rime of the Ancient Mariner."

The mariner's shipmates are in a constant state of change
throughout the entire poem.  While they are still alive, the men change how they feel
about the Mariner killing the albatross.  At first they "cry out against the mariner"
because he killed the bird without a thought.  However, after the fog and mist cleared,
they praised him, thinking that the bird was the cause of the fog and mist.  Then after
the ship sails for a while, it stops completely, leaving them stuck without food or
water.  At this point, the men once again blame him.

readability="7">

"Ah! well a-day! what evil looks
Had I
from old and young!
Instead of the Cross, the Albatross                    
about my neck was hung."

That
was the end of their changes while they were alive.  Soon he is spared by "Life in
Death," and the men drop to the floorboards of the ship dead, yet with their eyes all
focused on him.  The only other changes that occur with the men happen while they are
corpses.  Suddenly, they seem to come back to life, but they are not really alive, just
"inspired" by other spirits.

readability="12">

"They groaned, they stirred, they all uprose,

Nor spake, nor moved their eyes;
It had been strange, even in a
dream,(330)
To have seen those dead men
rise."

Once they have gotten
the boat going again, all of the spirits within the men leave and the men's bodies
collapse once again to the floor.  That is the last of their
changes.

The author rarely describes the shipmates in
detail.  The focus is ultimately on the mariner and how he comes to understand the
importance of all living things/creatures.  However, the changes that occur in his men
(and the constant "staring" they do with their eyes) help convey his actions and show
how he suffers for his wrong-doing.  Without them, the poem would lose its power and
meaning.  They provide the guilt that the mariner needs to learn his
lesson.

Discuss the four factors that determine how useful information is to a manager, and give a specific business example of each of these factors.

The four factors that determine usefulness of information
are completeness, timeliness, quality and
relevance.

Incomplete information can lead to bad
decisions, because if a decision is made with only some of the information chances are
it will not be the right decision.  The missing information could be crucial.  Let’s say
a shoe store manager learns that Popup shoes are becoming a new fad.  She orders 100
pairs in the most popular shoe colors: brown, black and white.  Then, she learns that
what makes Popup shoes popular is that they come in wild colors and patterns.  She has
the right kind of shoes, but the wrong colors and patterns.  The shoes she ordered are
not going to sell, and her customers will go to other stores after being disappointed at
her lack of appropriate selection.

The timeliness of
information is crucial for a manager.  Let’s say a restaurant owner learns that tomorrow
is the local high school’s senior prom.  He wants to run a special, with rates and
events that teenagers would find interesting.  The only problem is, all of the kids have
already made reservations at other restaurants.  He did not get the information in time
to make use of it.

The quality of information is
important.  If the information is wrong, or low-quality, the manager might make a
decision that has a negative impact on the business.  Decisions based on the low quality
information will rarely be good decisions.  For example, let’s say the business is a
book store.  A manager learns that a concert is coming to town: the Hot Boys Band.  She
orders books, CDs and posters in anticipation of a run on products related to the band. 
Then she learns that it is actually the Hot Dog Band that is coming to town.  All of
those products are not going to sell as much as she thought, because the information was
low quality

The relevance of information is the last
necessary consideration.  Managers are inundated with information today.  Good managers
have to be able to separate the relevant information from the noise.  Let’s say a
grocery store manager is reading a newspaper looking for trends about his city.  The
newspaper is running stories on an influx of stray animals to shelters, high
unemployment and a new nursing home opening.  All stories could impact his business, but
let’s say he focuses on the high unemployment rate and runs sales on necessity items. 
Business does not really pick up, because even with sales he cannot compete with local
retail giants.  The relevant story was actually the new nursing home opening.  If he had
instituted a delivery service, sales would have shot up.

How is the Civil War present in the story Little Women, and why does it not play a major role in her novel?

In Louisa May Alcott's Little Women,
we never really see the Civil War. It hovers in the background; it affects the lives of
Marmee and the girls; they each do something for the war effort. Mr. March is away at
the front, and the war comes to the girls filtered through their father's almost
certainly carefully worded letters home.  It provides a subtext and a reason for some of
the decisions the girls make, but it never seems to intrude upon their fairly sheltered
lives.

It is possible that Alcott treated the war this way
because her intent was not to write a war novel but a novel about a family of young
women on their own without a father figure. A father away at the war can be missed and
thought of fondly, but he is also the authority figure who is out of the way, and the
girls are given the opportunity to spread their wings and decide things for themselves,
helping them to grow up into the "women" of the title.

In
fact, the closes the war gets to them is when Mr. March returns home. By then, they have
grown independent and strong. This is not to say that they might not have anyway - only
that they had more independence than they would have if he had been
home.

Why did Eliot use the title "wasteland?"

The title comes from the myth in Jessie Weston’s
From Ritual to Romance. In this myth, the genitals of the Fisher
King are wounded. This affects his fertility and then affects the kingdom, which becomes
a wasteland. The kingdom can not regenerate itself. It is static and
infertile. From Ritual to Romance is an examination of the lore of
the quest for the Holy Grail. So, the title also refers to the archetypal myth that a
hero must go on a quest to rescue the kingdom. Elliot incorporated different languages
as well as different religions, myths and symbols. This myth of the quest is common to
many cultures and this was his point. Christ, King Arthur, Mohammed all go on quests to
inspire, preserve or resurrect their kingdom.

The waste
land itself symbolizes the post-World War I era. Elliot was commenting on moral and
physical decay. The possibility of restoration refers to Eliot’s glimmer of hope for his
era, but also the hope of the Fisher King in Weston’s From Ritual to
Romance.

Using intertextuality and all these
different cultural and religious myths, Eliot illustrates that restoration will occur
through our common humanity. This is in response to that moral decay he experienced in
the wake of World War I.

I need help finding 4 quotes that on Hamlet showing that he is self-driven. Help please?

If you mean by "self-driven" that Hamlet is independent in
his thoughts and actions, many quotes are applicable.  First of all, Hamlet is not
easily persuaded.  He does not heed his mother's advice
to

Cast thy
nighted colour off

And let thine eye look like a friend on
Denmark.

Instead, he informs
her that his clothes only reflect the melancholy he has
within:

 I
have that within which passeth
show.

Neither will he listen
to Claudius's threats, insults or bribes in this same scene.  In response, he ignores
Claudius.

Hamlet does not even follow the ghost's mandates
to avenge his death until he verifies Claudius' guilt himself.  He himself decides to
"put an antic disposition on" and later devices the plot to determine Claudius'
guilt:

The
play's the thing to catch the conscience of the
king.

Another way to look at 
your question is to examine how Hamlet must talk himself into committing a vengeful
act.  No one goads him into killing Claudius; no one persuades him.  Instead he
convinces himself, after hearing the ghost, that Claudius is guilty and must suffer a
fate worse than his father.  He tells himself that he is ready to "drink hot blood" and
do "bitter business" in Act 3, and in Act 4, he declares that his thoughts will be
"bloody."  And indeed, he does act independently when he kills Polonius, and later when
he has Rosencrantz and Guildenstern killed. 

What is the function of music in Twelfth Night?

 If music be
the food of love, play on,

Give me excess of it that,
surfeiting,

The appetite may sicken and so
die.

That strain again, it had a dying
fall.

O, it came o’er my ear like the sweet
sound

That breathes upon a bank of
violets,

Stealing and giving odour. Enough, no
more,

‘Tis not so sweet now as it was before. (1.1
1-4)

The above
lines mark the opening of Twelfth Night, in which count Orsino of
Illyria laments his longing for Olivia. “If music be the food," then, Orsino would
rather eat in excess in order to die.  Thus, from the beginning, we see that music is
relevant because Orsino tries to cure his lovesickness by listening to it. It is
important to notice that we have here a case of synaesthesia, a trope that refers to the
mixing of sensations. In this case, one hears music one doesn’t eat it. This figure of
speech emphasizes Orsino's restlessness because of
love.

Music is also predominant in the character of Feste,
the clown who often sings songs about love in order to entertain others in the play, as
we can see in, act 2.3:

readability="20">

O mistress mine, where are you
roaming?

O stay and hear, your true love’s
coming,

That can sing both high and
low.

Trip no further, pretty
sweeting.

Journeys end in lovers
meeting,

Every wise man’s son doth
now.

Conclusively, we may say
that music plays an important role in the play because it is often linked with
lovesickness, one of the main themes of the play.

How does the nocturnal setting of Act II, scene i contribute to the scene's over all mood, or atmosphere?

It is a classic horror device to use the darkness of night
to create suspense.  Interestingly, in the Globe Theater of Shakespeare's day, the play
would have been performed in full daylight (approx. 3pm) and so, there would have been
no opportunity for the audience to experience this mood-setting nighttime scene except
through the actors use of text and props (like torches to indicate that it is dark) and
their own imaginations.

That said, Shakespeare makes sure
to exploit some devices that we commonly associate with "things that go bump in the
night" to assist in the overall foreboding and suspenseful atmopshere of this "nocturnal
setting:"

• Banquo and Fleance discuss that the
  hour is past midnight, a sure indication that danger/evil is
  afoot.


• Banquo speaks to Fleance of a premonition ("A
  heavy summons lies like lead upon me") and also of his bad dreams ("cursed thoughts that
  nature/Gives way to in repose.")


• Upon Macbeth's entrance,
  a jumpy Banquo asks for his sword and calls out, "Who's
  there?"


• Macbeth, once he is alone onstage in darkness,
  can't decide if a dagger really floats before him, or if his imagination has put it
  there.


• Macbeth uses 7 lines of his soliloquy to create a
  suspenseful sense of the time and place:

readability="22">

. . . Now o'er the one
half-world

Nature seems dead, and wicked dreams
abuse

The curtain'd sleep.  Witchcraft
celebrates

Pale Hecate's offerings, and wither'd
murder,

Alarum'd by his sentinel, the
wolf,

Whose howl's his watch, thus with his stealthy
pace,

. . .Moves like a
ghost.

• A bell
  breaks the silence to toll the hour that Macbeth must go and commit the murder, a creepy
  sound in the dead of night.

There are
indications of dramatic enhancements to this scene  -- the men whispering by torchlight,
the surprise entrance of Macbeth, the potential sound effects of the bell and wolf's
howl -- and yet it is the text itself that Shakespeare mainly relies upon to create the
suspense and foreboding of this late night scene, a suspense that relies heavily upon
the audience's imaginations.

For more on Act II, scene i
and Macbeth's famous dagger soliloquy, please follow the links
below.

Can someone tell me how is the best way to define Nutrition on a quiz please

Every living organism needs some substances that are
essential for it to survive and which cannot be manufactured in the organism's body.
These substances are used as sources of energy, for all the chemical reactions that go
on in the body and for the development of the basic bodily structure of the organism.
Nutrient is the term used for these substances.

In humans,
nutrients are usually classified into categories like carbohydrates, fats, proteins,
minerals, vitamins and water. There are several nutrients that the human body cannot
survive without and these are called essential nutrients, examples include proteins,
fats, water, etc. Others can be substituted by the essential nutrients or it can be said
that their absence does affect survival, examples of these are carbohydrates, substances
like anti-oxidants, etc.

What factors affect the business environment?

When we talk about the "business environment" we are
talking about a number of factors that affect all businesses in a certain country or
area of a country.  These factors tend to affect how easy it is for firms to operate and
make profit in that particular geographic area.

The factors
that affect the business environment are sometimes discussed using the acronym PEST
because there are political, economic, social, and technological factors that affect the
business environment.  I will give one example of
each.

• Political: the stability of the government
  in a country.  The business environment in Egypt is probably not great right now because
  no one knows what the government will look like in a
  month.


• Economic: the exchange rate of a country's
  currency affects all businesses that conduct any foreign
  trade.


• Social: the amount of education people have in a
  country or area.


• Technology: how advanced a country is in
  terms of its technology and ability to support that technology through (for example)
  infrastructure.

The height of a cone is 30 and radius is 10. Find the dimensions h and r of a cylinder created in it with the maximum volume, and show h=3(10-r).

We have a cone of height 30 cm and radius 10 cm. A
cylinder of height h with the radius of the base equal to r is drawn in the
cone.

Now we want to maximize the volume of the cone. The
volume of the cylinder is pi*r^2*h.

To find the optimum
values of h and r we take a two dimensional figure with a rectangle of sides h and 2r in
a triangle with height 30 cm and base 20 cm.

Now equating
the ratios for deriving the tan of the angle we have:

30/10
= h/(10-r)

=> 3(10-r) =
h

=> 30 - 3r = h

The
area of the rectangle is 2r*h

=> 2*r*(30 -
3r)

=> 60r - 6r^2

The
derivative of this with respect to r is 60 - 12r

60 - 12r =
0

=> 12r = 60

=>
r = 5

h = 30 - 15 = 15

For
maximum volume the height is 15 and the radius is 5. And we see that 15 = 3*( 10 - 5) =
30 - 15 = 15.

The required height of the
cylinder is 15 cm and the radius of its base is 5 cm.

In Fahrenheit 451 how does Faber give Montag wisdom?

In Fahrenheit 451, I see Faber give
Montag wisdom in 3 ways.

First, he
physically puts thought into his head. The ear piece Montag
wears in an effort to know what to do when he performs his acts of rebellion is a symbol
of the wisdom Faber places in his mind. It is as if an all-knowing god comes into
Montag's mind and gives him what to do when.

Second, Faber
directly instructs Montag in the art of reading. Faber
clarifies what thought and truth actually are. Montag begins to believe that there is
something in books that must be known. Because Montag is not a reader, nor does he
really analyze, he does not know how to read and consume or
digest thought. Faber gives him three purposes for reading: quality
of detail, leisure to digest, and the ability to act upon what is
read.

Lastly, Montag is ready to act. He can achieve the
third directive of reading, he just doesn't know how to be the respecter of detail, or
digester of thought. It is as if Faber performs the actions Montag cannot
for him while Montag does the third for
Faber.

All of these steps result in Montag actually gaining
wisdom for the duration of his life after his escape because he then gets to experience
the group with Granger, a people who do think and talk and process and value wisdom the
way it was.

Watch the film The Hours and post a response to the adaptation of Woolf's novel to the Woolf forum.

The Hours by Stephen Daldry is based
on Michael Cunningham's homonymous novel. The narrative involves three women whose lives
became intertwined in unexpected ways. Chronologically, the first thread concerns
Virginia Woolf while she is writing Mrs Dalloway. The second
focuses on Laura Brown, an American housewife in the 1950s, whose life is deeply changed
by her reading of Woolf's novel. The third story is set in New York in the 1990s and
follows Clarissa Vaughn's organization of a party for the gay poet Richard, her former
lover and  Laura Brown's son. Woolf's themes such as suicide and trauma as well as
typical recurrent motifs such as flowers, mirrors and kisses are reworked in
The Hours.

The Hours
evokes Woolf and, particularly, Mrs Dalloway, from the
very title which had been chosen originally by Woolf for her own novel. The stories
and the characters in The Hours recall situations and people
in Mrs Dalloway. Both Clarissa Dalloway and Clarissa Vaughn are
getting ready to host a party later in the day. Both Septimus and Richard are poets who
have been through catastrophic events (the First World War and the AIDS epidemic
respectively) and commit suicide at the end. The novel and the film also pay homage to
Woolf's narrative technique by constantly shifting the three narratives and thus the
points of view. In addition, the three stories all take place in one day, just like
Mrs Dalloway (and other Modernist works). in an interview with the
New York Times on January 19th, 2003 Cunningham stated that "the
whole human story is contained in every day of every life more or less the way the
blueprint for an entire organism is present in every strand of its
DNA"

Discuss the supernatural elements in "The Rime of the Ancient Mariner."

This literary ballad clearly contains many fantastical
elements that are obviously supernatural. Important to note is the way that Coleridge in
this poem creates a spirit that embodies Nature itself, called the Polar Spirit, that
pursues the ship and rains down suffering and punishment on the vessel because of the
thoughtless act of the Mariner in killing the albatross. However, arguably these
supernatural elements are used as a way of presenting the torments that guilt can
inflict on the human soul and the terrible expiation necessary for those who sin against
nature in such a shocking fashion.

Of course, the pain and
guilt experienced by the Mariner are a product of the pain and guilt of Coleridge
himself, as suffered through his opium addiction, and so we are left to wonder if the
fantastical elements that feature so strongly in this poem are dreamt up out of the
opium-fevered imagination of its author. Either way, the supernatural elements show the
force of The Polar Spirit, representing Nature, and the danger of taking Nature for
granted.